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i
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A DICTIONARY
OF
MUSIC AND MUSICIANS.
ti»VoA^^Lx>x^
DICTIONARY
OP
MUSIC AND MUSICIANS
(A.D. 1450-1889)
BY EMINENT WRITERS, ENGLISH AND FOREIGN.
WITH ILLUSTRATIONS AND WOODCUTS.
EDITED BY
SIR GEORGE GROVE, D.C.L.
SOMETIME DIRECTOR OP THE ROYAL COLLEGE OF MUSIC, LONDO:^.
WITH AFPENDIX, EDITED BY
J. A. FULLER MAITLAND, M.A.
AND INDEX BY
MRS. EDMOND WODEHOUSE.
IN FOUR VOLUMES.
VOL. IV.
ilontion
MACMILLAN AND CO., Limited
> NEW YORK: TIIE MACMILLAN COMPANY
1900
{The Right of Translation and Reproduction is reserved.}
/ML
lpc>
JHPO
Tlih Dictionanj was originally published between the dates 1877 and 1889, and the Pa)is
have since been reprinted from plates, mth corrections as required.
OXFORD : HORACE HART, PRINTER TO THE UNIVERSITY
PREFACE,
The general aims and intentions of the Dictionary of Music and
Musicians were stated in the Preface to Volume I., and need not be
repeated here. The work now appears before the public in a complete
form. The large demand for it, which has gone on steadily increasing,
not only in this country and the United States of America, but on the
Continent of Europe, shows that on the whole the book has fulfilled the
intentions with which it started. Shortcomings there will always be in
^ a work of this description, arising from inexperience, from the progress
• of the general subject, or from deaths of old musicians and arrivals of
new ones ; but it is hoped that these have been met by the Appendix
promised at the outset. For this very important part of the undertaking
the Editor has secured the able co-operation of the gentleman whose
name appears on the title-page of Volume IV., and who has been of
signal assistance to him in a very trying portion of his work. To Mr.
Fuller Maitland, and to all the other contributors to the Dictionary, who
have so successfully and so cheerfully laboured throughout the long
course of its publication, the Editor here returns his heartfelt thanks for
their valuable assistance ; and embraces the opportunity to express his
pride and pleasure at having had the aid of so distinguished an array
of workers. To the publishers he offers his sincere acknowledgements
for much patience, and many a friendly act.
It would be invidious to single out special articles in addition to
those already mentioned, where all have been written with such devotion
and intelligence ; but the Editor cannot help mentioning, amongst many
others, the long articles on Schumann, Spontini, and Weber, by Dr. Spitta
of Berlin ; on Sonata, Symphony, and Variations, by Dr. Hubert Parry ;
on Song, by Mrs. Edmond Wodehouse ; on Scotish Music, by Mr. J. Muir
Wood; on Wagner, by Mr. Dannreuther; on the Organ, by Mr. E. J.
Hopkins ; the Piano by Mr. Hipkins ; the Violin by Mr. Payne ; and
those on Schools of Composition, and other historical subjects, by Mr. W. S.
Rockstro.
A copious Index of the whole four volumes has been prepared by
Mrs. Wodehouse, and will shortly be published in a separate volume.
29 Bedford Street, Covent Garden,
Easter, 1889.
LIST OF CONTRIBUTORS.
Addison F. Andeews, Esq., New York
Gael Aembeustee
David Baptie, Esq., Glasgow . .
James E. Steendale-Bennett, Esq
E. H. M. BosANQUET, Esq.
Kev. H. E. Beamlet
HoEATio F. Beown, Esq.
De. Heemann Budy
Hon. Mes. Bueeell
Mes. Waltee Caeb
"William Chappell, Esq., F.S.A.
Alexis Chitty, Esq.
M. GusTAVE Chouquet, Keeper of the Museum of the Con
servatoire de Musique, Paris
Arthue Duke Coleeidge, Esq., Barrister-at-Law . .
Feedeeick Coedee, Esq., Mendelssohn Scholar, 1875-79
Geoege Aethur Crawford, Major
William H. Cummings, Esq. ..
"W. G. CusiNS, Esq., Conductor of the Philharmonic Society
Master of the Music to the Queen
Lionel Cust, Esq.
Edward Danneeuther, Esq. ..
Heee Paul David
John Hunter Davie, Esq.
A. F. A.
C. A.
D. B.
J. E. S.-B.
E.H.M.B.
H.E.B.
H. F. B.
H.B.
M. B.
M. C. C.
W.C.
A.C.
G.C.
A. D. C.
F.C.
G. A. C.
W. H. C.
W. G. 0.
L. C.
E.D.
P.D.
J.H.D.
viii LIST OF CONTKIBUTORS.
James W. Davison, Esq. J.W. D.
Hakry Collins Deacon, Esq. . . . . . . . . , . H. C. D.
Db. Alfbed Dobffel, Leipzig. . . . . . . . , . A. D.
Edwabd H. Donkin, Esq E.H. D.
Clabence Eddy, Esq. . . . . . . , . . . . . C. E.
H. Suthebland Edwabds, Esq. H. S. E.
Louis Engel, Esq. . . L. E.
Herb Max Feiedlandbb, Berlin . . . . . . . . M. F.
Henby Fbedeeick Fbost, Esq., Organist of the Chapel Royal, Savoy H. F. F.
J. A. FuLLEB Maitland, Esq. . . J. A. F.-M., or in Appendix M.
John T. Fyfe, Esq J.T.F.
Chables Allan Fyffe, Esq., Barrister-at-Law . . . . C. A. F.
Db. Fbanz Gehbing, Vienna . . . . . . . . . . F. G.
S. B. GosLiN, Esq S. B. G.
J. C. Gbiffith, Esq. . . J. C. G.
Rev. Thomas Helmobe, Master of the Children of the Chapels Royal T. H.
William Hendebson, Esq. . . . . . . . . . . "W. H.
Geobge Hebbebt, Esq. . . . . • • , . . . G. H.
Db. Febdinand Hillee, Cologne .» ,. .. .. H.
A. J. HiPKiNS, Esq. . . . . . . . . . . . . A. J. H.
Edwabd John Hopkins, Esq., Organist to the Temple . . E. J. H.
Rev. T. Percy Hudson T.RH.
Fbancis Hueffeb, Esq. . . . . . . . . . . F. H.
A. Hughes-Hughes, Esq. .. .. .. .. .. A.H.-H.
John Hullah, Esq., LL.D. . . . . . . . . . . J. H.
W. Hume, Esq W. He.
William H. Husk, Esq., Librarian to the Sacred Harmonic Society W. H. H.
F. H. Jenks, Esq., Boston, Mass., U.S.A F. H. J.
MoNS. Adolphe Jullien, Paris . . . . . . . . A. J.
J. A. Kappey, Esq. . . J. A. K.
MoBTON Latham, Esq. . . . . . . . . . . . . M. L.
James Lecky, Esq. . . . . . . . . . . . . J. L.
R. B. Litchfield, Esq. , , , . , . . . , . R. B. L.
LIST OF CONTPvIBUTOES.
Heney J. Lincoln, Esq.
Stanley Lucas, Esq., Secretary to the Philharmonic Society
Herb Feedinand Ludwig
Hercules MacDonnell, Esq. ..
Sir George Alexander Macfarren, Mus. Doc, Professor
of Music in the University of Cambridge, &c., &c. ..
Charles Mackeson, Esq., F.S.S.
Herr a. Maczewski, Concert-director, Kaiserslautern
Julian Marshall, Esq.
Mrs. Julian Marshall
EussEL Martineau, Esq.
SiGNOR GlANNANDREA MaZZUCATO
Eev. John Henry Mee, M.A., Mus. Bac.
Miss Louisa M. Middleton
Eev. J. E. Milne
Edwin G. Monk, Esq., Mus. Doc, Organist of York Cathedral
Mrs. Newmarch
Sir Herbert S. Oakeley, Mus. Doc, Professor of Music at
the University of Edinburgh
Eev. Sir Frederick A. Gore Ouseley, Bart., Mus. Doc,
Professor of Music in the University of Oxford
Henry Parr
Walter Parratt, Esq., Mus. Bac.
C. Hubert H. Parry, Esq., Mus. Doc.
Here Ernst Pauer
Edward John Payne, Esq., Barrister-at-Law
Eev. Hugh Pearson, Canon of Windsor
Edward H. Pember, Esq., Q.C.
Miss Phillimore
Here C. F. Pohl, Librarian to the Gesellschaft der Musik-
freunde, Vienna ..
William Pole, Esq., F.E.S., Mus. Doc
E. PoLONASKi, Esq
Victor de Pontigny, Esq.
H
. J.
L.
S.
L.
F.
L.
H
. M.
. D.
G.
A.
M.
C.
M.
A.
, M.
J.
M.
F.
A.
M.
E.
M.
G.
M.
J.
H.
M.
L.
M.
M.
J.
E.
M.
E.
G.
M.
K.
N.
H. S. O.
F.
A.G.
0.
H.
Pr.
W.
Pa.
C. H. H.
P.
P.
E.
J. P.
H.
■ P.
E.
H. P.
C.
M. P.
C.
F. P.
W
P.
E.
Pi.
V.
DE P.
X LIST OF CONTRIBUTORS.
Reginald Lane Poole, Esq
Ebenezeb Prout, Esq. . . . . . • • • . . • .
Rev. William Pulling
Charles H. Purday, Esq.
LuiGi Ricci, Esq. .. .. .. .. .. .,
Edward F. Rimbault, Esq., LL.D. ..
SiGNOR F. Rizzelli
W. S. RocKSTRO, Esq. ..
Desmond Lumley Ryan, Esq. . .
Curt Schulz, Esq.
Carl Siewers, Esq.
T. L. Southgate, Esq. . .
Dr. Philipp Spitta, Berlin : Professor in the University ; Se-
cretary to the Royal Academy of Arts ; and Managing-
Director of the Royal High-School for Music
W. Barclay Squire, Esq.
Sir John Staineb, Mus. Doc, Oxon. . .
H. H. Statham, Esq. . .
Charles Edward Stephens, Esq., F.C.O., Hon. Member
R. A. M., &c
Sib Robert P. Stewart, Mus. Doc, Professor of Music in
Dublin University
T. L. Stillie, Esq., Glasgow ..
William H. Stone, Esq., M.D.
J. Stuttaford, Esq.
Sib Abthub Seymour Sullivan, Esq., Mus. Doc, Principal
of the National Training School of Music
Franklin Taylor, Esq.
H. R. Tedder, Esq
Alexandeb W. Thayer,, Esq., United States Consul, Trieste,
Author of the Life of Beethoven
Miss Bebtha Thomas . .
John Thomas, Esq
R.L.P.
E. P.
W. Pg.
C. H. P.
L.R.
E. F. R.
F. Rz.
W. S. R.
D. L. R.
C. Sch.
c.s.
T. L. S.
RS.
W.B.S.
J.S.
H. H. S.
C.E.S.
R. P. 8.
T.L.S.
W. H. 8.
J.Sd.
F. T.
H.R.T.
A. W. T,
B.T.
J.T.
LIST OF CONTRIBUTORS.
XI
C. A. W. Teoyte, Esq.
Colonel H. Ware, Public Library, Boston, Mass., U.S.A
Frederick Westlake, Esq. .
Mrs. Edmond Wodehouse
J. MuiR Wood, Esq., Glasgow .
h. e. wooldridge, esq.
The Editor
C.A.W.T.
H.W.
F.W.
A. H. W.
J. M. W.
H. E. W.
G.
DICTIONARY
OP
MUSIC AND MUSICIANS,
SUMER IS ICUMEN IN (continued from
Tol. iii. p. 768).
While receiving with due respect the judg-
ment of the writers already quoted, we cannot but
feel that, in most cases, their authority is weak-
ened, almost to worthlessness, by the certainty
that it rests on evidence collected entirely at
second-hand. Neither Forkel, de Coussemaker,
nor Ambros, ever saw the original document ;
their statements, therefore, tend rather to confuse
than to enlighten the enquirer. Still, great as
are the anomalies with which the subject is sur-
rounded, we do not believe them to be irrecon-
cileable. Some critics have trusted to the peculiar
counterpoint of the Rota, as the only safe guide
to its probable antiquity. Others have laid
greater stress upon the freedom of its melody.
We believe that the one quality can only be
explained by reference to the other, and that the
student who considers them separately, and with-
out special reference to the caligraphy of the
MS., stands but a slender chance of arriving at
the truth. We propose to call attention to each
of these three points, beginning with that which
seems to us the most important of all — the cha-
racter and condition of the MS.
I. The style of the handwriting corresponds
so closely with that in common use during the
earlier half of the "13th century that no one
accustomed to the examination of English MSS.
of that period can possibly mistake it. So positive
are the indications, on this point, that Sir Fred-
erick Madden— one of the most learned palaeo-
graphers of the present century — did not hesitate
to express his own conviction, in terms which
leave no room for argument. • The whole is of
the thirteenth century,' he says, 'except some
writing on ff. 15-17.* And, in a later note,
comparing this MS. with the * Cartulary of
Reading' (MSS. Cott. Vesp. E. v.), he states his
belief that, 'in all probability, the earlier por-
tion of this volume' — i,e. that which contains
VOL. IV, FT, I,
the Rota — ' was written in the Abbey of Read-
ing, about the year 1 240.' ^ The present libra-
rian, Mr. E. Maunde Thompson, unhesitatingly
endorses Sir F. Madden's judgment; and the
Palaeographical Society has also corroborated it,
in connection with an autotype facsimile — Part
VIII, Plate 125 (Lond. 1878)— referred to the
year 1 240.
Fortunately the MS. is in such perfect pre-
servation that the corrections made during its
preparation can be distinctly traced. In a few
places, the ink used for the Antiphon on the
preceding page can be seen through the vellum :
but, apart from the spots traceable to this cause,
there are a considerable number of evident
erasures, clearly contemporary with the original
handwriting, and corrected by the same hand,
and in the same ink. The second note on Stave i
was originally an F. The first and second notes
on Stave 4 were originally two C s ; the fourth
note was a D; and the fifth, a 0. Between
the sixth and seventh notes, in the same Stave,
there are traces of a D, and also of an F : the D
has certainly been erased to make room for the
present notes; the appearance of the F is pro-
duced by a note showing through from the
opposite side. The eighth note on this Stave was
an E. Over the ligature which immediately
follows, there are traces of a C ; and, towards the
end of this Stave, a last erasure has been made,
for the insertion of the solitary black square
note.^ The marks which show through the vel-
lum are to be found near the beginning of Stave
3, and in several other places. Neither these,
nor the erasures, are to be seen in our facsimile^
though traces of both may be found in the auto-
type of the Palaeographical Society.
2. The mixed character of the Part -Writing
has puzzled many an able commentator ; for, side
by side with passages of rudest Discant, it exhibits
1 See vol. iii. p. 268 a (note) ; and 765 b (note),
a Compare witb/acnmtltf, vol. iii o. 269.
2 SUMER IS ICUMEN IN.
progressions which might well have passed un-
censured in the far later days of Palestrina.
The 4th, 6th, 7th, 8th, and 24th bars* are in
Strict Two-Part Counterpoint of the First and
Second Order, of irreproachable purity.'' But,
in passing from the 9th to the loth, and from
the 13th to the 14th bars, a flagrant violation
of the First Cardinal Rule » results in the form-
ation of Consecutive Fifths between the First
and Third Cantus Parts, in the one case, and
between the Second and Fourth Cantus, in the
other. The same Rule is broken, between Cantus
II, and Bassus I, in passing from bar 1 7 to bar
18; and, in bars 37, 38, 39, a similar infraction
of the Rule produces no less than three Con-
secutive Fifths between Cantus I, and Bassus II.
Between bars 29 and 30, Cantus I and II sing
Consecutive Unisons ; and the error is repeated,
between bars 33, 34, by Cantus II and Cantus III,
simultaneously with Consecutive Fifths between
both these Parts and Cantus I. Similar faults
are repeated, as the Rota proceeds, with per-
sistent regularity.
Now, the smooth progressions shown in the
4th, 8th, and 24th bars, are as stringently for-
bidden in the Diaphonia of the nth and 12th
centuries, as the Consecutive Fifths in bars 37,
38, and 39, are in the Counterpoint of the 15th
and i6th, or even in that of the 14th century.
To which of these epochs, then, are we to refer
the Rota ? The peculiarity of the Part- Writing
clearly affords us no means whatever of answer-
ing the question, but is calculated rather to mis-
lead than to throw new light upon the point at
issue.
3. Turning from the Part- Writing to the Me-
lody, we find this pervaded by a freedom of rhythm,
a merry graceful swing, immeasurably in advance
of any kind of Polyphonic Music of earlier date
than the Fa las peculiar to the later decads of
the 1 6th century — to which decads no critic has
ever yet had the hardihood to refer the Rota.
But, this flowing rhythm is not at all in advance
of many a FolkSong of quite unfathomable
antiquity. The merry grace of a popular
melody is no proof of its late origin. The
dates of such melodies are so uncertain, that
the element of Chronology may almost be said
to have been eliminated from the history of
the earlier forms of National Music. In most
cases, the original Poetry and Music owed their
origin, in all probability, to the same heart and
voice. The melodies were not composed, but
inspired. If the verses to which they were in-
debted for their existence were light and trip-
ping, so were they. If the verses were gloomy,
the melodies naturally corresponded with them.
And, because their authors, however unskilled
they might be in the Theory of Music, were in
the constant habit of hearing Church Melodies
sung in the Ecclesiastical Modes, they naturally
conformed, in most cases, to the tonality of those
J In thia. and all other cases, the references appljf to OUT own Soore
in modern Notation, vol. 111. p. 766,
2 See Strict Codnterpoint, vol. 111. p. 741—743.
3 lb. p. 741 a.
SUMER IS ICUMEN IN.
venerable scales. We believe the Melody of the
Rota to be an inspiration of this kind — a Folk-*
Song, pur et simple, in the Transposed Ionian
Mode, owing its origin to the author either of
the English or the Latin verses to which it is
wedded.
Now, some Folk-Songs of great antiquity
possess the rare and very curious peculiarity of
falling into Canon of their own accord. An
old version of * Drops of brandy ' forms a very
fair Canon in the unison for two voices. In the
days of Madame Stockhausen, three independent
Swiss melodies were accidentally found to fit
together in the same way, and were actually
published in the form of an English Round,
which soon became very popular.
The melody of the Rota — if we are right in
believing it to be a genuine Folk-Song — possesses
this quality in a very remarkable degree. What
more probable, then, than that a light'hearted
young Postulant should troll it forth, on some
bright May -morning, during the hour of recrea-
tion ? That a second Novice should chime in, a
little later 1 That the effect of the Canon should
be noticed, admired, and experimented upon, until
the Brethren found that four of them could sing
the tune, one after the other, in very pleasant
Harmony ? There must have been many a
learned Discantor at Reading, capable of modi-
fying a note or two of the melody, here and
there, for the purpose of making its phrases fit
the more smoothly together. So learned a mu-
sician would have found no difl&culty whatever in
adding the pes, as a support to the whole — and
the thing was done. The Harmony suggested,
in the first instance, by a veritable • Dutch Con-
cert,' became a Round, or Canon, of the kind
proved, by Mr. Chappell's opportune discovery
of the Latin pun [see vol, iii. p. 768 a], to have
been already familiar to English ears ; for which
very reason it was all the more likely, in a case
like the present, to have been indebted for its
confection to a happy accident.
The foregoing suggestion is, of course, purely
hypothetical. We do not, however, make it
with the intention of evading a grave chrono-
logical diflBculty by a mere idle guess. The
influence exercised, by the point we are consider-
ing, upon the history of Mediaeval Music in
general, and that of the Early English School in
particular, is of so great importance, that the
element of conjecture would be altogether out of
place in any chain of reasoning professing to
solve the difficulties of an enigma which has puz-
zled the best Musical Antiquaries of the age.
We venture, therefore, to propose no conjectural
theory, but simply to epitomise the results of a
long course of study which has rendered the
Reading MS. as familiar to us as our own
handwriting ; submitting it to our readers with
all possible deliberation, as a means of accounting
for certain peculiarities in the Rota which would
otherwise remain inexplicable. It accounts for
a freedom of melody immeasurably in advance
of that attained by the best Polyphonists of
the 15th century, whether in the Flemish or
SUMER IS ICUMEN IN.
Italian School. It accounts for the transcription,
in a handwriting of the 13th century, of pro-
gressions which were not sanctioned by scholastic
authority until the 15th ; and, at the same time,
for the admixture, with these, of other progres-
sions, which, in the 15th century, would have
been peremptorily forbidden; in other words,
it accounts for simultaneous obedience to two
distinct Codes of Law diametrically opposed to
each other ; two systems of Part- Writing which
never were, and never could, by any possibility
be, simultaneously enforced — viz.theLaw of Coun-
terpoint, which, in the 14th and 15th centuries,
forbade the approach to a Perfect Concord in
Similar Motion ; and that of Diaphonia, which,
in the nth and 12th, practically enjoined it,
by employing no other Intervals than doubled
Fourths, Fifths, and Octaves. It accounts for the
erasures to which we have already called atten-
tion ; placing them in the light of improvements,
rather than that of necessary corrections. More-
over, it accounts, with still greater significance,
for the otherwise inexplicable absence of a whole
army of familiar progressions, conventional forms
of ornamentation, Cadences true, false, plain,
diminished, modal, or medial, and of Licences in-
numerable, which, after the substitution of Coun-
terpoint for Discant, never failed to present them-
selves, at every turn, in Polyphonic compositions
of every kind, produced in every School in Eu-
rope. These anomalies have not been accounted
for by any critic who has hitherto treated the
subject. Yet, surely, those who doubt the antifjuity
of the Rota, on the ground of its advanced construc-
tion, owe us some explanation as to the presence
of this advanced style in certain passages only.
We sorely need some information as to how it
came to pass that the piece was written in three
distinct styles: two, of part-writing, separated by
an interval of two or three centuries, at least ;
and one, of melody, which, if not the result of an
inspired Folk- Song, of remotest antiquity, must
bring us down to a period subsequent to the in-
vention of Monodia in the 1 7th century. Our
theory, if admissible at all, explains all these
things. A learned Musician, deliberately in-
tending to write a Canon for six voices, would,
had he lived in the 1 2th century, have adopted
the style observable in bars 37, 38, and 39, as that
of the entire composition. Another, flourishing
in the 15th century, would have confined himself
to that shown in bars 4, 6. 8, and 24. But,
though the later savant would never have passed
the Fifths and Octaves, the earlier one, had he
possessed sufficient natural genius to enable him
to rise above the pedantry of the age, would
surely have excused a great deal of what he
considered, and taught, to be licence. Finding
that a Popular Melody of the day fitted together,
in certain places, in a — ^to his ear — delightful
succession of similar Perfect Concords, he would
surely have forgiven certain other passages which
defied his rules, but, judged by his natural in-
stinct, did not 'sound bad.' Whether John of
Fornsete did really construct the Rota on this
principle, or not, we can never know for cer-
SUPPE. 8
tain : but, since the accident we have suggested
certainly has happened, and been turned to
advantage in other cases, there is nothing
improbable in the supposition that it may
have happened before, in that which we are now
considering.
The fact that no other English Rota of equal
antiquity with this has as yet been brought to
light, proves nothing. The wonder is, not that
we can find no similar examples, but, that even
this one should have escaped the wholesale
destruction which devastated our Cathedral and
Monastic Libraries, first, during the reign of
King Henry VIII, and afterwards, during the
course of the Great Rebellion. Moreover, we
must not forget that the Reading MS., though it
contains only one Rota, contains no less than
three Latin Antiphons, two for three Voices,
and one for *four; and that the Chaucer MS,'
of very little later date, contains several Compo-
sitions for two Voices, all tending to prove the
early date at which the Art of Polyphonic Com-
position was cultivated in England.^
These suggestions are made for the express
purpose of inviting discussion ; and, should any
new light be thrown upon the subject, in the
meantime, it will be noticed in a future article
on ViLLANELLA. _ [W.S.R.]
SUPERTONIC. The second note of the scale
upwards, as D in the key of C. It is brought
into much prominence in modern music as the
dominant note of the dominant key. The strong
tendency to find the chief balance and antithesis
in that key, and to introduce the second subject
of a movement in it, as well as the tendency to
make for that point even in the progress of a
period, necessarily throws much stress upon the
root-note of the harmony which leads most
directly to its tonic harmony, and this is the domi-
nant of the new key or supertonic of the original
one. It has consequently become so familiar,
that its major chord and the chord of the minor
seventh built upon it, although chromatic, are
freely used as part of the original key, quite
irrespective of the inference of modulation which
they originally carried. Some theorists recognise
these chords as part of the harmonic complement
of the key, and consequently derive several of the
most characteristic and familiar chromatic com-
binations from the supertonic root. [C.H.H.P.]
SUPPE, VON, known as Franz von Sdppe,
the German Offenbach, of Belgian descent, though
his family for two generations had lived at
Cremona, was born at Spalato, or on board ship
near it, April 18, 1820, and his full baptismal
name is Francesco Ezechiele Ermenegildo
Cavaliere Suppe Demellt. His taste for music
developed early. At 1 1 he learned the flute, at
1 See vol. Hi. p. 270 a. _, ,, ^ „,
2 Arundel MSS. No. 248. See vol. 111. p. 4Z7 b. The MontpelHer
MS. is certainly no older than this, and probably not so old.
3 Fosbroke, in his ' British Monachism ' (vol. ii. p. 113). tells us that
the Song of the Anglo-Saxon Monks consisted of a method of flgurato
Discant, in which the various Voices, following one another, were
perpetually repeating different words, at the same time. Surely, mia
savours strongly of the ' form of the Round.'
B 2
4 SUPPB.
13 harmony, and at 15 produced a mass at the
Franciscan church at Zara. His father, however,
had other views for him, and sent him to
the University of Padua. But music asserted
itself; he learned from Cigala and Ferrari, and
wrote incessantly. At this moment his father
died, the mother settled in Vienna, where Fran-
cesco joined her; and after a little hesitation
between teaching Italian, practising medicine,
and following music, he decided on the last,
got lessons from Seyfried, and obtained a gra-
tuitous post as Conductor at the Josephstadt
theatre. This was followed by better engage-
ments at Pressburg and Baden, and then at the
theatres ander-Wien, Quai, and Leopoldstadt
in Vienna, with the last-named of which he
is still connected. His work at these houses,
though for long mere patching and adding, was
excellent practice, and he gradually rose to more
independent things. In 1844 a • Sommemachts-
traum,' founded on Shakspeare, and composed
by him, is mentioned in the A. M. Z. * Der
Kramer und sein Commis' followed. In 1847
he was at the Theatre an-der-Wien and (Aug. 7)
brought out a piece, ' Das Madchen vom Lande '
(The country girl), which met with wild success.
Ten years later (Jan. 8, 1858) a Singspiel,
* Paragraph 3,' spread his fame into North Ger-
many, and from th^ time a stream of pieces
flowed fivm his pen. His works are said by the
careful Wurzbach ^ to reach the astonishing num-
ber of 2 grand operas, 165 farces, comediettas,
and vaudevilles, etc., as well as a Mass ( 'Missa
dalmatica,' Spina, 1877), a Requiem produced at
Zara in i860 under the title of 'L'estremo Giu-
dizio' etc., etc. A list of 49 of his operatic pieces
is given by Wurzbach, but a few only are dated.
Another list of 21 is given by Batka in Pougin's
supplement to Fdtis, but the titles are French,
and it is hard to make the dates agree. Some
of the pieces are mere parodies, as ' Tannen-
hauser,' 'Dinorah, oder die Turnerfahrt nach
Hutteldorf.' One, 'Franz Schubert,' is founded
on the life of Schubert, and contains five of his
songs. The only pieces of Suppe's known out
of Germany are ' Fatinitza,' produced at Vienna,
Jan. 5, 1876 ; at the Alhambra, London, June 20,
1878, and at the Nouveaut^s, Paris, March 1879 ;
and 'Boccaccio,' which was brought out in London,
at the Comedy Theatre, April 22, 1882. The
overture to 'Dichter und Bauer,' the only one of
his overtures known in England, must be his
most popular work abroad, since it has been
arranged for no less than 59 different combina-
tions of instruments, all published by Aibl of
Munich. It is a stock piece in the Crystal Palace
repertoire. [G.]
SURIANO. [See Soriano, vol. iii. p. 638.]
SURMAN, Joseph, bom 1803, son of a dis-
senting minister at Chesham, became a music
copyist, tenor chorister, and clerk at a dissenters'
chapel. On the establishment of the Sacred
Harmonic Society in 1832 he was appointed
its conductor. In 1838 he became music pub-
1 Biov. Lezikon des Oesterrelnb. Fart 40; 188a
SUSPENSION.
lisher, chiefly of sacred music in separate parts.
About the same time he was assistant conductor
of the Melophonie Society. In 1842 he was
chosen to condact the Worcester Festival. An
inquiry by a special committee into his official
conduct ^s agent for and conductor of the Sacred
Harmonic Society having resulted in an unanim-
ously adverse report, he was removed from his
office, Feb. 15, 1848. He then attempted the
formation of the * London Sacred Harmonic So-
ciety,' but failing to obtain sufficient members
carried on concerts in the society's name at his
own expense for 7 or 8 years. Surman died
Jan. 20, 1871. [W.H.H.]
SUSANNA. An oratorio in three parts, by
Handel ; the author of the words is not known.
The overture was begun on July 11, 1748, a
month after the completion of ' Solomon,* and the
work was finished on the 24th of the following
mouth. It was produced during the season ot
1749. [G.]
SUSATO. [See Ttlman.]
SUSPENSION is the process of arresting the
conjunct motion of one or more parts for a time,
while the rest of the components of the chord
proceed one step onwards, and thereby come to
represent a different root. The part which is
stayed in this manner commonly produces dis-
sonance, which is relieved by its then passing on
to the position it would have naturally occupied
sooner had the motion of the parts been simul-
taneous. Thus in the progression of the chord
of the Dominant seventh to Tonic harmony (a),
the part which takes the upper note (or seventh)
can be delayed and made to follow into its position
after the rest of the chord has moved, as in (6),
thereby producing a fourth in place of a third
for a time. Similarly the fifth, or the fifth and
third, can be suspended, producing a ninth, or a
ninth and seventh, against the tonic note ; and
the dissonant effect is similarly relieved by their
passing on to their normal position in the chord
afterwards, as in (c). In all such cases the first
occurrence of the note in the part whose motion
is suspended is called the 'Preparation,* as in
A
F^
rdi
^-^)-n%^d=^
w=^
-<s>-
i-
^=±^^^
the first chord of (6) and of (c) ; the moment of
dissonance resulting from the motion of the other
parts, is called the * Percussion * of the discord,
and the release of the dissonance, when the part
proceeds to its natural place in the harmony, is
called the ' Resolution.'
Suspension was among the very first methods
discovered by the early harmonists for introducing
dissonance into their music. In the earliest times
composers depended chiefly upon the different
degrees and qualities of consonances — sixths,
thirds, fifths, and octaves — to obtain the necessary
effects of contrast between one musical moment
and another. Then, when, in the natural order of
things, something stronger was required, it was
found in this process of suspension. But for some-
SUSPENSION.
SUSPENSION.
time it was used very sparingly, and c(Jmposers
required no more than the least dissonant forms to
carry out their purposes. For a long while, more-
over, all discords appeared to the early writers
as no more than artificial manipulations of the
motion of the parts of this kind, and it was only
by the use of such means that they even learnt
to use some discords, which are at the present
day looked upon in a totally diflFerent light. About
the beginning of the 17th century they began to
realise that there was a radical difference in the
character and constitution of certain groups of dis-
cords, and to use at least one freely as an inde-
pendent or fundamental combination. From that
time discords began to be classified, instinctively,
into definite groups. Certain of the less dissonant
combinations have in course of time been grouped
into a special class, which is freed from the obli-
gation of being prepared, and thereby loses one
of the most essential characteristics of suspension.
These are the Dominant discords of the minor
seventh and major and minor ninths ; certain
corresponding chromatic chords on Tonic and
Supertonic roots, which have been naturally affi-
liated upon the key; and the chord sometimes
known as that of the added sixth. Another class
has been created by some theorists, which is much
more intimately connected with the class of suspen-
sions; if indeed they are not actually suspensions
slightly disguised. These are the discords which
are arrived at by the same process of staying or
suspending the motion of a part, but which are
distinguished by further motion of the other parts
simultaneously with the resolution of the discord,
thereby condensing two motions into one ; as in
{d) and (e). When treated in this manner the
chords are described by some theorists as * Pre-
pared discords.' The province of suspensions
^m
:^-
P
:g:
r
III' II
appears by this process to have been reduced,
but what was lost by the process of classification
has been amply made up by the invention of a
great variety of new forms.
About the time that composers first began to
realise the character of the dominant seventh,
they also began to use a greater variety and a
harsher description of suspensions. The earliest
experiments of note in both directions are
commonly ascribed to the same man, namely
Monteverde. Since his time the progress has
been tolerably constant in one direction ; for the
tendency to look for fresh and more vivid points
of contrast necessarily leads to the use of sus-
pensions of more complicated and harsher char-
acter. At the present time the varieties of possible
suspensions are so numerous that it would be
almost as absurd to endeavour to make a catalogue
of them, as it would be to make a list of possible
combinations of sounds. But if the principle be
properly understood, it is not necessary to give
more than illustrative examples; for the like
rules apply to all; and their kinds are only
limited by the degree of harshness considered
admissible, and by the possibility of adequate
and intelligible resolution. Classical authority
not only exists for a great variety of chromatic
suspensions, often derived from no stronger basis
than a comljination of chromatic passing or orna-
mental notes ; but also for remarkable degrees of
dissonance. Beethoven for instance, in the Bb
Quartet, op. 130, iised the suspended fourth to-
gether with the third on which it is to resolve,
and put the latter at the top, and the former at
the bottom (/); and Bach supplies many ex-
amples of similar character. Certain simple rules
wIT^
^
=pqt
I
=JRt
3^
11
are almost invariably observed — such as that the
moment of percussion shall fall upon the strong
beat of the bar ; .and that the progression shall
not imply a violation of rules against consecutive
perfect concords, which would occur if the arti-
ficial suspension of the part were removed, as
in (9)'
Composers early discovered a means of varying
the character of the process by interpolating
notes between the sounding of the discord and
its resolution, as in (A). Instances are also to
(9) _ ih) i^n^ I
«
f
Pr
*=i^
be found in which some such forms were used as
sufficient to constitute resolution without arriving
at the normal note, — habit and familiarity with
a particular form of motion leading to the ac-
ceptance of a conventional formula in place of the
actual solution. The following examples from
Corelli's ist Sonata of opera 2da and 5th of
opera 4ta are clear illustrations.
(fc) ^^ I , (0_ ^ ^
This particular device is characteristic rather of
the early period of harmonic music up to Corelli'a
time than of a later period. The following pas-
sage from Schumann's variations for two piano-
6 SUSPENSION.
fortes is characteristic of modem uses of combined
and chromatic suspension, and also of interpola-
tion of notes between percussion and resolution.
(m) xst Piano,
Some theorists distinguish the combinations which
resolve upwards from those that resolve down-
wards, styling the former Retardations. [See
Ketardation; Harmony.] [C.H.H.P.]
SVENDSEN, Jo HAN Severin, was bom Sept.
30, 1840, at Christiania, where his father was
a military band-master. At the age of 1 1 he
wrote his first composition for the violin. When
15 he enlisted in the army, and soon became
band-master. Even at that age he played with
considerable skill flute, clarinet, and violin. He
soon left the army, and worked during the next
few years in the orchestra of the Christiania
theatre, and at a dancing academy, for which he
arranged some dtudes by Paganini and Kreutzer
for dancing. A strong desire to travel drove
him, at 21, on a roving tour over a great part of
Sweden and North Germany. Two years after,
being in Liibeck in extremely reduced circum-
stances, he fortunately met with the Swedish-
Norwegian Consul Herr Leche, whose interest
he gained, and who shortly after obtained a
stipend for him from Charles XV. to enable him
to perfect himself as a violinist ; but being soon
afterwards attacked with paralysis in the hand,
he was compelled to give up the bow for com-
position. He came to Leipzig in 1863, ^^^ ^^
works beii^ already known there, he was placed
in the finishing class of the Conservatorium, re-
ceiving, however, instruction in elementary theory
of music, which he had never been taught. His
instructors were Hauptmann, David, Richter,
and Reinecke, of whom he considers that he
owes most to the first. Whilst in Leipzig he
wrote a Quartet in A, an Octet and a Quintet,
all for strings ; Quartets for male voices ; and a
Symphony in D. The following anecdote of this
period is both characteristic and authentic. On
hearing that his octet had been played with
great success by the students, Reinecke asked
to see it ; he declined, however, to suggest any
improvements in so splendid a work, but re-
marked somewhat sarcastically, * The next thing
will be a symphony, I suppose.' Barely a week
SVENDSEN.
after Svendsen laid his Symphony in D before his
astonished instructor.
On leaving Leipzig in 1867 ^^ received the
great honorary medal of the Academy. After
travelling in Denmark, Scotland, and Norway,
Svendsen went in 1868 to Paris. The French
Empire was then at its zenith, and hia sojourn
in the capital of France influenced the com-
poser to a very great extent. Whilst there,
he played in Musard's orchestra, and at the
Oddon, and became intimately acquainted with
Wilhelmine Szarvady, De Beriot, Vieuxtemps,
and Leonard. He arranged the incidental musio
to Copp^e's 'Le passant,' in which both Sarah
Bernhardt and Agar performed, but on the
whole his Paris productions were few — a Con-
certo for violin in A, and orchestral arrangements
of studies by Liszt and Schubert ; he also began
'Sigurd Slembe,' the overture to a Norwegian
drama of that name. He left Paris at the be-
ginning of the war in 1870 for Leipzig, where
he had been offered the conductorship of the
well-known Euterpe concerts, which however
were discontinued, owing to the war. At a
great musical festival at Weimar, in the same
year, he first met Liszt and Tausig, and his
octet was played by a party containing David,
Helmesberger, Griitzmacher, and Hechmann, with
great approbation. Early in the following year
his Symphony in D was performed at the
Gewandhaus, and his fame as a composer esta-
blished. He composed in that year his Concerto
for cello in D. In the autumn he went to
America to be married to an American lady,
whom he had met in Paris, and returned the
same year to Leipzig, where, after the end of the
war, he undertook the leadership of the Euterpe
concerts for one year. There he finished the
overture to * Sigurd Slembe,' which was played
at the Euterpe then, and in the following year
at the musical festival at Cassel, where Liszt
was present, and both times with great success.
This year was one of the most momentous in
Svendsen's life, since in it he met Wagner at
Bayreuth, and soon became his intimate associate.
He took the opportunity of making himself fully
acquainted with Wagner's music and ideas. In
Wagner's house he met the Countess Nesselrode,
who formed a warm friendship for the Norwegian
composer, and whose talents and experience be-
came of great benefit to him. In Bayreuth some
of his happiest days were spent, and it was
during this stay he composed his Camaval k
Paris, a charming composition which depicts with
great force the varied aspects of the capital of
pleasure. The longing to see his country after
an interval of so many years made him disregard
various tempting offers, and he left Bayreuth for
home. For the next five years he was conductor
of the Christiania Musical Association and teacher
of composition, and composed comparatively few
works, which may be explained by the unfor-
tunate want of pecuniary independence. The
pieces of this period are : — Funeral march for
Charles XV; 'Zorahayde,' a legend for orchestra;
Coronation march of Oscar II, and a Polonaise in
I
SVENDSEN.
E for the same occasion ; * Romeo and Juliet,' a
fantasiefor orchestra; four Norwegian rhapsodies;
arrangements of some Norwegian, Swedish and
Icelandic ballads for orchestra ; and his chef-
(Toeuvrey a symphony in Bb. In 1874 his labours
found some appreciation from his countrymen in
the shape of an annuity granted by the Storthing,
and several decorations conferred on him by the
king. After five years of hard work, he was
enabled once more to proceed abroad. In 1877
he revisited Leipzig, and conducted a new work
at the Gewandhaus ; went thence to Munich,
and eventually to Rome, where he spent the
winter. In 1878 he visited London for the first
time, and there met Sarasate, who assisted him
in the performance of his quartet, quintet, and
octet. From London he went to Paris, where
he stayed until 1880, during which time his
works were several times performed — as also at
Angers, where the post of conductor was offered
him by the Musical Association. But Svendsen,
true to his resolution to return home, refused
this lucrative appointment, and in the autumn
of that year we again find him in his old post
as conductor of the Musical Association in Chris-
tiania, in which capacity he has since acted.
During the last few years he has produced only
some minor compositions, besides arranging for
orchestra several studies by foreign composers.
Svendsen's music is all of very high character,
remarkable for strong individuality, conciseness,
and the absence of anything national or Scandi-
navian ; as well as for an elaborate finish strictly
in harmony with the traditions of the great
masters. Of these there is, however, only one
whose influence can be traced in his compositions,
namely Beethoven. He is one of the most cosmo-
politan composers of the age.
His printed works are as follow :^
15. Symphony no. 2 In Bt?.
16. Carnaval des artistes Nor-
vtjgiens.
17. Ehapsodie Xorvegienne no.
1, for orch.
18. Overture to Komeo and
Juliet.
19. Ehapsodie Norv^gienne no.
2.
20. Scandinavian airs arranged
for string quartet.
21,22. Rhapsodies Norv^giennes
nos. 3, 4.
23. Five songs, French and Ger-
man, for voice and PF.
24. Four do., French and Nor-
vfegian, do.
25. Bomance by Popper, ar-
ranged for cello and PF.
26. Bomance for violin and
orch. in G. fC S 1
SVENDSEN, Olup, a distinguished flute-
player, bom in Christiania April 19, 1832. He
learnt the rudiments of playing from his father,
a musician ; when 1 2 years old played the flute
in small orchestras ; and at 1 4 was engaged as
first flute in the Christiania theatre. In 1851
he went to Copenhagen, and took lessons from
Nils Petersen, then a flute-player there. In
1853 he entered the Conservatoire at Brussels,
where he studied for two year?, after which he
was engaged by Jullien for his Concerts in Lon-
don. In September, 1856, he joined the Band
Op.l. string quartet, in A minor.
2. Songs for men's voices.
3. Octet for strings in A minor.
4. Symphony in D.
6. String quintet in C.
6. Concerto for violin and
orch. iu A.
7. Do. for cello and orch. in D
minor.
8. Overture In 0 to BjOmson's
drama of ' Sigurd Slem-
be.'
9. Carnaval k Paris, for orch.
10. Funeral march for Charles
XV.
11. Zorahayde, legend for orch.
12. Polonaise for orch.
13. Coronation march for Oscar
II.
14. Marriage Cantata, for chor.
and orch.
SWEELINCK. 7
of the Crystal Palace, Sydenham, where he re-
mained tiU the end of 1858. In 1861 Svendsen
was appointed first flute in the Queen's private
band, and the same year joined the Philharmonic
orchestra. He was ten years in the orchestra
at Her Majesty's Theatre; and since 1867 has
been professor of his instrument at the Royal
Academy of Music. He is well known as a solo-
player throughout Belgium, Norway, Sweden,
Denmark, and France. [G.]
SWEELINCK or SWELINCK,* Jan Pie-
TERSZOON, the greatest of Dutch organists, was
born of a Deventer family in the summer of 1562.
His father, * Mr. Pieter,' was organist of the Old
Church at Amsterdam, which place disputes with
Deventer the honour of having given the son
birth.^ Of Sweelinck's boyhood we know nothing,
except that he was taught by Jacob Buyck
(Buchius) the pastor of the Old Church. There
is a tradition that he was sent to Venice to
study music under Zarlino and Gabrieli ; but
with this is connected a mistake of old stand-
ing, which places his birth in 1540, 22 years
too early .3 Now, as we know that he was in
Holland from 1577, at latest, onwards, it be-
comes barely credible that the lad of 15 could
have followed the instruction of the Venetian
masters to any important extent ; and it is likely
that the whole story is based upon the close study
which his works prove him to have devoted to
those of * the apostle of musical *science,* whose
* Istituzioni harmoniche ' he translated.'* Some
time between 1577 and 1581 Sweelinck was ap-
pointed to the organ istship previously held by
his father (who died in 1573); and this post he
filled until his death, Oct. 16, 1621. For a
generation he was the glory of Amsterdam.
When he played the organ there, says a contem-
porary, ' there was a wonderful concourse every
day ; every one was proud to have known, seen,
heard the ®man.' And when he died it was
the greatest of Dutch poets, Vondel, who wrote
his epitaph, and surnamed him ' Phoenix of
Music' He must also have been a distinguished
figure in the society of Amsterdam, then in its
1 Of the seven or more ways in vrhich the name is spelled, these
two have the warrant of the musician's own signature. The Germans
of the time seem to have naturalised him as Schweling ; in Amster-
dam he was Itnown as plain Jan Pietersz.
2 Deventer is consistently mentioned by Sweelinck's later bio-
graphers ; but the Amsterdam claim has the support of the oflBcial
entry of his marriage there in 1590, in which his birthplace is not
stated. The omission was the rule when the person was a native of
the city. Else documentary evidence is equally wanting on both sides.
3 The correction of this and the rest of the mistakes which confuse
every single date in Sweelinck's life is due to the essay of F. H. J.
Tledeman, ' J. P. Sweelinck, een bio-bibliografischeSchets,' published
by the Vereeniging voor Nederlandsche Muziekgeschiedenis (Amster-
dam, 1876), which supersedes a shorter sketch published by the same
writer as an introduction to the 'Begina Coeli' in 1869. Both are
based upon a biography, which remains in MS. in the possession of
the Vereeniging, by Bobert Eitner, who has done good service liy
rescuing the works of Sweelinck from the obscurity of the GrauB
Kloster at Berlin.
4 So Zarlino Is entitled by his modern biographer, P. Caffl, ' Delia
Vita e delle Opere del Prete G. Zarlino ' (Venice 1836). Neither here
nor in the chapters on Zarlino and Andrea Gabrieli contained in his
' Storia della Musica Sacra,* vol. i. p. 129 etc. (Venice 1854), does Caffi
take any notice of the Dutch scholar. Nor have I been able to dis-
cover any trace of his residence at Venice in the MS. collections of
S. Marco.
5 MS. at Hamburg, formerly belonging to the great organistBeincke.
6 Sweertius, in Tiedeman, p. 16. Sweelinck's portrait at Darmstadt
gives his strong irregular features a kindly expression, with a touch
of sadness in them. It is reproduced in photograph by Mr. Tledemaa,
8
SWEELINCK.
greatest brilliancy, not only for his unmatched
powers as an organist, but also for his skill,
fancy, and charming versatility on the clavi-
cymbel.^ The town bought him for public service
a new * clavecirapbel ' from Antwerp at a cost of
200 gulden ; and the instrument seems to have
travelled with him all over the country.'
What was published however by Sweelinck in
his life-time was entirely vocal music, and in-
cludes— besides occasional canons, marriage-
songs, etc., his 'Chansons fran9aises' (3 parts,
Antwerp, 1592-4), 'Rimes fran9aises et itali-
ennes ' (Ley den 16 1 2), and the great collections
of sacred music on which, with his organ works,
his fame chiefly rests. These are the ' Pseaumes
mis en musique ' for 4-8 voices (published in
several editions at Leyden, Amsterdam, and
Berlin), and the ' Cantiones Sacrae ' (Antwerp
1 61 9). A Regina Coeli from the latter, 3 Chan-
sons, and 8 Psalms in 6 parts have been lately
reprinted, in organ-score, by the Association for
the History of Dutch Music (pts. i, v, vii, and vi;
Utrecht and Amsterdam, 1869-1877); which has
also published for the first time seven of Swee-
linck's organ works ^ (pt. iii.) [Vereeniging.]
The psalms make an interesting link between
the tranquillity of the old polyphonists and the
rhythm of modern music. Formally they stand
nearest to the earlier style, but the strictness of
their counterpoint, the abundance of imitation
and fugue in them, does not hinder a general
freedom of effect, very pure and full of melody,
to a greater degree than is common in works of
the time. The organ pieces are also historically
of signal importance. Though they may not
justify the claim made for Sweelinck as 'the
founder of instrumental music,' * they at all
events present the first known example of an in-
dependent use of the pedal (entrusting it with a
real part in a fugue), if not with the first example
of a completely developed organ-fugue.
It is as an organist and the founder of a school
of organists that Sweelinck had most influence,
an influence which made itself felt through the
whole length of northern Germany.' In the next
generation nearly all the leading organists there
had been his scholars : his learning and method
were carried by them from Hamburg to Danzig.
His pupil Sell eidemann handed down the tradition
to the great Reincke * — ^himself a Dutchman —
from whom, if we accept a statement supported
alike by unanimous testimony and by exhaustive
analysis of their works, it turned to find its
consummation in Sebastian Bach.'' [R.L.P.]
1 On this he was the master of Christina van Erp, the famoo*
lutenlst, and wife of the more famous poet. Pleter Corneliszoon
Hooft. See the * Bouwsteenen ' of the Vereenlglng, vol. 1. pp. 13 f.
2 See an anecdote In Baudartius. 'Memoryen," xUl. p. 163; cited
by Tledeman, p. 16.
3 The bibliography of Sweelinck Is given at length by Tledeman,
pp. 43—75. To this should be added some supplementary particulars
communicated by Dr. J. F. Heije In the 'Bouwsteenen,' vol, L pp.
39— »6.
* See Eltner's preface to the edition, and Tledeman, pp. 54 tl.
» The wide distribution of his worits Is shown by early transcripts
existing in the British Uuseum, and by copies of the extremely rare
printed works preserved in the Blblioth6que Natlonale. Curiously
enough not a single MS. of Sweelinck remains in Holland.
» Often erroneously known as Reinken.
T Spitta, ' J. S. Bach," i. 96. 192-213.
SWERT.
SWELL (HARPSICHORD). The desire for
a power of increase and decrease on keyboard
instruments like the harpsichord and organ, so as
to emulate the bow instruments, and even the
human voice, in that flow and ebb which are at
the foundation of form no less than of expression,
has led to the contrivance of mechanical swells
as the only possible approach to it. A swell was
first attempted on the Organ ; the harpsichord
swell was introduced by Robert Plenius in a
sostenente variety of the instrument, named by
him • Lyrichord,' and is described (in 1 755) as
the raising of a portion of the lid or cover of the
instrument by means of a pedal. Kirkman
adopted this very simple swell, and we find it
also in many small square pianos of the last cen-
tury. About 1 765 Shudi introduced the Venetian
swell, and patented it in 1769. This beautiful
piece of joinery is a framing of louvres which
open or close gradually by means of a pedal (the
right foot one) and thus cause a swell, which
may be as gradual as the performer pleases.
Shudi bequeathed this patent to John Broad-
wood, who inherited it on the death of Shudi in
1773. When the patent expired, Kirkman and
others adopted it, and it was fitted to many old
harpsichords, and even to pianos, but was soon
proved unnecessary in an instrument where
power of nuance was the very first principle.
The English organ-builders perceived the great
advantage of Shudi's Venetian swell over the
rude contrivance they had been using [see Organ,
vol. ii. p. 596 a], and it became generally adopted
for organs, and has since been constantly retained
in them as an important means of eflfect. [A. J.H.]
SWELL-ORGAN. The clavier or manual of
an organ which acts upon pipes enclosed in a
box, such box having shutters, by the opening of
which, by means of a pedal, a crescendo is pro-
duced. The shutters are made to fold over each
other like the woodwork of a Venetian blind,
hence the expressions 'Venetian Swell' and
•Venetian Shutters' sometimes found in specifi-
cations. To the swell-organ a larger number of
reed-stops is assigned than to other manuals.
The firat attempt at a ' swelling organ' was
made by Jordan in 171 2. The crescendo was
obtained by raising one large sliding shutter
which formed the front of the box. The early
swell-organs were of very limited compass, some-
times only from middle C upwards, but more
generally taken a fourth lower, namely, to fiddle
G-. For many years the compass did not extend
below Tenor C, and even now attempts are
sometimes made to reduce the cost of an organ
by limiting the downward compass of the Swell ;
but in all instruments with any pretension to
completeness the Swell manual is made to CC,
coextensive with the Great and Choir. [See
Organ, vol. ii. p. 596, etc. ; also 604.] [J.S.]
SWERT, DE, Jules. An eminent violon-
cellist, born Aug. 16, 1843, at Louvain, where
his father was Capellmeister at the Cathedral.
He was grounded in the cello and in music by
his father, and afterwards took lessons from
Servais in preparation for the Brussels Conser-
SWERT.
vatoire. After gaining the first prize there, at
15, he went to Paris, made the acquaintance of
Kossini, and was much applauded. He then
began a lengthened tour through Belgium, Hol-
land, Denmark, Sweden, South Germany, Switzer-
land, etc., in which his programmes embraced
both classical and modern pieces. Two, on which
he gained great fame, were cello arrangements
of the violin concertos of Beethoven and Men-
delssohn. In 1865 he took a post as leader at
Diisseldorf, then in the Court band at Weimar,
and next at Berlin. He did not however retain
the last of these long, but gave it up for concert
tours, which have since occupied him. In the
intervals of these he has resided at Wiesbaden
and Leipzig. His first opera, * Die Albigenser,'
was produced at Wiesbaden in 1878, with much
success. A second, 'Die Grafen von Hammer-
stein,' is announced for publication. De Swert
has a Primer for the Cello in preparation for
Messrs. Novello. He visited England in the
spring of 1875, ^^^ appeared at the Crystal
Palace on April 24. [G.]
SWIETEN, Gottfried, Baron VAN. A
musical amateur of great importance, who resided
at Vienna at the end of last century and beginning
of this one. The family was Flemish, and Gott-
fried's father, Gerhard,* returned from Leyden to
Vienna in 1745, and became Maria Theresa's
favourite physician. Gottfried was bom in 1 734,
and was brought up to diplomacy, but his studies
were much disturbed by his love of music, and
in 1769 he committed himself so far as to com-
pose several of the songs in Favart's ' Rosibre de
Salency ' for its public production at Paris. In
1 771 he was made ambassador to the Court of
Prussia, where the music was entirely under the
influence of Frederick the Great, conservative
and classical. This suited Van Swieten. Handel,
the Bachs, and Haydn were his favourite masters ;
in 1774 he commissioned C. P. E. Bach to vmte
six symphonies for orchestra. He returned to
Vienna in 1778 ; succeeded his father as Prefect
of the Public Library, and in 178 1 was appointed
President of the Education Commission. He
became a kind of musical autocrat in Vienna,
and in some respects his influence was very
good. He encouraged the music which he ap-
proved; had regular Sunday-morning meetings
for classical music, as well as performances of
the great choral works of Bach, Handel, and
Hasse, etc. ; employed Mozart to add accompani-
ments to Handel's * Acis,' ' Messiah,' ♦ St. Ce-
cilia,' and * Alexander's Feast,' and Starzer to do
the same for 'Judas'; translated the words of
the * Creation ' and the ' Seasons ' into German
for Haydn; and himself arranged Handel's 'Atha-
liah ' and ' Choice of Hercules.' He supplied
Haydn now and then with a few ducats, and gave
him a travelling -carriage for his second journey
to England.^ In his relation to these great
artists he seems never to have forgotten the
superiority of his rank to theirs ; but this was
the manner of the time. Van Swieten patron-
i Evidently not a yery wise person. See Carlyle's 'Frledrlch,'
Sk. zzi. cb. 5. a Griesinger, Biog. Not. 66.
SWINY 9
ised Beethoven also [see vol. i. p. 1760] ; but
such condescension would not be at all to Bee-
thoven's taste, and it is not surprising that we
hear very little of it. His first Symphony is,
however, dedicated to Van Swieten. He was
the founder of the ' Musikalischen Gesellschaft,*
or Musical Society, consisting of 25 members of
the highest aristocracy, with the avowed object
of creating a taste for good music — a foreruimer
of the ' GeseUschaft der Musikfireunde,' founded
in 1808.
Van Swieten died at Vienna March 29, 1803.
His music has not survived him, but it would be
interesting to hear one of the six symphonies
which, in Haydn's words,^ were ' as stiff as him-
self.' [G.]
SWINNERTON HEAP, Charles, was born
at Birmingham in 1847, ^^^ educated at the
Grammar School of that town. Displaying at a
very early age an aptitude for music, on leaving
school he was articled to Dr. Monk at York,
where he remained for two years. In 1865 he
gained the Mendelssohn Scholarship, and was
sent to Leipzig for two-and-a-half years, studying
under Moscheles and Reinecke. On his return
he became a pupil of Mr. Best at Liverpool, and
since 1868 has devoted himself to professional
duties in Birmingham, at the classical concerts
of which town he has constantly appeared as a
pianist, and in which district he is widely known
as a conductor. In 1870 he wrote an exercise
for the Cambridge Degree of Mus. Bac, which
produced so favourable an impression upon the
Professor of Music (Sir Sterndale Bennett) that
he offered to accept the work (the ist part of an
oratorio 'The Captivity') as an exercise for the
Mus. Doc. degree. Mr. Swinnerton Heap ac-
cordingly set the 3rd Psalm for the Mus. Bac.
exercise, and in the following year proceeded to
the degree of Mus. Doc. His principal works
are a pianoforte trio (performed at Leipzig), a
sonata for clarinet and piano, a quintet for
pianoforte and wind instruments, two overtures
(one produced at the Birmingham Festival of
1879 and afterwards played at the Crystal Palace
Concerts), a 'Salvum fac Regem' (performed
at Leipzig), a short cantata, 'The Voice of
Spring,' and numerous anthems, songs, and organ
pieces. [W.B.S.]
SWINY, Owen, frequently called Mac Swiny,
'a gentleman born in * Ireland.' In a letter,*
dated Oct. 5, 1706, and addressed to Colley
Gibber, whom he calls in turn * puppy,' 'his
Angel' (twice), 'his Dear,' and finally 'Unbe-
liever,'— this singular person describes how Rich
had sent for him from his ' Quarters in the North,*
and how ' he was at a great charge in coming
to town, and it cost him a great deal of money
last winter,' and ' he served him night and day,
nay, all night and all day, for nine months.'
He had 'quitted his post in the army' on the
faith of promises that, in return for managing
' the playhouse in the Haymarkett ' under Rich,
» Griesinger, Biog. Not. 67.
• la the writer's possession.
4 Biogr. DiMD.
10
SWINY.
he was to have * lOo Guineas per annum Salary,
ft place at Court, and the Devil and all.' This
was the somewhat inauspicious beginning of
Swiny's theatrical career. Having come up to
London, as described, in 1705, he soon found
that Rich intended nothing seriously for his ad-
vantage ; and he announces (in the same letter)
that, in consequence of the general discontent of
the actors with Rich, and although Rich might
have had the house for £3 or £3 io«. a day, he
(Swiny) had taken a lease for seven years at
£5 a day, and meant to begin in a few days.
In 1 707 we find him in partnership with Wilks,
Dogget, and Gibber in the King's Theatre, having
taken the lease from Vanbrugh, and very soon
quarrelling with them and petitioning the Lord
Chamberlain's interference in his favour. He
was mixed up in most of the quarrels and intrigues
of the time.
In May, 1709, Swiny engaged the famous
Nicolini for three years, that great singer having
recently made a most successful dibut in London.
Before the completion of this term, however,
Swiny appears to have 'absented himself from
his creditors ' and become bankrupt.
After this, he lived for some years in Italy ;
but, on his return to England, a place in the
Custom-house was found for him, and he was
appointed Keeper of the King's Mews. While
in Italy, with Lord Boyne and Walpole, he
wrote to Colman (July 12, 1730) from Bologna,
• on the subject of engaging singers for the Opera,
then in the liands of Handel. Swiny died October
2, 1 754, leaving his fortune to Mrs. WoflSngton.
He was the author of several dramatic pieces,
viz. ' The Quacks, or Love's the Physician '
(1705); 'Camilla' (1706); ' Pyrrhus and Deme-
trius' (1709); and 'The Quacks, or Love's the
Physician,' an altered version of the first piece.
Two years before his death, a fine portrait of
Swiny, after Van Loo, was scraped in mezzotint
by J. Faber, junr. It represents him, in black
velvet, holding in his hand a book, of which the
title seems to be 'Don Quixote.' [J.M.]
SYLPHIDE, LA. One of the most famous
ballets on record : in 2 acts ; libretto by A. Nour-
rit the singer, music by Schneitzhoffer. Pro-
duced at the Grand Opera, Paris, March 12,
1832. The part of La Sylphide was danced by
Mdlle. Taglioni, and was one of her greatest
parts, both in Paris and in London, -where the
piece was brought out at Covent Garden Theatre,
for her benefit, July 26, 1832. Thackeray has
embalmed it in ' Pendennis ' (chap, xxxviii.) [G.]
SYLVANA, accurately Silvana. Weber's
3rd opera, composed at Stuttgart, 18 10, and
produced at Frankfort, Sept. 16, 1810, [See
Waldmadchen.]
SYLVIA, OU LA NYMPHE DE DIANE.
' Ballet- pantomime ' in 2 acts and 3 tableaux;
libretto by Barbier, music by Delibes. Produced
at the Grand Opdra, Paris, June 14, 1876. [G.]
SYMPHONIQUES, ETUDES, t. c. Symphonic
Studies. The name of a theme and set of varia-
tions in C J minor by Robert Schumann, forming
7. FestklSnge.
8. H^roide funfebre.
9. Hungaria.
10. Hamlet.
11. Hunnenschlacht (Battle with
the Huns).
12. Ideale.
SYMPHONY.
op. 13. The work is dedicated to W. Stemdale
Bennett, and Mr. Spitta has pointed out that the
theme contains a reference to him, inasmuch as
it is identical with a part of the romance in
Marschner's 'Templer und Judin,* *Du stolzes
England freue dich,' in which this country is
called on to rejoice in her famous men. [See
vol. iii. p. 410 a.] The first edition was published
by Haslinger in 1 837, as • Florestan und Eusebius,
zwolf Etuden (Etudes Symphoniques).' Those
published after that date are entitled ' Etudes en
forme de Variations,* and have been materially
altered. [G.]
SYMPHONISCHE DICHTUNGEN— that
is. Symphonic Poems. A title employed by Liszt
for twelve pieces of orchestral music of cha-
racteristic, i. e. descriptive, kind, and of various
dates — one feature of which is that the move-
ments are not divided, but lead into each other
without interruption.
L Ce qu'on entend sur la mon-
tagne.
2. Tasso. Lamento e Trionfo.
3. Les Preludes.
4. Orpheus.
6. Prometheus.
6. Mazeppa.
Of these the following have been performed at
Mr. Baches annual concerts : — no. 3, May 26,
1871 and twice besides; no. 4, Nov. 27, 73;
no. 2, Nov. 27, 73; no. 6,Feb. 27, 77, and Feb. 25,
79. Nos. 6, II, and 12 have also been played
at the Crystal Palace (Dec. 9. 76 ; May 17, 79 ;
Apr. 16, 81 respectively) ; and nos, 2, 9 at the
Philharmonic (June 9, 1873; Feb. 23, 1882,
respectively).
St. Saens has adopted the title * Pobmes sym-
phoniques ' for 4 pieces : —
1. Le Rouet d'Omphale. I 3. Danso macabre.
2. Phaeton. I 4. La Jeunesse d'Hercule. [G.l
SYMPHONY (SiNFONiA, Sinfonie, Sym-
PHONIE). The terms used in connection with any
branch of art are commonly very vague and in-
definite in the early stages of its history, and are
applied without much discrimination to different
things. In course of time men consequently
find themselves in difficulties, and try, as far as
their opportunities go, to limit the definition of
the terms, and to confine them at least to things
which are not obviously antagonistic. In the end,
however, the process of sifting is rather guided by
chance and external circumstances than deter-
mined by the meaning which theorists see to be
the proper one ; and the result is that the final
meaning adopted by the world in general is fre-
quently not only distinct fi'om that which the
originad employers of the word intended, but
also in doubtful conformity with its derivation.
In the case of the word ' Symphony,! as with
•Sonata,' the meaning now accepted happens
to be in very good accordance with its deriva-
tion, but it is considerably removed firom the
meaning which was originally attached to the
word. It seems to have been used at first in a
very general and comprehensive way, to express
any portions of music or passages whatever which
were thrown into relief as purely instrumental
SYMPHONY.
in works in which the chief interest was centred
upon the voice or voices. Thus, in the operas,
cantatas, and masses of the early part of the
17th century, the voices had the most important
part of the work to do, and the instruments' chief
business was to supply simple forms of harmony
as accompaniment. If there were any little por-
tions which the instruments played without the
voices, these were indiscriminately called Sym-
phonies ; and under the same head were included
such more particular forms as Overtures and
Ritomelli. The first experimentalists in harmonic
music generally dispensed with such independent
instrumental passages altogether. For instance,
most if not all of the cantatas of Cesti and Eossi '■
are devoid of either instrumental introduction or
ritomel ; and the same appears to have been the
case with many of the operas of that time. There
were however a few independent little instru-
mental movements even in the earliest operas.
Peri's ' Euridice,' which stands almost at the head
of the list (having been performed at Florence in
1600, as part of the festival in connection with
the marriage of Henry IV of France and Mary
de' Medici), contains a ' Sinfonia ' for three flutes,
which has a definite form of its own and is very
characteristic of the time. The use of short in-
strumental passages, such as dances and intro-
ductions and ri torn els, when once fairly begun,
increased rapidly. Monteverde, who folio wedclose
upon Peri, made some use of them, and as the
century grew older, they became a more and more
important element in dramatic works, especially
operas. The indiscriminate use of the word 'sym-
phony,' to denote the passages of introduction
to airs and recitatives, etc., lasted for a very long
while, and got so far stereotyped in common
usage that it was even applied to the instru-
mental portions of airs, etc., when played by
a single performer. As an example may be
quoted the following passage from a letter of
Mozart's — *Sie (meaning Strinasacchi) spielt
keine Note ohne Empfindung ; sogar bei den
Sinfonien spielte sie alles mit Expression,' etc.''
With regard to this use of the term, it is not
necessary to do more than point out the natural
course by which the meaning began to be re-
stricted. Lulli, Alessandro Scarlatti, and other
great composers of operas in the 17th century,
extended the appendages of airs to proportions
relatively considerable, but there was a limit
beyond which such dependent passages could
not go. The independent instrumental portions,
on the other hand, such as overtures or toc-
catas, or groups of ballet tunes, were in different
circumstances, and could be expanded to a very
much greater extent ; and as they grew in im-
portance the name * Symphony' came by degrees
to have a more special significance. The small
instrumental appendages to the various airs and
so forth were still symphonies in a general sense,
but the Symphony par excellence was the in-
troductory movement ; and the more it grew in
> MSB. In the Christ Church Library, Oxford.
2 She does not play a note without feeling, and even in the Sym-
phonies played all with expression.
SYMPHONY.
11
importance the more distinctive was this ap-
plication of the term.
The earliest steps in the development of this
portion of the opera are chiefly important as
attempts to establish some broad principle of
form; which for some time amounted to little
more than the balance of short divisions, of slow
and quick movement alternately. Lulli is credited
with the invention of one form, which came ulti-
mately to be known as the ' Ouverture h, la ma-
nihre Fran9aise.' The principles of this form, as
generally understood, amounted to no more than
the succession of a slow solid movement to begin
with, followed by a quicker movement in a^
lighter style, and another slow movement, not
so grave in character as the first, to conclude
with. Lulli himself was not rigidly consistent
in the adoption of this form. In some cases, as
in 'Perse'e,' 'Thesee,' and * Belldrophon,' there
are two divisions only — the characteristic grave
opening movement, and a short free fugal quick
movement. 'Proserpine,' 'Phadton,' 'Alceste,'
and the Ballet piece, * Le Triomphe de I'amour,'
are characteristic examples of the complete
model. These have a gi'ave opening, which is
repeated, and then the livelier central move-
ment, which is followed by a division marked
* lentement ' ; and the last two divisions are
repeated in full together. A few examples are
occasionally to be met with by less famous
composers than Lulli, which show how far the
adoption of this form of overture or symphony
became general in a short time. An o|era
called 'Venus and Adonis,' by Desmarests, of
which there is a copy in the Library of the
Royal College of Music, has the overture in
this form. ' Amadis de Grfece,' by Des Touches,,
has the same, as far as can be judged from>
the character of the divisions ; * Albion and
Albanius,' by Grabu, which was licensed for pub-
lication in England by Eoger Lestrange in 16S7,
has clearly the same, and looks like an imitation
direct from Lulli; and the ' Venus and Adonis'
by Dr. John Blow, yet again the same. So the
model must have been extensively appreciated.
The most important composer, however, who fol-
lowed Lulli in this matter, was Alessandro Scar-
latti, who certainly varied and improved on the
model both as regards the style and the form^
In his opera of ' Flavio Cuniberto'^ for instance,
the ' Sinfonia avanti I'Opera ' begins with a divi-
sion marked grave, which is mainly based vxi
simple canonical imitations, but has also broad
expanses of contrasting keys. The style, for the
time, is noble and rich, and very superior to
LuUi's. The second division is a lively allegro,
and the last a moderately quick minuet in 6-8
time. The 'Sinfonia' to his serenata *Venere,
Adone, Amore,' similarly has a Largo to begin
with, a Presto in the middle, and a movement,
not defined by a tempo, but clearly of moderate
quickness, to end with. This form of * Sinfonia '
survived for a long while, and v/as expanded at
times by a succession of dance movements, for
which also Lulli supplied examples, and Handel
> us. in Christ Church Library.
42
SYMPHONY.
at a later time more familiar types ; but for the
history of the modern symphony, a form which
was distinguished from the other as the * Italian
Overture,* ultimately became of much greater
importance.
This form appears in principle to be the exact
opposite of the French Overture : it was similarly
divided into three movements, but the first and
last were quick and the central one slow. Who
the originator of this form was it seems now
-impossible to decide; it certainly came into
vogue very soon after the French Overture, and
quickly supplanted it to a great extent. Certain
details in its structure were better defined than
in the earlier form, and the balance and dis-
tribution of characteristic features were alike
freer and more comprehensive. The first al-
legro was generally in a square time and of
solid character; the central movement aimed at
expressiveness, and the last was a quick move-
ment of relatively light character, generally in
some combination of three feet. The history
of its early development seems to be wrapped in
obscurity, but from the moment of its appear-
ance it has the traits of the modern orchestral
symphony, and composers very soon obtained
a remarkable degree of mastery over the form.
It must have first come into definite acceptance
about the end of the 17th or the beginning
of the 1 8th century; and by the middle of the
latter it had become almost a matter of course.
Operas, and similar works by the most con-
spicuous composers of this time, in very great
numbers, have the same form of overture. For
instance, the two distinct versions of *La Cle-
menza di Tito ' by Hasse, * Catone in Utica ' by
Leonardo Vinci (1728), the * Hypermnestra,'
'Artaserse, ' and others of Perez, Piccini's ' Didone,'
Jomelli's 'Betulia liberata,' Sacchini's ' CEdipus,'
Galuppi's ' II mondo alia reversa' — produced the
year before Haydn wrote his first symphony —
and Adam Hiller's 'Lisuart und Dariolette,'
"*Die Liebe auf dem Lande,' 'Der Krieg,' etc.
And if a more conclusive proof of the general
acceptance of the form were required, it would
be found in the fact that Mozart adopted it
in his boyish operas, 'La finta semplice' and
*Lucio Silla.' With the general adoption of
'ihe form came also a careful development of
the internal structure of each separate move-
ment, and also a gradual improvement both in
the combination and treatment of the instru-
ments employed. Lulli and Alessandro Scarlatti
were for the most part satisfied with strings,
which the former used crudely enough, but the
latter with a good deal of perception of tone
and appropriateness of style; sometimes with
the addition of wind instruments. Early in the
eighteenth century several wind instruments,
such as oboes, bassoons, horns, trumpets, and
flutes, were added, though not often all together;
and they served, for the most part, chiefly to
strengthen the strings and give contrasting de-
grees of full sound rather than contrasts of colour
and tone. Equally important was the rapid im-
provement which took place simultaneously in
SYMPHONY.
internal structure; and in this case the develop-
ment followed that of certain other departments
of musical form. In fact the progress of the
•Sinfonia avanti I'Opera' in this respect was
chiefly parallel to the development of the Clavier
Sonata, which at this time was beginning to at-
tain to clearness of outline, and a certain maturity
of style. It will not be necessary here to repeat
what has elsewhere been discussed from different
points of view in the articles on Fobm, So-
nata, and Suite ; but it is important to realise
that in point of time the form of this ' Sinfonia
avanti I'Opera ' did not lag behind in definition
of outline and mastery of treatment; and it
might be difficult to decide in which form
(whether orchestral or clavier) the important
detail first presents itself of defining the first and
second principal sections by subjects decisively
distinct. A marked improvement in various
respects appears about the time when the
symphony first began to be generally played
apart from the opera ; and the reasons for this
are obvious. In the first place, as long as
it was merely the appendage to a drama, less
stress was laid upon it; and, what is more
to the point, it is recorded that audiences were
not by any means particularly attentive to the
instrumental portion of the work. The descrip-
tion given of the behaviour of the public at
some of the most important theatres in Europe
in the middle of the eighteenth century, seems
to correspond to the descriptions which are
given of the audience at the Italian Operas in
England in the latter half of the nineteenth.
Burney, in the account of his tour, refers to
this more than once. In the first volume he
says, * The music at the theatres in Italy seems
but an excuse for people to assemble together,
their attention being chiefly placed on play
and conversation, even during the performance
of a serious opera.' In another place he de-
scribes the card tables, and the way in which
the ' people of quality ' reserved their attention
for a favourite air or two, or the performance
of a favourite singer. The rest, including the
overture, they did not regard as of much con-
sequence, and hence the composers had but
little inducement to put out the best of their
powers. It may have been partly on this ac-
count that they took very little pains to connect
these overtures or symphonies with the opera,
either by character or feature. They allowed
it to become almost a settled principle that
they should be independent in matter ; and con-
sequently there was very little difficulty in ac-
cepting them as independent instrumental pieces.
It naturally followed as it did later with an-
other form of overture. The 'Symphonies' which
had more attractive qualities were played apart
from the operas, in concerts ; and the precedent
being thereby established, the step to writing
independent works on similar lines was but
short; and it was natural that, as undivided
attention would now be given to them, and
they were no more in a secondary position
in connection with the opera, composers should
SYMPHONY.
take more pains both in the structure and in
the choice of their musical material. The Sym-
phony had however reached a considerable pitch
of development before the emancipation took
place ; and this development was connected with
the progress of certain other musical forms be-
sides the Sonata, already referred to.
It will accordingly be convenient, before pro-
ceeding further with the direct history of the
Symphony, to consider some of the more im-
portant of these early branches of Musical
Art. In the early harmonic times the rela-
tionships of nearly all the different branches
of composition were close. The Symphony
was related even to the early Madrigals,
through the • Senate da Chiesa,' which adopted
the Canzona or instrumental version of the
Madrigal as a second movement. It was also
closely related to the early Fantasias, as the
earliest experiments in instrumental music, in
which some of the technical necessities of that
department were grappled with. It was directly
connected with the vocal portions of the early
operas, such as airs and recitatives, and derived
from them many of the mechanical forms of
cadence and harmony which for a long time
were a necessary part of its form. The solo
Clavier Suite had also something to do with
it, but not so much as might be expected. As
has been pointed out elsewhere, the suite-form,
being very simple in its principle, attained to
definition very early, while the sonata-form,
which characterised the richest period of har-
monic music, was still struggling in elementary
stages. The ultimate basis of the suite-form
is a contrast of dance tunes ; but in the typical
early symphony the dance-tunes are almost in-
variably avoided. When the Symphony was ex-
panded by the addition of the Minuet and Trio,
a bond of connection seemed to be established ;
but still this bond was not at all a vital one, for
the Minuet is one of the least characteristic
elements of the suite-form proper, being clearly
of less ancient lineage and type than the AUe-
mande, Courante, Sarabande, or Gigue, or even
the Gavotte and Bourr^e, which were classed
with it, as Intermezzi or Galanterien. The
form of the Clavier Suite movements was in
fact too inelastic to admit of such expansion
and development as was required in the or-
chestral works, and the type did not supply the
characteristic technical qualities which would be
of service in their development. The position
of Bach's Orchestral Suites was somewhat dif-
ferent; and it appears that he himself called
them Overtures. Dehn, in his preface to the
first edition printed, says that the separate MS.
parts in the Bach archives at Hamburg, from
which he took that in C, have the distinctive
characteristics of the handwriting of John Se-
bastian, and have for title 'Ouverture pour
2 Violons,' etc. ; and that another MS., probably
copied from these, has the title 'Suite pour
Orchestre.' This throws a certain light upon
Bach's position. It is obvious that in several
departments of instrumental music he took the
SYMPHONY.
1^
French for his models rather than the Italians.
In the Suite he followed Couperin, and in the
Overture he also followed French models. These
therefore appear as attempts to develop an in-
dependent orchestral work analogous to the
Symphony, upon the basis of a form which had
the same reason for existence and the same
general purpose as the Italian Overture, but a^
distinctly different general outline. Their chief
connection with the actual development of the
modern symphony lies in the treatment of the in-
struments ; for all experiments, even on different
lines, if they have a common quality or principle^
must react upon one another in those respects.
Another branch of art which had close con-
nection with the early symphonies was the
Concerto. Works under this name were not by
any means invariably meant to be show pieces
for solo instruments, as modem concertos are ;,
and sometimes the name was used as almost
synonymous with symphony. The earliest con-
certos seem to have been works in which groups
of • solo ' and * ripieno ' instruments were used,
chiefly to obtain contrasts of fullness of tone.
For instance, a set of six concertos by Alessandro
Scarlatti, for two violins and cello, ' soli,' and
two violins, tenor, and bass, 'ripieni,' present
no distinction of style between one group and
the other. The accompanying instruments for
the most part merely double the solo parts, and
leave off either to lessen the sound here and
there, or because the passages happen to go a
little higher than usual, or to be a little difficult
for the average violin-players of that time. When
the intention is to vary the quality of sound
as well, the element of what is called instru-
mentation is introduced, and this is one of the
earliest phases of that element which can be
traced in music. The order of movements and
the style of them are generally after the manner
of the Senate da Chiesa, and therefore do not
present any close analogy with the subject of
this article. But very soon after the time of
Corelli and Alessandro Scarlatti the form of
the Italian overture was adopted for concertos,
and about the same time they began to show
traces of becoming show-pieces for great
performers. Allusions to the performance of
concertos by great violin - players in the
churches form a familiar feature in the musical
literature of the i8th century, and the three-
movement-form (to all intents exactly like that
of the symphonies) seems to have been adopted
early. This evidently points to the fact that
this form appealed to the instincts of com-
posers generally, as the most promising for free
expression of their musical thoughts. It may
seem curious that J.S.Bach, who followed French
models in some important departments of in-
strumental music, should exclusively have fol-
lowed Italian models in this. But in reality
it appears to have been a matter of chance
with him; he always followed the best models
which came to his hand. In this department
the Italians excelled ; and Bach therefore fol-
lowed them, and left the most important early
14
SYMPHONY.
specimens of this kind remaining — almost all in
the three movement-form, which was becoming
the set order for symphonies. Setting aside
those specially imitated from Vivaldi, there are
at least twenty concertos by him for all sorts of
Bolo instruments and combinations of solo instru-
ments in this same form. It cannot therefore
be doubted that some of the development of
the symphony-form took place in this depart-
ment. But Bach never to any noticeable
extent yielded to the tendency to break the
movements up into sections with corresponding
tunes ; and this distinguishes his work in a very
marked manner from that of the generation
of composers who followed him. His art belongs
in reality to a different stratum from that which
produced the greater forms of abstract instru-
mental music. It is probable that his form pf art
could not without some modification have pro-
duced the great orchestral symphonies. In order
to get to these, composers had to go to a different,
and for some time a decidedly lower, level. It
was much the same process as had been gone
through before. After Palestrina a backward
move was necessary to make it possible to arrive
at the art of Bach and Handel. After Bach
men had to take up a lower line in order to get
to Beethoven. In the latter case it was neces-
sary to go through the elementary stages of de-
fining the various contrasting sections of a move-
ment, and finding that form of harmonic treat-
ment which admitted the great effects of colour
or varieties of tone in the mass, as well as in the
separate lines of the counterpoint. Bach's position
was so immensely high that several generations
had to pass before men were able to follow on
his lines and adopt his principles in harmonic
music. The generation that followed him showed
scarcely any trace of his influence. Even before
be had passed away the new tendencies of music
were strongly apparent, and much of the ele-
mentary work of the modem sonata form of art
had been done on different lines from his own.
The * Sinfonia avanti I'Opera ' was clearly by
this time sufficiently independent and complete
to be appreciated without the opera, and without
either name or programme to explain its meaning;
and within a very short period the demand for
these sinfonias became very great. Bumey's tours
in search of materials for his History, in France,
Italy, Holland, and Germany, were made in 1770
and 72, before Haydn had written any of his
greater symphonies, and while Mozart was still
a boy. His allusions to independent * sympho-
nies' are very frequent. Among those whose
works he mentions with most favour are Sta-
mitz, Emmanuel Bach, Christian Bach, and
Abel. Works of the kind by these composers
and many others of note are to be seen in great
numbers in sets of part -books in the British
Museum. These furnish most excellent mate-
rials for judging of the status of the Symphony
in the early stages of its independent existence.
The two most important points which they
illustrate are the development of instrumentation,
and the definition of form. They appear to
SYMPHONY.
have been generally written in eight parts. Most
of them are scored for two violins, viola, and
bass ; two hautboys, or two flutes, and two
* cors de chasse.' This is the case in the six
symphonies of opus 3 of John Christian Bach ;
the six of Abel's opus 10, the six of Stamitz's
opus 9, opus 13, and opus 16; also in a set
of 'Overtures in 8 parts' by Ame, which must
have been early in the field, as the licence
from George II, printed in full at the beginning
of the first violin part, is dated January 1 7^^.
The same orchestration is found in many sym-
phonies by Galuppi, Ditters, Schwindl, and others.
Wagenseil, who must have been the oldest of this
group of composers (having been bom in the 17th
century, within six years after Handel, Scarlatti,
and Bach), wrote several quite in the characteristic
harmonic style, *k 4 parties obligees avec Cors
de Chasse ad libitum.' The treatment of the in*
struments in these early examples is rather crude
and stiff. The violins are almost always playing,
and the hautboys or flutes are only used to rein-
force them at times as the * ripieni ' instruments
did in the early concertos, while the horns serve
to hold on the haniionies. The first stages of
improvement are noticeable in such details as the
independent treatment of the strings. In the ' sym-
phonies before the opera' the violas were cared
for so little that in many cases ^ not more than
half-a-dozen bars are written in, all the rest being
merely *col basso.' As examples of this in works
of more or less illustrious writers may be men-
tioned the 'Sinfonias' to Jomelli's 'Passione'
and 'Betulia Liberata,' Sacchini's 'QEdipus,' and
Sarti's ' Giulio Sabino.' One of the many honours
attributed to Stamitz by his admiring contempo-
raries was that he made the violas independent of
the basses. This may seem a trivial detail, but it
is only by such details, and the way in which they
struck contemporary writers, that the character
of the gradual progress in instrumental composi-
tion can now be understood.
The general outlines of the form were extremely
regular. The three movements as above described
were almost invariable, the first being a vigorous
broad allegro, the second the sentimental slow
movement, and the third the lively vivace. The
progress of internal structure is at first chiefly
noticeable in the first movement. In the early
examples this is always condensed as much as
possible, the balance of subjects is not very clearly
realisable, and there is hardly ever a double bar
or repeat of the first half of the movement. The
divisions of key, the short ' working^ut ' portion,
and the recapitulation, are generally present, but
not pointedly defined. Examples of tlus condition
of things are supplied by some MS. symphonies
by Paradisi in the Fitzwilliam Museum at Cam-
bridge, which in other respects possess excellent
and characteristically modern traits. The first
thing attained seems to have been the relative
definition and balance of the two subjects. In
Stamitz, Abel, J. C. Bach, and Wagenseil, this
is already commonly met with. The following
1 It Is notorious that Mozart gave fuller parts to the second violin
because of the incompetence of the viola-players.
SYMPHONY.
examples from the first movement of the fifth
symphony of Stamitz's opus 9 illustrate both
the style and the degree of contrast between the
two principal subjects,
ist subject.
SYMPHONY.
15
^^i-^P-'nrm
jm
JUi UJi^^ ^^
The style is a little heavy, and the motion
constrained, but the general character is solid
and dignified. The last movements of this period
are curiously suggestive of some familiar ex-
amples of a maturer time; very gay and obvious,
and very definite in outline. The following is
very characteristic of Abel : —
I %. ji g ill I I F I I ! I
— ' ' ' ' 'LLLl bfcfi^ ^^
^ etc.
• . — m r^
It is a noticeable fact in connection with
the genealogy of these works, that they are
almost as frequently entitled • Overture ' as
* Symphony ' ; sometimes the same work is
called by the one name outside and the other in ;
and this is the case also with some of the earlier
and slighter symphonies of Haydn, which must
have made their appearance about this period.
One further point which it is of importance to
note is that in some of Stamitz's symphonies
the complete form of the mature period is found.
One in J) is most complete in every respect. The
first movement is Allegro with double bars and
repeats in regular binary form ; the second is an
Andante in G, the third a Minuet and Trio, and
the fourth a Presto. Another in Eb (which is
called no. 7 in the part-books) and another in F
(not definable) have also the Minuet and Trio.
A few others by Schwindl and Ditters have the
same, but it is impossible to get even approxi-
mately to the date of their production, and
therefore little inference can be framed upon the
circumstance, beyond the fact that composers
were beginning to recognise the fourth movement
as a desirable ingredient.
Another composer who precedes Haydn in
time as well as in style is Emmanuel Bach. He
was his senior in years, and began writing sym-
phonies in 1 741, when Haydn was only nine
years old. His most important symphonies were
produced in 1 776 ; while Haydn's most important
examples were not produced till after 1 790. In
style Emmanuel Bach stands singularly alone,
at least in his finest examples. It looks almost
as if he purposely avoided the form which by
1776 must have been familiar to the musical
world. It has been shown that the binary form
was employed by some of his contemporaries in
their orchestral works, but he seems determinedly
to avoid it in the first movements of the works
of that year. His object seems to have been to
produce striking and clearly outlined passages,
and to balance and contrast them one with an-
other according to his fancy, and with little
regard to any systematic distribution of the suc-
cessions of key. The boldest and most striking
subject is the first of the Symphony in D : —
I
-•=^
:^
g^^r ^ex^r
16
SYMPHONY*.
The opening passages of that in Eb are hardly
less emphatic. They have little connection with
the tendencies of his contemporaries, but seem
in every respect an experiment on independent
lines, in which the interest depends upon the
vigour of the thoughts and the unexpected
turns of the modulations; and the result is
certainly rather fragmentaiy and disconnected.
The slow movement is commonly connected
with the first and last either by a special
transitional passage, or by a turn of modula-
tion and a half close. It is short and dependent
in its character, but graceful and melodious.
The last is much more systematic in structure
than the first; sometimes in definite binary
form, as was the case with the early violin sonatas.
SYMPHONY.
In orchestration and genei-al style of expression
these works seem immensely superior to the other
early symphonies which have been described.
They are scored for horns, flutes, oboi, fagotto,
strings, with a figured bass for ' cembalo,' which
in the symphonies previously noticed does not
always appear. There is an abundance of unison
and octave passages for the strings, but there is
also good free writing, and contrasts between
wind and strings; the wind being occasionally
left quite alone. All the instruments come in
occasionally for special employment, and con-
sidering the proportions of the orchestras of the
time Bach's eflfects must have been generally clear
and good. The following is a good specimen of
his scoring of an ordinary full passage : —
fel^'^^h"! ^ ^ ^^
viols
It has sometimes been said that Haydn was
chiefly influenced byEnamanuel Bach, and Mozart
by John Christian Bach. At the present time, and
in relation to symphonies, it is easier to understand
the latter case than the former. In both cases
the influence is more likely to be traced in clavier
works than in those for orchestra. For Haydn's
style and treatment of form bear far more re-
semblance to most of the other composers whose
works have been referred to, than to Emmanuel
Bach. There are certain kinds of forcible ex-
pression and ingenious turns of modulation which
Haydn may have learnt from him; but their
best orchestral works seem to belong to quite
distinct families. Haydn's first symphony was
written in 1759 for Count Morzin. Like many
other of his early works it does not seem dis-
coverable in print in this country. But it is
said by Pohl,* who must have seen it some-
where in Germany, to be • a small work in three
movements for 2 violins, viola, bass, 2 oboes,
and 2 horns ' ; from which particulars it would
1 Joseph Haydn, rol. 1. 284 (1876).
appear to correspond exactly in externals to the
examples above described of Abel's and J. C.
Bach's, etc. In the course of the next few
years he added many more ; most of which appear
to have been slight and of no great historical
importance, while the few which present pecu-
liarities are so far isolated in those respects that
they do not throw much light upon the course of
his development, or upon his share in building up
the art-form of the Symphony. Of such a kind
is the movement (dramatic in character, and in-
cluding long passages of recitative) in the Sym-
phony in C, which he wrote as early as 1 76 1 .' For,
though this kind of movement is found in instru-
mental works of an earlier period, its appearance
in such a manner in a symphony is too rare to
have any special historical bearings. The course
of his development was gradual and regular. He
seems to have been content with steadily im-
proving the edifice of his predecessors, and with
few exceptions to have followed their lines. A
great deal is frequently attributed to his con-
« Ibid. 287. 397.
SYMPHONY.
nection with the complete musical establishment
which Prince Esterhazy set up at his great palace
at Esterh^ ; where Haydn certainly had op-
portunities which have been the lot of scarcely
any other composer who ever lived. He is de-
scribed as making experiments in orchestration,
and ringing the bell for the band to come and
try them ; and, though this may not be absolutely
true in fact, there can scarcely be a doubt that
the very great improvements which he effected
in every department of orchestration may to a
great extent be attributed to the facilities for
testing his works which he enjoyed. At the
same time the really important portion of his
compositions were not produced till his patron,
Prince Nicolaus Esterhazy, was dead, and the
musical establishment broken up ; nor, it must
be remembered, till after that strange and
important episode in Haydn's life, the rapid
flitting of Mozart across the scene. When
Haydn wrote his first symphony, Mozart was
only three years old; and Mozart died in the very
year in which the famous Salomon concerts in
London, for which Haydn wrote nearly all his
finest symphonies, began. Mozart's work there-
fore comes between Haydn's lighter period and
his greatest achievements ; and his symphonies
are in some respects prior to Haydn's, and cer-
tainly had effect upon his later works of all
kinds.
According to Kochel, Mozart wrote altogether
forty-nine symphonies. The first, in Eb, was
written in London in 1 764, when he was eight
years old, and only five years after Haydn
wrote his first. It was on the same pattern as
those which have been fully described above, be-
ing in three movements and scored for the usual
set of instruments — namely, two violins, viola,
bass, two oboes and two horns. Three more
followed in close succession, in one of which
clarinets are introduced instead of oboes, and
a bassoon is added to the usual group of
eight instruments. In these works striking
originality of purpose or style is hardly to be
looked for, and it was not for some time that
Mozart's powers in instrumental music reached
a pitch of development which is historically
important ; but it is nevertheless astonishing to
Bee how early he developed a free and even rich
style in managing his orchestral resources. With
regard to the character of these and all but a
few of the rest, it is necessary to keep in mind
that a symphony at that time was a very much
less important matter than it became fifty years
later. The manner in which symphonies were
poured out, in sets of six and otherwise, by
numerous composers during the latter half of
the eighteenth century, puts utterly out of the
question the loftiness of aim and purpose which
has become a necessity since the early years of
the present century. They were all rather slight
works on familiar lines, with which for the time
being composers and public were alike quite
content ; and neither Haydn nor Mozart in
their early specimens seem to have specially
exerted themselves. The general survey of
VOL. IV. FT. I.
SYMPHONY.
ir
Mozart's symphonies presents a certain number
of facts which are worth noting for their
bearing upon the history of this form of art.
The second symphony he wrote had a minuet
and trio; but it is hardly possible that he
can have regarded this as an important point,
since he afterwards wrote seventeen others
without them ; and these spread over the whole
period of his activity, for even in that which he
wrote at Prague in 1 786, and which is last but
three in the whole series, the minuet and trio are
absent. Besides this fact, which at once con-
nects them with the examples by other com-
posers previously discussed, there is the yet
more noticeable one that more than twenty of
the series are written for the same peculiar
little group of instruments, viz. the four strings,
a pair of oboes or flutes, and a pair of horns.
Although he used clarinets so early as his third
symphony, he never employed them again till
his thirty-ninth, which was written for Paris,
and is almost more fully scored than any. In
the whole forty-nine, in fact, he only used clari-
nets five times, and in one of these cases (viz.
the well-known G minor) they were added after
he had finished the score. Even bassoons are
not common ; the most frequent addition to the
little nucleus of oboes or flutes and horns being
trumpets and drums. The two which are most
fully scored are the Parisian, in D, just alluded
to, which was written in 1778, and that in Eb,
which was written in Vienna in 1788, and
stands first in the famous triad. These facts
explain to a certain extent how it was possible
to write such an extraordinary number in so
short a space of time. Mozart's most con-
tinuously prolific period in this branch of art
seems to have been when he had returned to
Salzburg in 1771 ; for between July in that
year and the beginning of 1773, it appears to be
proved that he produced no less than fourteen.
But this feat is fairly surpassed in another sense
by the production of the last three in three suc-
cessive months, June, July, and August, 1788;
since the musical calibre of these is so immensely
superior to that of the earlier ones.
One detail of comparison between Mozart's
ways and Haydn's is curious. Haydn began
to use introductory adagios very early, and
used them so often that they became quite a
characteristic feature in his plan. Mozart, on
the other hand, did not use one until his 44th
Symphony, written in 1783. What was the
origin of Haydn's employment of them is
uncertain. The causes that have been sug-
gested are not altogether satisfactory. In the
orthodox form of symphony, as written by the
numerous composers of his early days, the open-
ing adagio is not found. He may possibly have
observed that it was a useful factor in a certain
class of overtures, and then have used it as an
experiment in symphonies, and finding it answer,
may have adopted the expedient generally in
succeeding works of the kind. It seems likely
that Mozart adopted it from Haydn, as its first
appearance (in the symphony which is believed
C
18
SYMPHONY.
to have been composed at Linz for Count Thun)
coincides with the period in which he is con-
sidered to have been first strongly influenced
by Haydn.
The influence of these two great composers
upon one another is extremely interesting and
curious, more especially as it did not take efiect
till comparatively late in their artistic careers.
They both began working in the general direc-
tion of their time, under the influences which
have been already referred to. In the depart-
ment of symphony each was considerably in-
fluenced after a time by a special circumstance of
his life ; Haydn by the appointment to Esterh^z
before alluded to, and the opportunities it afforded
him of orchestral experiment; and Mozart by
his stay at Mannheim in 1777. For it appears
most likely that the superior abilities of the
Mannheim orchestra for dealing with purely
instrumental music, and the traditions of
Stamitz, who had there effected his share in the
history of the Symphony, opened Mozart's eyes
to the possibilities of orchestral performance,
and encouraged him to a freer style of compo-
sition and more elaborate treatment of the
orchestra than he had up to that time attempted.
The Mannheim band had in fact been long con-
sidered the finest in Europe; and in certain
things, such as attention to nuances (which in
early orchestral works had been looked upon as
either unnecessary or out of place), they and
their conductors had been important pioneers;
and thus Mozart must certainly have had his ideas
on such heads a good deal expanded. The quali-
ties of the symphony produced in Paris early in
the next year were probably the firstfruits of these
circumstances ; and it happens that while this
symphony is the first of his which has maintained
a definite position among the important landmai-ks
of art, it is also the first in which he uses
orchestral forces approaching to those commonly
employed for symphonies since the latter part of
the last century.
Both Haydn and Mozart, in the course of their
respective careers, made decided progress in
managing the orchestra, both as regards the
treatment of individual instruments, and the
distribution of the details of musical interest
among them. It has been already pointed out
that one of the earliest expedients by which
contrast of effect was attempted by writers for
combinations of instruments, was the careful
distribution of portions for • solo ' and * ripieno '
instruments, as illustrated by Scarlatti's and later
concertos. In J. S. Bach's treatment of the or-
chestra the same characteristic is familiar. The
long duets for oboes, flutes, or bassoons, and the
solos for horn or violin, or viola da gamba, which
continue throughout whole recitatives or arias,
all have this same principle at bottom. Com-
posers had still to learn the free and yet well-
balanced management of their string forces, and
to attain the mean between the use of wind
instruments merely to strengthen the strings and
their use as solo instruments in long independent
passages. In Haydn's early symphonies the old
SYMPHONY.
traditions are most apparent. The balance be-
tween the difierent forces of the orchestra is as
yet both crude and obvious. In the symphony
called 'Le Matin' for instance, which appears
to have been among the earliest, the second
violins play with the first, and the violas with
the basses to a very marked extent — in the first
movement almost throughout. This first move-
ment, again, begins with a solo for flute. The
slow movement, which is divided into adagio
and andante, has no wind instruments at all,
but there is a violin solo throughout the middle
portion. In the minuet a contrast is attained
by a long passage for wind band alone (as in
J. S. Bach's 2nd Bourree to the ' Ouverture ' in C
major) ; and the trio consists of a long and
elaborate solo for bassoon. Haydn early began
experiments in various uses of his orchestra, and
his ways of grouping his solo instruments for
effect are often curious and original. C. F. Pohl,
in his life of him, prints from the MS. parts a
charming slow movement from a Bb symphony,
which was probably written in 1766 or 1767*
It illustrates in a singular way how Haydn at
first endeavoured to obtain a special effect with-
out ceasing to conform to familiar methods of
treating his strings. The movement is scored
for first and second violins, violas, solp violoncello
and bass, all * con sordini.' The first and second
violins play in unison thoughout, and the cello
plays the tune with them an octave lower, while
the violas play in octaves with the bass all but
two or three bars of cadence ; so that in reality
there are scarcely ever more than two parts
playing at a time. The following example will
show the style : —
vioiini 1*2
Towards a really free treatment of his forces he
seems, however, to have been led on insensibly
and by very slow degrees. For over twenty years
of symphony- writing the same limited treatment
of strings and the same kind of solo passages are
commonly to be met with. But there is a grow-
ing tendency to make the wind and the lower
and inner strings more and more independent,
and to individualise the style of each within
proportionate bounds. A fine symphony (in E
minor, 'Letter I') which appears to date from
1772, is a good specimen of Haydn's inter-
mediate stage. The strings play almost inces-
santly throughout, and the wind either doubles
SYMPHONY.
the string parts to enrich and reinforce them,
or else has long holding notes while the strings
play characteristic figures. The following pas-
sage from the last movement will serve to
illustrate pretty clearly the stage of orchestral
expression to which Haydn had at that time
arrived : —
Presto
Cornl in E
SYMPHONY.
19
P
Cornl In O
In the course of the following ten years the
progress was slow but steady. No doubt many
other composers were writing symphonies besides
Haydn and Mozart, and were, like them, im-
proving that branch of art. Unfortunately the
difficulty of fixing the dates of their productions
is almost insuperable ; and so their greater re-
presentatives come to be regarded, not only as
giving an epitome of the history of the epoch,
but as comprising it in themselves. Mozart's
first specially notable symphony falls in 1778.
This was the one which he wrote for Paris after
his experiences at Mannheim ; and some of his
Mannheim friends who happened to be in Paris
with him assisted at the performance. It is in
almost every respect a very great advance upon
Haydn's E minor Symphony, just quoted. The
treatment of the instruments is very much freer,
and more individually characteristic. It marks
an important step in the transition from the kind
of symphony in which the music appears to have
been conceived almost entirely for violins, with
wind subordinate, except in special solo passages,
to the kind in which the original conception in
respect of subjects, episodes and development,
embraced all the forces, including the wind instru-
ments. The first eight bars of Mozart's sym-
phony are sufficient to illustrate the nature of
the artistic tendency. In the firm and dignified
beginning of the principal subject, the strings,
with flutes and bassoons, are all in unison for
three bars, and a good body of wind instruments
gives the full chord. Then the upper strings are
left alone for a couple of bars in octaves, and
are accompanied in their short closing phrase by
an independent full chord of wind instruments,
piano. This chord is repeated in the same form
of rhythm as that which marks the first bars of
the principal subject, and has therefore at once
musical sense and relevancy, besides supplying
the necessary full harmony. In the subsidiary
subject by which the first section is carried on,
the quick lively passages of the strings are ac-
companied by short figures for flute and horns,
with their own independent musical signifi-
cance. In the second subject proper, which
is derived from this subsidiary, an excellent
balance of colour is obtained by pairs of wind
instruments in octaves, answering with an in-
dependent and very characteristic phrase of their
own the group of strings which give out the
first part of the subject. The same well-balanced
method is observed throughout. In the work-
ing out of this movement almost all the instru-
ments have something special and relevant of
their own to do, so that it is made to seem as
if the conception were exactly apportioned to
the forces which were meant to utter it. The
same criticisms apply to all the rest of the
symphony. The slow movement has beautiful
independent figures and plirases for the wind
instruments, so interwoven with the body of the
movement that they supply necessary elements
of colour and fulness of harmony, without ap-
pearing either as definite solos or as meaningless
holding notes. The fresh and merry last move-
ment has much the same characteristics as the
first in the matter of instrumental utterance, and
in its working-out section all the forces have, if
anything, even more independent work of their
own to do, while still supplying their appropriate
ingredients to the sum total of sound.
The succeeding ten years saw all the rest of
the work Mozart was destined to do in the de-
partment of symphony ; much of it showing in
turn an advance on the Paris Symphony, inas-
much as the principles there shown were worked
out to greater fullness and perfection, while the
musical spirit attained a more definite richness,
and escaped further from the formalism which
characterises the previous generation. Among
these symphonies the most important are the
following : a considerable one (in Eb) composed
at Salzburg in 1780 ; the ' HafFner ' (^in D), which
was a modification of a serenade, and had ori-
ginally more than the usual group of movements ;
the ' Linz ' Symphony (in C ; ' No. 6 ') ; and the
last four, the crown of the whole series. The first
of these (in D major) was written for Prague in
1 786, and was received there with immense favour
in January 1787. It appears to be far in advance
of all its' predecessors in freedom and clearness
of instrumentation, in the breadth and musical
significance of the subjects, and in richness
and balance of form. It is one of the few of
Mozart's which open with an adagio, and that too
of unusual proportions ; but it has no minuet and
trio. This symphony was in its turn eclipsed
by the three great ones in E flat, G minor,
and C, which were composed at Vienna in June,
July and August, 1788. These symphonies are
almost the first in which certain qualities of
musical expression and a certain method in their
treatment stand prominent in the manner which
was destined to become characteristic of the
great works of the early part of the nineteenth
C2
flO SYMPHONY.
century. Mozart having mastered the principle
upon which the mature art-form of symphony
was to be attacked, had greater freedom for the
expression of his intrinsically musical ideas, and
' could emphasise more freely and consistently the
typical characteristics which his inspiration led
him to adopt in developing his ideas. It must
not, however, be supposed that this principle is
to be found for the first time in these works.
They find their counterparts in works of Haydn's
of a much earlier date ; only, inasmuch as the
art-form was then less mature, the element of
formalism is too strong to admit of the musical
or poetical intention being so clearly realised.
It is of course impossible to put into words with
certainty the inherent characteristics of these or
any other later works on the same lines ; but that
they are felt to have such characteristics is in-
disputable, and their perfection as works of art,
which is so commonly insisted on, could not
exist if it were not so. Among the many
writers who have tried in some way to describe
them, probably the best and most responsible
is Otto Jahn. Of the first of the group (that in
Eb), he says, * We find the expression of per-
fect happiness in the charm of euphony' which
is one of the marked external characteristics of
the whole work. ' The feeling of pride in the
consciousness of power shines through the mag-
nificent introduction, while the Allegro expresses
the purest pleasure, now in frolicsome joy, now
in active excitement, and now in noble and
dignified composure. Some shadows appear, it
is true, in the Andante, but they only serve to
throw into stronger relief the mild serenity of
a mind communing with itself and rejoicing
in the peace which fills it. This is the true
source of the cheerful transport which rules the
last movement, rejoicing in its own strength
and in the joy of being.' Whether this is all
perfectly true or not is of less consequence than
the fact that a consistent and uniform style and
object can be discerned through the whole work,
and that it admits of an approximate descrip-
tion in words, without either straining or violating
familiar impressions.
The second of the great symphonic trilogy —
that in G minor — has a still clearer meaning.
The contrast with the Eb is strong, for in no
symphony of Mozart's is there so much sadness
and regretfulness. This element also accounts
for the fact that it is the most modern of his
symphonies, and shows most human nature,
E. J. A. Hoffmann (writing in a spirit very dif-
ferent from that of Jahn) says of it, ' Love and
melancholy breathe forth in purest spirit tones ;
we feel ourselves drawn with inexpressible long-
ing towards the forms which beckon us to join
them in their flight through the clouds to an-
other sphere.' Jahn agrees in attributing to it
a character of sorrow and complaining ; and
there can hardly be a doubt that the tonality
as well as the style, and such characteristic
features as occur incidentally, would all favour
the idea that Mozart's inspiration took a sad
cast, and maintained it so far throughout; so
SYMPHONY.
that, notwithstanding the formal passages which
occasionally make their appearance at the closes,
the whole work may without violation of prob-
ability receive a consistent psychological ex-
planation. Even the orchestration seems appro-
priate from this point of view, since the prevailing
effect is far less soft and smooth than that of
the jjrevious symphony. A detail of historical
interest in connection with this work is the
fact that Mozart originally wrote it without
clarinets, and added them afterwards for a per-
formance at which it may be presumed they
happened to be specially available. He did
this by taking a separate piece of paper and
rearranging the oboe parts, sometimes combining
the instruments and sometimes distributing the
parts between the two, with due regard to their
characteristic styles of utterance.
The last of Mozart's symphonies has so obvi-
ous and distinctive a character throughout, that
popular estimation has accepted the definite
name * Jupiter ' as conveying the prevalent feel-
ing about it. In this there is far less human
sentiment than in the G minor. In fact, Mozart
appears to have aimed at something lofty and
self-contained, and therefore precluding the shade
of sadness which is an element almost indis-
pensable to strong human sympathy. When he
descends from this distant height, he assumes a
cheerful and sometimes playful vein, as in the
second principal subject of the first movement,
and in the subsidiary or cadence subject that fol-
lows it. This may not be altogether in accord-
ance with what is popularly meant by the name
'Jupiter,' though that deity appears to have
been capable of a good deal of levity in his time ;
but it has the virtue of supplying admirable con-
trast to the main subjects of the section ; and it
is so far in consonance with them that there is
no actual reversal of feeling in passing from one
to the other. The slow movement has an appro-
priate dignity which keeps it in character, and
reaches, in parts, a considerable degree of
passion, which brings it nearer to human sym-
pathy than the other movements. The Minuet
and the Trio again show cheerful serenity, and
the last movement, with its elaborate fugal treat-
ment, has a vigorous austerity, which is an ex-
cellent balance to the character of the first
movement. The scoring, especially in the first
and last movements, is fuller than is usual with
Mozart, and produces effects of strong and clear
sound ; and it is also admirably in character with
the spirit of dignity and loftiness which seems to
be aimed at in the greater portion of the musical
subjects and figures. In these later symphonies
Mozart certainly reached a far higher pitch of
art in the department of instrumental music than
any hitherto arrived at. The characteristics of
his attainments may be described as a freedom
of style in the ideas, freedom in the treatment
of the various parts of the score, and indepen-
dence and appropriateness of expression in the
management of the various groups of instruments
employed. In comparison with the works of his
predecessors, and with his own and Haydn's
SYMPHONY.
earlier compositions there is throughout a most
remarkable advance in vitality. The distribu-
tion of certain cadences and passages of tutti
still appear to modem ears formal; but compared
with the immature formalism of expression,
even in principal ideas, which was prevalent
twenty or even ten years earlier, the improve-
ment is immense. In such structural elements
as the development of the ideas, the concise and
energetic flow of the music, the distribution and
contrast of instrumental tone, and the balance
and proportion of sound, these works are gene-
rally held to reach a pitch almost unsurpassable
from the point of view of technical criticism.
Mozart's intelligence and taste, dealing with
thoughts as yet undisturbed by strong or pas-
sionate emotion, attained a degree of perfection in
the sense of pure and directly intelligible art which
later times can scarcely hope to see approached.
Haydn's symphonies up to this time cannot
be said to equal Mozart's in any respect ; though
they show a considerable improvement on the
style of treatment and expression in the ' Trauer '
or the • Farewell' Symphonies. Of those which
are better known of about this date are ' La
Poule' and 'Letter V,' which were written
(both for Paris) in 1786 and 1787. 'Letter Q,'
or the ' Oxford ' Symphony, wliich was per-
formed when Haydn received the degree of
Doctor of Music from that university, dates
from 1788, the same year as Mozart's great
triad. 'Letter V* and 'Letter Q' are in his
mature style, and thoroughly characteristic in
every respect. The orchestration is clear and
fresh, though not so sympathetic nor so elastic
in its variety as Mozart's ; and the ideas, with
all their geniality and directness, are not up to
his own highest standard. It is the last twelve,
which were written for Salomon after 1790,
which have really fixed Haydn's high position
as a composer of symphonies; these became so
popular as practically to supersede the numer-
ous works of all his predecessors and contempo-
raries except Mozart, to the extent of causing
them to be almost completely forgotten. This is
owing partly to the high pitch of technical skill
which he attained, partly to the freshness and
geniality of his ideas, and partly to the vigour
a,nd daring of harmonic progression which he
manifested. He and Mozart together enriched
this branch of art to an extraordinary degree,
and towards the end of their lives began to
introduce far deeper feeling and earnestness
into the style than had been customary in early
works of the class. The average orchestra had
increased in size, and at the same time had
gained a better balance of its component ele-
ments. Instead of the customary little group
of strings and four wind instruments, it had
come to comprise, besides the strings, 2 flutes,
2 oboes, 2 bassoons, 2 horns, 2 trumpets, and
drums. To these were occasionally added 2 clari-
nets, as in Haydn's three last (the two in
D minor and one in Eb), and in one move-
ment of the Military Symphony. Neither
Mozart nor Haydn ever used trombones in
SYMPHONY.
21
symphonies ; but uncommon instruments were
sometimes employed, as in the 'Military,' in
which Haydn used a big drum, a triangle and !
cymbals. In his latest symphonies Haydn's
treatment of his orchestra agrees in general with
the description already given of Mozart's. The
bass has attained a free motion of its own ; the
violas rarely cling in a dependent manner to it,
but have their own individual work to do, and
the same applies to the second violins, which no
longer so often appear merely 'col imo.' The wind
instruments fill up and sustain the harmonies
as completely as in former days ; but they cease
merely to hold long notes without characteristic
features, or slavishly to follow the string parts
whenever something livelier is required. They
may still play a great deal that is mere doubling,
but there is generally method in it ; and the
musical ideas they express are in a great measure
proportioned to their characters and style of
utterance. Haydn was rather fond of long
passages for wind alone, as in the slow movement
of the Oxford Symphony, the opening passage of
the first allegro of the Military Symphony, and
the ' working out ' of the Symphony in C, no. i
of the Salomon set. Solos in a tune-form for
wind instruments az"e also rather more common
than in Mozart's works, and in many respects the
various elements which go to make up the whole
^re less assimilated than they are by Mozart.
The tunes are generally more definite in their
outlines, and stand in less close relation with their
context. It appears as if Haydn always re-
tained to the last a strong sympathy with simple
people's-tunes ; the character of his minuets
and trios, and especially of his finales, is some-
times strongly defined in this respect ; but his way
of expressing them within the limits he chose is
extraordinarily finished and acute. It is possible
that, as before suggested, he got his taste for sur-
prises in harmonic progression from C. P. E. Bach.
His instinct for such things, considering the age
he lived in, was very remarkable. The passage
on the next page, from his Symphony in C, just
referred to, illustrates several of the above points
at once.
The period of Haydn and Mozart is in every
respect the principal crisis in the history of the
Symphony. When they came upon the scene,
it was not regarded as a very important form
of art. In the good musical centres of those
times — and there were many — there was a great
demand for symphonies ; but the bands for which
they were written were small, and appear from
the most natural inferences not to have been very
efiBcient or well organised. The standard of
performance was evidently rough, and composers
could neither expect much attention to pianos
and fortes, nor any ability to grapple with tech-
nical diflBculties among the players of bass in-
struments or violas. The audiences were critical
in the one sense of requiring good healthy work-
manship in the writing of the pieces — in fact
much better than they would demand in the
present day ; but with regard to deep meaning,
refinement, poetical intention, or originality, they
22
SYMPHONY.
Flutes
±p£
i
U d
US
Obol
-4— f-4
:t=^JU^-^M
^ ^ i J
bl
appear to have cared very little. They wanted
to be healthily pleased and entertained, not
stirred with deep emotion; and the purposes
of composers in those days were consequently
not exalted to any high pitch, but were limited to
a simple and unpretentious supply, in accordance
with demand and opportunity. Haydn was
influenced by these considerations till the last.
There is always more fun and gaiety in his music
than pensiveness or serious reflection. But in
developing the technical part of expression, in
proportioning the means to the end, and in
organising the forces of the orchestra, what he
did was of the utmost importance. It is, how-
ever, impossible to apportion the value of the
work of the two masters. Haydn did a great
deal of important and substantial work before
Mozart came into prominence in the same field.
But after the first great mark had been made
by the Paris S^phony, Mozart seemed to rush
to his culmination ; and in the last four of his
works reached a style which appears richer,
more S3mipathetic, and more complete than any-
thing Haydn could attain to. Then, again, when
he had passed away, Haydn produced his greatest
works. Each composer had his distinctive char-
acteristics, and each is delightful in his own
way; but Haydn would probably not have
reached his highest development without the
influence of his more richly gifted contempo-
rary ; and Mozart for his part was undoubtedly
very much under the influence of Haydn at an
important part of his career. The best that
can be said by way of distinguishing their re-
spective shares in the result is that Mozart's last
symphonies introduced an intrinsically musical
element which had before been wanting, and
showed a supreme perfection of actual art in
their structure ; while Haydn in the long series
of his works cultivated and refined his own
powers to such an extent that when his last
symphonies had made their appearance, the
status of the symphony was raised beyond the
possibility of a return to the old level. In
fact he gave this branch of art a stability and
breadth which served as the basis upon which
the art of succeeding generations appears to
rest ; and the simplicity and clearness of his style
SYMPHONY.
and structural principles supplied an intelligible
model for his successors to follow.
One of the most important of the contem-
poraries of Haydn and Mozart in this depart-
ment of art was F. J. Gossec. He was bom in
I733» one year after Haydn, and lived like
him to a good old age. His chief claim to re-
membrance is the good work which he did in im-
proving the standard of taste for instrumental
music in France. According to Fdtis such things
as instrimiental symphonies were absolutely un-
known in Paris before 1 754, in which year Gossec
published his first, five years before Haydn's
first attempt. Gossec's work was carried on
most effectually by his founding, in 1770, the
•Concert des Amateurs,' for whom he wrote
his most important works. He also took the
management of the famous Concerts Spirituels,
with Gavini^s and Leduc, in 1773, and furthered
the cause of good instrumental music there
as well. The few symphonies of his to be
found in this country are of the same calibre,
and for the same groups of instruments as those
of J. C. Bach, Abel, etc., already described ; but
F^tis attributes importance to him chiefly because
of the way in which he extended the dimensions
and resources of the orchestra. His Symphony
in D, no. 21, written soon after the founding of
the Concert des Amateurs, was for a full set of
strings, flutes, oboes, clarinets, bassoons, horns,
trumpets, and drums ; and this was doubtless an
astonishing force to the Parisians, accustomed
as they had been to regard the compositions
of Lulli and Eameau as the best specimens of
instrumental music. But it is clear from other
indications that Gossec had considerable ideas
about the ways in which instrumental music
might be improved, analogous on a much smaller
scale to the aspirations and attempts of Berlioz
at a later date. Not only are his works carefully
marked with pianos and fortes, but in some (as
the Symphonies of op. xii.) there are elaborate
directions as to how the movements are to be
played. Some of these are curious. For instance,
over the ist violin part of the slow movement of
the second symphony is printed the following:
* La difference du Fort au Doux dans ce morceau
doit 6tre excessive, et le mouvement mod^r^, k
I'aise, qu'il semble se jouer avec le plus grand
facility.' Nearly all the separate movements of
this set have some such directions, either longer
or shorter; the inference from which is that
Gossec had a strong idea of expression and style
in performance, and did not find his bands very
easily led in these respects. The movements
themselves are on the same small scale as those
of J. C. Bach, Abel, and Stamitz ; and very
rarely have the double bar and repeat in the
first movements, though these often make their
appearance in the finales. The style is to
a certain extent individual ; not* so robust or so
full as that of Bach or Stamitz, but not without
attractiveness. As his works are very difficult
to get sight of, the following quotation from the
last movement of a symphony in Bb will serve to
give some idea of his style and manner of scoring.
SYMPHONY.
2a
I. b^ J1^.J^^J]
tcm
It it
^=^
-4=-
Another composer of symphonies, who is often
heard of in juxtaposition with Haydn and
Mozart, and sometimes as being preferred to
them by the audiences of the time, is Gyrowetz.
His symphonies appear to be on a larger scale
than those of the prior generation of composers
of second rank like himself. A few of them
are occasionally to be met with in collections
of * Periodical overtures,' * symphonies,' etc., pub-
lished in separate orchestral parts. One in C,
scored for small orchestra, has an introductory
Adagio, an Allegro of about the dimensions of
Haydn's earlier first movements, with double bar
in the middle; then an Andante con sordini (the
latter a favourite device in central slow move-
ments) ; then a Minuet and Trio, and, to end with,
a Rondo in 2-4 time, Allegro non troppo. Others,
in Eb and Bb, have much the same distribution of
movements, but without the introductory Adagio.
The style of them is rather mild and complacent,
and not approaching in any way the interest or
breadth of the works of his great contemporaries ;
but the subjects are clear and vivacious, and
the movements seem fairly developed. Other
symphony writers, who bad vogue and even
24
SYMPHONY.
celebrity about this time and a little later, sucli
as Krommer (beloved by Schubert), the Rombergs,
and Eberl (at one time preferred to Beethoven),
require no more than passing mention. They
certainly furthered the branch of art very little,
and were so completely extinguished by the ex-
ceptionally great writers who came close upon
one another at that time, that it is even dijQBcult
to find traces of them.
The greatest of all masters of the Symphony
followed so close upon Haydn, that there is less
of a gap between the last of Haydn's Symphonies
and his first than there was later between some
of his own. Haydn's last was probably written
in 1795. When Beethoven wrote his first can-
not be ascertained ; sketches for the Finale are
found as early as the year last mentioned ; but
it was not actually produced in public tiU April
2, 1800. Like Schumann and Brahms in later
days, he did not turn his attention to this
blanch of composition till comparatively late.
The opus-number of his first symphony is 21.
It is preceded by eleven pianoforte sonatas,
several works for pianoforte combined with
other instruments, the well-known Septuor in
Eb, and several chamber compositions for strings.
So that by the time he came to attacking
Symphony he had had considerable practice in
dealing with structural matters. Tlie only works
in which he had tried his strength with the
orchestra were the two concertos — the Bb, op. 19,
which was written in or about 1795, and the
C major, op. 15, which was written about
1796. He showed himself at once a master of
the orchestra ; but it is evident that at first he
stepped cautiously in expressing himself with
such resources. The ist Symphony is less free
and rich in expression, and has more elements
of formality, than several works on a smaller
scale which preceded it. This is explicable on
the general ground that the orchestra, especially
in those days, was not a fit exponent of the same
kind of things which could be expressed by solo
violins, or the pianoforte. The scale must neces-
sarily be larger and broader; the intricate
development and delicate or subtle sentiment
which is quite appropriate and intelligible in
the intimacy of a domestic circle, is out of
place in the more public conditions of orchestral
performance. This Beethoven must have in-
stinctively felt, and he appears not to have found
the style for full expression of his personality in
either of the first symphonies. The second is
even more curious in that respect than the first,
as it comes after one of the richest and most
interesting, and another of the most perfectly
charming and original of the works of his early
period, namely the Sonatas in D minor and Eb
of op. 31. However, even in these two sym-
phonies there is a massiveness and breadth and
seriousness of purpose, which mark them as pro-
ducts of a different and more powerfully consti-
tuted nature than anything of the kind produced
before. At the time when the ist Symphony
appeared, the opening with the chord of the
minor 7th of C, when the key of the piece was
SYMPHONY.
C major, was looked upon as extremely daring ;
and the narrow-minded pedants of the day felt
their sensitive delicacy so outraged that some
of them are said never to have forgiven it.
The case is very similar to the famous introduc-
tion to Mozart's C major String Quartet, about
which the pedants were little less than insulting.
Beethoven had to fight for his right to express
what he felt to be true ; and he did it without
flinching; sometimes with an apparent relish.
But at the same time, in these early orchestral
works he seems to have experimented with
caution, and was content to follow his predecessors
in a great deal that he put down. There are
characteristic things in both symphonies ; for in-
stance, in the ist the transitional passage which
begins at the 65th bar of the Allegro, passing
from G to G minor and then to Bb and back again,
and the corresponding passage in the second
half of the movement. The working out of the
Andante cantabile and the persistent drum
rhythm are also striking points. In the 2nd
Symphony the dimensions of the Introduction
are unusual, and the character of all the latter
])art and the freedom of the transitions in it are
decisive marks of his tendencies. The Slow move-
ment has also a warmth and sense of genuine
sympathy which is new ; the Scherzo, though
as yet short, has a totally new character about
it, and the abrupt sforzandos and short striking
figures and still more the coda, of the Finale,
are quite his own. In the orchestra it is worth
noting that he adopted clarinets from the first,
apparently as a matter of course ; in the first
two symphonies he continued to use only the
one pair of horns, as his predecessors had done ;
in the third he expanded the group to three.
In the 4th he went back to two, and did not
use four till the 9th. The disposition of his
forces even in the first two is more indepen-
dent and varied than his predecessors. The
treatment of the several groups of instruments
tends to be more distinct and appropriate, and
at the same time more perfectly assimilated in
the total effect of the music. The step to the
3rd Symphony is however immense, and at last
shows this branch of composition on a level with
his other works of the same period. It is sur-
rounded on both sides by some of his noblest
achievements. Opus 47 was the Sonata in A for
violin and pianoforte, known as the 'Kreutzer.*
Opus 53 is the Sonata in C major, dedicated to
Count Waldstein. Opus 54 is the admirable little
Sonata in F major. Opus 55 is the Symphony,
and opus 57 the Sonata known as the 'Appas-
sionata.' It appears that Beethoven had the idea
of writing this symphony as early as 1 798, but
the actual work was probably done in the summer
and autumn of 1803. There seems to be no
doubt that it was written under the influence of
his admiration for Napoleon. His own title-page
had on it ' Sinfonia grand e. Napoleon Bonaparte,'
and, as is well known, the name ' Eroica ' was
not added till Napoleon became Emperor ; after
which event Beethoven's feelings about him
naturally underwent a change. To call a great
SYMPHONY.
SYMPHONY.
25
work by the name of a great man was quite a
different thing from calling it by the name of a
crowned ruler. However, the point remains the
same, that the work was written with a definite
purpose and under the inspiration of a special
subject, and one upon which Beethoven himself
assuredly had a very decided opinion. The result
was the richest and noblest and by far the biggest
symphony that had ever yet appeared in the
world. It is very possible that Beethoven meant
it to be so ; but the fact does not make the step
from the previous symphonies any the less re-
markable. The scoring throughout is most freely
distributed. In the first movement especially
there is hardly any one of the numerous subjects
and characteristic figures which has not pro-
perties demanding different departments of the
orchestra to express them. They are obviously
conceived with reference to the whole forces at
command, not to a predominant central force and
appendages. The strings must necessarily have
the greater part of the work to do, but the sym-
phony is not written for them with wind as a
species of afterthought. But it is still to be
noticed that the balance is obtained chiefly by
definite propositions and answers between one
group and another, and though the effect is
delightful, the principle is rendered a little
obvious from the regularity of its occurrence.
The second movement is specially noticeable as
reaching the strongest pitch of sentiment as yet
shown in an orchestral slow movement. In the
earliest symphonies these movements were nearly
always remarkably short, and scored for fewer
instruments than the first and last. Frequently
they were little better than 'intermezzi,' attached
on both sides to the more important allegros.
Even Mozart's and Haydn's latest examples had
more grace and sweetness than deep feeling, and
frequently showed a tendency to formalism in the
expression of the ideas and in the ways in which
the ornamental fiorituri were introduced. In
the Eroica the name ' Marcia funebre' at once
defines the object ; and though the form of a
march is to a certain extent maintained, it is
obvious that it is of secondary importance, since
the attention is more drawn to the rich and noble
expression of the finest feelings of humanity over
the poetically imagined death of one of the world's
heroes, than to the traditional march form. The
music seems in fact to take almost the definite-
ness of speech of the highest order ; or rather, to
express the emotions which belong to the im-
agined situation with more fulness and compre-
hensiveness, but with scarcely less definiteness,
than speech could achieve. In the third move-
ment appears the first of Beethoven's large or-
chestral scherzos. Any connection between it
and the typical Minuet and Trio it is hard to see.
The time is quicker and more bustling ; and the
character utterly distinct from the suave grace
and somewhat measured paces of most of the
previous third movements. The main points of
connection with them are firstly the general out-
lines of form (that is, the principal portion of the
Scherzo corresponding to the Minuet comes first
and last, and the Trio in the middle) and secondly
the humorous element. In this latter particular
there is very great difference between the naif
and spontaneous fun of Haydn and the grim
humour of Beethoven, sometimes verging upon
irony, and sometimes, with evident purpose, upon
the grotesque. The scherzo of the Eroica is not
alloyed with so much grimness as some later
ones, but it has traits of melancholy and serious-
ness here and there. The effect in its place
is chiefly that of pourtraying the fickle crowd
who soon forget their hero, and chatter and
bustle cheerfully about their business or pleasure
as before ; which has its humorous or at
least laughter-making ironical side to any one
large-minded enough to avoid thinking of all
such traits of humanity with reprobation and
disgust. The last movement is on a scale more
than equal to that of all the others, and, like
them, strikes an almost entirely new note in
symphonic finales. The light and simple cha-
racter of Haydn's final rondos is familiar to
every one ; and he was consistent in aiming at
gaiety for conclusion. Mozart in most cases
did the same; but in the G minor Symphony
there is a touch of rather vehement regret-
fulness, and in the C major of strength and
seriousness. But the Finale of the Eroica first
introduces qualities of massiveness and broad
earnest dignity to that position in the symphony.
The object is evidently to crown the work in a
totally different sense from the light cheerful
endings of most previous symphonies, and to
appeal to fine feelings in the audience instead
of aiming at putting them in a cheerful humour.
It is all the difference between an audience
before the revolutionary epoch and after. The
starting-point of the movement is the same
theme from the Prometheus music as that of the
pianoforte variations in Eb (op. 35). The basis of
the whole movement is mainly the variation- form,
interspersed with fugal episodes ; and a remark-
able feature is the long Andante variation im-
mediately before the final Presto — a somewhat
unusual feature in such a position, though
Haydn introduced a long passage of Adagio in
the middle of the last movement of a symphony
in F written about 1777 ; but of course in a very
different spirit. The Finale of the Eroica as
a whole is so unusual in form, that it is not
wonderful that opinions have varied much con-
cerning it. As a piece of art it is neither so
perfect nor so convincing as the other move-
ments ; but it has very noble and wonderful
traits, and, as a grand experiment in an almost
totally new direction, has a decided historical
importance.
It is not necessary to go through the whole
series of Beethoven's Symphonies in detail, for
one reason because they are so generally familiar
to musicians and are likely to become more and
more so ; and for another because they have been
so fully discussed from different points of view in
this Dictionary. Some short simple particulars
about each may however be useful and interest-
ing. The order of composition of the works which
26
SYMPHONY.
succeeded the Eroica Symphony is almost im-
possible to unravel. By opus-number the 4th
Symphony, in £b, comes very soon, being op. 60;
but the sketches for the last movement are in
the same sketch-book as parts of Fidelio, which is
op. 72, and the Concerto in G, which is op. 58, was
begun after Fidelio was finished. It can only be
seen clearly that his works were crowded close
together in this part of his life, and interest
attaches to the fact that they represent the warm-
est and most popular group of all. Close to the
Bb Symphony come the Overture to * Coriolan,'
the three String Quartets, op. 59, the Violin Con-
certo, the PF. ditto in G major, the Symphony in
C minor, and the *Sinfonia Pastorale.' The Bb
is on a smaller scale than its predecessor, and of
lighter and gayer cast. The opening bars of
the Introduction are almost the only part which
has a trace of sadness in it ; and this is probably
meant to throw the brightness of the rest of the
work into stronger relief. Even the Slow Move-
ment contains more serenity than deep emotion.
The Scherzo is peculiar for having the Trio re-
peated— altogether a new point in symphony-
writing, and one which was not left unrepeated
or unimitated. What the symphony was meant
to express cannot be known, but it certainly is
as complete and consistent as any.
The C minor which followed has been said to
be the first in which Beethoven expressed him-
self freely and absolutely, and threw away all
traces of formalism in expression or development
to give vent to the perfect utterance of his musi-
cal feeling. It certainly is so far the most
forcible, and most remote from conventionalism
of every kind. It was probably written very
nearly about the same time as the Bb. Notte-
bohm says the first two movements were written
in 1805 ; and, if this is the fact, his work on
the Bb and on the C minor must have overlapped.
Nothing however could be much stronger than
the contrast between the two. The C minor is, in
the first and most striking movement, rugged,
terrible in force ; a sort of struggle with fate, one
of the moat thoroughly characteristic of Beetho-
ven's productions. The second is a contrast;
peaceful, though strong and earnest. The Scherzo
again is one of his most original movements ; in
its musical spirit as utterly unlike anything that
had been produced before as possible. Fidl of
&nc7, fun, and humour, and, notwithstanding the
pauses and changes of time, wonderful in swing ;
and containing some devices of orchestration
quite magical in their clearness, and their fitness
to the ideas. The last movement, which follows
without break after the Scherzo, is triumphant ;
seeming to express the mastery in the wrestling
and striving of the first movement. It is histori-
cally interesting as the first appearance of trom-
bones and contra&gotto in modem symphony;
and the most powerful in sound up to that time.
The next symphony, which is also the next opus-
number, is the popular 'Pastoral, 'probably written
in 1808, the second of Beethoven's which has a
definitely stated idea as the basis of its inspira-
tion, and the first in which a programme is sug- j
SYMPHONY.
gested for each individual movement; though
Beethoven is careful to explain that it is * mehr
Empfindung als Malerei.* Any account of this
happy inspiration is clearly superfluous. The
situations and scenes which it brings to the mind
are familiar, and not likely to be less beloved as
the world grows older. The style is again in
great contrast to that of the C minor, being
characterised rather by serenity and content-
ment ; which, as Beethoven had not heard of all
the troubles of the land question, might naturally
be his feelings about country life. He used
two trombones in the last two movements, but
otherwise contented himself with the same group
of instruments as in his earliest symphonies.
After this there was a pause for some years,
during which time appeared many noble and
delightful works on other lines, including the
pianoforte trios in D and Eb, the Mass in C minor,
op. 86, the music to Egmont, op. 84, and several
sonatas. Then in one year, 181 3, two symphonies
appeared. The first of the two, in A major, num-
bered op. 92, is looked upon by many as the most
romantic of all of them ; and certainly has quali-
ties which increase in attractiveness the better
it is known and understood.^ Among specially
noticeable points are the unusual proportions
and great interest of the Introduction {poca
sostenuto) ; the singular and fascinating wilful-
ness of the first movement, which is enhanced by
some very characteristic orchestration; the noble
calm of the slow movement; the merry humour
of the scherzo, which has again the same peculi-
arity as the 4th Symphony, that the trio is re-
peated (for which the world has every reason to
be thankful, as it is one of the most completely
enjoyable things in all symphonic literature) ; and
finally the wild headlong abandonment of the
last movement, which might be an idealised
national or rather barbaric dance-movement, and
which sets the crown fitly upon one of the
most characteristic of Beethoven's works. The
Symphony in F, which follows immediately a»
op> 93> is again of a totally different character.
It is of specially small proportions, and has rather
the character of a return to the old conditions
of the Symphony, with all the advantages of Bee-
thoven's mature powers both in the development
and choice of ideas, and in the treatment of the
orchestra. Beethoven himself, in a letter to Salo-
mon, described it as * eine kleine Symphonie in
F,' as distinguished from the previous one, which
he called * Grosse Symphonie in A, eine meiner
vorziiglichsten.' It has more fun and light-heart-
edness in it than any of the others, but no other
specially distinctive external characteristics, ex-
cept the substitution of the graceful and humor-
ous 'Allegretto scherzando' in the place of the
slow movement, and a return to the Tempo di
Menuetto for the scherzo. After this came again
a long pause, as the greatest of all symphonies
did not make its appearance till 1824. During that
time however, it is probable that symphonic work
was not out of his mind, for it is certain that the
preparations for putting this symphony down on
1 Beethoren't own riew of it may b« read Jnst below.
SYMPHONY.
paper spread over several years. Of the intro-
duction of voices into this form of composition,
which is its strongest external characteristic,
Beethoven had made a previous experiment in
the Choral Fantasia; and he himself spoke of
the symphony as 'in the style of the Choral
Fantasia, but on a far larger scale.' The scale is
indeed immensely larger, not only in length but
in style, and the increase in this respect applies
to it equally in comparison with all the sym-
phonies that went before. The first movement is
throughout the most concentrated example of
the qualities which distinguish Beethoven and
the new phase upon which music entered with
him, from all the composers of the previous half
century. The other movements are not less
characteristic of him in their particular ways.
The second is the largest example of the typical
scherzo which first made its appearance for the
orchestra in the Eroica; and the supreme slow
movement (the Theme with variations) is the
finest orchestral example of that special type
of slow movement; though in other depart-
ments of art he had previously illustrated it
in a manner little less noble and deeply ex-
pressive in the slow movements of the Bb Trio
and the Bb Sonata (op. io6). These movements
all have reference, more or less intelligible ac-
cording to the organisation and sympathies of
the hearer, to the Finale of the Symphony, which
consists of a setting of Schiller's ode 'An die
Freude.' Its development into such enormous
proportions is of a piece with the tendency shown
in Beethoven's previous symphonies, and in some
of his sonatas also, to supplant the conventional
type of gay last movement by something which
shall be a logical or poetical outcome of the
preceding movements, and shall in some way
clench them, or crown them with its weight
and power. The introduction of words moreover
gives a new force to the definite interpretation of
the whole as a single organism, developed as a
poem might be in relation to definite and co-
herent ideas. The dramatic and human elements
which Beethoven introduced into his instru-
mental music to a degree before undreamed of,
find here their fullest expression ; and most of
the forms of music are called in to convey his
ideas. The first movement of the symphony is
in binary form ; the Second in scherzo, or ideal-
ised minuet and trio form ; the third in the form
of theme and variations. Then follows the curious
passage of instrumental recitative, of which so
many people guessed the meaning even before it
was defined by the publication of the extracts
from the MS. sketch-books in the Berlin Library;
then the entry of the noble tune, the theme of the
entire Finale, introduced contrapuntally in a man-
ner which has a clear analogy to fugal treatment ;
and followed by the choral part, which treats
the theme in the form of variations apportioned
to the several verses of the poem, and carries
the sentiment to the extremest pitch of exult-
ation expressible by the human voice. The
instrumental forces employed are the fullest ; in-
cluding, with the usual complement, four horns,
SYMPHONY.
27
three trombones in the scherzo and finale, and
contrafagotto, triangle, cymbals, and big drum in
the finale. The choral forces include four solo-
voices and full chorus, and the sentiment ex-
pressed is proportionate to the forces employed.
In Beethoven's hands the Symphony has again
undergone a change of status. Haydn and Mo-
zart, as above pointed out, ennobled and en-
riched the form in the structural sense. They
took up the work when there was little more
expected of the orchestra than would have been
expected of a harpsichord, and when the object
of the piece was slight and almost momentary
entertainment. They left it one of the most im-
portant branches of instrumental music, though
still to a great extent dependent on formal per-
fection and somewhat obvious artistic manage-
ment for its interest. Their office was in fact to-
perfect the form, and Beethoven's to use it. But
the very use of it brought about a new ratio
between its various elements. In his work first
clearly appears a proportion between the force&
employed and the nobility and depth and general
importance of the musical ideas. In his hands
the greatest and most pliable means available
for the composer could be no longer fit for light-
ness and triviality, but only for ideal emotions of
an adequate standard. It is true that earlier com-
posers saw the advantage of adopting a breadth of
style and largeness of sentiment when writing for
the orchestra ; but this mostly resulted in posi-
tive dullness. It seems as if it could only be
when the circumstances of history had undergone
a violent change that human sentiment could
reach that pitch of comprehensiveness which in
Beethoven's work raised the Symphony to the
highest pitch of earnest poetic feeling : and the-
history of his development is chiefly the coor-
dination of all the component elements ; the pro-
portioning of the expression and style to the
means ; the expansion of the form to the require-
ments of the expression ; the making of the or-
chestration perfectly free, but perfectly just in
every detail of expression, and perfectly balanced
in itself; and the eradication of all traces of
conventionalism both in the details and in the
principal outlines, and also to a great extent in
the treatment of the instruments. It is chiefly
through Beethoven's work that the symphony
now stands at the head of all musical forms what-
ever; and though other composers may here-
after misuse and degrade it as they have degraded*
the opera, the cantata, the oratorio, the mass,
and such other forms as have equal possibilities
with the symphony, his works of this kind stand
at such an elevation of human sympathy and
emotion, and at such a pitch of individuality and
power, in expression and technical mastery, that
it is scarcely likely that any branch of musical
art will ever show anything to surpass them.
It might seem almost superfluous to trace the
history of Symphony further after Beethoven..
Nothing since his time has shown, nor in the
changing conditions of the history of the race is
it likely anything should show, any approach
to the vitality and depth of his work. But it
28
SYMPHONY.
is just these changing conditions that leave a
little opening for composers to tread the same
path with him. In the millions of the human
species there are endless varieties of mental and
emotional qualities grouped in different indi-
viduals, and different bands or sets of men ; and
the many-sided qualities of artistic work, even
far below the highest standard, find their ex-
cuse and explanation in the various groups and
types of mind whose artistic desires they satisfy.
Those who are most highly organised in such
respects find their most perfect and most sus-
tained gratification in Beethoven's works; but
others who feel less deeply, or are less wide in
their sympathies, or have fewer or different
opportunities of cultivating their tastes in such
a musical direction, need musical food more in
accordance with their mental and emotional or-
ganisation. Moreover, there is always room to
treat an accepted form in the mode character-
istic of the period. Beethoven's period was much
more like ours than that of Haydn and Mozart,
but yet it is not so like that a work expressed
entirely in his manner would not be an anachron-
ism. Each successive generation takes some
colour from the combination of work and changes
in all previous generations; in unequal quantities
proportioned to its amount of sympathy with
particular periods. By the side of Beethoven
there were other composers, working either on
parallel lines or in a different manner on the
same lines. The succeeding generations were
influenced by them as well as by him; and
they hStve introduced some elements into sym-
phony which are at least not prominent in his.
<)ne of the contemporary composers who had
most influence on the later generation was
Weber; but his influence is derived from other
departments, and in that of Symphony his contri-
bution is next to nothing — two only, so slight
and unimportant, as probably to have had no
influence at all.
Another composer's symphonies did not have
much immediate influence, chiefly because they
were not performed ; what they will have in the
future remains to be seen.^ In delightfulness,
Schubert's two best works in this department
stand almost alone ; and their qualities are
unique. In his earlier works of the kind there is
an analogy to Beethoven's early works. Writing
for the orchestra seemed to paralyse his par-
ticular individuality; and for some time after
he had written some of his finest and most
original songs, he continued to write sym-
phonies, which were chiefly a mild reflex of
Haydn and Mozart, or at most of the early
style of Beethoven. His first attempt was made
in 1813, the last page being dated October 28 of
that year, when he was yet only sixteen years
old — one year after Beethoven's Symphonies
in A and F, and more than ten years before the
great D minor. In the five following years he
wrote five more, the best of which is No. 4, the
Tragic, in C minor ; the Andante especially being
1 As we write, the announcement appears of a complete edition of
-Scbubert's works, published and MS., b; Breltkopf A Hftrtel.
SYMPHONY.
very fine and interesting, and containing many
characteristic traits of the master. But none of the
early works approach in interest or original beauty
to the unfinished one in B minor, and the very
long and vigorous one in C major; the first com-
posed in 1822, before Beethoven's No. 9, and the
second in 1828, after it. In these two he seems to
have struck out a real independent symphony-
style for himself, thoroughly individual in every
respect, both of idea, form, and orchestration.
They show singularly little of the influence
of Beethoven, or Mozart, or Haydn, or any
of the composers he must have been familiar
with in his early days at the Konvict ; but the
same spirit as is met with in his songs and piano-
forte pieces, and the best specimens of his cham-
ber music. The first movement of the B minor
is entirely unlike any other symphonic first move-
ment that ever was composed before. It seems
to come direct from the heart, and to have the
personality of the composer in it to a most un-
usual degree. The orchestral forces used are the
usual ones, but in the management of them there
are numbers of effects which are perfectly new
in this department of art, indicating the tend-
ency of the time towards direct consideration ol
what is called 'colour' in orchestral combinations,
and its employment with the view of enhancing
the degree of actual sensuous enjoyment of a
refined kind, to some extent independent of
the subjects and figures. Schubert's mature or-
chestral works are however too few to give any
strong indication of this in his own person ; and
what is commonly felt is the supreme attractive-
ness of the ideas and general style. As classical
models of form none of Schubert's instrumental
works take the highest rank; and it follows
that no compositions by any writer which have
taken such hold upon the musicians of the pre-
sent time, depend so much upon their intrinsic
musical qualities as his do. They are therefore
in a sense the extremest examples that can be
given of the degree in which the status of such
music altered in about thirty years. In the epoch
of Mozart and Haydn, the formal elements abso-
lutely predominated in importance. This was the
case in 1795. The balance was so completely
altered in the course of Beethoven's lifetime, that
by 1824 the phenomenon is presented of works in
the highest line of musical composition depend-
ing on the predominating element of the actual
musical sentiment. It must be confessed that
Schubert's position in art is unique; but at
the same time no man of mark can be quite
unrepresentative of his time, and Schubert in
this way represents the extraordinary degree
in which the attention of musical people and
the intention of composers in the early years
of the present century was directed to the
actual material of music in its expressive sense,
as distinguished from the external or structural
aspect.
The relation of the dates at which more or less
well-known symphonies made their appearance
about this time is curious and not uninstructive*
Mendelssohn's Reformation Symphony was pro-
SYMPHONY.
duced only two years after Schubert's great
Symphony in C, namely in 1830. His Italian
Symphony followed in the next year ; and Stem-
dale Bennett's in G minor, in 1834.
The dates and history of Spohr's productions
are even more striking, as he was actually a
contemporary of Beethoven's, and senior to
Schubert, while in all respects in which his style
is characteristic it represents quite a later genera-
tion. His first Symphony (in Eb) was composed
in 181 1, before Beethoven's 7th, 8th, and Qth,
and when he himself was 27 years old. This
was followed by several others, which are not
without merit, though not of sufficient histo-
rical importance to require special consideration.
The symphony of his which is best known at
the present day is that called the * Weihe der
Tone,' which at one time enjoyed great celebrity.
The history of this work is as follows. He in-
tended first to set a poem of the same name
by his friend Pfeiffer. He began the setting
in 1832, but finding it unsatisfactory he aban-
doned the idea of using the words except
as a programme ; in which form they are
appended to the score. The full description
and purpose of the work as expressed on the
title is ' Characteristisches Tongenialde in Form
einer Sinfonie, nach einen Gedicht von Carl
Pfeiffer'; and a printed notice from the com-
poser is appended to the score directing that
the poem is to be either printed or recited
aloud whenever the symphony is to be performed.
Each movement also has its title, like the Pas-
toral of Beethoven; but it differs from that
work not only in its less substantial interest, but
also in a much more marked departure from the
ordinary principles of form, and the style of the
Buccessive movements.
The earlier part of the work corresponds fairly
well with the usual principles of structure. It
opens with a short Largo of vague character,
passing into the Allegro, which is a continuous
movement of the usual description, in a sweet,
but rather tame style. The next movement might
be taken to stand for the usual slow movement,
as it begins Andantino ; but the development is
original, as it is broken up by several changes of
tempo and time-signatures, and is evidently based
upon a programme, for which its title supplies
an explanation. The next movement again might
be taken as an alternative to the Minuet and
Trio, being marked ' Tempo di Marcia,* which
would suggest the same general outline of form.
But the development is again independent, and
must be supposed to follow its title. From this
point all connection with the usual outlines
ceases. There is an Andante maestoso, based
upon an Ambrosianischer Lobgesang, a Larghetto
containing a second hymn-tune, and a short
Allegretto in simple primary form to conclude
with. From this description it will be obvious
that the work is an example of thoroughgoing
* programme music' It is clearly based rather on
the musical portrayal of a succession of ideas in
themselves independent of music, than upon the
treatment of principles of abstract form, and ideas
SYMPHONY.
29
intrinsically musical. It derives from this fact a
historical importance which its musical qualities
taken alone would not warrant, as it is one of
the very first German examples of its kind pos-
sessing any high artistic excellences of treatment,
expression, and orchestration. It contains a
plentiful supply of Spohr's characteristic faults,
and is for the most part superficial, and deficient
in warmth of feeling and nobility of thought;
but it has also a fair share of his good traits —
delicacy and clearness of orchestration, and a
certain amount of poetical sentiment. Its suc-
cess was considerable, and this, rather than
any abstract theorising upon the tendencies of
modern music, led him to several further experi-
ments in the same line. The symphony (in C
minor) which followed the 'Weihe der Tone' was
on the old lines, and does not require much notice.
It contains experiments in unifying the work by
unusual references to subjects, as in the first
movement, where conspicuous reference is made
in the middle part of the Allegro to the charac-
teristic feature of the slow introduction ; and in
the last, where the same subject is somewhat
transformed, and reappears in a different time
as a prominent feature of the second section.
In the next symphony, and in the 7th and
9th, Spohr again tried experiments in pro-
gramme. Two of these are such curiosities as
to deserve description. The 6th, op. n6, in
G, is called * Historische Symphonic,' and
the four movements are supposed to be illus-
trations of four distinct musical periods. The
first is called the Period of Handel and Bach,
and dated 1720; the second, the Period of
Haydn and Mozart, and dated 1780 (i.e. before
any of the greatest instrumental works of either
Haydn or Mozart were produced); the third is
the Period of Beethoven, and dated 18 10; and
the fourth, * Allerneueste Periode,' and dated
1840. This last title seems to imply that Spohr
regarded himself as belonging to a different
generation from Beethoven. The first period is
represented by an introductory Largo in contra-
puntal style, and an Allegro movement, part
after the manner of the old Canzonas, and part
a Pastorale, introduced for contrast. The style
has scarcely the least affinity to Bach, but the
Handelian character is extremely easy to imitate,
and hence in some respects it justifies its title
fairly well. The slow movement which follows
has good qualities and graceful points. It has
more the flavour of Mozart than Haydn, and
this is enhanced by the Mozartian turns and
figures which are introduced. One which is very
conspicuous is the short figure:—
which is found in several places in Mozart'3
works. The second subject moreover is only an
ingenious alteration of the second subject in
the slow movement of Mozart's Prague Sym-
phony in D : —
30
SYMPHONY
Nevertheless, the whole effect of the move-
ment is not whskt its title implies. The scoring
is fuller, and the inner parts richer and freer in
their motion than in the prototypes, and the
harmonization is more chromatic, after Spohr's
manner. The Scherzo professes to be in Bee-
thoven's style, and some of his characteristic
devices of harmony and rhythm and treatment of
instruments are fairly well imitated {e.g. the
drums in G, D, and Eb), though in a manner
which shows they were but half understood.
Curiously enough, one of the most marked figures
does not come from Beethoven, but from Mozart's
G minor Symphony : —
The last movement, representing the then
* latest period,' has of course no names appended.
Spohr probably did not intend to imitate any one,
but was satisfied to write in his own manner, of
which the movement is not a highly satisfactory
example. It is perhaps rather to the composer's
credit that his own characteristics should peep out
at all corners in all the movements, but the result
can hardly be called an artistic success. However,
the experiment deserves to be recorded and de-
scribed, as unique among works by composers of
such standing and ability as Spohr ; and the more
so as it is not likely to be often heard in future.
His next Symphony (No. 7, in C major, op. 12 1) is
in many respects as great a curiosity of a totally
different description. It is called * Irdisches und
Gottliches in Menschenleben,' and is a double
symphony in three movements for two orches-
tras. The first movement is called 'Kinderwelt,'
the second *Zeit der Leidenschaften,' and the
last (Presto) 'Endlicher Sieg des Gottlichen.'
In the first two the second orchestra, which is
the fuller of the two, is little more than an
accompaniment to the first. In the last it has
a good deal of work to do, uttering chiefly vehe-
ment and bustling passages in contrast with
quiet and sober passages by the first orchestra ;
until near the end, when it appears to be sub-
dued into consonance with the first orchestra.
The idea seems to be to depict the divine and
the worldly qualities more or less by the two
orchestras ; the divine being given to the smaller
orchestra of solo instruments, and the worldly to
the fuller orchestra. The treatment of the instru-
mental forces is on the whole very simple ; and no
very extraordinary effects seem to be aimed at.
Spohr wrote yet another programme sym-
phony after this (No. 9, in B, op. 143) called
' Die Jahreszeiten,' in which Winter and Spring
are joined to make Part I, and Summer and
Autumn to make Part II. The work ap-
SYMPHONY.
proaches more nearly to the ordinary outlines of
the Symphony than his previous experiments in
programme, and does not seem to demand so
much detailed description. In fact, but for his
having been so early in the field as a writer of
thoroughgoing programme-music, Spohr's position
in the history of the Symphony would not be an
important one ; and it is worthy of remark that
his being so at all appears to have been an
accident. The *Weihe der Tone* would not
have been a programme symphony but for the
fact that Pfeiffer's poem did not turn out to be
very suitable for a musical setting. It is not
likely that the work would have attained such
popularity as it did but for its programme ; but
after so good a result in relation to the public,
it was natural that Spohr should try further
experiments on the same lines; and hence he
became one of the earliest representatives of
artistic speculation in a direction which has
become one of the most conspicuous subjects of
discussion among modem musical philosophers.
As far as intrinsic qualities are concerned it is
remarkable how very little influence he has had
upon the subsequent history of the Symphony,
considering the reputation he enjoyed in his life-
time. His greatest excellence was his treatment
of his orchestra, which was delicate, refined, and
extremely clear ; but it must be confessed that he
erred on the side natural to the virtuoso violinist,
and was too fond of bringing his first violins into
prominence. His. ideas and style generally were
not robust or noble enough to stand the test of
time. His melodies are not broad or strong ; his
hannonisation, though very chromatic to look at,
is not radically free and vigorous; and his rhythm,
though sometimes complicated and ingenious, is
neither forcible nor rich in variety. None of
his works however can be said to be without their
good points, and the singularity of his attempts
at programme-music give them an interest which
the unlikelihood of many performances in the
future does not by any means diminish.
An interesting fact in connection with Spohr
and the history of the Symphony is that he seems
to have been the first to conduct an orchestra
in England with a baton; the practice having
previously been to conduct *at the pianoforte.*
The occasion was one of the Philharmonic Con-
certs in 1820. The habit of conducting at the
pianoforte was evidently a tradition continued
from the days when the Symphony was an
appendage of the Opera, when the principal
authority, often the composer in person, sat at
the principal clavier in the middle of the
orchestra giving the time at his instrument, and
filling in the harmonies under the guidance of a
figured bass. Almost all the earlier independent
symphonies, including those of Philip Emanuel
Bach of 1776, and some of Haydn's earlier ones,
have such a figured bass for the clavier player,
and an extra bass part is commonly found in the
sets of parts, which may be reasonably surmised
to be for his use.* The practice was at last
1 Mendelssohn's early Symphonlei are marked * KlaTler mit deflo.
Basse.' ISee vol. iL 265, note S.)
SYMPHONY.
abrogated inEnglandby Spohr, possibly because he
was not a clavier but a violin player. In Germany
it was evidently discontinued some time earlier.
The most distinguished composers of sym-
phonies who wrote at the same time as Spohr,
were entirely independent of him. The first of
these is Mendelssohn, whose earliest symphonies
even overlap Beethoven, and whose better-known
works of the kind, as before mentioned, begin
about the same time as Spohr's best examples,
and extend over nearly the same period as his
later ones. The earliest which survives in
print is that in C minor dedicated to the Lon-
don Philharmonic Society. This work was
really his thirteenth symphony, and was finished
on March 31, 1824, when he was only fifteen
years old, in the very year that Beethoven's
Choral Symphony was first performed. The
work is more historically than musically in-
teresting. It shows, as might be expected, how
much stronger the mechanical side of Mendels-
sohn's artistic nature was, even as a boy, than his
poetical side. Technically the work is extra-
ordinarily mature. It evinces not only a perfect
and complete facility in laying the outline and
carrying out the details of form, but also the
acutest sense of the balance and proportion of
tone of the orchestra. The limits of the attempt
are not extensive, and the absence of strong
feeling or aspiration in the boy facilitated the
execution. The predominant influence is clearly
that of Mozart. Not only the treatment of the
lower and subordinate parts of the harmony, but
the distribution and management of the different
sections and even the ideas are like. There is
scarcely a trace of the influence of Beethoven, and
not much of the features afterwards characteristic
of the composer himself. The most individual
movements are the slow movement and the trio.
The former is tolerably free from the influence of
the artificial and mannered slow movements of
the Haydn and Mozart style, and at the same
time does not derive its inspiration from Beetho-
ven: it contains some very free experiments
in modulation, enharmonic and otherwise, a few
characteristic figures similar to some which he
made use of later in his career, and passages
of melody clearly predicting the composer of
the Lieder ohne Worte and the short slow-
movements of the organ sonatas. The Trio is
long and very original in intention, the chief
feature being ingenious treatment of arpeggios
for the strings in many parts. The other move-
ments are for the most part formal. The Minuet
is extraordinarily like that of Mozart's G minor
Symphony, not only in accent and style, but in
the manner in which the strings and the wind
are grouped and balanced, especially in the short
passage for wind alone which occurs towards the
end of each half of the movement. It was
possibly owing to this circumstance that Men-
delssohn substituted for it the orchestral arrange-
ment of the Scherzo of his Octet when the work
was performed later in his life. In the last
movement the most characteristic passage is the
second subject, with the short chords of pizzicato
SYMPHONY.
31
strings, and the tune for the clarinet which
comes after the completion of the first period by
strings alone. He used the same device more
than once later, and managed it more satis-
factorily. But it is just such suggestions of the
working of the musical spirit in the man which
make an early work interesting.
His next symphony happened to illustrate
the supposed tendency of the age towards pro-
gramme. It was intended for the tercentenary
festival of the Augsburg Protestant Confession
in 1830, though owing to political circumstances
its performance was deferred till later. He evi-
dently had not made up his mind what to call
it till some time after it was finished, as he
wrote to his sister and suggested Confession
Symphony, or Symphony for a Church Festival,
as alternative names. But it is quite evident
nevertheless that he must have had some sort
of programme in his mind, and a purpose to
illustrate the conflict between the old and new
forms of the faith, and the circumstances and
attributes which belonged to them. The actual
form of the work is as nearly as possible what
is called perfectly orthodox. The slow in-
troduction, the regular legitimate allegro, the
simple pretty scherzo and trio, the short but com-
pletely balanced slow movement, and the regular
last movement preceded by a second slow in-
troduction, present very little that is out of the
way in point of structure ; and hence the work
is less dependent upon its programme than
some of the examples by Spohr above described.
But nevertheless the programme can be clearly
seen to have suggested much of the detail of
treatment and development in a perfectly con-
sistent and natural manner. The external traits
which obviously strike attention are two ; first,
the now well-known passage which is used
in the Catholic Church at Dresden for the
Amen, and which Wagner has since adopted
as one of the most conspicuous religious motives
of the Parsifal; and secondly, the use of
Luther's famous hymn, * Ein' feste Burg,' in the
latter part of the work. The Amen makes its
appearance in the latter part of the opening
Andante, and is clearly meant to typify the old
church ; and its recurrence at the end of the
working out in the first movement, before the
recapitulation, is possibly meant to imply that
the old church still holds its own: while in
the latter portion of the work the typical hymn-
tune, introduced softly by the flute and by
degrees taking possession of the whole orchestra,
may be taken to represent the successful spread
of the Protestant ideas, just as its final utterance
fortissimo at the end of all, does the establishment
of men's right to work out their own salvation
in their own way. There are various other
details which clearly have purpose in relation to
the programme, and show clearly that the com-
poser was keeping the possible succession of events
and circumstances in his mind throughout. The
actual treatment is a very considerable advance
upon the Symphony in C minor. The whole
work is thoroughly Mendelssohnian. There is no
32
SYMPHONY.
obvious trace either in the ideas themselves, or in
the manner of expression of the Mozartian in-
fluence which is so noticeable in the symphony
of six years earlier. And considering that the
composer was still but 21, the maturity of style
and judgment is relatively quite as remarkable
as the facility and mastery shown in the work
of his 15 th year. The orchestration is quite
characteristic and free ; and in some cases, as
in part of the second movement, singularly happy.
The principle of programme here assumed seems
to have been maintained by him thenceforward ;
for his other symphonies, though it is not so
stated in the published scores, are known to
have been recognised by him as the results
of his impressions of Italy and Scotland. The
first of them followed very soon after the Re-
formation Symphony. In the next year after
the completion of that work he mentioned the
new symphony in a letter to his sister as far ad-
vanced ; and said it was * the gayest thing he
had ever done.' He was in Rome at the time,
and it appears most probable that the first and
last movements were written there. Of the
slow movement he wrote that he had not found
anything exactly right, ' and would put it oif till
he went to Naples, hoping to find something to
inspire him there.' But in the result it is dif-
ficult to imagine that Naples can have had
much share. Of the third movement there is
a tradition that it was imported from an
earlier work ; and it certainly has a consider-
able flavour of Mozart, though coupled with
traits characteristic of Mendelssohn in perfect
maturity, and is at least well worthy of its
position ; and even if parts of it, as is possible,
appeared in an earlier work, the excellences of
the Trio, and the admirable effect of the final
Coda which is based on it, point to considerable
rewriting and reconstruction at a mature period.
The actual structure of the movements is based
upon familiar principles, though not without
certain idiosyncrasies : as for instance the appear-
ance of a new prominent feature in the working-
out portion, and the freedom of the recapitula-
tion in the first movement. In the last move-
ment, called Saltarello, he seems to have giv6n
a more free rein to his fancy in portraying some
scene of unconstrained Italian gaiety to which
he was a witness ; and though there is an un-
derlying consistency in the usual distribution
of keys, the external balance of subjects is
not so obvious. The last movement is hence
the only one which seems to depend to any
extent upon the programme idea; in all other
respects the symphony belongs to the * classical '
order. Indeed such a programme as the pur-
pose to reproduce impressions of particular
countries is far too vague to lend itself to ex-
act and definite musical portrayal of external
ideas, such as might take the place of the
usual outlines of structure. In fact it could
lead to little more than consistency of style,
which would be equally helpful to the composer
and the audience ; and it may well have served
as an excuse for a certain laxity and profusion
SYMPHONY.
in the succession of the ideas, instead of that
difficult process of concentrating and making
relevant the whole of each movement upon the
basis of a few definite and typical subjects. The
characteristics of the work are for the most part
fresh and genial spontaneity. The scoring is of
course admirable and clear, without presenting
any very marked features; and it is at the
same time independent and well proportioned in
distribution of the various qualities of sound, and
in fitness to the subject matter.
In orchestral effects the later symphony —
the Scotch, in A minor — is more remarkable.
The impressions which Mendelssohn received in
Scotland may naturally have suggested more
striking points of local colour ; and the manner
in which it is distributed from first page to last
serves to very good purpose in unifying the
impression of the whole. The effects are almost
invariably obtained either by using close har-
monies low in the scale of the respective in-
struments, or by extensively doubling tunes and
figures in a similar manner, and in a sombre
part of the scale of the instruments ; giving an
effect of heaviness and darkness which were pos-
sibly Mendelssohn's principal feelings about the
grandeur and uncertain climate of Scotland.
Thus in the opening phrase for wind instru-
ments they are crowded in the harmonies almost
as thick as they will endure. In the statement
of the first principal subject again the clarinet
in its darkest region doubles the tune of the
violins an octave lower. The use of the whole
mass of the strings in three octaves, with the wind
filling the harmonies in rhythmic chords, which
has so fine and striking an effect at the be-
ginning of the 'working out' and in the coda,
has the same basis : and the same effect is
obtained by similar means here and there in
the Scherzo; as for instance where the slightly
transformed version of the principal subject is
introduced by the wind in the Coda. The same
qualities are frequently noticeable in the Slow
movement and again in the coda of the last
movement. As in the previous symphony, the
structure is quite in accordance with familiar
principles. If anything, the work errs rather
on the side of squareness and obviousness in
the outlines both of ideas and structure; as
may be readily perceived by comparing the
construction of the opening tune of the intro-
duction with any of Beethoven's introductions
(either that of the D or Bb or A Symphonies,
or his overtures) : or even the introduction
to Mozart's Prague Symphony. And the im-
pression is not lessened by the obviousness
of the manner in which the succeeding recita-
tive passages for violins are introduced; nor by
the squareness and tune-like qualities of the first
subject of the first movement, nor by the way
in which the square tune pattern of the scherzo
is reiterated. In the manipulation of the fa-
miliar distribution of periods and phrases, how-
ever, he used a certain amount of consideration.
For example, the persistence of the rhythmic
figure of the first subject of the first allegro.
SYMPHONY.
in the inner parts of the second section of that
movement, serves very good purpose; and the
concluding of the movement with the melancholy
tune of the introduction helps both the senti-
ment and the structural effect. The scherzo is
far the best and most characteristic movement
of the whole. In no department of his work
was Mendelssohn so thoroughly at home ; and
the obviousness of the formal outlines is less
objectionable in a movement where levity and
abandonment to gaiety are quite the order of
the day. The present scherzo has also certain
very definite individualities of its own. It is a
departure from the 'Minuet and Trio' form,
as it has no break or strong contrasting portion
in the middle, and is continuous bustle and
gaiety firom beginning to end. In technical de-
tails it is also exceptionally admirable. The
orchestral means are perfectly suited to the end,
and the utterances are as neat and effective as they
could well be ; while the perfect way in which
the movement finishes off is delightful to almost
every one who has any sense for art. The slow
movement takes up the sentimental side of the
matter, and is in its way a good example of his
orchestral style in that respect. The last move-
ment. Allegro vivacissimo, is restless and im-
petuous, and the tempo -mark given for it in
the Preface to the work, 'Allegro guerriero,'
affords a clue to its meaning. But it evidently
does not vitally depend upon any ideal pro-
gramme in the least; neither does it directly
suggest much, except in the curious independent
passage with which it concludes, which has more
of the savour of programme about it than any
other portion of the work, and is scarcely ex-
plicable on any other ground. It is to be noticed
that directions are given at the beginning of the
work to have the movements played as quickly
as possible after one another, so that it may have
more or less the effect of being one piece. Men-
delssohn's only other symphonic work was the
Lobgesang, a sort of ecclesiastical counterpart of
Beethoven's 9th Symphony. In this of course
the programme element is important, and is il-
lustrated by the calls of the brass instruments
and their reiteration with much effect in the
choral part of the work. The external form, as
in Beethoven's 9th Symphony, is that of the three
usual earlier movements (i) Introduction and
Allegro, (2) Scherzo, or Minuet and Trio, and
(3) Slow Movement (which in the present case
have purposely a pietistic flavour), with the
Finale or last moveriaent supplanted hy the long
vocal part.
The consideration of these works shows that
though Mendelssohn often adopted the appearance
of programme, and gained some advantages by it,
he never, in order to express his external ideas
with more poetical consistency, relaxed any of the
familiar principles of structure which are regarded
as orthodox. He was in fact a thoroughgoing
classicist. He accepted formulas with perfect
equanimity, and aimed at resting the value of
his works upon the vivacity of his ideas and the
great mastery which he had attained in technical
VOL. IV. PT. I.
SYMPHONY.
33
expression, and clearness and certainty of or-
chestration. It was not in his disposition to
strike out a new path for himself. The per-
fection of his art in many respects necessarily
appeals to all who have an appreciation for first-
rate craftsmanship ; but the standard of his
ideas is rather fitted for average musical intel-
ligences, and it seems natural enough that these
two circumstances should have combined suc-
cessfully to attain for him an extraordinary
popularity. He may fairly be said to present
that which appeals to high and pure sentiments
in men, and calls upon the average of them to
feel at their best. But he leads them neither
into the depths nor the heights which are be-
yond them ; and is hence more fitted in the end
to please than to elevate. His work in the de-
partment of Symphony is historically slight. In
comparison to his great predecessors he esta-
blished positively nothing new ; and if he had been
the only successor to Beethoven and Schubert it
would certainly have to be confessed that the
department of art represented by the Symphony
was at a standstill. The excellence of his or-
chestration, the clearness of his form, and the
accuracy and cleverness with which he balanced
and disposed his subjects and his modulations,
are all certain and unmistakeable ; but all
these things had been attained by great masters
before him, and he himself attained them
only by the sacrifice of the genuine vital force
and power of harmonic motion and freedom of
form in the ideas themselves, of which his
predecessors had made a richer manifestation.
It is of course obvious that different orders of
minds require different kinds of artistic food,
and the world would not be well served without
many grades and standards of work. Mendels-
sohn did good service in supplying a form of
symphony of such a degree of freshness and light-
ness as to appeal at once to a class of people
for whom the sternness and power of Beethoven
in the same branch of art would often be too
severe a test. He spoke also in the spirit of his
time, and in harmony with it ; and as illustra-
tions of the work of the period in one aspect his
symphonies will be among the safest to refer to.
Among his contemporaries the one most
natural to bracket with him is Sterndale Bennett,
whose views of art were extraordinarily similar,
and who was actuated in many respects by similar
impulses. His published contribution to the
department we are considering is extremely slight.
The symphony which he produced in 1834
was practically withdrawn by him, and the only
other work of the kind which he allowed to be
published was the one which was written for
the Philharmonic Society, and first played in 1864.
The work is slight, and it is recorded that he did
not at first put it forward as a symphony. It had
originally but three movements, one of which,
the charming minuet and trio, was imported
from the Cambridge Installation Ode of 1862.
A slow movement called Komanze was added
afterwards. Sterndale Bennett was a severe
classicist in his views about form in music, and
D
3i
SYMPHONY.
the present symphony does not show anything
sufficiently marked to call for record in that
respect. It is singularly quiet and unpretentious,
and characteristic of the composer, showing his
taste and delicacy of sentiment together with
his admirable sense of symmetry and his feeling
for tone and refined orchestral effect.
The contemporary of Mendelssohn and Stem-
dale Bennett who shows in most marked contrast
with them is Robert Schumann. He seems to
represent the opposite pole of music ; for as they
depended upon art and made clear technical
workmanship their highest aim, Schumann was
in many respects positively dependent upon his
emotion. Not only was his natural disposition
utterly different from theirs, but so was his
education. Mendelssohn and Stenidale Bennett
went through severe technical drilling in their
early days. Schumann seems to have developed
his technique by the force of his feelings, and
was always more dependent upon them in the
making of his works than upon general prin-
ciples and external stock rules, such as his two
contemporaries were satisfied with. The case
affords an excellent musical parallel to the
common circumstances of life ; Mendelssohn and
Stemdale Bennett were satisfied to accept cer-
tain rules because they knew that they were
generally accepted ; whereas Schumann was of
tlie nature that had to prove all things, and
find for himself that which was good. The
result was, as often happens, that Schumann
affords examples of technical deficiencies, and
not a few things which his contemporaries had
reason to compare unfavourably with the works
of Mendelssohn and Sterndale Bennett ; but in
the end his best work is far more interesting,
and far more deeply felt, and far more really
earnest through and through than theirs. It
is worth observing also that his feelings towards
them were disinterested admiration and enthu-
siasm, while they thought very slightly of him.
They were also the successful composers of their
time, and at the head of their profession, while
he was looked upon as a sort of half amateur,
part mystic and part incompetent. Such cir-
cumstances as these have no little effect upon
a man's artistic development, and drive him
in upon his own resources. Up to a certain
point the result for the world in this instance
was advantageous. Schumann developed alto-
gether his own method of education. He began
with songs and more or less small pianoforte
pieces. By working liard in these departments
he developed his own emotional language, and
in course of time, but relatively late in life as
compared with most other composers, he seemed
to arrive at the point when experiment on the
scale of the Symphony was possible. In a letter
to a friend he expressed his feeling that the
pianoforte was becoming too narrow for his
thoughts, and that he must try orchestral compo-
sition. The fruit of this resolve was the Bb Sym-
phony (op. 38), which was produced at Leipzig
in 1 841, and was probably his first important
orchestral work. It is quite extraordinary how
SYMPHONY.
successfully he grappled with the diflaculties of
the greatest style of composition at the first
attempt. The manner is thoroughly S3'mphonic,
impressive and broad, and the ideas are more
genuinely instrumental both in form and expres-
sion than Mendelssohn's, and far more incisive
in detail, which in instrumental music is a most
vital matter. Mendelssohn had great readiness
for making a tune, and it is as clear as possible
that when he went about to make a large instru-
mental work his first thought was to find a good
tune to begin upon. Schumann seems to have
aimed rather at a definite and strongly marked
idea, and to have allowed it to govern the form
of period or phrase in which it was presented.
In this he was radically in accord with both
Mozart and Beethoven. The former in his in-
strumental works very commonly made what is
called the principal subject out of two distinct
items, which seem contrasted externally in cer-
tain characteristics and yet are inevitable to one
another. Beethoven frequently satisfied himself
with one principal one, as in the first movements
of the Eroica and the C minor; and even where
there are two more or less distinct figures, they
are joined very closely into one phrase, as in the
Pastoral, the No. 8, and the first movement of
the Choral. The first movement of Schumann's
Bb Symphony shows the same characteristic.
The movement seems almost to depend upon the
simple but very definite first figure —
I
which is given out in slow time in the Intro-
duction,^ and worked up as by a mind pondering
over its possibilities, finally breaking away with
vigorous freshness and confidence in the * Allegro
molto Vivace.' The whole first section depends
upon the development of this figure ; and even
the horns, which have the last utterances before
the second subject appears, continue to repeat
its rhythm with diminishing force. The second
subject necessarily presents a different aspect al-
together, and is in marked contrast to the first,
but it similarly depends upon the clear character
of the short figures of which it is composed,
and its gradual work up from the quiet begin-
ning to the loud climax, ends in the reappear-
ance of the rhythmic foi-m belonging to the
principal figure of the movement. The whole
of the working-out portion depends upon the
same figure, which is presented in various as-
pects and with the addition of new features
and ends in a climax which introduces the
same figure in a slow form, very emphatically,
corresponding to the statement in the Introduc-
tion. To this climax the recapitulation is duly
welded on. The coda again makes the most
of the same figure, in yet fresh aspects. The
latter part is to all intents independent, appa-
rently a sort of reflection on what has gone
before, and is so far in definite contrast as to
explain itself. The whole movement is direct
1 6m the curious anecdote, toI. ill. p. Hi.
SYMPHONY.
and simple in style, and for Schumann, singu-
larly bright and cheerful. The principles upon
which he constructed and used his principal
subjects in this movement are followed in the
first movements of the other symphonies ; most
of all in the D minor ; clearly in the C major ;
and least in the Eb, which belongs to the later
period of his life. But even in this last he
aims at gaining the same result, though by dif-
ferent means ; and the subject is as free as any
from the tune-qualities which destroy the com-
plete individuality of an instrumental subject in
its most perfect and positive sense. In the first
movement of the D minor he even went so far
as to make some important departures from the
usual outlines of form, which are rendered pos-
sible chiefly by the manner in which he used the
characteristic figure of his principal subject. It
is first introduced softly in the latter part of the
Introduction, and gains force quickly, so that in
a few bars it breaks away in the vigorous and
passionate allegro in the following form —
SYMPHONY.
35
which varies in the course of the movement to
^fe^^
and^F^^^
In one or other of these forms it continues
almost ceaselessly throughout the whole move-
ment, either as actual subject or accompaniment;
in the second section it serves in the latter
capacity. In the latter part of the working-out
section a fresh subject of gentler character is
introduced, seeming to stem and mitigate the
vehemence expressed by the principal figures of
the first subject : from the time this new subject
makes its appearance there continues a sort of
conflict between the two; the vehement subject
constantly breaking in with apparently undimin-
ished fire, and seeming at times to have the upper
hand, till just at the end the major of the origi-
nal key (D minor) is taken, and the more genial
subject appears in a firm and more determined
form, as if asserting its rights over the wild
first subject ; and thereupon, when the latter
reappears, it is in a much more genial character,
and its reiteration at the end of the movement
gives the impression of the triumph of hope and
trust in good, over the seeds of passion and
despair. The result of the method upon which
the movement is developed is to give the impres-
sion of both external and spiritual form. The
requirements of key, modulation, and subject
are fulfilled, though, from the point of view of
classical orthodoxy, with unusual freedom. The
spiritual form, — the expression in musical terms
of a type of mental conflict, so depicted that
thinking beings can perceive the sequence to
be true of themselves — is also very prominent,
and is the most important element in the work,
as is the case in all Schumann's best works ;
moreover in this movement everything is strongly
individual, and warm with real musical life in
his own style ; which was not altogether the
case with the first movement of the Bb. In
the C major Symphony (op. 6i) the first allegro
is ushered in by a slow introduction of important
and striking character, containing, like those
of the two just mentioned, anticipations of its
principal figures. In the allegro the two principal
subjects are extremely strong in character, and
the consistent way in which the whole movement
is developed upon the basis of tlieir constituent
figures, with allusions to those of the introduction,
is most remarkable. Here again there is a sort
of conflict between the principal ideas. The first
subject is just stated twice (the second time
with certain appropriate changes), and then a
start is instantly made in the Dominant key,
with new figures characteristic of the second
section ; transition is made to flat keys and
back, and an allusion to the first subject ends
the first half; but all is closely consistent,
vigorous, and concise. The development portion
is also most closely worked upon the principal
subjects, which are treated, as it seems, exhaus-
tively, presenting especially the figures of the
second subject in all sorts of lights, and with
freshness and warmth of imagination, and variety
of tone and character. The recapitulation is pre-
ceded by allusions to the charactei-istic features
of the introduction, considerably transformed,
but still sufficiently recognisable to tell their
tale. The coda is made by fresh treatment of
the figures of the principal subjects in vigorous
and brilliant development.
The Symphony in Eb has no introduction, and
Schumann seems to have aimed at getting his
strong effects of subject in this case by means
other than the vigorous and clear rhythmic forms
which characterise the first movements of the
earlier symphonies. The eff"ect is obtained by
syncopations and cross rhythms, which alter-
nately obscure and strengthen the principal
beats of the bar, and produce an eff'ect of
wild and passionate effort, which is certainly
striking, though not so immediately intelligible
as the rhythmic forms of the previous sym-
phonies. The second subject is in strong con-
trast, having a more gentle and appealing cha-
racter ; but it is almost overwhelmed by the
recurrence of the syncopations of the principal
subject, which make their appearance with per-
sistency in the second as in the first section,
having in that respect a very clear poetical or
spiritual meaning. The whole development of
the movement is again consistent and impressive,
though not so fresh as in the other symphonies.
As a point characteristic of Schumann, the
extreme conciseness of the first section of the first
movement in the Bb, D minor, and C major
Symphonies is to be noticed, as it bears strongly
upon the cultivated judgment and intelligence
which marks his treatment of this great instru-
mental form. The first half is treated almost as
pure exposition; the working-out having logi-
cally the greater part of interesting development
of the ideas. The recapitulation is generally
free, and in the D minor Symphony is practically
D 2
86
SYMPHONY.
supplanted by novel methods of balancing the
structure of the movement. The coda either
presents new features, or takes fresh aspects
of the principal ones, enhanced by new turns
of modulation, and ending with the insistance
on the primary harmonies of the principal key,
which is necessary to the stability of the move-
ment. In all these respects Schumann is a
most worthy successor to Beethoven. He re-
presents his intellectual side in the consistency
with which he developes the whole movement
from a few principal features, and the freshness
and individuality with which he treats the
firm; and he shows plenty of the emotional
and spiritual side in the passionate or tender
qualities of his subjects, and the way in which
they are distributed relatively to one another.
Schumann's sjnnphonic slow movements have
also a distinctive character of their own. Though
extremely concise, they are all at the same time
rich and full of feeling. They are somewhat in
the fashion of a * Romanze,' that in the D
Symphony being definitely so called; and their
development depends rather upon an emotional
than an intellectual basis; as it seems most just
that a slow movement should. His object appears
to have been to find some noble and aspiring
tjtrain of melody, and to contrast it with episodes
of similar character, which carry on and bear
upon the principal idea without diverting the
chain of thought into a different channel. Hence
the basis of the movements is radically lyrical ;
and this affords an important element of contrast
to the first movement, in which there is always
an antithetical element in the contrast of the
two principal subjects. The romanze of the
D Symphony is constructed on a different prin-
ciple ; the sections and musical material being
strongly contrasted; this may be partly owing
to the closeness of its connection with other parts
of the symphony, as will be noticed further on.
The scherzos, including that in the 'Overture
Scherzo and Finale ' (op. 52), have a family like-
ness to one another, though their outlines are dif-
ferent ; they all illustrate a phase of musical and
poetical development in their earnest character
and the vein of sadness which pervades them.
The light and graceful gaiety of most of the
minuets of Haydn and Mozart is scarcely to be
traced in them ; but its place is taken by a
certain wild rush of animal spirits, mixed up in
a strange and picturesque way with expressions
of tenderness and regret. These scherzos are in
a sense unique ; for though following in the same
direction as Beethoven's in some respects, they
have but little of his sense of fun and grotesc^ue,
while the vein of genuine melancholy which per-
vades them certainly finds no counterpart either
in Spohr or Mendelssohn ; and, if it may be
traced in Schubert, it is still in comparison far
less prominent. In fact Schumann's scherzos are
specially curious and interesting, even apart from
the ordinary standpoint of a musician, as illus-
trating a phase of the intellectual progress of the
race. Schumann belonged to the order of men
with large and at the same time delicate sym-
SYMPHONY.
pathies, whose disposition becomes so deeply
impressed with the misfortunes and unsolvable
difficulties which beset his own lot and that of
his fellow men, that pure unmixed lighthearted-
ness becomes almost impossible. The poetical
and thoughtful side of his disposition, which
supplied most vital ingredients to his music,
was deeply tinged with sadness ; and from this
he was hardly ever entirely free. He could
wear an aspect of cheerfulness, but the sad-
ness was sure to peep out, and in this, among
thoughtful and poetically disposed beings, he
cannot be looked upon as singular. Hence the
position of the Scherzo in modem instrumental
music presents certain inevitable difficulties.
The lively, almost childish, merriment of early
examples cannot be attained without jarring
upon the feelings of earnest men ; at least in
works on such a scale as the symphony, where
the dignity and importance of the form inevit-
ably produce a certain sense of responsibility
to loftiness of purpose in the carrying out of
the ideas. A movement corresponding to the
old Scherzo in its relation to the other move-
ments had to be formed upon far more compli-
cated conditions. The essential point in which
Schumann followed his predecessors was the de-
finition of the balancing and contrasting sections.
The outlines of certain groups of bars are nearly
always very strongly marked, and the movement
as a whole is based rather upon effects attainable
by the juxtaposition of such contrasting sections
than upon the continuous logical or emotional
development which is found in the other
movements. The structural outline of the old
dance-forms is still recognisable in this respect,
but the style and rhythm bear little trace of the
dance origin; or at least the dance quality has been
so far idealised as to apply rather to thought and
feeling than to expressive rhythmic play of limbs.
In Schumann's first Symphony the scherzo has
some qualities of style which connect it with the
minuets of earlier times, even of Mozart; but
with these there are genuine characteristic traits
of expression. In the later scherzos the poetical
meaning seems more apparent. In fact the scherzo
and the slow movement are linked together as the
two sections of the work most closely representa-
tive of human emotion and circumstance ; the first
and last movements having more evident depend-
ence upon what are called abstract qualities of
form. In its structural outlines Schumann's
Scherzo presents certain features. In the Sym-
phonies in Bb and C he adopts the device of two
trios. Beethoven had repeated the trio in two
symphonies (4th and 7th), and Schimaann ad-
vanced in the same direction by writing a second
trio instead of repeating the first, and by making
the two trios contrast not only with the scherzo,
but also with each other ; and as a further result
the trios stand centrally in relation to the first
and last statement of the scherzo, while it in its
turn stands centrally between them, and thus the
whole structure of the movement gains in in-
terest. It is worthy of note that the codas to all
Schumann's scherzos are specially interesting and
SYMPHONY.
full; and some of them are singular in the fact
that they form an independent little section con-
veying its own ideas apart from those of the
principal subjects. His finales are less remark-
able on general grounds, and on the whole less
interesting than his other movements. The diffi-
culty of conforming to the old type of light
movements was even moresevere for him than it
was for Beethoven, and hence he was the more
constrained to follow the example set by Bee-
thoven of concluding with something weighty
and forcible, which should make a fitting crown
to the work in those respects, rather than on the
principle of sending the audience away in a good
humour. In the Bb Symphony only does the
last movement aim at gaiety and lightness ; in
the other three symphonies and the Overture,
Scherzo, and Finale, the finales are all of the
same type, with broad and simple subjects and
strongly emphasised rhythms. The rondo form
is only obscurely hinted at in one ; in the others
the development is very free, but based on binary
form ; and the style of expression and develop-
ment is purposely devoid of elaboration.
Besides the points which have been already
mentioned in the development of the individual
movements, Schumann's work is conspicuous for
his attempts to bind the whole together in various
ways. Not only did he make the movements
run into each other, but in several places he
connects them by reproducing the ideas of one
movement in others, and even by using the same
important features in different guises as the essen-
tial basis of different movements. In the Sym-
phony in C there are some interesting examples
of this ; but the Symphony in D is the most
remarkable experiment of the kind yet produced,
and may be taken as a fit type of the highest
order. In the first place all the movements
run into each other except the first and second ;
and even there the first movement is purposely
so ended as to give a sense of incompleteness
unless the next movement is proceeded with at
once. The first subject of the first movement
and the first of the last are connected by a
strong characteristic figure, which is common
to both of them. The persistent way in which
this figure is used in the first movement has
already been described. It is not maintained
to the same extent in the last movement ; but
it makes a strong impression in its place there,
pai-tly by its appearing conspicuously in the
accompaniment, and partly by the way it is led
up to in the sort of intermezzo which connects
the scherzo and the last movement, where it
seems to be introduced at first as a sort of re-
minder of the beginning of the work, and as if
suggesting the clue to its meaning and purpose ;
and is made to increase in force with each re-
petition till the start is made with the finale.
In the same manner the introduction is connected
with the slow movement or romanze, by the use
of its musical material for the second division of
that movement; and the figure which is most
conspicuous in the middle of the romanze runs all
through the trio of the succeeding movement. So
SYMPHONY.
87
that the series of movements are as it were inter-
laced by their subject-matter ; and the result is
that the whole gives the impression of a single
and consistent musical poem. The way in which
the subjects recur may suggest different ex-
planations to different people, and hence it is
dangerous to try and fix one in definite terms
describing particular circumstances. But the
important fact is that the work can be felt to
represent in its entirety the history of a series
of mental or emotional conditions such as may
be grouped round one centre; in other words,
the group of impressions which go to make the
innermost core of a given story seems to be
faithfully expressed in musical terms and in
accordance with the laws which are indispens-
able to a work of art. The conflict of impulses
and desires, the different phases of thought and
emotion, and the triumph or failure of the different
forces which seem to be represented, all give the
impression of belonging to one personality, and of
being perfectly consistent in their relation to
one another; and by this means a very high
example of all that most rightly belongs to
programme music is presented. Schumann how-
ever wisely gave no definite clue to fix the story
in terms. The original autograph has the title
* Symphonische Fantaisie fur grosses Orchester,
skizzirt im Jahre 1841; neu instrumentirt 1851.'
In the published score it is called 'Symphony,'
and numbered as the fourth, though it really
came second. Schumann left several similar
examples in other departments of instrumental
music, but none so fully and carefully carried
out. In the department of Symphony he never
again made so elaborate an experiment. In his
last, however, that in Eb, he avowedly worked
on impressions which supplied him with some-
thing of a poetical basis, though he does not make
use of characteristic figures and subjects to con-
nect the movements with one another. The
impressive fourth movement is one of the most
singular in the range of symphonic music, and is
meant to express the feelings produced in him
by the ceremonial at the enthronement of a
Cardinal in Cologne Cathedral. The last move-
ment has been said to embody * the bustle and
flow of Rhenish holiday life, on coming out into
the town after the conclusion of the ceremony in
the Cathedral.' ^ Of the intention of the scherzo
nothing special is recorded, but the principal
subject has much of the ' local colour ' of the
German national dances.
As a whole, Schumann's contributions to the
department of Symphony are by far the most
important since Beethoven. As a master of
orchestration he is less certain than his fellows of
equal standing. There are passages which rise
to the highest points of beauty and effectiveness,
as in the slow movement of the C major Sym-
phony; and his aim to balance his end and
his means was of the highest, and the way in
which he works it out is original ; but both the
bent of his mind and his education inclined him
to be occasionally less pellucid than his prede-
» For Schumann's Intention see Wassielewiky, 3rd ed. 2C9. 272.
38
SYMPHONY.
cessors, and to give his instruments things to do
which are not perfectly adapted to their idiosyn-
crasies. On the other hand, in vigour, richness,
poetry and earnestness, as well as in the balance
which he was able to maintain between origin-
ality and justness of art, his works stand at the
highest point among the moderns whose work is
done; and have had great and lasting effect
upon his successors.
The advanced point to which the history of
the Symphony has arrived is shown by the way
in which composers have become divided into two
camps, whose characteristics are most easily
understood in their extremest representatives.
The growing tendency to attach positive mean-
ing to music, as music, has in course of time
brought about a new position of affairs in the
instrumental branch of art. We have already
pointed out how the strict outlines of form in
instrumental works came to be modified by the
growing individuality of the subject. As long as
subjects were produced upon very simple lines,
which in most cases resembled one another in all
but very trifling external particulars, there was no
reason why the structure of the whole movement
should grow either complex or individual. But
as the subject (which stands in many cases as
a sort of text) came to expand its harmonic out-
lines and to gain force and meaning, it reacted
more and more upon the form of the whole move-
ment ; and at the same time the musical spirit
of the whole, as distinguished from the technical
aspects of structure, was concentrated and unified,
and became more prominent as an important
constituent of the artistic etisemhle. In many
cases, such as small movements of a lyrical cha-
racter for single instruments, the so-called classi-
cal principles of form were almost lost sight of,
and the movement was left to depend altogether
upon the consistency of the musical expression
throughout. Sometimes these movements had
names suggesting more or less of a programme ;
but this was not by any means invariable or neces-
sary. For in such cases as Chopin's Preludes, and
some of Schumann's little movements, there is
no programme given, and none required by the
listener. The movement depends successfully
upon the meaning which the music has sufficient
character of its own to convey. In such cases the
art form is still thoroughly pure, and depends upon
the development of music as music. But in pro-
cess of time a new position beyond this has been
assumed. Supposing the subjects and figures of
music to be capable of expressing something
which is definite enough to be put into words,
it is argued that the classical principles of struc-
ture may be altogether abandoned, even in their
broadest outlines, and a new starting-point for
instrumental music attained, on the principle of
following the circumstances of a story, or the
Buccession of emotions connected with a given
idea, or the flow of thought suggested by the
memory of a place or person or event of history,
or some such means ; and that this would serve
as a basis of consistency and a means of uni-
fying the whole, without the common resources
SYMPHONY.
of tonal or harmonic distribution. The story or
event must be supposed to have impressed the
composer deeply, and the reaction to be an out-
flow of music, expressing the poetical imaginings
of the author better than words would do. In
some senses this may still be pure art ; where
the musical idea has really sufficient vigour and
vitality in itself to be appreciated without the
help of the external excitement of the imagina-
tion which is attained by giving it a local habi-
tation and a name. For then tlie musical idea
may still have its full share in the development
of the work, and may pervade it intrinsically as
music, and not solely as representing a story
or series of emotions which are, primarily, ex-
ternal to the music. But when the element
of realism creeps in, or the ideas depend for their
interest upon their connection with a given
programme, the case is different. The test seems
to lie in the attitude of mind of the composer.
If the story or programme of any sort is merely
a secondary matter which exerts a general influ-
ence upon the music, while the attention is con-
centrated upon the musical material itself and
its legitimate artistic development, the advan-
tages gained can hardly be questioned. The
principle not only conforms to what is known of
the practice of the greatest masters, but is on
abstract grounds perfectly unassailable ; on the
other hand, if the programme is the primary
element, upon which the mind of the composer
is principally fixed, and by means of which the
work attains a specious excuse for abnormal de-
velopment, independent of the actual musical
sequence of ideas, then the principle is open to
question, and may lead to most unsatisfactory
results. The greatest of modem programme
com])osers came to a certain extent into this
position. The development of pure abstract
instrumental music seems to have been almost
the monopoly of the German race ; French
and Italians have had a readier disposition for
theatrical and at best dramatic music. Berlioz
had an extraordinary perception of the possi-
bilities of instrumental music, and appreciated
the greatest works of the kind by other com-
posers as fully as the best of his contemporaries ;
but it was not his ovm natural way of expressing
himself. His natural bent was always towards
the dramatic elements of eflfect and dramatic
principles of treatment. It seems to have been
necessary to him to find some moving circum-
stance to guide and intensify his inspiration.
When his mind was excited in such a manner he
produced the most extraordinary and original
effects ; and the fluency and clearness with
which he expressed himself was of the highest
order. His genius for orchestration, his vigor-
ous rhythms, and the enormous volumes of
sound which he was as much master of as the
most delicate subtleties of small combinations
of instruments, have the most powerful efiect
upon the hearer ; while his vivid dramatic per-
ception goes very far to supply the place of
the intrinsically musical development which
characterises the works of the greatest masters
SYMPHONY.
of abstract music. But on the other hand, as is
inevitable from the position he adopted, he was
forced at times to assume a theatrical manner,
and a style which savours rather of the stage
than of the true dramatic essence of the situa-
tions he deals with. In the *Symphonie Fan-
tastique,' for instance, which he also called 'Epi-
sode de la Vie d'un Artiste,' his management of
the programme principle is thorough and well-
devised. The notion of the ideal object of the
artist's affections being represented by a definite
musical figure, called the *id^e fixe,' unifying
the work throughout by its constant reappear-
ance in various aspects and surroundings, is very
happy; and the way in which he treats it in
several parts of the first movement has some of
the characteristic qualities of the best kind of
development of ideas and figures, in the purely
musical sense; while at the same time he has
obtained most successfully the expression of the
implied sequence of emotions, and the absorption
consequent upon the contemplation of the • be-
loved object.' In the general laying out of the
work he maintains certain vague resemblances
to the usual symphonic type. The slow intro-
duction, and the succeeding Allegro agitato —
representing his passion, and therefore based to
a very great extent on the 'id^e fixe' — are equi-
valent to the familiar opening movements of
the classical symphonies ; and moreover there is
even a vague resemblance in the inner structure
of the Allegro to the binary form. The second
movement, called' Unbal,' correspondsin position
to the time-honoured minuet and trio ; and
though the broad outlines are very free there is
a certain suggestion of the old inner form in the
relative disposition of the valse section and that
devoted to the ' idde fixe.' In the same way the
*Scfene aux Champs' corresponds to the usual
slow movement. In the remaining movements
the programme element is more conspicuous. A
'Marche au supplice' and a * Songe d'une nuit de
Sabbat' are both of them as fit as possible to
excite the composer's love of picturesque and
terrible effects, and to lead him to attempt
realistic presentation, or even a sort of musical
scene-painting, in which some of the character-
istics of instrumental music are present, though
they are submerged in the general impression by
characteristics of the opera. The effect produced
is of much the same nature as of that of pas-
sages selected from operas played without action
in the concert-room. In fact, in his little pre-
face, Berlioz seems to imply that this would be a
just way to consider the work, and the condensed
statement of his view of programme music
there given is worth quoting : * Le compositeur
a eu pour but de d^velopper, dans ce qu'elles ont
de musical, diffdrentes situations de la vie d'un
artiste. Le plan du drame instrumental, prive
du secours de la parole, a besoin d'etre expose
d'avance. Le programme (qui est indispensable
k rintelligence complete du plan drainatique de
I'ouvrage) doit dont etre consider^ comme le texte
parld d'un Opera, servant k amener des morceaux
de musique, dont il motive le caractbre et I'ex-
SYMPHONY.
39
pression.'* This is a very important and clear
statement of the position, and marks suflBciently
the essential difference between the principles of
the most advanced writers of programme music,
and those adopted by Beethoven. The results are
in fact different forms of art. An instrumental
drama is a fascinating idea, and might be carried
out perfectly within the limits used even by
Mozart and Haydn ; but if the programme is in-
dispensable to its comprehension those limits have
been passed. This does not necessarily make
the form of art an illegitimate one; but it is
most important to realise that it is on quite a
different basis from the type of the instrumental
symphony; and this will be better understood
by comparing Berlioz's statement with those
Symphonies of Beethoven and Mendelssohn, or
even of Raff and Rubinstein, where the adoption
of a general and vague title gives the semblance
of a similar use of programme. Beethoven liked
to have a picture or scene or circumstance in
his ^ mind ; but it makes all the difference to
the form of art whether the picture or story is
the guiding principle in the development of the
piece, or whether the development follows the
natural implication of the positively musical idea.
The mere occurrence, in one of these forms, of a
feature which is characteristic of the other, is
not suflficient to bridge over the distance between
them; and hence the 'instrumental drama' or
poem, of which Berlioz has given the world its
finest examples, must be regarded as distinct
from the regular type of the pure instrumental
symphony. It might perhaps be fairly regarded
as the Celtic counterpart of the essentially Teu-
tonic form of art, and as an expression of the
Italo-Gallic ideas of instrumental music on lines
parallel to the German symphony; but in reality
it is scarcely even an offshoot of the old sym-
phonic stem; and it will be far better for the
understanding of the subject if the two forms
of art are kept as distinct in name as they are in
principle.
The only composer of really great mark who
has worked on similar lines to Berlioz in modem
times is Liszt; and his adoption of the name
'Symphonic poem' for such compositions suffi-
ciently defines their nature without bringing them
exactly under the head of symphonies. Of these
there are many, constructed on absolutely inde-
pendent lines, so as to appear as musical poems
or counterparts of actual existing poems, on such
subjects as Mazeppa, Prometheus, Orpheus, the
battle of the Huns, the ' Preludes ' of Lamartine,
Hamlet, and so forth. [See p. io6.] A work
which, in name at least, trenches upon the old
lines is the 'Faust Symphony,' in which the con-
nection with the programme-principle of Berlioz
I The composer has aimed at developing various situations in the
life of an artist, so far as seemed musically possible. The plan of an
Instrumental drama, being without vfords, requires to be explained
beforehand. The programme (which is indispensable to the perfect
comprehension of the dramatic plan of the work) ought therefore to
be considered In the light of the spoken text of an Opera, serving to
lead up to the pieces of music, and indicate the character and ex-
pression.
3 This important admission was made by Beethoven toNeate: 'I
have always a picture iu my thoughts wheu I am composiug, aad
work to It.' (Thayer. III. 343.)
40
SYMPHONY.
is emphasised by the dedication of the piece to
him. In this work the connection with the old
form of symphony is perhaps even less than in
the examples of Berlioz. Subjects and figures are
used not for the purposes of defining the artistic
form, but to describe individuals, ideas, or cir-
cumstances. The main divisions of the work are
ostensibly three, which are called 'character pic-
tures' of Faust, Margaret, and Mephistopheles
severally ; and the whole concludes with a setting
of the 'Chorus mysticus.' Figures are used
after the manner of Wagner's 'Leit-motiven' to
portray graphically such things as bewildered
inquiry, anxious agitation, love, and mockery,
besides the special figure or melody given for each
individual as a whole. These are so interwoven
and developed by modifications and transfonna-
tions suited to express the circumstances, as to
present the speculations of the composer on the
character and the philosophy of the poem in
various interesting lights ; and his great mastery
of orchestral expression and fluency of style con-
tribute to its artistic importance on its own hasia;
while in general the treatment of the subject
is more psychological and less pictorially realistic
than the prominent portions of Berlioz's work,
and therefore slightly nearer in spirit to the
classical models. But with all its striking char-
acteristics and successful points the music does
not approach Berlioz in vitality or breadth of
musical idea, '-
The few remaining modern composers of sym-
phonies belong essentially to the German school,
even when adopting the general advantage of
a, vague title. Prominent among these are KafF
and Rubinstein, whose methods of dealing with
instrumental music are at bottom closely related.
Raff almost invariably adopted a title for his
instrumental works ; but those which he selected
admit of the same kind of general interpretation
as those of Mendelssohn, and serve rather as a
means of unifying the general tone and style of
the work than of pointing out the lines of actual
development. The several Seasons, for instance,
serve as the general idea for a symphony each.
Another is called *Im Walde.' In another
several conditions in the progress of the life of a
man serve as a vague basis for giving a certain
consistency of character to the style of expression,
in a way quite consonant with the pure type. In
one case Raif comes nearer to the Berlioz ideal,
namely in the Lenore Symphony, in some parts
of which he clearly attempts to depict a suc-
cession of events. But even when this is most
pronounced, as in the latter part of the work,
there is very little that is not perfectly intel-
ligible and appreciable as music without re-
ference to the poem. As a matter of fact Raff
is always rather free and relaxed in his form;
but that is not owing to his adoption of pro-
gramme, since the same characteristic is observ-
able in works that have no name as in those that
have. The ease and speed with which he wrote,
and the readiness with which he could call up a
certain kind of genial, and often very attractive
ideas, both interfered with the concentration
SYMPHONY.
necessary for developing a closely-knit and com-
pact work of art. His ideas are clearly defined
and very intelligible, and have much poetical
sentiment ; and these facts, together with a very
notable mastery of orchestral resource and feeling
for colour, have ensured his works great success ;
but there is too little self-restraint and concentra-
tion both in the general outline and in the state-
ment of details, and too little self-criticism in the
choice of subject-matter, to admit the works to the
highest rank among symphonies. In the broadest
outlines he generally conformed to the principles
of the earlier masters, distributing his allegros,
slow movements, scherzos, and finales, accordmg
to precedent. And, allowing for the laxity above
referred to, the models which he followed in the
internal structure of the movements are the
familiar types of Haydn, Mozart, and Beethoven.
His finales are usually the most irregular, at
times amounting almost to fantasias; but even
this, as already described, is in conformity with
tendencies which are noticeable even in the
golden age of symphonic art. Taken as a whole,
Raff's work in the departtnent of symphony is
the best representative of a characteristic class
of composition of modem times — the class in
which the actual ideas and general colour and
sentiment are nearly everything, while their
development and the value of the artistic side
of structure are reduced to a minimum.
Rubinstein's works are conspicuous examples
of the same class ; but the absence of concentra-
tion, self-criticism in the choice of subjects, and
care in statement of details, is even more con-
spicuous in him than in Raff. His most im-
portant symphonic work is called ' The Ocean *
— the general title serving, as in Raff's sym-
phonies, to give unity to the sentiment and tone
of the whole, rather than as a definite programme
to work to. In this, as in Raff, there is much
spontaneity in the invention of subjects, and in
some cases a higher point of real beauty and
force is reached than in that composer's works ;
and there is also a good deal of striking interest in
the details. The most noticeable external feature
is the fact that the symphony is in six move-
ments. There was originally the familiar group
of four, and to these were added, some years
later, an additional slow movement, which stands
second, and a further genuine scherzo, which
stands fifth, both movements being devised in
contrast to the previously written adagio and
scherzo. Another symphony of Rubinstein's,
showing much vigour and originality, and some
careful and intelligent treatment of subject, is the
' Dramatic' This is in the usual four movements,
with well devised introductions to the first and
last. The work as a whole is hampered by
excessive and unnecessary length, which is
not the residt of the possibilities of the sub-
jects or the necessities of their development ; and
might be reduced with nothing but absolute
advantage.
The greatest existing representative of the
highest art in the department of Symphony is
Johannes Brahms. Though he has as yet given
SYMPHONY.
SYMPHONY.
41
the world only two examples,^ they have that
mark of intensity, loftiness of purpose, and artistic
mastery which sets them above all other con-
temporary work of the kind. Like Beethoven
and Schumann he did not produce a sym-
phony till a late period in his career, when
his judgment was matured by much practice
in other kindred forms of instrumental com-
position, such as pianoforte quartets, string
sextets and quartets, sonatas, and such forms of
orchestral composition as variations and two
serenades. He seems to have set himself to prove
that the old principles of form are still capable
of serving as the basis of works which should
be thoroughly original both in general character
and in detail and development, without either
falling back on the device of programme, or
abrogating or making any positive change in the
principles, or abandoning the loftiness of style
which befits the highest form of art; but by
legitimate expansion, and application of careful
thought and musical contrivance to the develop-
ment. In all these respects he is a thorough de-
scendant of Beethoven, and illustrates the highest
and best way in which the tendencies of the age in
instrumental music may yet be expressed. He dif-
fers most markedly from the class of composers re-
presented by Raff, in the fact that his treatment
of form is an essential and important element in
the artistic effect. The care with which he deve-
lops it is not more remarkable than the insight
shown in all the possible ways of enriching it with-
out weakening its consistency. In appearance it is
extremely free, and at available points all possible
use is made of novel effects of transition and in-
genious harmonic subtleties ; but these are used
in such a way as not to disturb the balance of
the whole, or to lead either to discursiveness or
tautology. In the laying out of the principal
sections as much freedom is used as is consistent
with the possibility of being readily followed
and imderstood. Thus in the recapitulatory por-
tion of a movement the subjects which charac-
terise the sections are not only subjected to
considerable and interesting variation, but are
often much condensed and transformed. In
the first movement of the second symphony, for
instance, the recapitulation of the first part
of the movement is so welded on to the working-
out portion that the hearer is only happily con-
scious that this point has been arrived at with-
out the usual insistance to call his attention to
it. Again, the subjects are so ingeniously varied
and transformed in restatement that they seem
almost new, though the broad melodic outlines
give sufl&cient assurance of their representing the
recapitulation. The same effect is obtained in
parts of the allegrettos which occupy the place
of scherzos in both symphonies. The old type of
minuet and trio form is felt to underlie the well-
woven texture of the whole, but the way in which
the joints and seams are made often escapes
observation. Thus in the final return to the
1 A third, in F, was produced at Vienna on Dec. 2. 1883, but the
facts ascertainable about it are not yet sufficiently full to base any
discussiun upon (Dec. 31).
principal section in the Allegretto of the 2nd
Symphony, which is in G major, the subject
seems to make its appearance in Fj major,
which serves as dominant to B minor, and going
that way round the subject glides into the prin-
cipal key almost insensibly.^ In the Allegretto
of the Symphony in C the outline of a charac-
teristic feature is all that is retained in the
final return of the principal subject near the
end, and new effect is gained by giving a fresh
turn to the harmony. Similar closeness of tex-
ture is found in the slow movement of the
same symphony, at the point where the prin-
cipal subject returns, and the richness of the
variation to which it is subjected enhances
the musical impression. The effect of these
devices is to give additional unity and consist-
ency to the movements. Enough is given to
enable the intelligent hearer to imderstand the
form without its appearing in aspects with which
he is already too familiar. Similar thorough-
ness is to be found on the other sides of the
matter. In the development of the sections, for
instance, all signs of 'padding' are done away
with as much as possible, and the interest is
sustained by developing at once such figures of
the principal subjects as will serve most suitably.
Even such points as necessary equivalents to
cadences, or pauses on the dominant, are by
this means infused with positive musical in-
terest in just proportion to their subordinate
relations to the actual subjects. Similarly,
in the treatment of the orchestra, such a thing
as filling up is avoided to the utmost possible ;
and in order to escape the over-complexity of
detail so unsuitable to the symphonic form of art,
the forces of the orchestra are grouped in masses in
the principal characteristic figures, in such a way
that the whole texture is endowed with vitality.
The impression so conveyed to some is that the
orchestration is not at such a high level of per-
fection as the other elements of art ; and certainly
the composer does not aim at subtle combinations
of tone and captivating effects of a sensual kind
so much as many other great composers of modem
times ; and if too much attention is concentrated
upon the special element of his orchestration it
may doubtless seem at times rough and coarse.
But this element must only be considered in its
relation to all the others, since the composer
may reasonably dispense with some orchestral
fascinations in order to get broad masses of
harmony and strong outlines ; and if he seeks
to express his musical ideas by means of sound,
rather than to disguise the absence of them
by seductive misuse of it, the world is a gainer.
In the putting forward and management of
actual subjects, he is guided by what appears
to be inherent fitness to the occasion. In the
fiirst movement of the Symphony in C, atten-
tion is mainly concentrated upon one strong
subject figure, which appears in both the prin-
cipal sections and acts as a centre upon which the
rest of the musical materials are grouped ; and
a For a counterpart to thla see the first movement of BcethOTen'f
" — ■"* in F, op. 10, no. 2.
42
SYMPHONY.
the result is to unify the impression of the whole
movement, and to give it a special sentiment in
an unusual degree. In the first movement of
the Symphony in D there are even several sub-
jects in each section, but they are so interwoven
with one another, and seem so to fit and illustrate
one another, that for the most part there appears
to be but little loss of direct continuity. In
several cases we meet with the devices of trans-
forming and transfiguring an idea. The most
obvious instance is in the Allegretto of the
Symphony in D, in which the first Trio in 3-4 time
(a) is radically the same subject as that of the
principal section in 3-4 time (6), but very differ-
ently stated. Then a very important item in the
second Trio is a version in 3-8 time (c) of a figure
of the first Trio in a -4 time (d).
i.riiii ^mw
(c)
^^^
•" nnH
^^
Of similar nature, in the Symphony in C minor,
are the suggestions of important features of sub-
jects and figures of the first Allegro in the open-
ing introduction, and the connection of the last
movement with its own introduction by the same
means. In all these respects Brahms illustrates
the highest manifestations of actual art as art ;
attaining his end by extraordinary mastery of
both development and expression. And it is
most notable that the great impression which his
larger works produce is gained more by the effect
of the entire movements than by the attractive-
ness of the subjects. He does not seem to
SYMPHONY.
aim at making his subjects the test of success.
They are hardly seen to have their full meaning
till they are developed and expatiated upon in
the course of the movement, and the musical
impression does not depend upon them to any-
thing like the proportionate degree that it did
in the works of the earlier masters. This is in
conformity with the principles of progress which
have been indicated above. The various elements
of which the art-form consists seem to have been
brought more and more to a fair balance of func-
tions, and this has necessitated a certain amount
of * give and take ' between them. If too much
stress is laid upon one element at the expense ot
others, the perfection of the art-form as a whole
is diminished thereby. If the effects of orchestra-
tion are emphasised at the expense of the ideas
and vitality of the figures, the work may gain
in immediate attractiveness, but must lose in
substantial worth. The same may be said of
over-predominance of subject-matter. The sub-
jects need to be noble and well marked, but if
the movement is to be perfectly complete, and to
express something in its entirety and not as a
string of tunes, it will be a drawback if the mere
faculty for inventing a striking figure or passage
of melody preponderates excessively over the
power of development ; and the proportion in
which they are both carried upwards together to
the highest limit of musical effect is a great test
of the artistic perfection of the work. In these
respects Brahms's Symphonies are extraordin-
arily successful. They represent the austerest
and noblest form of art in the strongest and
healthiest way; and his manner and methods
have already had some influence upon the younger
and more serious composers of the day.
It would be invidious, however, to endeavour
to point out as yet those in whose works his
influence is most strongly shown. It must suf-
fice to record that there are still many com-
posers alive who are able to pass the symphonic
ordeal with some success. Amongst the elders
are Benedict and Hiller, who have given the
world examples in earnest style and full of vigour
and good workmanship. Among the younger
representatives the most successful are the Bo-
hemian composer Dvorak, and the Italian
Sgambati; and among English works may be
mentioned with much satisfaction the Norwe-
gian Symphony of Cowen, which was original
and picturesque in thought and treatment ; the
Elegiac Symphony of Stanford, in which excel-
lent workmanship, vivacity of ideas, and fluency
of development combine to isstablish it as an ad-
mirable example of its class ; and an early sym-
phony by Sullivan, which had such marks of excel-
lence as to show how much art might have gained
if circumstances had not drawn him to more
lucrative branches of composition. It is obvious
that composers have not given up hopes of deve-
loping something individual and complete in this
form of art. It is not likely that many will be
able to follow Brahms in his severe and uncom-
promising methods ; but he himself has shown
more than any one how elastic the old principles
SYMPHONY ORCHESTRA.
may yet be made without departing from the
genuine type of abstract instrumental music ;
and that when there is room for individual expres-
sion there is still good work to be done, though
we can hardly hope that even the greatest com-
posers of the future will surpass the symphonic
triumphs of tlie past, whatever they may do in
other fields of composition. [C.H.H.P.]
SYMPHONY ORCHESTRA, The Boston
(U. S. A.), owes its existence, and its large per-
petual endowment, to the generosity and taste of
Mr. Henry Lee Higginson, a well-known citizen
of Boston, and affords a good instance of the muni-
ficent way in which the Americans apply their
great riches for the public benefit in the service
of education and art. Mr. Higginson had for
long cherished the idea of having 'an orchestra
which should play the best music in the best way,
and give concerts to all who could pay a small
price.'' At length, on March 30, 1881, he made
his intention public in the Boston newspapers as
follows : — ^The orchestra to number 60, and their
remuneration to include the concerts and 'careful
training.' Concerts to be twenty in number,
on Saturday evenings, in the Music Hall, from
middle of October to middle of March. Single
tickets from 75 to 25 cents (3s. to is.) ; season
tickets (concerts only) 10 to 5 dollars ; one public
rehearsal, i«. entrance. Orchestra to be per-
manent, and to be called The Boston Symphony
Orchestra.
Mr. Georg Henschel was appointed conductor,
and Mr. B. Listemann leader and solo violin. A
full musical library was purchased, and the first
concert took place on Oct. 22, 1881, at 8 p.m.
Its programme, and that of the 17th concert,
Eeb. 18, 1882, give a fair idea of the music per-
formed : —
I. Overture, op. 124, Beethoven. Air, Orpheus,
Gluck. Sjmiphony in Bb, Haydn. Ballet music,
Rosamunde, Schubert. Scena, Odysseus, Max
Bruch. Festival Overture [Jubilee], Weber.
XVII. Overture, Leonore, no. i, Beethoven.
Rhapsody for contralto, chorus, and orch. (op.
53), Brahms. Symphony no. 8, Beethoven. Vio-
lin Concerto, Mendelssohn. Overture, Phbdre,
Massenet.
There were twenty concerts in all, and the
last ended with the Choral Symphony.
Since the first season some extensions have
taken place. There are now 24 concerts in the
series. The orchestra numbers 72, and there is
a chorus of 200. There are three rehearsals for
each concert, and on the Thursdays a concert is
given in some neighbouring city of New England.
Both the performances and the open rehearsals
are crowded, and so far the noble intention of
the founder, *to serve the cause of good art
only,* has been fulfilled. We can only say Esto
perpdua. [G.]
SYMPHONY SOCIETY, New York, U.S.,
organised October 15, 1878, and incorporated by
the State legislature, April 8, 1879. I^s object
is the advancement of music by procuring the
1 us. letter to Editor.
SYMPSON.
43
public performance of the best classical composi-
tions, especially those of a symphonic character.
The society in its five seasons has given thirty
regular concerts and as many public rehearsals
(six in each season), and two special concertat
with the public rehearsals — in all, sixty-four en-
tertainments. At these concerts there have been
brought out 89 works, 14 of them for the first
time in New York. The orchestra numbers 70
players, and the soloists, vocal and instrumental,
are the most distinguished attainable. The
concerts of the first four seasons were given in
Steinway Hall ; those of the fifth in the Academy
of Music. Dr. Leopold Damrosch has been the
conductor since the start. Ofl&cers (1883") : —
president, Hilborne L. Rossevelt ; treasurer, W.
H. Draper, M.D. ; recording secretary, Rich-
mond Delafield; corresponding secretary, Morris
Reno ; librarian, D. M. Knevals, and twelve
others, directors. [F.H.J.]
SYMPSON (or SIMPSON, as he sometimes
spelled his name), Christopher, was an eminent
performer on, and teacher of the viol, in the 17 th
century. During the Civil War he served in
the army raised by William Cavendish, Duke of
Newcastle, in support of the royal cause, and
afterwards became an inmate of the house of Sir
Robert Bolles, a Leicestershire baronet, whose
son he taught. In 1655 he annotated Dr. Cam-
pion's * Art of Setting or Composing of Musick
in Parts,' another edition of which appeared in
1664, and the tract and annotations were added
to several of the early editions of Playford's
'Introduction to the Skill of Musick.' [See
Campion, Thomas, and Playford, John.] In
1659 he published 'The Division Violist, or.
An Introduction to the Playing upon a Ground,'
dedicated to his patron, Sir Robert Bolles, for
the instruction of whose son he tells us the book
was originally prepared, with commendatory
verses by Dr. Charles Colman, John Jenkins,
Matthew Lock, John Carwarden, and Edward
Galsthorp, prefixed. In 1665 he published a
second edition with a Latin translation printed
in parallel columns with the English text, and
the double title, 'Chelys, Minuritionum Artificio
Exomata sive, Minuritiones ad Basin, etiam Ex-
tempore Modulandi Ratio. The Division Viol,
or, The Art of Playing Ex-tempore upon a
Ground,' dedicated to his former pupil. Sir John
Bolles, who had succeeded to the baronetcy. A
third edition appeared in 1712, to which a por-
trait of Sympson, finely engraved by Faithorne,
after J. Carwarden, was prefixed. In 1665 he
published 'The Principles of Practical Musick,'
of which he issued a second edition in 1667,
under the title of ' A Compendium of Practical
Musick, in five Parts, Teaching, by a New and
Easie Method, i. The Rudiments of Song.
2. The Principles of Composition. 3. The Use
of Discords. 4. The Form of Figurate Descant.
5. The Contrivance of Canon.' This was dedi-
cated to the Duke of Newcastle, and had com-
mendatory verses by Matthew Lock and John
Jenkins prefixed. It became popular, and other
edifiona with additions appeared in 1678, 1706^
44
SYMPSON.
SYNTAGMA MUSICUM.
1714, 1722, 1727, and 1732, and an undated
edition about 1760. A portrait of the author,
drawn and engraved by Faithome, is prefixed
to the first eight editions. Sir John Hawkins
in his History gives a long description of the
Division Viol and Compendium (Novello's
edition, pp. 708-712). He tells us also that
Sympson 'dwelt some years in Turnstile, Hol-
bom, and finished his life there' (at what date
is not stated), and that he was of the Romish
communion. [W.H.H.]
SYNCOPATION. The binding of two simi-
lar notes so that the accent intended for the
second appears to fall upon the first. [See Accent.]
In the Coda of the great 'Leonora' Overture
('No. 3') Beethoven has a passage given out syn-
copated on the wind and naturally on the strings,
then vice versa.
It was not however always sufficient for Bee-
thoven's requirements, as may be seen from a
well-known place in the Scherzo of the Eroica,
where he first gives a passage in syncopation —
and then repeats it in common time, which in
this instance may be taken as an extreme form
of syncopation.
Schumann was fonder of syncopation than any
other composer. His works supply many in-
stances of whole short movements so syncopated
throughout that the ear loses its reckoning, and
the impression of contra-tempo is lost : e. g. Kin-
derscenen. No. 10 ; Faschingsschwank, No. i,
and, most noticeable of all, the opening bar of
the • Manfred ' Overture.
Presto.
Wagner has one or two examples of exceed-
ingly complex syncopation : an accompaniment
figure in Act 2 of ' Tristan imd Isolde,' which
runs thus throughout,
AndanU.
5^
^
m^^.
and a somewhat similar figure in Act i of ' Gbt-
terdammerung * (the scene known as 'Hagen's
watch '), where the quavers of a 1 2-8 bar are so
tied as to convey the impression of 6-4. The
prelude to Act 2 of the same work presents a
still more curious specimen, no two bars having
«t all the same accent.
Its effect in the accompaniment of songs may
be most charming. We will only refer to Men-
delssohn's 'Nachtlied' (op. 71, no. 6), and to
Schumann's *Dein Bildniss' (op. 39, no. 2). [F.C.]
SYNTAGMA MUSICUM, i.e. Musical Trea-
tise. A very rare work, by Michael Praetorius.
A detailed account is given in vol. iii. pp. 25-26.
It remains only to speak of its interest as a biblio-
graphical treasure. It was originally designed for
four volumes, three only of which were published,
with a supplementary collection of plates which
Forkel mistook for the promised fourth volume.
The first volume of the edition described by
Fetis was printed at Wittemberg in 161 5; the
second and third at Wolfenbiittel in 1619 ; and
the collection of plates — Theatrum Instrumen-
torum seu Sciagraphia — at Wolfenbiittel in 1 620.*
A copy of this edition is in the Town Library at
Breslau;'* Mr. Alfred H. Littleton also possesses
a very fine and perfect copy, which corresponds,
in all essential particulars, with that described
by F^tis. But neither F^tis nor Mendel seems
to have been aware of the existence of an older
edition. A copy of this is in the possession of
the Rev. Sir F. A. G. Ouseley. The ist volume
bears the same date as Mr. Littleton's copy,
' Wittebergae, 1615'; but the 2nd and 3rd
volumes are dated 'Wolfenbiittel, 1618'; and
the difference does not merely lie in the state-
ment of the year, but clearly indicates an earlier
issue. In the edition of 161 8, the title-page of
the 2nd volume is piinted entirely in black : in
that of 1 6 19, it is in black and red. The title-
page of the 3rd volume is black in both editions;
but in different type : and, though the contents
of the 2nd and 3rd volumes correspond generally
in both copies, slight typographical differences
may be detected in sufficient numbers to prove
the existence of a distinct edition, beyond all
doubt. It has long been known that twenty
pages of the General Introduction were more
than once reprinted; but these belong to the
first volume, and are in no way concerned with
the edition of 161 8, of which, so far as we have
been able to ascertain. Sir F. Ouseley's copy is
an unique example.
But, apart from its rarity, the book is doubly
interesting from the extraordinary dearth of other
early treatises on the same subject. Three similar
works only are known to have preceded it ; and
the amount of information in these is compara-
tively very small. The earliest is a small volume,
of 1 1 2 pages, in oblong 4to, by Sebastian Vir-
dung, entitled ' Musica getuscht und aussgezogen,
1 In our description of this edition, In the article Peaetobidb, Um
following errata occur—
Vol. Hi. p. 266, line 19. for 1618 read 1618.
note, for 1519 read 1619.
3 See the exhaustive Catalogue b; Emil BCbm (Berlin, 1883).
SYNTAGMA MUSICUM.
15 1 1.' It is written in German dialogue,
carried on between the * Autor ' and ' Silvanus ';
and is illustrated by woodcuts of Instruments,
not unlike those in the Syntagma. The next,
also in small oblong 4to, is the ' Musica instru-
mentalisch deudsch * of Martin Agricola, printed
at Wittemberg in 1529, but preceded by a Pre-
face dated Magdeburg 1528. This also con-
tains a number of woodcuts, like those given by
Virdung. The third and last treatise — another
oblong 4to — is the 'Musurgia seu praxis musicae*
of Ottomarus Luscinius (Othmar Naclitigal, or
Nachtgall), dated Argentorati (Strasburg) 1536,
and reprinted, at the same place, in 1542. The
first portion of this is a mere Latin translation of
the dialogue of Virdung. The book contains 102
pages, exclusive of the Preface, and is illustrated
by woodcuts, like those of Virdung and Agricola.
All these three volumes are exceedingly scarce,
and much prized by collectors, as specimens of
early typography, as well as by students, for the
light they throw upon the Instrumental Music
of the i6th century, concerning which we pos-
sess so little detailed information of incontestable
authority. The Breslau Library possesses none
of them. A copy of Nachtigal's ' Musurgia ' is in
the British Museum ; and also a very imperfect
copy — wanting pages 1-49, including the title-
page— of Agricola's * Musica Instrumentalis.'
Mr. Littleton possesses perfect copies of the en-
tire series.
An earlier work by Nachtgall — ' Musicae In-
stitutiones' — printed at Strasburg in 151 5, does
not touch upon Orchestral or Instrumental
Music ; and does not, therefore, fall within our
present category, [W.S.R.]
SYREN. [See Siren, vol. iii. p. 517.]
SCHUTZ.
45
SYSTEM. The collection of staves necessary
for the complete score of a piece — in a string
quartet, or an ordinary vocal score, four; a PF.
trio, four ; a PF. quartet, five ; and so on. Two
or more of these will go on a page, and then we
speak of the upper or lower system, etc. [G.]
SZYMANOWSKA, Marie, a distinguished
pianist of her day, who would, however, hardly
have been remembered but for Goethe's infatua-
tion for her. She was bom about 1 790, of Polish
parents named Wolowski, and was a pupil of
John Field's at Moscow. She travelled much
in Germany, France, and England, and died at
St. Petersburg of cholera in Aug. 1831. One of
her daughters married the famous Polish poet
Mickiewicz, whom she had introduced to Goethe
in July 1829. Goethe knew her as early as 18 21,
and even then overpraised her, setting her above
Hummel ; * but those who do so,* says Felix
Mendelssohn, who was then at Weimar,^ * think
more of her pretty face than her not pretty play-
ing.' Goethe renewed the acquaintance in Aug.
1823, at Eger, where she and Anna Milder were
both staying, calls her *an incredible player,'
and expresses his excitement at hearing music
after an interval of over two years in a remark-
able letter to Zelter of Aug. 24, 1823, again com-
paring her with Hummel, to the latter's disad-
vantage. Mme. Szymanowska appears to have
helped to inspire the * Trilogie der Leidenschaft,'
and the third of its three poems, called ' Aussoh-
nung,' is a direct allusion to her. In 1824 she
was in Berlin. ' She is furiously in love (rasend
verliebt) with you,' says Zelter to the poet, ' and
has given me a hundred kisses on my mouth for you .'
Her compositions were chiefly for the PF.,
with a few songs. [G.]
SCHUTZ, Heinrich (name sometimes La-
tinized Sagittarius), 'the father of German
music,' as he has been styled, was bom at
Kostritz, Saxony, Oct. 8, 1585. Admitted as a
chorister into the chapel of the Landgraf Mau-
rice of Hesse-Cassel, besides a thorough musical
training, Schiitz had the advantage of a good
general education in the arts and sciences of the
time, which enabled him in 1607 to proceed to
the University of Marburg, where he pursued
with some distinction the study of law. The
Landgraf, when on a visit to Marburg, observing
in his proUgi a special inclination and talent for
music, generously offered to defray the expense
of his further musical cultivation at Venice un-
der the tuition of Giovanni Gabrieli, the most
distinguished musician of the age. Schiitz ac-
cordingly proceeded to Venice in 1609, and
already in i6ii published the firstfruits of his
studies under Gabrieli, a book of five-part madri-
gals dedicated to his patron. On the death of
Gabrieli in 1612, Schiitz returned to Germany
with the intention of resuming his legal studies,
but the Landgraf's intervention secured him
once more for the service of art. A visit to
Dresden led to his being appointed Capellmeister
to the Elector of Saxony in 161 5, an office which
he continued to hold, with some interruptions,
till his death in 1672. His first work of import-
ance appeared in 1619, ' Psalmen David's sammt
etlichen Motetten und Concerten mit 8 und mehr
Stimmen,' a work which shows the influence of
the new Monodic or Declamatory style which
Schiitz had learned in Italy. His next work in
1623, an oratorio on the subject of the Resur-
rection, testifies the same earnest striving after
dramatic expression. In 1627 he was commis-
sioned by the Elector to compose the music for the
German version by Opitz of Riuuccini's ' Daphne,'
but this work has unfortunately been lost. It
deserves mention as being the first German
opera, though it would appear to have been
remodelled entirely on the primitive Italian
opera of Peri and Caccini. Schiitz made no
further efforts towards the development of opera,
but with the exception of a ballet with dialogue
and recitative, composed in 1638, confined him-
self henceforward to the domain of sacred music,
introducing into it, however, the new Italian
1 Goethe and Mendelssohn, p. 25.
46
SCIIUTZ.
Stilo Recitativo, and the element of dramatic
expression. In 1625 appeared his 'Geistliche
Gesange,' and in 1628 his music to Becker's
metric J Psalms. After a second visit to Italy
in 1628, he published the first part of his ♦ Sym-
phoniae Sacrae' (the second part appeared in
1647, the third in 1650), which has been regarded
as his chief work, and testifies how diligently
he had studied the new art of instrumental ac-
companiment which had arisen in Italy with
Monteverde. Two pieces from this work, The
Lament of David for Absalom, and the Con-
version of S. Paul, are given in Winterfeld's
« Gabrieli.' The Thirty Years War interrupted
Schiitz's labours at Dresden in 1633, and com-
pelled him to take refuge at the Court of King
Christian IV. of Denmark, and of Duke George
of Brunswick. In this unsettled time appeared
his 'Geistliche Concerte zu i bis 5 Stimmen,
1636 and 1639, and in 1645 his 'Sieben Worte '
(first published by Riedel, Leipzig, 1870). This
last work may be considered as the germ of
all the later Passion-music, uniting as it does
the musical representation of the sacred narra-
tive with the expression of the reflections and
feelings of the ideal Christian community. As
Bach later in his Passions, so Schiitz in this
work accompanies the words of our Lord with
the full strings. On Schiitz's return to Dresden,
he found the Electoral Chapel fallen into such
decay, and the difficulties of reorganisation so
great for want of proper resources, that he
repeatedly requested his dismissal, which how-
ever was not granted. Ijike Weber at Dresden
with Morlacchi, so even in 1653 Schiitz found it
difficult to work harmoniously with his Italian
colleague Bontempi. Italian art was already
losing its seriousness of pujpose, and in the
further development of the Monodic style, and
the art of instrumental accompaniment, was
renouncing all the traditions of the old vocal
and ecclesiastical style. This seems to have
caused a reaction in the mind of Schiitz, the re-
presentative of serious German art ; and his last
work — the four Passions, ' Historia des Leidens
und Sterbens unseres Herrn und Heilandes
lesu Christi' (1665-6) — is an expression of
this reaction. Instrumental accompaniment is
here dispensed with, and dramatic expression
restricted for the most part to the choruses ; but
in them is manifested with such truth and power
as to surpass all previous essays of the same
kind, and give an imperishable historical value
to the work. Schiitz himself regarded it as his
best work. Carl Biedel has made selections
from the * Four Passions * so as to form one
Passions-musik suitable for modem performances
— a questionable proceeding. Schiitz died Nov.
6, 167a. His importance in the history of
music lies in the mediating position he occupies
between the adherents of the old Ecclesiastical
style and the followers of the new Monodic
Btyle. While showing his thorough appreciation
STIMPSON.
of the new style so far as regarded the im-
portance of dramatic expression, he had no
desire to lose anything of the beauty and power
of the pure and real a-capella style. And so by
his serious endeavour to unite the advantages of
the Polyphonic and the Monodic styles, he may
be considered as preparing the way for the later
Polyodic style of Sebastian Bach. [See vol. ii.
539 &» 6656.] [J.R.M.]
STIMPSON, James, a well-known Birming-
ham musician, born at Lincoln Feb. 29, 1820,
son of a lay vicar of the cathedral, who removed
to Durham in 1822, where James became a
chorister in 1827. In February 1834 he was
articled to Mr. Ingham, organist of Carlisle Ca-
thedral; in June 1836 was appointed organist of
St. Andrew's, Newcastle ; and in June 1841, on
Ingham's death, was made organist of Carlisle.
In February 1 842 James Stimpson was unani-
mously chosen organist at the Town Hall and
St. Paul's, Birmingham, out of many competitors,
and in the following year justified the choice by
founding the Festival Choral Society and its
Benevolent Fund, in connection with the Trien-
nial Festivals. He continued organist and
chorus-master to the Society until 1855. His
activity, however, did not stop here. In 1844 he
was instrumental in starting the weekly Monday
Evening Concerts, of which, in 1859, he took the
entire responsibility, to relinquish them only after
heavy losses in 1867.
In 1845 Mr. Stimpson had the satisfaction
of having the pedals of the Town Hall organ
increased from 2 to 2^ octaves, so that he
was able to perform the works of J. S. Bach
unmutilated. He is still organist of the Town
Hall, and gives weekly recitals throughout the
year to audiences varying from 600 to 1 000.
In the absence of a permanent orchestra — a fact
remarkable in a town of the wealth, importance,
and intelligence of Birmingham — many a young
amateur has derived his first taste for classical
music from the excellent programmes of Mr.
Stimpson. He was permanent organist of the
Birmingham festivals, and Mendelssohn's last
visit there was to conduct 'Elijah' for Mr.
Stimpsou's benefit April 25, 1847. He intro-
duced Sims Reeves and Charles Halle to Bir-
mingham, and laboured from 1849 ^^^^^ 1868,
in many ways, in the service of good music,
gaining thereby the gratitude and respect of his
fellow townsmen. He has been Professor of
Music at the Blind Institution for 25 years.
D'Almaine published in 1850 'The Organists'
Standard Library,' edited by Mr. Stimpson, con-
sisting principally of pieces hitherto unpublished
in this country. His other publications consist
mostly of arrangements, one of the best known
being the favourite anthem ' As pants the hart *
fix)m Spohr's 'Crucifixion.' His long experience
in teaching the theory of music is embodied in a
manual published by Rudall, Carte & Co. [G.]
«
T.
TABLATURE (La.t.Tabulatwa, from Tabula,
a table, or flat surface, prepared for writing;
Ital. Intavolatura; Fr. Tahlature; Germ.
Tabulatur). A method of Notation, chiefly used,
in the 15th and i6th centuries, for the Lute,
though occasionally employed by Violists, and
Composers for some other Instruments of like
character.
In common with all other true systems of
Notation, Tablature traces its descent in a direct
line from the Gamut of Guido, though, in its
later forms, it abandons the use of the Stave.
It was used, in the i6th century, by Organists,
as a means of indicating the extended Scale of
the instruments, which, especially in Germany,
were daily increasing in size and compass. For
this purpose the lower Octave of the Gamut
was described in capital letters ; the second, in
small letters ; the third, in small letters with a
line drawn above them :-
This Scale was soon very much extended ; the
notes below Gamut G (F) being distinguished by
double capitals, and those above g by small letters
with two lines above them, the lower notes being
described as belonging to the Double Octave, and
the two upper Octaves as the Once-marked, and
Twice-marked Octaves.
Several minor diff'erences occur in the works
of early authors. Agricola, for instance, in his
• Musica instrumentalis,' carries the Scale down
to FF ; and, instead of capitals, permits the use
of small letters with lines below them for the
lower Octaves — ff g a etc. But the principle
remained unchanged ; and when the C Scale
was universally adopted for the Organ, its Tabla-
ture assumed the form which it retains in Ger-
many to the present day : —
Double Octave.
Great Octave.
Small Octave.
w
CO
^ EE FF GG
Once-marked Octave.
AA BB 0
D E F G A B
c d
f g a b
Thrice-marked Octave.
Twice-marked Octave.
m
-•- JL
cffeTgaScde fg
The comparatively recent adoption of the C
Pedal-board in England has led to some confusion
as to the Tablature of the lower Octave ; and hence
our English organ-builders usually describe the
Great C as Double C, using tripled capitals for
the lowest notes — a circumstance which renders
caution necessary in comparing English and Ger-
man specifications, where the actual length of the
pipes is not marked.
In process of time, a hook was added to the
letters, for the purpose of indicating a Q ; as,
q (cJJ), 4 (djf), etc. : and, in the absence of a
corresponding sign for the b, c, was written for d b,
4 for e b, etc., giving rise, in the Scale of Eb, to
the monstrous progression, DJJ, F, G, GjJ, Aj, C,
D, D J — an anomaly which continued in common
use, long after Michael Prsetorius had recom-
mended, in his ' Syntagma Musicum,' ^ the use
of hooks below or above the letters, to indicate
the two forms of Semitone — q, d, etc. Even as
late as 1808 the error was revived in connection
with Beethoven's Eroica Symphony, which was
1 See p. 44.
c d e ? g a U «*•=•
announced in Vienna as 'Symphonic in Dis'
For indicating the length of the notes, the
following forms were adopted, at a very early
period :—
Breve.
Seml-
breve.
Minim.
Crotchet.
Quaver.
Semi-
quaver.
Notes.
•
1
i
h
t!
^
^
Rests.
A
J^
^
i
J
Grouped ^
idea.
c. ete.
ossible
lexity.
Tiro Orotcheti ~H~ Four Qu
By mea,nH of these Signs
to express passages of con
« Xhayer'f 'ObronologUcliei
iviir. J_ ' "1 - -
, it was
siderab]
Vcnelchii
quite p
e comj
48
TABLATURE.
without the use of a Stave; though, very fre-
quently, the two methods of Notation were com-
bined, especially in Compositions intended for a
Solo Voice, with Instrumental Accompaniment.
For instance, in . the following example from
Arnold Schlick's • Tabulaturen Etlicher lobgeseng
iind liedlein ufF die orgeln und lauten ' (Mentz,
Maria Zart
TABLATURE.
15 1 2), the melody is given on the Stave, and the
Bass in Organ Tablature, the notes in ihe latter
being twice as long as those in the former — a
peculiarity by no means rare, in a method of
Notation into which almost every writer of emi-
nence introduced some novelty of his own de-
vising.
Though no doubt deriving its origin from this
early form, the method of Tablature used by
Lutenists differed from it altogether in prin-
ciple, being founded, in all its most important
points, upon the peculiar construction of the in-
strument for which it was intended. [See Lute.]
To the uninitiated. Music written on this system
appears to be noted, either in Arabic numerals,
or small letters, on an unusually broad Six-lined
Stave. The resemblance to a Stave is, however,
merely imaginary. The Lines really represent
the six principal Strings of the Lute ; while the
letters, or numerals, denote the Frets by which
the Strings are stopped, without indicating either
the names of the notes to be sounded, or their
relation to a fixed Clef. And, since the pitch of
the notes produced by the use of the Frets will
naturally depend upon that of the Open Strings,
it is clearly impossible to decypher any given
system of Tablature, without first ascertaining
the method of tuning to which it is adapted,
though the same principle underlies all known
modifications of the general rule. We shall do
well, therefore, to begin by comparing a few of
the methods of tuning most commonly used on
the Continent. [See Scordatuba.]
Adrien le Roy, in his 'Briefve et facile In-
struction pour aprendre la Tablature,' first printed
at Paris in 155 1, tunes the Chanterelle — i. e. the
I at, or highest String, to c, and the lower Strings,
in descending order, to g, d, bb, f, and c ; see (a)
in the following example. Vincenzo Galilei, in
the Dialogue called 'II Fronimo' (Venice, 1583),
tunes his instrument thus, beginning with the
lowest String, G, c, f, a, d, g, as at (6) : and this
system was imitated by Agricola, in his 'Musica
Instrumentalis ' (Wittenberg, 1529); and em-
ployed by John Dowland in his ' Bookes of Songes
or Ayres ' (London, 1 597-1 603), and by most Eng-
lish Lutenists, who, however, always reckoned
downwards, from the highest sound to the lowest,
as at (c). Thomas Mace describes the English
method, in * Musick's Monument ' (London, 1676
fol.), chap. ix. Scipione Cerreto, * Delia prattica
musica vocale et strumentale' (Napoli, 1601),
gives a somewhat similar system, with 8 strings,
tuned thus, beginning with the lowest, C, D, G,
c, f, a, d, g, as at (d) in the example. Sebastian
Virdung, in * Musica getuscht' (151 1), gives the
following, reckoning upwards, as at (e) — A, d, g,
b, e, a ; and this method, which was once very
common in Italy, is followed in a scarce collection
of Songs with Lute Accompaniment, published at
Venice by Ottaviano Petrucci, in 1509.
(a)
Adribn lb Roy.
i^^
p^
w
V. Galilbi.
P^
^^
W^
(c)
J. Dowland.
i
^m
(d)
S. Ckrreto.
-..•- FF=t
O. Petrucci. Seb. Virduno.
f
It will be understood that these systems apply
only to the six principal Strings of the Lute,
which, alone, were governed by the Frets. The
longer Strings, sympathetically tuned in pairs, by
means of a separate neck, were entirely ignored,
in nearly all systems of Tablature, and used only
after the manner of a Drone, when they hap-
pened to coincide with the Tonic of the Key
in which the Music was written. Of this nature
are the two lowest Strings at (d) in the foregoing
example.
Of the Lines — generally six in number —
used to represent the principal Strings, Italian
Lutenists almost always employed the lowest for
TABLATURE.
the Chanterelle and the highest, for the gravest
String. In France, England, Flanders, and Spain,
the highest line was used for the Chanterelle, and
the whole system reversed. The French system,
however, was afterwards universally adopted, both
in Italy and Germany — a circumstance which
must be carefully borne in mind with regard
to Music printed in those countries in the 1 7th
century.
The Frets by which the six principal Strings
were shortened, were represented, in Italy, by
the numerals i, 2, 3, 4, 5, 6, 7, 8, 9, to which
were afterwards added the numbers 10, ii, 12,
writtMi X, X, X. In France and England the
place of these numerals was supplied by the
letters a, b, c, d, e, f, g, h, i, etc. : and, after a
time, these letters came into general use on the
Continent also. Of course, one plan was just as
good as the other ; but there was this important
practical dlflference between them : in England
and France a represented the Open String, and
b the first Fret ; in Italy, the Open String was
represented by a cypher, and the first Fret by
the number i. The letter &, therefore, corre-
sponded to the figure i ; and c to 2. The letters,
or numerals, were written either on the lines or
in the spaces between them, each letter or
numeral representing a Semitone in correspond-
ence with the action of the Frets. Thus, when
the lowest String was tuned to G, the actual
note G was represented by a (or o) ; GjJ, or
Ab, by b (or i) ; A, by c (or 2) ; AJ, or Bb,
by d (or 3). But when the lowest String was
tuned to A, b (or i) represented Bb ; c (or 2)
represented Btl; and d (or 3) represented c.
The following example shows both the French
and the Italian Methods, the letters being
written in the spaces — the usual plan in England
— and the lowest place being reserved for an
additional Open Bass String.
TABLATURE.
49
G
French
Chanterelle
and English
Tahlatun
J. DowJ
[.AND.
D
A
F
abed
C
a b c d e
G
abode
(D
) Loveri string
a
Solution.
Italian Tahlature.
G-
V. GALILKt.
F-
A-
D-
G-
-0—1-2 3
-o-x-,-3-4-
ChanterMt
Solution.
In order to indicate the duration of the notes,
the Semibreve, Minim, Crotchet, Quaver, and
Dot — or Point of Augmentation — were repre-
sented by the following signs, written over the
highest line ; each sign remaining in force until
it was contradicted by another — at least, during
the continuance of the bar. At the beginning
of a new bar, the sign was usually repeated.
Semibreve.
I
Uinim.
^
Crotchet.
Quaver.
In order to afford the reader an opportunity of
practically testing the rules, we give a few short
examples selected from the works already men-
tioned; showing, in each case, the method of
tuning employed — an indulgence very unusual
in the old Lute-Books. Ordinary notation was
of course used for the voice part.
J. DOWLAND.
mi
5:
Ch
(G)
Awake, sweet
anterelle. |S
c c d
love
1
C
thou
a
art re -
turned.
W
d d a
d
d
d d
(A)
odd
d
b
db
d f
(F)
^ a
a
a
e f
(C)
f
(G)
Lowett String.
=S=3
g
:2±
m
1 ^
^
h
^ ^.(^
c d
c
a a
d
d b a
d
d d
c
oca
e a a
a
a
a
e a f ace
f d
^
^ ^^ M
d d c
d d .
d d b
aba a
e c
c a .
f a
^^=^=^====^^=^
-^ r'r — r^ ■
^r=^^^
VOL. IV. PT. I.
50
3
TABLATURE.
:!=&=
f=r=r=T
r [ ^ i J
a
^^
Br=Ff
i
J^t
Italian method.
Ottaviano Petrttcci.
i
g^ f=^ g^:
1 h
Af - flit • U spir-ti
Lowest String.
(A)-
(D).
(G)-
(B)
(E)-
(A).
^ >
^ h h >
^ ^^ N N
^
3 ....
_e-x —
3-1— o
o—
o —
ChanterelU.
N h ^ N
e
N N 1
tc.
Q
333
3
These examples will enable the student to solve
any ordinary forms of Tablature. Those who wish
to study the supplementary Positions of Galilei,
and the complicated methods of Gerle,' Besardus,^
and other German writers, will find no difficulty
in understanding the rules laid down in their re-
spective treatises, after having once mastered the
general features of this system.
It remains only to speak of Tablature as
applied to other intruments than that for which
it was originally designed.
During the reign of King James T, Coperario,
then resident in England, adapted the Lute
Tablature to Music written for the Bass Viol.
1 In nuMt modern editions, this note Is erreueously printed O.
a Hiuica Teutscb CNarnberg, 1642).
> Tbesaonu barmonlciu (Colon. Agr. 1603).
TABLE ENTERTAINMENT.
Tins method of Notation was used for beginners
only, and not for playing in concert. John Play-
ford, in his ' Introduction to the Skill of Music *
(loth edit., London, 1683), describes this method
of Notation as the 'Lyra-way'; and calls the
instrument the Lero, or Lyra- Viol. The six
strings of the Bass Viol are tuned thus, be-
ginning with the 6th, or lowest String, and
reckoning 'upwards— D, G (F), c, e, a, d; and
the method proposed is exactly the same as that
used for the Lute, adapted to this system of
tuning. Thus, on the 6th String, a denotes D
(the Open String) ; b denotes D J ; c denotes E ;
etc. ^ A player, therefore, who can read Lute-
Music, will find no difficulty in reading this.
John Playford, enlarging upon Coperario's idea,
recommended the same method for beginners on
the Violin, adapting it to the four Open Strings of
that instrument— G, D, A, E. The following Air,
arranged on this system, for the Violin, is taken
from a tune called * Parthenia.'
J J J J J J.J. j.^i JJ
ACDFH PDCAC
A
F
:^
J.J. J.^J J J
D C A
F E F
This adaptation to the Violin is one of the latest
developments of the system of Tablature on
record : but Mendel,* not without show of reason,
thinks the term applicable to the Basso Continue,
or Figured-Bass ; and we should not be very far
wrong were we to apply it to the Tonic-Sol-Fa
system of our own day. [W.S.R.]
TABLE ENTERTAINMENT. A species of
performance consisting generally of a mixture of
narration and singing delivered by a single in-
dividual seated behind a table facing the audience.
When or by whom it was originated seems doubt-
ful. George Alexander Steevens gave, about
1765, entertainments in which he was the sole
performer, but such were probably rather lec-
tures than table entertainments. In May 1775,
R. Baddeley, the comedian (the original Moses in
•The School for Scandal'), gave an entertain-
ment at Marylebone Gardens, described as • an
attempt at a sketch of the times in a variety of
* If uslkallschei Conversations Lexicon (Berlin, 1869).
TABLE ENTERTAINMENT.
caricatures, accompanied with a whimsical and
satirical dissertation on each character ' ; and in
the June following George Saville Carey gave at
the same place * A Lecture on Mimicry,' in which
he introduced imitations of the principal theatri-
cal performers and vocalists of the period. John
Collins, an actor, in 1775 gave in London a table-
entertainment, written by himself, called 'The
Elements of Modern Oratory,' in which he intro-
duced imitations of Garrick and Foote. After
giving it for 42 times in London he repeated
it in Oxford, Cambridge, Belfast, Dublin, and
Birmingham. He subsequently gave, with great
success, an entertainment, also written by him-
self, called 'The Evening Brush,' containing seve-
ral songs which became very popular; among
them the once well-known 'Chapter of Kings'
— 'The Romans in England once held sway,
etc.' ^ Charles Dibdin commenced in 1789 a
series of table entertainments in which song was
the prominent feature, and which he continued
with great success until 1801. Dibdin's posi-
tion as a table entertainer was unique. He
united in himself the functions of author, com-
poser, narrator, singer, and accompanyist. [See
Dibdin, Charles, in which article it was by
mistake stated that Dibdin was the originator
of this class of entertainment.] On April 3, 181 6,
the elder Charles Mathews gave, at the Lyceum
Theatre, his ' Mail Coach Adventures,' the first
of a series of table-entertainments which he con-
tinued to give for many years, and with which
he achieved an unprecedented success. Into these
his wonderful power of personation enabled him
to introduce a new feature. After stooping be-
hind his table he quickly reappeared with his
head and shoulders in costume, representing to
the life some singular character. The old Scotch-
woman, the Thames waterman, and the Milton-
struck ironmonger were a few only of such per-
sonations. Mathews's success led to similar
performances by others. Foremost among these
were the comedians John Reeve and Frederick
Yates, whose fwU was imitation of the principal
actors of the day. W. S. Woodin gave for seve-
ral seasons, with very great success, table-enter-
tainments at the Lowther Rooms, King William
Street, Strand; a place now known as Toole's
Theatre. — ^Henry Phillips, the bass singer, and
John Wilson, the Scotch tenor, gave similar enter-
tainments, of a more closely musical kind : and
Edney, the Erasers, and others, have followed in
their wake. [See Phillips, Henry ; and Wilson,
John.] [W.H.H.]
TABOR. A small drum used to accompany
a pipe, both being played by the same man. [See
Pipe and Tabor.] Tabret is a diminutive of
Tabor. [V.deP.]
TABOUROT. [See Abbeau, vol. i. p. 80.]
TACCHINARDI, Niccol5, a distinguished
tenor singer, bom at Florence in September 1776.
He was intended for an ecclesiastical career, but
his artistic bias was so strong that he abandoned
I See a copy of the worda In ' Notes and Queries ' for 1866.
TADOLINI.
51
the study of literature for that of painting and
modelling. From the age of eleven he also re-
ceived instruction in vocal and instrumental
music. When 17 he joined the orchestra at the
Florence t-lieatre as violin-player, but after five
years of this work, his voice having meanwhile
developed into a beautiful tenor, he began to sing
in public. In 1804 he appeared on the operatic
stages of Leghorn and Pisa ; afterwards on those
of Venice, Florence, and Milan, where he took a
distinguished part in the gala performances at
Napoleon's coronation as king of Italy.
At Rome, where his success was as permanent
as it was brilliant, his old passion for sculpture
was revived by the acquaintance which he made
with Canova, in whose studio he worked for a
time. Canova executed his bust in marble, thus
paying homage to him in his v/orst aspect, for
he was one of the ugliest of men, and almost a
hunchback. When he appeared at Paris in 181 1,
his looks created a mingled sensation of horror
and amusement ; but such was the beauty of his
voice and the consummate mastery of his style,
that he had only to begin to sing for these per-
sonal drawbacks to be all forgotten. He is said
to have taken Babini for his model, but it is
doubtful if he had any rival in execution and
artistic resource. The fact of so ugly a man sus-
taining the part (transposed for tenor) of Don
Giovanni, with success, shows what a spell he
could cast over his audience.
After three successful years in Paris, Tacchi-
nardi returned in 1 814 to Italy, where he was ap-
pointed chief singer to the Grand Duke of Tuscany,
with liberty to travel. He accordingly sang at
Vienna, and afterwards, in Spain, distinguishing
himself especially at Barcelona, although then 50
years old. After 1831 he left the stage, and lived
at his country house near Florence. He retained
his appointment from the Grand Duke, but de-
voted himself chiefly to teaching, for which he
became celebrated. He b uilt a little private theatre
in which to exercise his pupils, of whom the most
notable were Mme. Frezzolini, and his daughter
Fanny, Mme. Persiani, perhaps the most striking
instance on record of what extreme training and
hard work may effect, in the absence of any su-
perlative natural gifts. His other daughter, Elisa,
was an eminent pianiste. Tacchinardi was the
author of a number of solfeggi and vocal exercises,
and of a little work called * Dell' opera in musica
sul teatro italiano, e de' suoi difetti.' He died in
i860. [F.A.M.]
TACET. i.e. Ms silent.' An indication often
found in old scores, meaning that the instrument
to which it refers is to leave off playing. [G.]
TADOLINI, Giovanni, bom at Bologna in
1793, learned composition from Mattei, and sing-
ing from Babini, and at the age of 1 8 was appointed
by Spontini accompanyist and chorus-master at
the Theatre des Italiens, Paris. He kept this post
till the faU of Paris in 18 14, when he retumed to
Italy. There he remained, writing operas and
occupied in music till 1830, when he went back
to the Theatre Italien, with his wife, Eugeni*
E2
52
TADOLINI.
Savorini (born at ForVi, 1809), whom he had mar-
ried shortly before, and resumed his old functions
till 1839, when he once more returned to Italy,
and died at Bologna Nov. 29, 1872. His operas
are 'La Fata Alcina ' (Venice, 1814) ; 'La Princi-
pessa di Navarra ' (Bologna, i8i6?) ; 'II Credulo
deluso' (Rome, 1820?); 'Tamerlano' (Bologna,
1822?) 'Moctar* (Milan. 1824?); 'Mitridate'
(Venice, 1826?); 'Almanzor' (Trieste, 1828?).
One of his canzonets, 'Eco di Scozia,' with horn
obligato, was much sung by Rubini. Tadolini
was at one time credited with having written
the concluding fugue in Rossini's Stabat (see
Berlioz, 'Soirees de I'orchestre' 2bme Epilogue).
The above is chiefly compiled from Fdtis. [G.]
TAGLICHSBECK, Thomas, bom of a musical
family at Ansbach, in Bavaria, Dec. 31, 1799,
studied at Munich under Eovelli and Gratz, and
by degrees became known. Lindpaintner in 1 820
gave him his first opportunity by appointing him
his deputy in the direction of the Munich theatre,
and about this time he produced his first opera,
'Weber's Bild.* After this he forsook Munich
and wandered over Germany, Holland, and Den-
mark, as a violinist, in which he acquired great
reputation. He then settled in Paris, and on
Jan. 24, 1836, a symphony of his (op. 10) was
admitted to the unwonted honour of peiform-
ance at the Conservatoire. It must have had
at least the merit of clearness and effect, or it
would not have been followed by a second per-
formance on April 2, 1837 — ^ ^^^6 honour for any
German composer but a first-rate one.
In 1827 he was appointed Kapellmeister of the
Prince of HohenzoUern Hechingen, a post which
he retained till its dissolution in 1848. The rest
of his life was passed between Lowenberg in
Silesia, Dresden, and Baden Baden, where he died
Oct. 5, 1867. His works extend to op. 33, and
embrace, besides the symphony already men-
tioned, three others — a mass, op. 25 ; a psalm,
op. 30 ; a trio for PF. and strings ; a great
quantity of concertos, variations, and other pieces
for the violin ; part-songs, etc., etc. [G.]
TAGLIAFICO, Joseph Dieddonn4 bom
Jan. I, 182 1, of Italian parents, at Toulon, and
educated at the College Henri IV, Paris.
He received instruction in singing from Pier-
marini, in acting from Lablache, and made his
<M)ut in 1844 at the Italiens, Paris. He first
appeared in England April 6, 1847, at Covent
Garden Theatre, as Oroe in 'Semiramide,' on the
occasion of the opening of the Royal Italian
Opera. From that year until 1876 he appeared at
Covent Garden season by season, almost opera
by opera. His parts were small, but they were
thoroughly studied and given, and invariably
showed the intelligent and conscientious artist.
In the intervals of the London seasons he had
engagements in St. Petersburg, Moscow, Paris,
and America ; was stage manager at the Thd3.tre
des Italiens, Monte Carlo, etc., and for many
years corresponded with the 'Menestrel' under
the signature of * De Retz.' In 1877, on the death
of M. Desplaces, he was appointed stage manager
of the Italian Opera in London, which post he
TALLYS.
resigned in 1882 on account of iU health. Mme.
Tagliafico, formerly Cotti, was for many years a
valuable 'comprimaria* both at Covent Garden
and Her Majesty's. [A.C.]
TALEXY, Adrien. A pianist and voluminous
composer, born about 1820; produced between
1872 and 1878 six one-act operettas at the
Bouffes-Parisiens and other Paris theatres, none
of which met with any special favour. He is
the author of a ' Mdthode de piano ' ; 20 ' Etudes
expressives,' op. 80 (with Colombier) ; and of
a large number of salon and dance pieces for
piano solo, some of which enjoyed great popu-
larity in their day. In i860 M. Talexy con-
ducted a series of French operas at the St. James's
Theatre, London, for Mr. F. B. Chatterton, begin-
ning with La Tentation, May 28, which however
did not prove a good speculation. He died at
Paris in 1 88 1. [G.]
TAILLE. Originally the Fiench name for
the tenor voice, Basse-taille being applied to the
baritone ; but most frequently employed to de-
signate the tenor viol and violin. It properly
denominates the large tenor, as distinguished
from the smaller contralto or haute-contre : but
zttf — ^s often applied to both instruments. The
-M— tenor violoncello clef was originally ap-
~" propriated to the Taille. [See Tenor
Violin.] [E.J.P.]
TALISMANO, Hi. Grand opera in 3 acts ;
music by Balfe. Produced at Her Majesty's Opera,
June II, 1874. The book, founded on Walter
Scott's 'Talisman,' was written by A. Mattheson
in English, and so composed ; but was translated
into Italian by Sig. Zaflfira for the purpose of
production at the Italian Opera. The work was
left unfinished by Balfe, and completed by Dr.
G. A. Macfarren. [G.]
TALLYS (as he himself wrote his name),
TALYS, or TALLIS (as it is usually spelled),
Thomas, the father of English cathedral music,
is supposed to have been bom in the second
decade of the i6th century. It has been con-
jectured that he received his early musical
education in the choir of St. Paul's Cathedral
under Thomas Mulliner, and was removed
thence to the choir of the Chapel Royal ; but
there is no evidence to support either state-
ment. The words * Child there ' which occur at
the end of the entry in the Cheque-book of the
Chapel Royal recording his death and the appoint-
ment of his successor, and which have been relied
upon as proving the latter statement, are am-
biguous, as they are applicable equally to his
successor, Henry Eveseed, and to him. It is how-
ever highly probable that he was a chorister
in one or other of the metropolitan choirs. He
became organist of Waltham Abbey, which
appointment he retained until the dissolution
of the abbey in 1540, when he was dismissed
with 20s. for wages and 20*. for reward.^ It is
probable that he soon after that event obtained
the place of a Gentleman of the Chapel Royal.
His celebrated Preces, Responses and Litany, and
1 This fact was discovered by Mr. W. H. Cumming*.
TALLYS.
his Service in the Dorian mode, were most prob-
ably composed soon after the second Prayer Book
of Edward VI. was issued in 1552. In 1560 he
contributed eight tunes to Day's Psalter (one of
which, a canon 2 in i, was subsequently adapted
and is still used to Ken's Evening Hymn), and
four anthems to Day's Morning, Communion,
and Evening Prayer. On January 2 1, 1575-6 he
and William Byrd obtained Letters Patent giving
them the exclusive right of printing music and
ruled music paper for twenty-one years ; the first
of the kind. The first work printed under the
patent was the patentees' own * Cantiones quae ab
argumento Sacrae vocantur, quinque et sex par-
tium,' containing 34 motets, 16 by Tallis, and 18
by Byrd, and dated 1575. In the patent the
grantees are called * Gent, of our Chappell ' only,
but on the title-page of the 'Cantiones' they
describe themselves as ' Serenissimae Regineee
Maiestati h. priuato Sacello generosis, et Organis-
tis.' The work is a beautiful specimen of early
English musical typography. It contains not
only three laudatory poems, one ' De Anglorum
Musica' (unsigned), and two others by ' Richardus
Mulcasterus' and 'Ferdinandus Richardsonus,'
but also at the end a short poem by Tallis and
Byrd themselves : —
AUTORES CANTIONUM AD LECTOREM.
Haft tibi primitias sic commendamus, amice
Lector, ut ivfantem deponitura suum
Nutricijidei vix Jirma puerpera credit.
Quels pro lacte tuce gratea frontis erit
Eac etenimfretce, magnam promittere messem
Audebunt, cassce, falcis honore cadent.
which has been thus happily Englished : — *
The Framees of the Musicke to the Reader.
As one, that scarce recouer'd from her Throes
With trustie Nurse her feeble Babe bestowes ;
These firstlings, Reader, in thy Hands we place,
Whose Milk must be the Fauour of thy Face ;
By that sustayn'd, large Increase shal they shew,
Of that depriued, ungarner'd must they gee.
About the same time Tallys composed his
markable Song of Forty parts, for 8 choirs
of 5 voices each, originally set to Latin
words, but adapted to English words about
1630.'' [See vol. iii. p. 274.] Tallys, like
his contemporary, the famous Vicar of Bray,
conformed, outwardly at least, to the various
forms of worship which successive rulers
imposed, and so retained his position in the
Chapel Royal uninterruptedly from his ap-
pointment in the reign of Henry VIII until
his death in that of Elizabeth. From the
circumstance of his having selected his Latin
motets for publication so lately as 1575 it may
be inferred that his own inclination was toward
the older fai'.h. He died November 23, 1585,
and was buried in the chancel of the parish
church at Greenwich, where in a stone before
the altar rails a brass plate was inserted with an
epitaph in verse engraven upon it. Upon the
church being taken down for rebuilding soon
1 By Mr. H. F. Wilson, of Trinity Colleee, Cambridge, to ivhom the
Editor's best acitnowledgmnents are due.
2 Copies are to be found in the Madrigal Society's Library, made by
John Immyns ; the British Museum ; the Royal College of Music ;
the Library of Sir F. A. G. Ouseley.
TALLYS.
53
after 1710 the inscription was removed, and Tallys
remained without any tombstone memorial for
upwards of 150 years, when a copy of the epitaph
(which had been preserved by Strype in his
edition of Stow's Survey of London, 1720,^ and
reprinted by Hawkins, Bumey and others) was
placed in the present church. The epitaph was
set to music as a 4-part glee by Dr. Cooke,
which was printed in Warren's collections.
Tallys's Service (with the Venite as originally
set as a canticle), Preces and Responses, and
Litany, and 5 anthems (adapted from his Latin
motets), were first printed in Barnard's Selected
Church Musick, 1641. The Service, Preces, Re-
sponses and Litany, somewhat changed in form
and with the substitution of a chant for Venite
instead of the original setting, and the addition
of a chant for the Athanasian Creed, were next
printed by Dr. Boyce in his Cathedral Music,
All the various versions of the Preces, Responses
and Litany are included in Dr. Jebb's ' Choral
Responses and Litanies.' He appears to have
written another service also in the Dorian mode,
but * in 5 parts two in one,' of which, as will be
seen from the following list, the bass part only
is at present known. A Te Deum in F, for 5
voices, is much nearer complete preservation
(see List). Hawkins included in his History
scores of two of the Cantiones, and, after having
stated in the body of his work that Tallys did not
compose any secular music, printed in his appen-
dix the 4-part song, • Like as the doleful dove.*
Bumey in his History printed an anthem from
Day's Morning, Communion, and Evening prayer,
and two of the Cantiones. Several MS. compo-
sitions by Tallys are preserved at Christ Church,
Oxford, in Queen Elizabeth's Virginal Book, in
the British Museum, and elsewhere. (See the
List.) We give his autograph from the last leaf
of a MS. collection of Treatises on Music,
formerly belonging to Waltham Abbey, now in
the British Museum (Lansdowne MS. 763).
A head, purporting to be his likeness, together
with that of Byrd, was engraved (upon the same
plate) for Nicola Haym's projected History of
Music, 1726. A single impression alone is known,
but copies of a photograph taken from it are
extant. [W.H.H.]
The following is a first attempt to enumerate
the existing works of Tallys : —
3 By an odd misprint the composer's name It called 'Qallys'
Strype^ copy.
14
TALLYS.
TAMBERLIK.
L PRINTED.
The earliest appearance is giren.
Hear the Tolce and prayer (»
Prayer •).
0 Lord in thee Is all my trust (' a
Prayer ')•
Remember not, O Lord God (' the
Anthem').
If ye lore me (' the Anthem *).
1 glye you a new Commandment.)
(All for four voices. Printed In
John Day's 'Homing and Evening
Prayer and Communion,' 1560 ?)
Han blest no doubt. 1st tune.
Let God arise, 2iid do.
Why fumeth in flght, 3rd do.
O come In one, 4th do.
Even like the hunted hind, 5th do.
Expend, O Lord, 6th do.
Why bragst in malice high. 7th do.
God grant with grace, 8th do.
Come, Holy Ghost, eternal God.
(All for four voices. In John Day's
'Whole Psalter* 1663? The 8 tunes
(In the Tenor part) are in the 8
modes, 1 in each. No. 8— a Canon
2 In 1, sung upside down— is the
In Jejunio et fletu, & S, No. ZflL
SuscipequsBSO, 47. No. 27.
SlenimC^dapars), i7. No. 28.
Miserere nostrl. 47. No. 34 (Haw-
. kins, HI. 276).
(All from the Cautlones sacre.
etc. 157Sw)
• First Service,* or • Short Service *
—In D dor. Venite. Te Deum.
Benedfctus, Kyrie, Creed,
Sanctus. Gloria in Excelsis,
Uagniflcat, NuncDImittis; all
ki.
' First preces.*
First Psalm to do.' (P«. cxix.)
' AVherewithal,' a chant har-
monised.
Second do., ' 0 do well,' do.
Third do. ' My soi^l cleavelh,' do.
all four it 4.
Responses, Lord's Prayer, and
Litany 4 5.
(Anthem) O Lord, give thy Holy
Spirit, 4 4. (Adapted from
Latin, according to Tudway.)
tune usually sung to 'Glory to'With all our hearts. 4 5 (Sal vator
Thoe. my God this night.') Mundl, No. 1).
Blessed be thy name. 4 6 (Mihi
Salvator mundi, 4 5. No. 1 (Bur- 1 autem nimis).
ney, iii.76). Adapted to 'With i call and cry, 4 5(0 sacrum con-
all our hearts,' by Barnard, j vivium).
Also(?) to 'Teach me, O Lord,', Wipe away my Mns, 4 5 (Absterge
Ch. Ch., and ' When Jesus.' Domine).2 See ' Forgive me,'
Absterge Domine, 4 5. No. 2 (Haw- MS.
khis. 111. 267). Adapted to (All from Barnard's ' First Book
'Wipe away.' by Barnard If g^i^^jg^ church Music, 1641.)
Also to ' Discomfit them, O
Lord '(1588?) and 'I look for Litany. Preces, and Responses. 4 4.
the Lord.
In manus tuas, 4 5. No. 3.
Uihl autem nimis, 4 5. No. 7.
Adapted to 'Blessed be thy
In Rimbault's ' Full Cathedral
Service of Thomas Tallis ' ; and
Jebb's ' Choral Responses and
Litanies' (1817).
name,' by Barnard. Also to Like as the doleful dove, 4 4. In
Great and marvellous.' by Hawkins, Appendix.
Motett Society
Onata lux (Hymn), 45. No. 8.
O sacrum convivium. 4 5. No. 9.
Adapted to 'I call and cry,'
by Barnard.
Derelinquit Implus, 4 5. No. 13
(Burney, Hi. 80).
Sabbathum dum translsset, 46.
No. 14.
Virtus, honor et potestas, 4 6.
No. 15.
IlliB dum pergunt (Hymn), 4 5.
No. 16 (? has a 2nd part. Rex
Christe).
Proculrecedant(Hymn),45. No.20
SalvatorMundl. 45. No. 21 (differ-
ent from No. 1).
FMtl sunt Nazarel, 4 5. No. 22.
All people that on earth do dwell,
4 4. In Arnold's Cathedral
Music, vol. 1.
Hear my prayer, 44. In 'Anthems'
and Services forChurchChoirs.
Burns, 1846, vol. 1. 15.
Blessed are those. 4 5. In Motett
Society's Collection, liL 131.
Great and marvellous, 4 5. Ibid,
ill. 99, adapted from ' Mlhi au-
tem nimis,' Cantio 7; and
' Blessed be thy Name.' in Bar-
nard.
Verba mea auribus, 4 5. In Roch-
litz's Sammlung. A retransla-
tlon of ' I call and cry.'
'Come, Holy Ghost, our souls in-
spire.' Parish Choir.
IL MANUSCRIPT (NOT PRINTED).
Oh. Ch. - (3hrlst Church Library, Oxford. M.S.O. ■=■ Music School,
Oxford. R.C.M.-Llbrary of Royal College of Music. Add. MS.^
Additional MS3. British Museum. F.W.-Fitzwilliam Museum,
Cambridge. O.-Library of Rev. Sir F. A. G. Ouseley. Bt. P.H.—
Peterhouse, Cambridge.
'Second Psalms' to Preces, viz. Adesto nunc. 4 5. Ch. Ch.
Pss. ex. and cxxxii. Probably Ad nlhilum deductus, 4 5. 2nd
Part of ' Domine quis.'
MSS. 5,059.
A new commandment (?) »
Arise, O Lord. P. H.
Chants harmonised. rart of ' Domine quis.' Add.
• Third Psalms 'to Preces, viz. Ps.
cxix. 145-176. Do.
(Both these are In a Bass part
book, formerly Juxon's, in the Li- Ave Dei patris. 43. R.C.H.
brary of St. John's Coll., Oxford.) | Ave Domini fllia. 4 3. Do.
Service 'of five parts, two in one'i^J^ Sa gr;t1a'-4 J^Do
In D dor., containing Venite. ^-rosa 42 n'o
Te Deum, Benedlctus. Kjrle.tr 1 \ u
Nloene Creed, Sanctus, GlorIa|B^e»if<^,»™ those that are unde-
In Excelsis. Magnificat, and filed, 4.5. M.S.O.
Nunc Dimittis. Bass part In De lamentatione (Gimel, Daleth)
Juion book. St. John's. Oxford. 4 6. Ch. Ch. Add.M8.5or>9.'
No other parts yet known. | Deliver me, 0 God. St. Paul's list.
» Printed by Day with the name of Sheppard ; and given In ' Parish
Choir ' as by Sheppard. See Add. MS. 30,513.
» Of these four5-part anthems there are transcripts In the Fitz-
WiUiam Museum of 'I call and cry' by Blow and by Purcell ; of
' With all our heart,' ' Blessed,' and ' Wipe away,' by Blow only.
3 I have not been able to discover If this is the same as ' I give you
a new commandment.'
Discomfit them, 0 Lord, adapted
(?15«8) from 'Absterge Do-
mine.' Ch. Ch.
Domine quis habltabit, 4 5. Ch.Ch.
Add. MS. 5.059.
Dominus tecum, 43. B.C.M.
Eccetempus,44. Add. MS. 30.513.
Et benedictus. In Lute tablature.
Add. MS. 29,246.
Ex more docti mistico. Add. MS.
30,613.
' Fancy ' for the Organ in A minor.
Ch. Ch.
Felix namque. No. 1, for Virginals.
Virginal Book. Fitzwllliam
Library. Cambridge.
Felix namque. No. 2. lor do. Do.
Felix namque. No. 3, 'Mr. Thos.
Tallis Offetary.' for do. Add.
MS. No. 30.485.
Fond youth is a bubble. 4 4.
Add. MS. 30.513.4
Forgive me. Lord, my sin. Clif-
ford's list. This Is probabl}-
only a variant of ' Wipe away
my sins.'
Gaude glorlosa, 48. Ch. Ch.
Gaudegloriosa. 43. R.C.M.s
Gaude Virgo Maria. 46. M.S.O.
Gloria tibl Trinitas, 44(?) Ch.Oh
Gloria tibl Domine. 4 5 (?) 0.
Hec deum cell. 4 5. Ch. Ch.
How long, 4 4(?) In Lute tablature.
Add. MS. 29,247 ; 31,992,
If that a sinner's sighs, 4 5. O.
I look for the Lord, 4 5. Ch. Ch,
An adaptation of 'Absterge
Domine.'
Inciplt lamentatio (Aleph, Beth)
4 5. Do. Add. MS. 5.059.
In nomine. 44. M.S.O.
In nomine, 44. Do.
In nomine. Lute tablature. Add.
MSS. 'iy.'>46.
I will give thanks. St. Paul's list.
I will cry unto God. Do.
Laudate Dominum, 45. Ch. Ch.
Let the wicked forsake his way.
Calvert's list.
Magnificat anlma mea 46. Cb.Ch.
Maria Stella, 43. R.C.M.
Miraculum videte. 4 6. Ch. Ch.
Natus est nobis 4 2. Add. MS.
Nunc dimittis Domine, 4 6. Ch.Ch.
Ogive thanks. MS. by A. Batten,
O.
0 God be merciful. P.H.
O thou God Almighty. 4 4. Ch.Ch.
O praise the Lord. Adapted to ' O
Salutaris.' Bass part in Bar-
nard's MS. Coll. R.C.M.
0 Salutaris, 45. Ch.Ch.
O sing unto the Lord (Ps. cxllz),
6. M.S.O.
O thou God Almighty, 4 4. Ob. Ch.
Out of the deep. 44. Ch.Ch.
0 ye tender babes, 44. Add. MS.
ao.613.
Fange lingua (no name), 44. Do.
range lingua (no name). 4 4. Do.
Pange lingua (no name), 4 4. Do. .
Per haec nos. 4 3. R.C.M.
Per haec nos. 4 4. Add. MS.
30,513.
Poyncte, a (for the Virginals). 44.
Do.
Quidamftilt. 40. Ch.Ch.
Salve Intemerata, 4 6. Ch. Ch.
Salve intemerata, 4 3. R.0.M.»
Save Lord and hear us. St. Paul's
list.
Soleimis urgebat, 4 5. Ch. Ch.
Te Deum, English, In F, a 6,
Parts for 1st Countertenor,
Tenor, Bass Cant., in Barnard's
MS. Collection in R.C.M. An
Organ part in Ch. Ch.
Teach me, O Lord, 45. Ch. Ch. (?)
adaptation of Salvator Mundl
No. 1.
Teach me thy way, 44. Ch.Ch.
Tu fabricator. 4 5. Do.
Tu nimirum, 4 4. Add. MS. 29,246.
Up. Lord, and help us. St. Paul's
list.
Varlis Unguis. 47. Ch.Ch.
Veni redemptor, 4 4. Add MS.
30,513.
Veni redemptor ( No 2), 4 4. Do.
Verily, verily, 4 4. Ely. P.H.
Add. MS. 15,166.
When Jesus went Into Symon the
Pharisee's house, 4 5. Adapted
to ' Salvator mundi ' (No. 21).
Add. MS. 31,226.
The Editor has to express his sincere thanka
to the Rev. Sir F. A. G. Ouseley, Bart. ; Rev. J.
H. Mee ; Rev. W. E. Dickson ; Mr. John Bishop ;
Mr. Bertram Pollock, and several others, for their
kind help in making out this list. [G.]
TAMBERLIK, Enrico, bom March i6, 1820,
at Rome, received instruction in singing irom
Borgna and Guglielmi, and made his dibut in
1841 at the Teatro Fondo, Naples, in Bellini's
4 The volumes In the Add. MSS. numbered 30.613 and 30.488
are valuable, not only because they contain works not known else-
where, but because of the light they throw on the domeitie
position of music in thelGth century. They are arrangements for the
Virginals— the fashionable keyed instrument of the day— exactly
analogous to the arrangements for the Pianoforte of our own times t
and It is startling to find that the sacred choral music of that day was
the favourite music, and that the learned contrapuntal 5- and 6-
part motets of Tallis, Edwardes, Farrant, Taverner, Byrde, Crequil-
lon, Josquin, Orlando Lasso, and others, were compressed for the
amusement of musical amateurs Just as oratorios, operas, and oper-
ettas are now. From Add. MSS. 29,246, 29,247, another thing is plain,
tliat these learned compositions were arranged for the Lute so that
the top part could be .suiig solo, and the other parts played as
accompaniment. An example of this may be found in the ' Echos du
temps pass6,' where Gibbons's ' Silver Swan ' is set to French words
(Le Croisu captiO as a solo with accompaniment ; but It will be new
to many to find the same practice In the 16th century.
s This and ' Salve Intemerata,' for 3 voices in R.O.M., no. 1737, ap-
pear to be portions of 5-part motets to the same words, reduced to
3 parts by simple omissions of voice-parts. The same probably
applies to all the 3- part motets in R.C.M. mentioned above ; but they
require Investigation.
TAMBERLIK.
*I Capuletti.' He sang with success for several
years at the San Carlo, also at Lisbon, Madrid,
and Barcelona. He first appeared in England
April 4, 1850, at the Royal Italian Opera, as
Masaniello, and obtained immediate popularity
in that and in his other parts of the season, viz.
PoUio, Robert, Roderick Dhu, Otello ; April 20,
Amenofi, on the production of a version of
*Mose in Egitto,' entitled *Zora'; and July 25,
in Leopold, on the production of *La Juive' in
England. He possessed a splendid tenor voice,
of great richness of tone and volume, reaching
to C in alt, which he gave with tremendous
power, and 'as clear as a bell.' His taste and
energy were equal, and he was an excellent
singer, save for the persistent use of the 'vibrato.'
In person he was singularly handsome, and was
an admirable actor. He remained a member
of the company until 1864 inclusive, excepting
the season of 1857, singing in the winters at
Paris, St. Petersburg, Madrid, North and South
America, etc. His other parts included Arnold ;
Emani; Aug. 9, 51, Phaon (Saffo); Aug. 17,
52, Pietro il Grande; June 25, 53, Benvenuto
Cellini; May 10, 55, Manrico (Trovatore) — on
production of those operas in England ; also. May
27, 51, Florestan (Fidelio); July 15, 52, Ugo
(Spohr's Faust) ; Aug. 5, 58, Zampa ; July 2, 63,
Gounod's Faust — on the revival or production
of the operas at Covent Garden, etc. He re-
appeared at the same theatre in 1870 as Don
Ottavio, the Duke (Rigoletto), John of Leyden ;
and in 1877, at Her Majesty's, as Ottavio, Otello,
and Manrico, and was well received, though his
powers were on the wane. He is now living at
Madrid, where he carries on a manufactory of
arms, occasionally singing in public. [A.C.]
TAMBOUR DE BASQUE. [See Tam-
bourine.] [V.deP.]
TAMBOURIN. A long narrow drum used
in Provence, beaten with
a stick held in one hand,
while the other hand plays
on a pipe or flageolet with
only three holes, called a
galouhet. [See Drum 3, vol.
i.p. 466.] [V.deP.]
TAMBOURIN, an old
Proven9al dance, in its ori-
ginal form accompanied by
a Flute and Tambour de
Basque, whence the name
was derived. The drum ac-
companiment remained a
characteristic feature when
the dance was adopted on the stage, the bass
of the tune generally consisting of single notes
in the tonic or dominant. The Tambourin was
in 2-4 time, of a lively character, and generally
followed by a second Tambourin in the minor,
after which the first was repeated. A well-
known example occurs in Rameau's * Pieces
de Clavecin,' and has often been reprinted.
It was introduced in Scene 7, Entr^ III, of
the same composer's ' FStes d'H^b^,' where it
TAMBOURINE.
55
is entitled 'Tambourin en Rondeau,' in allu-
sion to its form, which is that of an 8-baried
Rondeau followed by several 'reprises.* The
same opera contains (in Entree I, Scenes 5 and 9)
two other Tambourins, each consisting of two
parts (major and minor). We give the first part
of one of them as an example. Mile. Camargo
is said to have excelled in this dance.
i
w-
is
=a:
^ff^j^^a
^J^tJ=^^Q-;=j
BEQ
[W.B.S.]
TAMBOURINE (Fr. Tamhour de Basque).
This consists of a wooden hoop, on one side of
which is stretched a vellum head, the other side
being open. Small rods with fly-nuts serve to
tighten or loosen the head. It is beaten by the
hand without a stick. Several pairs of small
metal plates, called jingles, are fixed loosely round
the hoop by a wire passing through the centres
of each pair, so that they jingle whenever the
tambourine is struck by the hand or shaken.
Another effect is produced by rubbing the head
with the finger. It is occasionally used in or-
chestras, as in Weber's
overture to 'Preciosa,' and
at one time was to be seen
in our military bands. In
the last century it was a
fashionable instrument for
ladies. The instrument is
probably of Oriental origin, being very possibly
derived from the Hebrew TopTi^ (Exod. xv. 20).
The Egyptian form is somewhat similar to our
own, but heavier, as may be seen from the wood-
cut, taken from Lane's ' Modern Egyptians.'
The French Tambourin is "quite a different
thing, and is described under the 3rd kind of
Drums, as well as under its proper name.
[Drum 3, and Tambourin.]
The modem
Egyptians have
drums (Dara-
hulikeh) with one
skin or head, and
open at the bot-
tom, which is the
only reason for
classifying them
with tambour-
ines. [See vol. i.
p. 463.] The an-
nexed woodcut (also from Lane) shows two
examples ; the first of wood, inlaid with tortoise-
1 This root survives in the Spanish advfe. a tambourine.
56
TAMBOUEINE.
pbell and mother-of-pearl, 1 7 inches high and 6|
diameter at top ; the second is of earthenware,
Io| inches high and 8| diameter. [V.deP.]
TAMBURINI, Antonio, baritone singer, emi-
nent among the great lyric artists of the 19th
century, was bom at Faenza on March 28, 1800.
His father was director of military music at
Fossombrone, Ancona. A player himself on horn,
trumpet, and clarinet, he instructed his son, at
a very early age, in horn-playing, accustoming
him in this way to great and sustained efforts,
even to overtaxing his undeveloped strength. At
nine the boy played in the orchestra, but seems
soon to have been passed on to Aldobrando Rossi
for vocal instruction. At twelve he returned
to Faenza, singing in the opera chorus, which
was employed not only at the theatre but for
mass, a fact which led him to devote much time
in early youth to the study of church music. He
attracted the notice of Madame Pisaroni and
the elder Mombelli ; and the opportunities which
he enjoyed of hearing these great singers, as well
as Davide and Donzelli, were turned by him to
the best account. At eighteen, and in possession
of a fine voice, he was engaged for the opera of
Bologna. The piece in which, at the little town
of Cento, he first appeared, was * La Contessa di
colle erboso, ' of Generali. His favourable reception
there and at Miiandola, Correggio, and Bologna,
attracted the notice of several managers, one of
whom secured him for the Carnival at Piacenza,
where his success in Rossini's * Italiana in Algeri'
procured for him an engagement that same year
at the Teatro Nuovo at Naples. Although his
beautiful baritone voice had now reached its full
maturity, his execution was still imperfect, and
the Neapolitan public received him somewhat
coldly, though speedily won over by his great
gifts and promise. The political troubles of 1 820,
however, closed the theatres, and Tamburini sang
next at Florence, where, owing to indisposition,
he did himself no justice. The memory of this
was speedily wiped out by a series of triumphs at
Leghorn, Turin, and Milan. About this time he
lost his mother, an affliction which so plunged
him in melanclioly that he thought of retiring to
a cloister. It is fortunate for the public that his
calling interposed a delay between this design and
its execution, so that it was never carri^ into
effect. At Milan he met and married the lovely
singer, Marietta Gioja, for whom, as well as for
him, Mercadante wrote the opera of *I1 Posto
abbandonato.'
Proceeding to Trieste, he passed through Ven-
ice, where an unexpected toll was demanded of
him. Special performances were being given in
honour of the Emperors of Austria and Russia,
then at Venice, and Tamburini was not allowed
to escape scot-free. He was arrested • by author-
ity,* and only after a few days, during which he
achieved an immense success, was he allowed to
proceed. From Trieste he went to Rome, where
he remained for two years ; thence, after singing
in 'Mosfe' at Venice, with Davide and Mme.
Meric Lalande, he removed to Palermo, where he
TAM-TAM.
spent another two years. He now received an
engagement from Barbaja for four years, during
which he sang in Naples, Milan, and Vienna,
alternately. At Vienna he and Rubini were
decorated with the order of 'the Saviour,' an
honour previously accorded to no foreigner but
Wellington. Tamburini first sang in London in
1832, and soon became an established favourite.
His success was equally great at Paris, where he
appeared in October of the same year as Dandini
in the * Cenerentola.' For ten years he belonged
to London and Paris, a conspicuous star in the
brilliant constellation formed by Grisi, Persiani,
Viardot, Rubini, Lablache, and himself, and was
long remembered as the baritone in the famous
•Puritani quartet.' Without any single com-
manding trait of genius, he seems, with the excep-
tion of Lablache, to have combined more attractive
qualities than any man-singer who ever appeared.
He was handsome and graceful, and a master in
the art of stage-costume. His voice, a baritone
of over two octaves extent, was full, round, sonor-
ous, and perfectly equal throughout. His exe-
cution was unsurpassed and unsurpassable ; of a
kind which at the present day is wellnigh obsolete,
and is associated in the public mind with soprano
and tenor voices only. The Parisians, referring;
to this florid facility, called him ' Le Rubini des
basse-tailles.' Although chiefly celebrated as a
singer of Rossini's music, one of his principal
parts was Don Giovanni. His readiness, versati-
lity and true Italian cleverness are well illustrated
by the anecdote of his exploit at Palermo, during
his engagement there, when he not only sang his
own part in Mercadante's * Elisa e Claudio ' but
adopted the costume and the voice — a soprano
sfogato — of Mme. Lipparini, the prima donna, who
was frightened off the stage, went through the
whole opera, duets and aU,a,nd finished by dancing
a pas de quatre with the Taglionis and Mile. Ri-
naldini. For the details of this most amusing
scene the reader must be referred to the lively
narrative of Mr. Sutherland Edwards' 'History of
the Opera,' ii. 272.
In 1 841 Tamburini returned to Italy and sang
at several theatres there. Although his powers
were declining, he proceeded to Russia, where he
found it worth his while to remain for ten years.
When, in 1852, he returned to London, his voice
had all but disappeared, in spite of which he sang
again after that, in Holland and at Paris. His
last attempt was in London, in 1859. From that
time he lived in retirement at Nice, till his death
November 9th, 1876. [F.A.M.]
TAMERLANO. Opera in 3 acts; libretto by
Piovene, music by Handel. Composed between
July 3 and 23, 1724, and produced at the King's
Theatre, London, Oct. 31, 1724. It comes be-
tween *Giulio Cesare' and 'Rodelinda.' Pio-
vene's tragedy has been set 14 times, the last
being in 1824. [G.]
TAM-TAM. The French term for the gong
in the orchestra; evidently derived from the
Hindoo name for the instrument (Sanscrit turn-
turn), [See Gong.] [G.]
TANCREDI.
TANCREDI. An opera seria in 2 acts ; the
libretto by Rossi, after Voltaire, music by Ros-
sini. Produced at the Teatro Fenice, Venice,
Feb. 6, 1 81 3. In Italian at the ThdMre des
Italiens, Paris ; and in French (Castil Blaze) at
the Odeon. In England, in Italian, at King's
Theatre, May 4, 1820. Revived in 1837, Pasta;
1841, Viardot; 1848, Alboni; and July 22, 29,
1856, for Johanna Wagner. Tancredi contains
the famous air ' Di tanti palpiti.' [G.]
TANGENT, in a clavichord, is a thick pin of
brass wire an inch or more high, flattened out
towards the top into a head one-eighth of an inch
or so in diameter. It is inserted in the back end of
the key, and being pushed up so as to strike the
pair of strings above it, forms at once a hammer
for them and a temporary bridge, from which
they vibrate up to the soundboard bridge. In
the clavichord no other means beyond this very
primitive contrivance is used for producing the
tone, which is in consequence very feeble, al-
though sweet. The common damper to all the
strings, a strip of cloth interwoven behind the
row of tangents, has the tendency to increase this
characteristic of feebleness, by permitting no
sympathetic reinforcement.
In all clavichords made anterior to about 1725
there was a fretted (or gehunden) system, by
which the keys that struck, what from analogy
with other stringed instruments may be called
open strings, were in each octave F, G, A,
Bb, C, D, E b. With the exception of A and D
(which were always independent), the semitones
were obtained by the tangents of the neighbour-
ing keys, which fretted or stopped the open
strings at shorter distance, and produced Fjf,
G J, B CI, C J, and E I3. Owing to this contrivance
it was not possible, for example, to sound F and
F J together by putting down the two contiguous
keys; since the Fj alone would then sound.
We have reason to believe that the independence
of A and D is as old as the chromatic keyboard
itself, which we know for certain was in use in
1426. Old authorities may be quoted for the
fretting of more tangents than one ; and Adlung,
who died in 1762, speaks of another fretted
division which left Eb and B independent,
an evident recognition of the natural major
scale which proves the late introduction of this
system.
The tangent acts upon the strings in the same
way that the bridging or fretting does upon the
simple monochord, sharpening the measured
distances which theory demands by adding ten-
sion. Pressing the key too much therefore makes
the note sound intolerably out of tune. An
unskilful player would naturally err in this
direction, and Emanuel Bach cautions against it.
In his famous essay ^ on playing he describes an
effect special to the tangent, unattainable by
either jack or hammer, viz. the Beben or Behung,
which was a tremolo or vibrato obtained by a
tremulous pressure upon the key with the fleshy
» ' Versuch tlber die wahre Art Klavier ni spielen/ 1753, another
edition. 1780. and republished by ScheUing. 1857.
TAN-TA-RA.
57
end of the finger. It was marked with a line
and dots like the modern mezzo staccato^ but
being upon a single note, was, of course, en-
tirely different.
The article Clavichord is to be corrected by
the foregoing obsei-vations. [A. J.H.]
TANNHAUSER UND DER SANGER-
KRIEG AUF WARTBURG. An opera in 3
acts ; words and music by Wagner. Produced
at Dresden, Oct. 20, 1845. At Cassel, by Spohr,
after much resistance from the Elector, early in
1 853. At the Grand Opera, Paris (French transla-
tion by Ch. Nuitter), March 13, 186 1. It had
three representations only.^ At Covent Garden,
in Italian, May 6, 1876. The overture was first
performed in England by the Philharmonic
Society (Wagner conducting). May 14, 1855.
Schumann saw it Aug. 7, 1847, and mentions it
in his • Theaterbiichlein ' as *an opera which
cannot be spoken of briefly. It certainly has
an appearance of genius. Were he but as melo-
dious as he is clever he would be the man of the
day.' [G.]
TANS'UR, William, who is variously stated
to have been born at Barnes, Surrey, in 1699,
and at Dunchurch, Warwickshire, in 1700, and
who was successively organist at Barnes, Ewell,
Leicester, and St. Neot's, compiled and edited
several collections of psalm tunes, and was author
of some theoretical works. The principal of his
several publications are * The Melody of the
Heart,' 1737; 'A Compleat Melody, or. The
Harmony of Sion,' 1735 and 1738; 'Heaven on
Earth, or. The Beauty of Holiness,' 1738; 'A
New Musical Grammar,' 1 746 ; in which he
styles himself, 'William Tans'ur Musico Theo-
rico ' ; * The Royal Melody compleat, or, The New
Harmony of Zion,' 1754 and 1755; *The Royal
Psalmodist compleat ' (no date) ; * The Psalm
Singer's Jewel,' 1760; *Melodia Sacra,' 1772;
and 'The Elements of Musick displayed,* 1772.
He died at St. Neot's, Oct. 7, 1 783. He had a son
who was a chorister at Trinity College, Cam-
bridge. [W.H.H.]
TAN-TA-RA. A word which occurs in English
hunting songs, and is evidently intended to imi-
tate the note of the horn. One of the earliest
instances is in ' The hunt is up,' a song ascribed
by Chappell to Henry VIII's time : —
Tlie horses snort to be at the sport.
The dogs are running free,
The woods rejoice at the merry noise
Of hey tantara tee ree I
Another is ' News from Hide Paik,' of Charles
II's time : —
One evening a little before it was dark,
Sing tan-ta-ra-ra-ra tan-ti-vee, etc.
2 For the extraordinary uproar which it created see Prosper
Meriinde's ' Lettres ^ une Inconnue,' li. 151-3. One ot the joltes was
'qu'on s'ennuie aux rt5citatifs, et qu'on se lanne aux airs.' Even
a man of sense lilte MerimtSe says that he * could write something
as good after hearing his cat wallc up and down over the key*
of the piano.' Berlioz writes about it in a style which is equallj
discreditable to his taste and his penetration (Correspondance iuedite,
Xos. cliitocvl).
68
TAN-TA-JRA.
But the word is as old as Ennius, who has
At tuba terribili sonitu taratantara dixit.
And the same form occurs in Giimald (1557)
and Stanyhurst (1583). [G.]
TANTO, i.e. 'too much,' as in Beethoven's
String Trio (op. 9, no. i) — 'Adagio ma non
tanto,' i.e. Slow, but not too slow. Tanto has
practically the same force as * Troppo.' [G.]
TANTUM ERGO. The first words of the
last two stanzas of the Hymn 'Pange lingua
gloriosi Corporis Mysterium,' written by S. Thomas
Aquinas, for the Festival of Corpus Christi.^
The extreme solemnity of the circumstances
under which 'Tantum ergo' is sung in the
Modus I.
TARANTELLA.
Roman Catholic Church, renders its adaptation
to solemn Music more than ordinarily impera-
tive. It is used whenever the Eucharist is carried
in Procession ; at the conclusion of the Ceremony
of Exposition ; and at the Office of Benediction :
and never heard but in the presence of the
Eucharist. Except, of course, in Processions, it
is sung kneeling.
The Plain Chaunt Melody of ' Tantum ergo '
is the same as that used for *Pange lingua.'
The purest printed version is that given in the
new Batisbon Office-Books; but, owing to the
excision of certain 'grace-notes,' this version is,
at present, less popular than that printed in the
Mechlin Vesperal.* The pure version stands
thus —
From the Ratisbon Vesperal.
_, ■'27' _
Tan-tum er - go Sa - era
Gen - i - to • ri gen - i
men - turn
to - que
Ve -
Laus
-re - mur cer - iiu
Ju - bi-la- tl
Et an - tl - quum doo - u - men-tum
6a - lus, ho > nor, vir - tus quo-qae
^^-^^=r* —
No - TO ce - dat rl - tu -
Sit et ben - e - die • ti •
fe=2I^
■^S'— ^1^— gy— p^g-
i^^a:
rrses-tet fl - des sup-pie - men - turn 6en-su-um
Fro - ce - den - ti ab u • tro - que Compar sit lau-da - ti - o
de - fec-tui. A • • men.
The antient Melody has been frequently treated j
in Polyphonic form, and that very finely ; but
no setting will bear comparison with the mag-
nificent * Pange lingua ' in Palestrina's * Hymni
totius anni,' which concludes with a * Tantum
ergo ' for 5 Voices, in which the Melody is as-
signed, entire, to the First Tenor, while the re-
maining Voices accompany it with Harmonies
and Points of Imitation. Vittoria has also
written a very beautiful ' Pange lingua,' which,
unhappily, treats the alternate stanzas only ;
the first stanza of 'Tantum ergo' is there-
fore omitted, though the music written for the
second — 'Genitori, Genitoque' — may very con-
sistently be sung to it.
The almost daily use of ' Tantum ergo ' at
the Office of Benediction has led to the fabrica-
tion of an immense number of modern Melodies,
of more or less demerit. One of the best of
these — a really good one — attributed to Michael
Haydn, is extremely popular, in England, as
a Hymn-Tune — 8.6.8.6.8.6 — under the title of
'Benediction.'^ Another, said to be 'Gre-
gorian,' and probably really of Plain-Chaunt
origin, is scarcely less popular, under the title of
•S. Thomas.'* A third, set for two Voices by
V. Novello, is equally pleasing, though wanting
in solemnity. These, however, are quite ex-
ceptionally good specimens. Notwithstanding
the beauty of the text, and the solemnity of
the occasions on which it is sung, it is doubtful
whether any Hymn has ever been fitted to so
much irreverent music as * Tantum ergo.' The
present Cardinal Archbishop of Westminster has
sternly condemned the use of such Music in
1 Not to be mistaken for the Hrmn (better known in England),
■ung, under the same title, during Holy Week— 'Fange lingua gloriosi
Lauream certaminis.'
2 Hymns Ancient and Modern, Hymn 67, new ed.
• Ibid.. Hymn 51. ibid.
England, and his remonstrance has not been
without efiect; but hitherto the reform has
only been a partial one.
Of orchestral settings of 'Tantum ergo,' the
two fiinest are unquestionably those by Mozart —
Nos. 142 and 197 in Kochel's Catalogue — for
4 Voices, with accompaniments for Stringed In-
struments, 2 Trumpets, and Organ. Schubert
has left three ; one, op. 45, and one in MS., both
in C, and both for quartet, orchestra, and organ ;
and one in Eb (MS., 1828). [W.S.R.]
TAPPERT, WiLHELM, German critic and
writer on music, born Feb. 19, 1830, at Ober-
Thomaswaldau in Silesia; began life as a school-
master, but in 1856 adopted music, under Dehn
for theory and KuUak for practice. Since that
time he has resided in Berlin, where he is well
known as a teacher and musical writer, and an
able and enthusiastic partisan of Wagner. He
was a teacher in Tausig's school for higher PF.-
playing. His 'Wagner Lexicon' (1877) con-
tains a collection of all the abuse that has been
lavished on that composer and his friends — a
useless and even mischievous labour. Much
more important are his researches into ancient
Tablatures, on which it is to be hoped he will
soon publish something. From 1 876-80 he edited
the *Allgemeine Deutsche Musikzeitung.' He
is a contributor to the ' Musikalisches Wochen-
blatt ' and has published several pamphlets, es-
pecially one on consecutive fifths, ' Das Verbot
von Quintenparallelen ' (1869). C^O
TARANTELLA, a South Italian dance, which
derives its name from Taranto, in the old pro-
vince of Apulia. The music is in 6-8 time,
played at continually increasing speed, with
irregular alternations of minor and major. It is
« For a free reading of the Impure version, see • Hymns Ancient
and Modern,' Hymn 309, no. 3, new ed.
TARANTELLA.
generally danced by a man and a woman, but
sometimes by two women alone, who often play
castagnets and a tambourine. It was formerly
sung, but this is seldom the case now. The
Tarantella has obtained a fictitious interest from
the idea that by means of dancing it a strange
kind of insanity, attributed to the effects of
the bite of the Lycosa Tarantula, the largest
of European spiders, could alone be cured. It
is certain that a disease known as Tarantism
prevailed in South Italy to an extraordinary ex-
tent, during the 15th, i6th, and 17th centuries,
if not later, and that this disease — which seems
to have been a kind of hysteria, like the St.
Vitus dance epidemic in Germany at an earlier
date — was apparently only curable by means of
the continued exercise of dancing the Tarantella;
but that the real cause of the affection was
the bite of the spider is very improbable,
later experiments having shown that it is no
more poisonous than the sting of a wasp.
The first extant notice of Tarantism is in
Niccolo Perotto's 'Cornucopia Linguae Latinse'
(p. 20 o, ed. 1489). During the i6th century the
epidemic was at its height, and bands of musi-
cians traversed the country to play the music
which was the only healing medicine. The forms
which the madness took were very various :
Home were seized with a violent craving for
water, so that they were with difficulty pre-
vented from throwing themselves into the sea,
others were strangely affected by different colours,
and all exhibited the most extravagant and out-
rageous contortions. The different forms which
the disease assumed were cured by means of
different airs, to which the Tarantists — the name
by which the patients were known — were made
to dance until they often dropped down with
exhaustion. The epidemic seems only to have
raged in the summer months, and it is said that
those who had been once attacked by it were
always liable to a return of the disease. Most
of the songs, both words and music, which were
used to cure Tarantism, no longer exist, but the
Jesuit Kircher, in his 'Magnes' (Rome, 1641),
book III, cap. viii., has preserved a few speci-
mens. He says that the Tarantellas of his day
were mostly rustic extemporisations, but the airs
he gives (which are printed in Mendel's Lexicon,
sub voce Tarantella) are written in the Ecclesi-
astical Modes, and with one exception in common
time. They bear no resemblance to the tripping
melodies of the modem dance.^ Kircher' s work
contains an engraving of the Tarantula in two
positions, with a map of the region where it is
found, and the following air, entitled 'Antidotum
Tarantulae,' which is also to be found in Jones's
'Maltese Melodies' (London, 1805) and in vol. ii.
of Stafford Smith's 'Musica Antiqua' (1812),
where it is said to be derived from Zimmermann's
'Florilegium.'"
> It has been suggested that these fragments of melodies— for they
are little more— are ancient Greek tunes handed down traditionally
In Taranto.
2 In Mazella's ' Ball!, Correntl,' etc., (Rome, 1689), Is a Tarantella In
common time in the form of a short air with ' partite,' or variations.
Mattheson (Vollkomener Kapellmeister, 1739) says there U one In the
' Quintessence des Nouvelles ' for 1727.
TARARE.
5&
^
-•-•
1
r=T=j=
^,
a
^^
1 J i ^ J. ^ 1*1 '
^^
J- J-J- J J 1^1
I 1^
4=^:
?=:
^m
-r-
For farther information on this curious sub-
ject we must refer the reader to the following
works : —
N. Perotto, 'Cornucopia' (Venice, 1480); A. Kircher,
•Magnes' (Rome, 1641); 'Musurgia' (Kome, 1G50) ; Her-
mann Grube, 'De Ictu Tarantulae' (Frankfurt, 1G7!») ;
G. Baglivi, ' De Praxi Meclica' (Eome, 16',)(j) ; Dr. Peter
Shaw, 'New Practice of Physic,' vol. i. (London, 1720);
Fr. Serao, 'Delia Taran tola '^ (Eome, 1742); Dr. II. Mead,^
' Mechanical account of Poisons' (3rd ed., London, 1745) ;
J, D. Tietz,'Von den Wirkunsen der T6ne auf den mensch-
lichen Korper' (in Justi's 'NeuenWahrheiten,' Leipzig,
1745) ; P. J. Buc'hoz, ' L'art de connaitre et de designei*
le pouls par les notes de la musique ' (Paris, 1806) ; J. F.
E. Hecker, 'Die Tanzwuth' (Berlin, 18a2) ; A. Vergari,
'Tarantismo' (Naples, 183'J) ; De Reuzi, in ' Eaccoglitorw
Medico' for 1842; C. Engel, 'Musical Myths,' vol. ii,
(London, 1876).
The Tarantella has been used by many modern
composers. Auber has introduced it in ' La
Muette de Portici,' Weber in his E minor Sonata,
Thalberg wrote one for Piano, and Rossini a vocal
Tarantella * La Danza ' (said to have been com-
posed for Lablache) the opening bars of which
are here cfiven : —
-Jl-^^-^-^-»-
» • a' • ■■■ 1^ S 'f^. s
(^.U.-L—L.l U ■
*^ Gli la
luna 6 in mez - zo al ma - re mamma
=j=g_J J^
, f -• ji • " p -. • . -
—4- — 1 U iJ i — Hd 1 —
mla 81 sal-teri
— *^ ...^-tfct:
I'ora i,
bel - la per danz -
— \
a • re chl d In amor non man - che - ra, etc.
One of the finest examples is in the Finale
to Mendelssohn's Italian Symphony, where it is
mixed up with a Saltarello in the most effective
and clever manner. Good descriptions of the
dance will be found in Mme. de Stael's 'Corinne '
(Book VI. ch. i.), Mercier Dupaty's ' Lettres sur
ritalie' (1797), and Goethe's 'Fragmente tiber
Italien.' It was danced on the stage with great
success by Cotellini (i 783-1 785) at the Teatro
dei Fiorentini at Naples, and in our own day by
the late Charles Matthews. [W.B.S.]
TARARE. Opera, in prologue and 5 acts
(afterwards 3 acts) ; words by Beaumarchais,
music by Salieri. Produced at the Grand Op^ra
June 8, 1787. Translated into Italian (with
many changes of text and music) as * Axur, Re
d'Ormus,' for the betrothal of the Archduke
Franz with Princess Elizabeth of Wurtemberg
at Vienna, Jan. 8, 1788. Produced in English
as 'Tarrare, the Tartar Chief,' at the English.
Opera House, London, Aug. 15, 1825. L^""']
eo
TARTINT.
TARTINI, Giuseppe, famous violin-player and
composer, was born at Pirano, a town in Istria,
-April 12, 1692. His father, a Florentine by
birth and an elected Nobile of Parenzo, intended
him for the Church, and sent him to the school of
the Oratorians in his native town. Later on he
attended an ecclesiastical school at Capo d'Istria,
and there received his first instruction in music.
Being entirely averse to the Church career, he
went, at eighteen, to Padua, and matriculated as
a student of law. But law was not more to his
taste than theology. Led by his highly impulsive
temperament he even set aside his musical studies
in favour of the then fashionable art of fencing.
In this he soon became so great an adept as to
propose seriously to adopt it as a profession at
Naples or Paris. Fortunately for music Tartini's
passionate character involved him in a serious
difficulty and caused him to exchange the
sword for the fiddlestick and the pen. He fell in
love with a niece of the Archbishop of Padua,
•Cardinal Comaro, and was secretly married to her.
The immediate consequences of this hasty step
were disastrous. His parents withdrew all further
support, and the Cardinal was so incensed by
what he considered an insult to his family, that
Tartini had to fly from Padua. He first went
to Rome, but not considering himself safe there,
took refuge in a monastery at Assisi, of which a
relative of his was an inmate. Here he remained
for two years, and in the solitude of monastic life
resumed his musical studies, and at last discovered
his true vocation. The organist of the monastery.
Padre Boemo, was an excellent musician,and being
delighted to find so talented a scholar, spared no
time and trouble in teaching him counterpoint and
■composition. As a violinist he appears to have
been his own teacher. His progress however
must have been very rapid, as we know that his
performances at the services of the monastery
chapel soon became a well-known attraction to
the neighbourhood. The development of his mu-
sical genius was not however the only fruit of
these two years: he underwent a remarkable
change of character. Influenced by the peaceful
religious life around him, he seems entirely to
have lost his quarrelsome temper, and acquired
that modesty of manner and serenity of mind with
which he has been credited by all who knew him
later in life. His residence at Assisi came to a
sudden end by a curious accident. One day, at the
service, a gust of wind blew aside the curtain
behind which Tartini was playing a solo. A
Paduan, who happened to be present, instantly
recognised his strongly-marked features, and
brought the news of his whereabouts to his native
town. Meanwhile the Archbishop's pride had
softened, and Tartini was allowed to rejoin his
wife. He went with her to Venice, where he
met Veracini, and was so much struck with the
great Florentine violinist, as at once to recognise
the necessity for fresh studies, in order to modify
his own style and correct the errors into which
he, being almost entirely self-taught, had very
(naturally fallen. For this purpose he went to
Ancona, leaving even his wife behind, and
TARTINI.
remained for some time in complete retirement.
In 1 72 1 he appears to have returned to Padua,
and was appointed solo violinist in the chapel of
San Antonio, the choir and orchestra of which
enjoyed a high musical reputation. That his
reputation must have been already well estab-
lished is proved not only by this appointment,
but more especially by the fact that in 1723 he
received and accepted an invitation to perform
at the great festivities given for the coronation
of Charles VI at Prague. On this occasion he
met with Count Kinsky, a rich and enthu-
siastic amateur, who kept an excellent private
band, and prevailed on Tartini to accept the
post of conductor. This he retained for three
years and then returned to his old position at
Padua. From this time he appears never again
to have left his beloved Padua for any length of
time, where he held an highly honoured position,
with an income sufficient for his modest require-
ments. An invitation to visit England, under
most brilliant conditions (£3000), which he re-
ceived from Lord Middlesex, he is reported to
have declined by stating ♦ that, although not rich,
he had sufficient, and did not wish for more.' His
salary at San Antonio's was 400 ducats, to which
must be added the fees from his numerous pupils
and the produce of his compositions. Burney,
who visited Padua a few months after his deatla,
gives a few interesting details. But when he
writes, * He married a wife of the Xantippe sort,
and his patience upon the most trying occasions
was always truly Socratic,' we need not attach
too much weight to such a statement. Great
artists are frequently but indifferent managers,
and, in their honest endeavours to restore the
balance, their wives have often most undeserv-
edly gained unpleasant reputations. Burney
continues, 'He had no other children than
his scholars, of whom his care was constantly
paternal. Nardini, his first and favourite pupil,
came from Leghorn to see him in his sickness
and attend him in his last moments with true
filial affection and tenderness. During the latter
part of his life he played but little, except at the
church of S. Antony of Padua, to which he de-
voted himself so early as the year 1722, where
his attendance was only required on great festivals,
but so strong was his zeal for the service of his
patron-saint, that he seldom let a week pass with-
out regaling him to the utmost of his palsied
nerves.' He died Feb. 16, 1770, was buried in
the church of S. Catherine, a solemn requiem
being held in the chapel of S. Antonio. At a
later period his statue was erected in the Prato
della Valle, a public walk at Padua, where it may
still be seen among the statues of the most emi-
nent men connected with that famous university.
Tartini's fame rests on threefold ground. He
was one of the greatest violinists of all time, an
eminent composer, and a scientific writer on musi-
cal physics. To gain an idea of his style of
playing we must turn to the testimony of his
contemporaries. They all agree in crediting him
with those qualities which make a great player :
a fine tone, unlimited command of fingerboard
TARTINI.
and bow, enabling him to overcome the greatest
difficulties with complete ease ; perfect intonation
in double-stops, and a most brilliant shake and
double-shake, which he executed equally well with
all fingers. That the composer of the ' Trillo del
Diavolo,' and many other fine and noble pieces,
could not have played but with the deepest feeling
and most consummate taste, it is almost super-
fluous to say. Indeed we have his own testimony,
when Campagnoli in his Violin-School reports
him as having remarked upon a brilliant virtuoso :
' That is beautiful ! That is difficult ! but here
(pointing to the heart) he has said nothing to me.'
At the same time it ought to be mentioned that
QUANZ (see that article), who heard him at Prague,
and who certainly was no mean authority, while
granting his eminence as a player generally,
adds: 'his manner was cold, his taste wanting
in noblesse and in the true style of singing.'
Whatever the reason of this strange criticism
may have been, to our mind it stands condemned
by the deeply emotional and pathetic character
of Tartini's compositions, and the want of taste
we presume to have been on the side of the
critic rather than of the artist. Quanz also states,
that he was fond of playing in extreme positions,
a statement which is difficult to understand,
because in his works we very rarely find him
exceeding the compass of the third position. But
if it is to be understood that Tartini, in order to
continue the same musical phrase on the same
string, frequently used the higher positions for
passages which, as far as the mere mechanical
production of the sounds was concerned, he might
have pLiyed in lower ones, Quanz's criticism
would imply that Tartini used one of the most
important and efPective means for good musical
phrasing and cantabile playing, in doing which he
was anticipating the method by which the great
masters of the Paris School, and above all Spohr,
succeeded in making the violin the 'singing
instrument' par excellence. That Tartini should
ever have condescended to astonish his audiences
by the execution of mechanical tricks after the
fashion of a Locatelli (see that article), appears,
from the character of all his known compositions,
morally impossible. Both as player and com-
poser he was the true successor of Corelli, re-
presenting in both respects the next step in the
development of the art. But there is an undeni-
able difference of character and talent between
the two great masters. They are striking in-
stances of the two main types of the Italian
artist, which can be distinguished from the oldest
times down to our days. The one, to which
Corelli belongs, gifted with an unerring sense of
artistic propriety and technical perfection, the
strongest feeling for beauty of form and sound —
with pathos, dignity and gracefulness their chief
means of expression ; the other, of which Tartini
was a representative, while sharing all the
great qualities of the former, adds to them that
southern fire of passionate emotion which carries
everything before it. In technique Tartini re-
presents a considerable progress upon Corelli by
his introduction of a great variety of bowing,
TARTINI.
61
which again was only possible by the use of a
longer and elastic bow. [See Bow ; and Tourte.]
His work, 'Arte dell' Arco,* 'L'art de I'archet'
— a set of studies in the form of 50 Variations *
gives a good idea not only of his manner of
bowing, but also of his left-hand technique. In
respect of the latter the advance upon Corelli is
still more striking. Double stops of all kinds,
shakes, and double shakes are of frequent oc-:
currence. We remember how Corelli (see that
article) was puzzled by the difficulty of a passage
in an overture of Handel's. That could certainly
not have happened with Tartini. In some of his
works there are passages which, even to the
highly developed technique of the present day
afford no inconsiderable difficulty. We will
mention only the famous shake-passage in the
• Trillo.' But at the same time he shows his
appreciation of purity of style by the absence of
mere show-difficulties, which he certainly was
quite capable of executing.
How great he was as a teacher is proved by
the large number of excellent pupils he formed.
The most eminent are Nardini, Bini, Manfredi,
Ferrari, Graun, and Lahoussaye. Some of these
have borne most enthusiastic testimony to his
rare merits and powers as a teacher, to liis un-
remitting zeal and personal devotion to his
scholars, many of whom were linked to him by
bonds of intimate friendship to his life's end. Of
the pre-eminently methodical and systematic style
of his teaching, we gain an idea from a most
interesting letter, addressed by him to his pupil
Maddalena Lombardini-Sirmen, and from his
pamphlet ' Trattato delle appogiature.' [See
Violin-playing.] The following characteristic
head is reproduced from a drawing in possession
of Julian Marshall, Esq.
As a composer, not less than as a player, he
stands on the shoulders of the greatest of his pre-
decessors, Corelli. He on the whole adopts the
concise and logical forms of that great master and
of Vivaldi (see that article) ; but in his hands the
forms appear less rigid, and gain ampler and
freer proportions ; the melodies are broader, the
phrases more fully developed ; the harmonies and
» Becently republUhed bj Ford. DftTld. Offenbach, Andrf.
62
TARTINI.
modulations richer and more varied. Still more
striking is the progress if we look at Tartini's
subject-matter, at the character of his ideas,
and the spirit of their treatment. Not content
with the noble but somewhat conventional pathos
of the slow movements of the older school, their
well-written but often rather dry fugues and
fugatos and traditional dance-rhythms, he intro-
duces in his slow movements a new element of
emotion and passion; most of his quick move-
ments are highly characteristic, and even in their
* passages ' have nothing dry .ind formal, but are
full of spirit and fire. In addition to all this we
not rarely meet with an element of tender dreamy
melancholy and of vivid imagination which now
and then grows into the fantastic or romantic.
His works bear not so mucli the stamp of his time
as that of his own peculiar individuality ; and in
this respect he may well be regarded as a proto-
type of the most individual of all violinists,
Paganini. What we know from one of his
pupils about his peculiar habits in composing,
throws a significant light on the more peculiarly
intellectual bent of his musical talent. Before
sitting down to a new composition, he would
read a sonnet of Petrarch ; under the notes of
his violin-parts he would write the words of a
favourite poem, and to single movements of his
sonatas he would often give mottos, such as
* Ombra cara ' or * Volgete il riso in pianto o mie
pupille.' The most striking illustration of this
peculiar side of his artistic character is given in
his famous sonata ' II Trillo del Diavolo.' Ac-
cording to Lalande (* Voyage d'un Francais en
Italic 1765 et 66,' torn. 8) Tartini himself used
to relate the circumstances under which he con-
ceived the idea of this singularly fine piece, in
the following manner : ' One night I dreamt that
I had made a bargain with the devil for my soul.
Everything went at my command, — my novel
servant anticipated every one of my wishes. Then
the idea struck me to hand him my fiddle and to
see what he could do with it. But how great
was my astonishment when I heard him play
with consummate skill a sonata of such exquisite
beauty as surpassed the boldest flight of my
imagination. I felt enraptured, transported, en-
chanted; my breath was taken away; and I
awoke. Seizing my violin I tiied to retain the
sounds I had heard. But it was in vain. The
piece I then composed, the Devil's Sonata,
although the best I ever wrote, how far below the
one I had heard in my dream 1'
The number of his compositions is enormous.
F^tis enumerates over 50 Sonatas with bass, 18
Concertos with accompaniment of stringed orches-
tra, and a Trio for 2 violins and bass, all which
■were published in various editions at Paris, Lon-
don, and Amsterdam. In addition to these a
large number of works exist in MS. Gerber
speaks of over 200 violin concertos, F^tis of 48
unpublished sonatas and 127 concertos. He also
composed a Miserere, which was performed during
Holy Week in the Sistine Chapel in the year 1 768 ;
but according to F^tis this was a work of little
importance and has never been performed again.
TASKIN.
It remains to speak of Tartini's writings on
the theory of music. During his stay at Ancona,
probably in 1716, he discovered the fact that, in
sounding double stops, a third or combination-
sound was produced. He was not content to
utilise this observation by making the appear-
ance of this third note a criterion of the perfect
intonation of double stops (which do not produce
it at all unless taken with the most absolute
correctness), but he tried to solve the scientific
problem underlying the phenomenon. In the
then undeveloped state of acoustics it was im-
possible for him to succeed. It is also highly
probable that his knowledge of mathematics
was insufficient for the task. At any rate he
wrote and published an elaborate work on the
theory of musical science generally, and on the
phenomenon of a third sound in particular, un-
der the title 'Trattato di Musica secondo la
vera scienza dell' Armenia' (Padua, 1754). His
theories were attacked in a number of pamph-
lets, amongst them one by J. J. Rousseau.
In 1767 he published a second book, *Dei prin-
cipii dell* Armenia Musicale contenuta nel
diatonico genere,' and towards the end of his life
he wrote a third one on the mathematics of music,
' Delle ragioni e delle proporzioni,' which how-
ever has never been published and appears to be
lost. The absolute value of Tartini's theoretical
writings is probably not great, but there remains
the fact, that he was the discoverer of an interest-
ing acoustical phenomenon which only the ad-
vanced scientific knowledge of our days has
been able to explain (Helmholtz) — a fact which;
coupled with his serious attempts to solve the
problem, speaks much for his intellectual attain-
ments and versatility of mind.
Finally he wrote, under the title * Trattato delle
appogiature si ascendenti che discendenti per il
violino,' etc., a little work on the execution and
employment of the various kinds of shakes, mor-
dents, cadenzas, etc. As giving an authentic
explanation and direction for the execution of
these ornaments according to the usage of the
classical Italian school, this work is most interest-
ing. It appears that it has never been published
in Italian, but a French translation exists, under
the title 'Traits des agr^mens de la Musique,
compost par le c^lbbre Giuzeppe Tartini k Padoue,
et traduit par le Sigr. P. Denis. A Paris chez
M. de la Chevardier.' ^ [P.D.]
TASKIN, Pascal, celebrated instrument-
maker, and head of a family of musicians, bom
1 723, at Theux in the province of Li^ge, migrated
early to Paris, and was apprenticed to Etienne
Blanchet, the best French clavecin-maker of the
period. Succeeding eventually to the business,
he improved the tone of his spinets and harpsi-
chords, by substituting slips of leather for the
crowquills then in use in the jacks (1768). [See
vol. ii. p. 27a.] In 1772 Louis XV. offered him
the post of Keeper of the Musical Instruments
and the Chapel Royal, vacant by the death of
» The writer of this article has to acknowledge his obllgatloiu
for much valuable Information contained in Waslelewsky's book. ' Dia
Violine und Ihre Meister.'
TASKIN.
TATTOO.
63
Chiquelier, but tlie life at Versailles would not
have suited the inventor, who wished to be at
liberty to continue his experiments, and he
contrived to get his nephew and pupil, Pascal
Joseph, appointed in his stead. Having thus
succeeded in preserving his independence with-
out forfeiting the royal favour, he was shortly
after elected an acting member of the corporation
of musical instrument-makers (1775). He was
brought more before the public by a piano made
for the Princess Victoire in the shape of our
present 'grands,' the first of the kind made in
France. Other inventions were for using a single
string doubled round the pin in his two-stringed
pianos, working the pedal by the foot instead of
by the knee, and the ' Armandine' (1789) called
after Mile. Armand, a pupil of his niece, who be-
came an excellent singer at the Opdra and the
Opdra Comique. This fine instrument, now in
the museum of the Paris Conservatoire, is like
a grand piano without a keyboard, and with gut-
strings, and is therefore a cross between the harp
and the psaltery. Other specimens of his manu-
facture are the harpsichord with two keyboards
made for Marie Antoinette and still to be seen
in the Petit Trianon, the pretty instrument in
the possession of the distinguished pianist Mile.
Josephine Martin, and those in the Conserva-
toire, and the Mus^e des Arts ddcoratifs in Paris.
Pascal Taskin died in Paris, Feb. 9, 1795. His
nephew,
Pascal Joseph,* born Nov. 20, 1750, at
Theux, died in Paris, Feb. 5, 1829, Keeper of the
King's Instruments and the Chapel Royal, from
1772 to the Revolution, was his best pupil and
assistant. He married a daughter of Blanchet,
and was thus brought into close connection with
the Couperin family. Of his two sons and two
daughters, all musicians, the only one calling for
separate mention here is the second son,
Henri Joseph, born at Versailles, Aug. 24,
1779, died in Paris, May 4, 1852, learned music
as a child from his mother, and so charmed the
Court by his singing and playing, that Louis XVI
made him a page of the Chapel Royal. Later
he studied music and composition with his aunt,
Mme. Couperin, a talented organist, and early
made his mark as a teacher, virtuoso, and com-
poser. Three operas were neither performed nor
engraved, but other of his compositions were
published, viz. trios for PF., violin, and cello ; a
caprice for PF. and violin ; a concerto for PF.
I and orchestra; solo-pieces for PF., and songs.
A quantity of Masonic songs remained in MS.
Like his father he had four sons ; none of them
became musicians, but his grandson Alexandre
seems to have inherited his talent. This young
singer (born in Paris, March 8, 1853) is a
thorough musician, has already created several
important parts, and may be considered one of
the best artists at the Opera Comique (1883).
The writer of this article, having had access to
fEunily papers, has been able to correct the errors
of previous biographers. [G.C]
> F^tis confuses' tbe uncle and nephew.
TASTO SOLO. Tasto (Fr. toucTie) means the
part in an instrument which is touched to pro-
duce the note ; in a keyed instrument, therefore,
the key. ' Tasto solo,' the key alone, is in old
music written over those portions of the bass or
continue part in which the mere notes were to
be played by the accompanyist, without the chords
or harmonies founded on them. [G.]
TATTOO 1 (Eappel: Zapfenstreich), the signal
in the British army by which soldiers are brought
to their quarters at night. The infantry .signal
begins at 20 minutes before the hour appointed
for the men to be in barracks, by the bugles in
the barrack-yai-d sounding the * First Post ' or
* Setting of the Watch.' This is a long passage
of 29 bars, beginning as follows —
■ 1 ■rs
$
E
^^
^
S
t=3-r-r
t- — r -1
:t=P=
and ending with this impressive phrase : —
This is succeeded by the 'Rolls,'" consisting of
three strokes by the big drum, each stroke fol-
lowed by a roll on the side-drums : —
m
^
4
li I- -
Li) r ■ — I » r -
The drums and fifes then march up and down
the barrack-yard playing a succession of Quick
marches at choice, till the hour is reached.
Then ' God save the Queen ' is played, and the
Tattoo concludes by the ' Second Post ' or ' Last
Post,' which begins as follows —
$
f
^s
^
^
and ends like the 'First Post.' The other
branches of the service have their tattoos, which
it is not necessary to quote.
J The Tvord Is derived by Johnson from the French tapotez totu ;
and its original form seems to have been ' tap-to' (see Count Mans-
field's ' Directions of Warre,' 1624), as if It were the signal for the
tap-rooms or bars of the canteen to put-to or close. Curiously
enough, however, 'tap' seems to be an acknowledged term for
the drum — 'tap of drum.' Tapoter is probably allied to the
German zapfen, the tap of a casli, and tap/enstreich, the German
term for tattoo ; this also may mean the striking or driving home
of the taps of the beer-barrels. The proverbial expression ' the devil's
tattoo'— meaning the noise made by a person absorbed In thought
drumming with foot or fingers, seems to show tliat the drum and not
the trumpet was the original instrument for sounding the tattoo.
a For det^ms see Potter's ' Instructions for the Side Drum.'
64
TATTOO.
Since the time of Wallenstein the Zapfen- ^
streich in Germany has had a wider meaning,
»nd is a sort of short spirited march played not
only by drums and fifes or trumpets but by the
whole band of the regiment. It is in this sense
that Beethoven uses the word in a letter to
Peters (1823 ?) : — 'There left here last Saturday
three airs, six bagatelles, and a tattoo, instead
of a march . . . and to-day I send the two tattoos
that were still wanting . . . the latter will do for
marches.' [See Zapfenstreich.] [G.]
TAUBERT, Karl Gottfried Wilhelm, one
of those sound and cultivated artists who
contribute so much to the solid musical repu-
tation of Germany. He was the son of a
musician, and was born at Berlin March 23,
181 1. Though not actually brought up with
Mendelssohn he trod to a certain extent in the
same steps, learned the piano from Ludwig
Berger, and composition from Klein, and went
through his course at the Berlin University
1827-30. He first appeared as a PF. player;
in 1831 was made accompany ist to the Court
concerts, and from that time his rise was steady.
In 1 834 he was elected member of the Academy
of Arts, in 1841 became music- director of the
Royal Opera, and in 1845 Court Kapellmeistei- —
a position which he held till his retirement from
the Opera in 1869 with the title of Oberkapell-
raeister. Since that time he has conducted the
royal orchestra at the Court concerts and
soirees, in which he has distinguished himself
as much by very admirable performances as by
the rigid conservatism which has governed the
programmes. In 1875 he was chosen member
of council of the musical section of the Academy.
Among his first compositions were various small
instrumental pieces, and especially sets of songs.
The songs attracted the notice of Mendelssohn,
and not only drew from him very warm praise
and anticipation of future success (see the letter
to Devrient, July 15, 1831), but led to a corre-
spondence, including Mendelssohn's long letter
of Aug. 27, 1 83 1. In these letters Mendelssohn
seems to have put his finger on the want of
strength and spirit which, with all his real
musicianlike qualities, his refined taste and
immense industry, has prevented Taubert from
writing anything that will be remembered.
The list of his published works is an enormous
one : — 3 Psalms and a Vater unser ; 7 Operas, of
which the last, 'Macbeth,' was produced Nov.
16, 1857 ; Incidental music to 8 dramas, in-
cluding 'The Tempest' (Nov. 28, 1855) ; 4 Can-
tatas; 294 Solo-songs, in 52 nos., besides Duets
and Part-songs; 3 Symphonies and a Festival-
overture for full orchestra ; 2 Trios for PF. and
strings; 3 String- quartets ; 6 Sonatas for PF.
and violin ; 6 Sonatas for PF. solo ; and a host
of smaller pieces. The complete catalogue, with
full details of Taubert's career, will be found in
Ledebur's * Tonkunstler-Lexicon Berlins.'
In this country Taubert is almost unknown, [G.]
TAUDOU, Antoine, composer of the modem
French school, bom at Perpignan, Aug. 24,
TAUSIG.
1846, early evinced such aptitude for music that
he was sent to Paris and entered at the Conser-
vatoire, where he carried off successively the first
prizes for solfeggio, violin (1866), harmony (67),
fugue (68), and finally, after two years' study of
composition with Reber, the Grand Prix de Rome
(69). The subject of the cantata was 'Francesca
da Rimini,' and the prize score was distinguished
for purity and elegance.
So far, no work of M. Taudou's has been pro-
duced on the stage, but his chamber-music and
orchestral pieces have been well received. These
include a trio for flute, alto, and cello ; another
for PF., violin, and cello ; a violin-concerto played
at the Soci^t^ des Concerts du Conservatoire, of
which M. Taudou is one of the best violinists ;
a string-quartet in B minor, often heard in Paris;
and for orchestra a ' Marche-Ballet,' a ' Chant
d'automne,' and a ' Marche-Noctume.' He has
published songs and pieces for PF., but a cantata
written for the inauguration of a statue to Arago
(1879) at Perpignan, is still in MS. In January
1883 he was chosen professor of harmony and
accompaniment at the Conservatoire. [G.C.]
TAUSCH, Julius, born April 15, 1827, at
Dessau, where he was a pupil of F. Schneider's.
In 1844 he entered the Conservatorium of Leip-
zig, then in the second year of its existence,
and on leaving that in 1846 settled at Dusseldorf.
Here he gradually advanced ; on Julius Rietz's
departure in 1847 taking the direction of the
artists' Liedertafel, and succeeding Schumann
as conductor of the Musical Society, temporarily
in 1853, and permanently in 1855. He was
associated in the direction of the Lower Rhine
Festivals of 1863, 1866 (with O. Goldschmidt),
1869, 1872, and 1875. In the winter of 1878
he conducted the orchestral concerts at the
Glasgow Festival.
Tausch has published a Fest-overture, music
to Twelfth Night, various pieces for voices and
orchestra, songs, and pianoforte pieces, solo and
accompanied. His last publication is op. 17. [G.]
TAUSIG, Carl (1841-1871), ♦ the infallible,
with his fingers of steel,' as Liszt described him,
was, after Liszt, the most remarkable pianist of
his time. His manner of playing at its best
was grand, impulsive, and impassioned, yet with-
out a trace of eccentricity. His tone was superb,
his touch exquisite, and his manipulative dex-
terity and powers of endurance such as to astonish
even experts. He made a point of executing
his tours de force with perfect composure, and
took pains to hide every trace of physical effort.
His repertoire was varied and extensive, and he
was ready to play by heart any representative
piece by any composer of importance from Scar-
latti to Liszt. A virtuoso par excellence, he was
also an accomplished musician, familiar with
scores old and new, a master of instrumentation,
a clever composer and arranger.
Carl Tausig was bom at Warsaw, Nov. 4,
1 841, and was first taught by his father, Aloys
Tausig, a professional pianist of good repute.
When Carl was fourteen, his father took him to
TAUSIG.
Liszt, who was then at Weimar, surrounded by
a very remarkable set of young musicians. It will
suffice to mention the names of Billow, Bronsart,
Klind worth, Pruckner, Cornelius, Joseph Joachim
(concertmeister), Joachim E-aff (Liszt's amanu-
ensis) to give an idea of the state of musical
things in the little Thuringian town. During
the interval from 1850-1858 Weimar was the
centre of the 'music of the future.* Liszt, as
capellmeister in chief, with a small staff of singers
and a tolerable orchestra, had brought out ' Tann-
hauser' and 'Lohengrin,' Berlioz's *Benvenuto
Cellini,' Schubert's 'Alfonso and Estrella,' etc.
He was composing his ' Pofemes symphoniques,'
revising his pianoforte works, writing essays and
articles for musical papers. Once a week or of tener
the pianists met at the Alte Burg, Liszt's re-
sidence, and there was an afternoon's 'lesson'
(gratis of course). Whoever had anything ready
to play, played it, and Liszt found fault or en-
couraged as the case might be, and finally played
himself. Peter Cornelius used to relate how Liszt
and his friends were taken aback when young
Tausig first sat down to play. 'A very devil of
a fellow,' said Cornelius, ' he dashed into Chopin's
Ab Polonaise, and knocked us clean over with
the octaves.' From that day Tausig was Liszt's
favourite. He worked hard, not only at piano-
forte playing, but at counterpoint, composition,
and instrumentation. In 1858 he made his dihut
in public at an orchestral concert conducted by
Billow at Berlin. Opinions were divided. It
was admitted on all hands that his technical
feats were phenomenal, but sober-minded people
talked of noise and rant, and even those of more
impulsive temperament who might have been
ready to sympathise with his ' Lisztian eccen-
tricities,' thought he would play better when his
period of 'storm and stress ' was over. In 1859
and 60 he gave concerts in various German
towns, making Dresden bis head-quarters. In
1862 he went to reside at Vienna, when, in
imitation of Billow's exertions in Berlin, he
gave orchestral concerts with very 'advanced' pro-
grammes. These concerts were but partially suc-
cessful in an artistic sense, whilst pecuniarily they
were failures. After this, for some years, little
was heard of Tausig. He changed his abode
frequently, but on the whole led the quiet life of
a student. The * storm and stress * was fairly at
an end when he married and settled in Berlin,
1865. Opinions were now unanimous. Tausig was
hailed as a master of the first order. He had
attained self-possession, breadth and dignity of
style, whilst his technique was as ' infallible ' as
ever. At Berlin he opened a school, ' Schule des
hoherenClavierspiels,' and at intervals gave piano-
forte recitals, of which his ' Chopin recitals ' were
the most successful. He played at the principal
German concert-institutions, and made the round
of the Russian towns. He died of typhoid fever, at
Leipzig, July 17, 1 87 1.
Shortly before his death Tausig published an
Opus I, — • Deux Etudes de Concert.* With this
he meant to cancel various compositions of pre-
vious date, some of which he was sorry to see in
VOL. IV. PT. I.
TAVERNER.
65
the market. Amongst these latter are a piano-
forte arrangement of ' Das Geisterschiff, Syni-
phonische Ballade nach einem Gedicht von
Strachwitz, op. i ,' originally written for orchestra ;
and 'Reminiscences de Halka, Fantaisie de
concert.' A pianoforte concerto, which contains
a Polonaise, and which, according to Felix Drae-
seke was originally called a Phantasie, several
' Po^mes symphoniques,' etc., remain in manu-
script. Tausig's arrangements, transcriptions,
and fingered editions of standard works deserve
the attention of professional pianists. They are
as follows : —
Wagner : Die Meiatersinger von NUrnberg, vollstan-
diger Clavierauszug.
Bach: Toccata und Fuge fUr die Orgel in D moll;
Choral -Vorspiele fiir die Orgel ; Praeludium, Fuge, und
Allegro ; 'Das wohltemperirte Clavier,' a selection of the
Preludes and Fugues, carefully phrased and fingered,
Berlioz : Gnomenreigen und Sylphentanz aus 'La Dam-
nation de Faust.'
Schumann : El Contrabandista.
Schubert : Andantino und Variationen, Kondo, Marche
militaire. Polonaise m^lancolique.
Weber : Aufforderung zum Tanz.
Scarlatti : 3 Sonaten, Pastorale, und Capriccio.
Chopin : Concerto in E minor ; score and PF. part dis-
creetly retouched.
Beethoven : 6 Transcriptions from the string quartets,
op. 59, 130, 131, and 135.
' Nouvelles soirees de Vienne— Valses caprices d'apr^a
Strauss.' 1-5. (These are pendants to Liszt's 'Soirees de
Vienne' after Schubert.)
'Ungarische Zigeunerweisen' (fit to rank with the
best of Liszt's ' Khapsodies hongroises ').
Clementi : Gradus ad Parnassum, a selection of the
most useful Studies, with additional fingering and
variantes.
Tausig*s • Tagliche Studien ' is a posthumous
publication, consisting of ingeniously contrived
finger exercises ; among the many * Indispensables
du Pianiste,' it is one of the few really indispens-
able. [E.D.]
TAVERNER, John, was organist of Boston,
Lincolnshire, and afterwards (about 1530), of
Cardinal (now Christ Church) College, Oxford.
Being associated with John Frith and other
favourers of the Reformation, he was imprisoned
upon suspicion of having concealed some (so-
called) heretical books, but, by the favour of
Wolsey, was released. His compositions consist
of masses and motets, many of which are extant
in MS. in the Music School and Christ Church,^
Oxford, the British Museum,^ and elsewhere.
Hawkins printed a 3-part motet by him, 'O
splendor gloriae,'^ and Bumey a 5-part motet,
'Dum transisset Sabbatum.' Morley includes
him among the eminent musicians of his time.
He died at Boston and was buried there.
Another John Taverneb, of an ancient Nor-
folk family, son of Peter Tavern er, and grandson
of Richard Tavemer, who in the reigns of Ed-
ward VI. and Elizabeth was a lay-preacher, and
in the latter reign high-sheriff of Oxfordshire,
was bom in 1584. On Nov. 17, 1610, he was
appointed professor of music at Gresham College
upon the resignation of Thomas Clayton. His
autogi'aph copy of 9 lectures, part in Latin and
part in English, delivered by him in the college
» 17 motets for S, 4, 5, 6 voices.
a Among the most Interesting are parts of a Mass for 6 voices
• Gloria tlbl, Trinitas.' copied by Dr. Bumey. Add. MS. 11.687.
3 TbU U noted in the Christ Church Catalogue as ' partly by Tye.
F
66
TAVERNER.
in that year, is preserved in the British Museum
(Sloane MSS., 2329). He subsequently entered
into Holy Orders, and in 1622 became Vicar of
Tillingham, Essex, and in 1627 Rector of Stoke
Newington. He died at the latter place in
August, 1638. [W.H.H.]
TAYLOR, Edward, was bom Jan. 22, 1784,
in Norwich, where, as a boy, he attracted the
attention of Dr. Beckwith, who gave him in-
struction. Arrived at manhood he embarked in
business in his native city, but continued the
practice of music as an amateur. He possessed
a fine, rich, full-toned bass voice, and became
rot only solo vocalist, but an active manager
of the principal amateur society in Norwich. He
took a leading part in the establishment in 1824
of the existing triennial Norwich Musical Fes-
tival, training the chorus, engaging the band and
singers, and making out the entire programmes.
In 1825 he removed to London, and, in connec-
tion with some relatives, entered upon the pro-
fession of civil engineer, but not meeting with
success he, in 1826, adopted music as a profession,
and inamediately attained a good position as a
bass singer. In 1830 he translated and adapted
Spohr's 'Last Judgment.' This led to an in-
timacy v«dth Spohr, at whose request he subse-
quently translated and adapted the oratorios,
♦Crucifixion' (or 'Calvary'), 1836, and 'Fall of
Babylon,' 1842. On Oct. 24, 1837, he was ap-
pointed professor of music in Gresham College in
succession to R. J. S. Stevens. He entered upon
his duties in Jan. 1838, by the delivery of three
lectures, which he subsequently published. His
lectures were admirably adapted to the under-
standing of a general audience ; they were
historical and critical, excellently written, elo-
quently read, and illustrated by well chosen
extracts from the works described efficiently
performed. In 1 839 he published, under the title
of 'The Vocal School of Italy in the i6th century,*
a selection of 28 madrigals by the best Italian
masters adapted to English words. He conducted
the Norwich Festivals of 1839 and 1842. He
wrote and composed anode for the opening of the
present Gresham College, Nov. 2, 1843. In 1844
he joined James Turle in editing * The People's
Music Book.' In 1845 ^® contributed to 'The
British and Foreign Review,' an article entitled
*The English Cathedral Service, its Glory, its
Decline, and its designed Extinction,' a produc-
tion evoked by some then pending legislation
connected with the cathedral institutions, which
attracted great attention, and was afterwards
reprinted in a separate form. He was one of the
originators of the Vocal Society (of which he was
the secretary), and of the Musical Antiquarian
Society (for which he edited Purcell's 'King
Arthur'), and the founder of the Purcell Club.
[See Musical Antiquarian Society, Purcell
Club, and Vocal Society.] Besides the before-
named works he wrote and adapted with great
skill English words to Mozart's 'Requiem,'
Graun's *Tod Jesu,' Schneider's 'Siindfluth,'
Spohr s ' Vater Unser,' Haydn's ' Jahreszeiten,'
and a very large number of compositions intro-
TEDESCA.
duced in his lectures. He was for many years
music critic to * The Spectator ' newspaper. He
died at Brentwood, March 12, 1863. His valu-
able library was dispersed by auction in the fol-
lowing December. [W.H.H.]
TAYLOR, Franklin, a well -known pianoforte-
player and teacher in London, bom at Birming-
ham, Feb. 5, 1843, began music at a very early age ;
learned the pianoforte under Chas. Flavell, and
the organ under T. Bedsmore, organist of Lichfield
Cathedral, where at the age of 1 1 he was able
to take the service. In 1859 he went to Leipzig
and studied in the Conservatorium with Sullivan,
J. F. Barnett, etc., under Plaidy and Moscheles
for pianoforte, and Hauptmann, Richter, and
Papperitz for theory. He left in 1861 and made
some stay in Paris, where he had lessons from
Mme. Schumann, and was in close intercourse with
Heller, Schulhoff, Mme. Viardot, etc. In 1862
he returned to England, settled permanently in
London, and began teaching, and playing at the
Crystal Palace (Feb. 18, 1865, etc.), the Monday
Popular Concerts (Jan. 15, 66, etc.), as well as at
the Liverpool Philharmonic, Birmingham Cham-
ber Concerts, and elsewhere. At the same time
he was organistsuccessively of Twickenham Parish
Church, and St. Michael's, Chester Square. In
1876 he joined the National Training School as
teacher, and in 1882 the Royal College of Music
as Professor of the Pianoforte. He is President
of the Academy for the higher development of
pianoforte-playing.
His Primer of the Pianoforte (Maemillan 1879)
— emphatically a ' little book on a great subject,'
and a most useful and practical book too — has
been published in German. He has also compiled
a PF. tutor (Enoch), and has edited Beethoven's
Sonatas I-12 for C. Boosey. He has translated
Richter's treatises on Harmony, Counterpoint,
and Canon and Fugue (Cramer & Co.) ; and ar-
ranged Sullivan's Tempest music for four hands
on its production. With all his gifts as a player
it is probably as a teacher that his reputation
will live. His attention to his pupils is unre-
mitting, and his power of imparting tone, touch,
and execution to them, remarkable. Gifted with
a fine musical organisation himself, he evokes
the intelligence of his pupils, and succeeds in
making them musicians as well as mere fine
technical performers. [G,]
TECHNIQUE (Germ. TechniJc). A French
term which has been adopted in England, and
which expresses the mechanical part of playing.
A player may be perfect in technique, and yet
have neither soul nor intelligence. [G.]
TEDESCA, ALLA (Italian), ' in the German
style.* * Tedesca ' and ' Deutsch' are both derived
&om an ancient term which appears in mediaeval
Latin as Theotisca. Beethoven employs it twice
in his published works — in the first movement of
op. 79, the Sonatina in G, —
Presto alia tedaca.
TEDESCA.
and again in the fifth movement of the Bb
quartet (op. 130) —
Alia danza tedesca. Allegro assai.
In a Bagatelle, No. 3 of op. 1 19, he uses the
term in French — * A rallemande,' but in this case
the piece has more affinity to the presto of the
sonatina than to the slower movement of the
dance. All three are in G. The term ' tedesca,'
says Eiilow, has reference to waltz rhythm, and
invites changes of time. — [See Teutsche.] [G.]
TE DEUM LAUDAMUS (Eng. We praise
Thee, 0 God). A well-known Hymn, called the
Ambrosian Hymn, from the fact that the poetry
is ascribed by tradition to S. Ambrose and S.
Augustine. The English "^ version, one of the
most magnificent to be found even in the Book
of Common Prayer, appears in the first of the
English Prayer-books in the place which it now
occupies. The custom of singing Te Deum on great
Ecclesiastical Festivals, and occasions of special
Thanksgiving, has for many centuries been uni-
versal in the Western Church ; and still pre-
vails, both in Catholic and Protestant countries.
TE DEUM.
67
And this circumstance, even more than the sub-
limity of the Poetry, has led to the connection of
the Hymn with music of almost every known
School.
The antient Melody — popularly known as
the 'Ambrosian Te Deum' — is a very beautiful
one, and undoubtedly of great antiquity ;
though it cannot possibly be so old as the Hymn
itself, nor can it lay any claim whatever to the
title by which it is popularly designated, since
it is written in the Mixed Phrygian Mode — i.e,
in Modes III and IV combined; an extended
Scale of very much later date than that used by
S. Ambrose. Numerous versions of this vener-
able Melody are extant, all bearing more or less
clear traces of derivation from a common original
which appears to be hopelessly lost. Whether
or not this original was in the pure Mode III it
is impossible to say with certainty; but the
older versions furnish internal evidence enough
to lead to a strong conviction that this was the
case, though we possess none that can be referred
to the age of S. Ambrose, or within two centuries
of it. This will be best explained by the sub-
joined comparative view of the opening phrases
of some of the earliest known versions.
i
From the Dodccachoidon of Glareamis (Basiliae, 1547).
-& <&-
ter • num Fa - trem om - nls
The traditional Roman Version, from the Supplement to the Ratisbon Gradual.
Te De
« mm : Te Do - mi - num con - fl - te • mur.
- ra • - tur.
Early Anglican Version, from Marbecke's 'Booke of Common Praier noted * (London, i^go).
-/7\-
wor - shipp
the.
In all these cases, the music to the verse * Te
aetemum Patrem ' ('AH the earth doth worship
Thee ') is adapted, with very little change, to the
succeeding verses, as far as * Te ergo quaesumus '
(* We therefore pray Thee'), which verse, in Ca-
1 In one yerse only does this grand paraphrase omit a character-
istic expression in the original— that which refers to the WhU* Bcbei
of the Martyrs :
' Te Hartymm eandidaiu$ laudat exercitus.'
• The noble army of Martyrs praise Thee.*
The name of the translator is not ImoTrn.
tholic countries, is sung kneeling. The only
exception to this is the phrase adapted to the
word 'Sanctus' ('Holy'), which, in every in-
stance, difiers from all the rest of the Melody.'
As far, then, as the verse * Te ergo qusesumus*
inclusive, we find nothing to prevent us from
believing that the Music is as old as the text ;
for it nowhere deviates from the pure Third
Mode, as sung by S. Ambrose. But, at the next
a Harbecke, however, makes another marked change at 'Thou arte
the Kyng of Glorye.'
F2
$8
TE DEUM.
TE DEUM.
verse, * .sterna fac' ('Make them to be num- I with a marked allusion to the Fomrth Gregorian
bered'), the Melody passes into the Fourth Mode, | Tone, of which S. Ambrose knew nothing.
tar- aa
cum Sanc-tts
This phrase, therefore, conclusively proves,
either that the latter portion of the Melody is a
comparatively modem addition to the original
form ; or, that the whole is of much later date
than has been generally supposed. We are
strongly in favour of the first supposition ; but
the question is open to discussion on both sides.
The beauty of the old Melody has led to its
frequent adoption as a Canto fermo for Poly-
phonic Masses ; as in the case of the fifth and
sixth Masses — *In Te, Domine, speravi,' for 5
voices, and 'Te Deum laudamus,' for 6 — in
Palestrina's Ninth Book. But the number of
Polyphonic settings is less than that of many
other Hymns of far inferior interest. The reason
of this must be sought for in the immense popu-
larity of the Plain Chaunt Melody in Italy, and
especially in the Roman States. Every peasant
knows it by heart ; and, from time immemorial,
it has been sung, in the crowded Roman Churches,
at every solemn Thanksgiving Service, by the
people of the city, and the wild inhabitants of
the Campagna, with a fervour which would have
set Polyphony at defiance.^ There are, however,
some very beautiful examples j especially, one
by Felice Anerio, printed by Proske, in vol. iv. of
* Musica Divina,' from a MS. in the Codex
Altaemps. Othobon,, based on the antient Me-
lody, and treating the alternate verses only of
the text — an arrangement which would allow
the people to take a fair share in the singing.
The 'Tertius Tomus Musici opens' of Jakob
Hand! contains another very fine example, in
which all the verses are set for two Choirs, which,
however, only sing alternately, like the Decani
and Cantoris sides in an English Cathedral.
Our own Polyphonic Composers have treated
the English paraphrase, in many instances, very
finely indeed : witness the settings in Tallis's
and Byrd's Services in the Dorian Mode, in
Farrant's in G minor, in Orlando Gibbons's in
F (Ionian Mode transposed), and many others
too well known to need specification. That these
fine compositions should have given place to
others, pertaining to a School worthily repre-
sented by * Jackson in F,' is matter for very
deep regret. We may hope that that School
is at last extinct: but, even now, the 'Te
Deum' of Tallis is far less frequently heard,
in most Cathedrals, than the immeasurably in-
ferior * Boyce in A ' — one of the most popular
settings in existence. The number of settings,
for Cathedral and Parochial use, by modern Com-
posers, past and present, is so great that it is
difficult even to count them.'
» An exceedingly corrupt excerpt from the Boman version— the
Terse 'Te SBternum Patrem'— has long been popular here, as the
' Roman Chant.' In all probability It owes its introduction to this
country to the zeal of some traveller, who • picked it up by ear.'
'i A second setting in the Dorian mode, and a third In F, by Tallis,
both for 5 voices, are unfortunately incomplete. [See p. 54,1
in kIo • rl • • DO •
It remains to notice a third method of treat-
ment by which the text of the ' Te Deum ' has
been illustrated, in modern times, with extra-
ordinary success. The custom of singing the
Hymn on occasions of national Thanksgiving
naturally led to the composition of great works,
with Orchestral Accompaniments, and extended
movements, both for Solo Voices and Chorus.
Some of these works are written on a scale
sufficiently grand to place them on a level with
the finest Oratorios ;. while others are remark-
able for special effects connected with the par-
ticular occasion for which they were produced.
Among these last must be classed the Compo-
sitions for many Choirs, with Organ and Orches-
tral Accompaniments, by Benevoli, and other
Italian Masters of the 1 7th century, which were
composed for special Festivals, and never after-
wards permitted to see the light. Sarti wrote
a * Te Deum ' to Russian text, by command of
the Empress Catherine II, in celebration of
Prince Potemkin's victory at Otchakous, in which
he introduced fireworks and cannon. Notwith-
standing this extreme measure, the work is a
fine one ; but far inferior to that composed by
Graun, in 1756, by command of Frederick the
Great, in commemoration of the Battle of Prague,
and first performed at Charlottenburg, in 1762,
at the close of the Seven Years' War. This is
unquestionably the most celebrated ' Te Deum *
ever composed on the Continent ; and also one
of the finest. Among modem Continental set-
tings, the most remarkable is that by Berlioz,
for two Choirs, with Orchestra and Organ 06-
hh'f/ato, of which he says that the Finale, from
'Judex crederis,' is * without doubt his grandest
production.' Of this work (op. 22) nothing is yet
known in England ; but it was performed at Bor-
deaux, Dec. 14, 1883. Cherubini, in early youth,
wrote a Te Deum, the MS. of which is lost; but,
strangely enough, his official duties at the French
Court never led him to reset the Hymn.
But the grandest Festal settings of the * Te
Deum' have been composed in England. The
earliest of these was that written by Purcell
for S. Cecilia's Day, 1694; a work which must
lit least rank as one of the greatest triumphs of
the School of the Restoration, if it be not,
indeed, the very finest production of that bril-
liant period. As this work has already been
described in oup account of that School,' it is
unnecessary again to analyse it here. It is, how-
ever, remarkable, not only as the first English
* Te Deum ' with Orchestral Accompaniments ;
but also as having stimulated other English Com-
posers to the production of similar works. la
1695, Dr. Blow wrote a 'Te Deum,' with Accom-
paniments for 2 Violins, 2 Trumpets, and ~
< See VOL Ut. pp. 281-886.
TE DEUM.
TELEMANN.
the exact Orchestra employed by Purcell ; and, not
long afterwards. Dr. Croft produced another work
of the same kind, and for the same Instnunents.
The next advance was a very important one.
The first Sacred Music which Handel com-
posed to English words was the 'Utrecht Te
Deum,' the MS. of which is dated Jan. 14, 1 71 2.*
Up to this time, Purcell's Te Deum had been
annually performed, at S. Paul's, for the benefit
of the 'Sons of the Clergy.' To assert that
Handel's Te • Deum in any way resembles it
would be absurd : but both manifest too close an
affinity with the English School to admit the possi-
bility of their reference to any other ; and, both
naturally fall into the same general form, which
form Handel must necessarily have learned in this
country, and most probably really did learn from
Purcell, whose English Te Deum was then the
finest in existence. The points in which the
two works show their kinship, are, the massive
solidity of their construction; the grave de-
votional spirit which pervades them, from be-
ginning to end ; and the freedom of their Subjects,
in which the sombre gravity of true Ecclesiastical
Melody is treated with the artless simplicity of a
Volkslied. The third — the truly national char-
acteristic, and the common property of all our
best English Composers — was, in Purcell's case,
the inevitable result of an intimate acquaintance
with the rich vein of National Melody of which
we are all so justly proud ; while, in Handel's,
we can only explain it as the consequence of a
power of assimilation which not only enabled
him to make common cause with the School of
his adoption, but to make himself one with it.
The points in which the two compositions most
prominently differ are, the more gigantic scale
of the later work, and the fuller development of its
Subjects. In contrapuntal resources, the Utrecht
Te Deum is even richer than that with which
Handel celebrated the Battle of Dettingen,
fought June 27, 1743; though the magnificent
Fanfare of Trumpets and Drums which intro-
duces the opening Chorus of the latter, surpasses
anything ever written to express the Thanks-
giving of a whole Nation for a glorious victory.'^
The Dettingen Te Deum represents the cul-
minating point of the festal treatment to which
the Ambrosian Hymn has hitherto been sub-
jected. A fine modern English setting is Sul-
livan's, for Solos, Chorus, and Orchestra, com-
posed to celebrate the recovery of the Prince of
Wales, and performed at the Crystal Palace. A
more recent one is Macfarren's (i 884). [W.S.R.]
TELEMANN, Geobg Philipp, German com-
poser, son of a clergyman, bom at Magdeburg
Marcli 14, 168 1, and educated there and at
Hildesheim. He received no regular musical
training, but by diligently studying the scores
of the great masters — he mentions in particular
LuUy and Campra — made himself master of
the science of music. In 1 700 he went to the
» Old Style; representing Jan. 14, 1713, according to our present
mode of reckoning.
2 For an account of the curious work which, of late years, has been
»<> frequently quoted In connection with the Dettingen Te Deum, we
must refer the reader to the article on Ubio, Doh Fbancbsoo.
university of Leipzig, and while carrying on
studies in languages and science, became organist
of the Neukirche, and founded a society among
the students, called 'Collegium musicum.' In
1 704 he became Capellmeister to a Prince Prom-
nitz at Sorau, in 1708 Concertmeister, and then
Capellmeister, at Eisenach, and, still retaining
this post, became Musikdirector of the Church
of St. Catherine, and of a society called * Frau-
enstein' at Frankfort in 1711, and also Capell-
meister to the Prince of Bajnreuth, In 1721 he
was appointed Cantor of the Johanneum, and
Musikdirector of the principal church at Ham-
burg, posts which he retained till his death. He
made good musical use of repeated tours to
Berlin, and other places of musical repute, and
his style was permanently atFected by a visit of
some length to Paris in 1737, when he became
strongly imbued with French ideas and taste.
He died June 25, 1767.
Telemann, like his contemporaries Matheson
and Keiser, is a prominent representative of the
Hamburg school in its prime during the first
half of the i8th century. In his own day he was
placed with Hasse and Graun as a composer of
the first rank, but the verdict of posterity has
been less favourable. With all his undoubted
ability he originated nothing, but was content
to follow the tracks laid down by the old con-
trapuntal school of organists, whose ideas and
forms he adopted without change. His fertility
was so marvellous that he could not even reckon
up his own compositions; indeed it is doubtful
whether he was ever equalled in this respect.
He was a highly-skilled contrapuntist, and had,
as might be expected from his great productive-
ness, a technical mastery of all the received forms
of composition. Handel, who knew him well,
said that he could write a motet in 8 parts
as easily as any one else could write a letter,
and Schumann quotes an expression of his to
the effect that 'a proper composer should be
able to set a placard to ^music ' : but these
advantages were neutralised by his lack of any
earnest ideal, and by a fatal facility naturally
inclined to superficiality. He was over-addicted,
even for his own day, to realism; this, though
occasionally effective, especially in recitatives,
concentrates the attention on mere externals,
and is opi)osed to all depth of expression, and
consequently to true art. His shortcomings are
most patent in his church works, which are of
greater historical importance than his operas and
other music. The shallowness of the church-
music of the latter half of the i8th century is
distinctly traceable to Telemann's influence, al-
though that was the very branch of composition
in which he seemed to have everything in his
favour — position, authority, and industry. But
the mixture of conventional counterpoint with
Italian opera air, which constituted his style,
was not calculated to conceal the absence of any
true and dignified ideal of church music. And
yet he composed 12 complete sets of services
3 ' Gesammelte Schriften,' li. 235. Compare Bameau't ' Qu'on m«
donne la Gazette de Hollande.'
70
TELEMANN.
for the year, 44 Passions, many oratorios, in-
numerable cantatas and psalms, 32 services for
the installation of Hamburg clergy, 33 pieces
called 'Capitans-musik,' 20 ordination and anni-
versary services, 12 funeral, and 14 wedding ser-
vices— all consisting of many numbers each. Of
his grand oratorios several were widely known
and performed, even after his death, especially a
' Passion' to the well-known words of Brookes of
Hamburg (1716) ; another, in 3 parts and 9
scenes, to words selected by himself from the
Gospels (his best-known work) ; * Der Tag des
Gerichts '; * Die Tageszeiten ' (from Zechariah) ;
and the *Tod Jesu' and the 'Auferstehung
Christi,' both by Ramler (1730 and 1757). To
these must be added 40 operas for Hamburg,
Eisenach, and Bayreuth, and an enormous mass
of vocal and instrumental music of all kinds,
including no less than 600 overtures in the
French style. Many of his compositions were
published, and he even found time to engrave
several himself; Gerber ('Lexicon,' ii. 631) gives
» catalogue. He also wrote an autobiography,
printed in Matheson's ' Ehrenpforte ' and ' Gen-
eralbass-schule ' (1731, p. 168). A fine chorus
for 2 choirs is given in Rochlitz's Sammlung, and
Hullah's Vocal Scores. Others will be found in
Winterfeld, and in a collection — 'Beitrag zur
Kirchenmusik' — published by Breitkopf. Organ
fugues have been printed in Korner's * Orgel
Virtues.' Very valuable examinations of his
Church-Cantatas, and comparisons between them
and those of Bach, will be found in Spitta's
' Bach ' (Transl. i. 490 etc.) [A.M.]
TELLEFSEN, Thomas Dyke Acland, a
Norwegian musician, born at Dronthjem Nov. 26,
1823, and probably named after the well-known
M.P. for North Devon, who was much in the habit
of travelling in Norway — was a pupil of Chopin,
and first came to England with his master in
1848. He was in the habit of returning to this
country, had many pupils, and used to give con-
certs, at one of wliich he was assisted by Madame
Lind-Goldschmidt. He edited a collection of
Chopin's PF. works (Paris, Richault), and was
interesting chiefly from his intimate connexion
with that remarkable composer and player,
though it can hardly be said that his playing
was a good representation of Chopin's. He died
at Paris in Oct. 1874. [G.]
TELL-TALE. A simple mechanical con-
trivance for giving information to an organ-
blower (and sometimes also to an organist) as
to the amount of wind contained in the bellows.
A piece of string is fixed by one end to the
top board of the bellows and carried over a pul-
ley; a small metal weight is attached to the
otiier end of the string. As the bellows rise
the weight descends, as they sink the weight
ascends ; and the words ♦ Full' and * Empty ' mark
the limits of the journey down and up. [J.S.]
TEMPERAMENT (Fr. Tempirament ; Ger.
Temperatur ; comp. Ital. temperare, to tune) is
the name given to various methods of Tuning,
in which certain of the consonant intervals,
TEMPERAMENT.
chiefly the Fifth and Major Third, are inten-
tionally made more or less false or imperfect;
that is to say, either sharper or flatter than
exact consonance would require. If, on the con-
trary, all the consonant intervals are made per-
fectly smooth and pure, so as to give no Beats
(see Appendix), the tuning is then called Just
Intonation.
When a piece of music containing much
change of key is executed in just intonation, we
find that the number of notes employed in each
Octave is considerable, and that the difference
of pitch between them is, in many cases, com-
paratively minute. Yet, however great the
number of notes may be, and however small
the intervals which separate them, all these
notes can be correctly produced by the voice ;
as they may be derived from a few elementary
intervals, namely the Octave, Fifth, Major
Third, and Harmonic Seventh.^ Instruments
like the violin and the trombone are also suit-
able for the employment of just intonation ;
because, in these cases, the player can modify
the pitch of each note at pleasure, being guided
by his sense of key-relation. But it is other-
wise with instrimients whose tones are fixed,
such as the pianoforte, organ, and harmonium.
Here the precise pitch of each note does not
depend on the player, but is settled for him
beforehand by the tuner. Hence, in these in-
struments, the number of notes per Octave is
limited, and cannot furnish all the varieties of
pitch required in just intonation. A few scales
may, indeed, be tuned perfectly ; but if so, cer-
tain notes which belong to other scales will be
missing. Compromise then becomes a mechani-
cal necessity; and it is found that by putting
most of the consonant intervals, except the Oc-
tave, slightly out of tune, the number of notes
required in modulation may be considerably re-
duced, without too much offence to the ear.
This mode of tuning is called Temperament,
and is now usually applied to all instruments
with fixed tones. And although voices, violins,
and trombones naturally have no need of tem-
perament, they must all conform to the intona-
tion of any tempered instrument which is played
in concert with them.
We shall omit from the present article all re-
ference to the arithmetical treatment of tempera-
ment, and simply deal with its physical and
audible effects. We shall describe the means
by which any student may obtain for himself
a practical knowledge of the subject, and point
out some of the conclusions to which such know-
ledge will probably lead him.^ The first and
most important thing is to learn by experience the
effect of temperament on the quality of musical
chords. To carry out this study properly it is ne-
1 Some theorists exclude the Harmonic Seventh from the list of
elementary intervals, but It is often heard In unaccompanied vocal
harmony. See below, p. 77 o.
2 Those who wish to study the subject more In detail may consult :—
(1) Bosanquet, * Elementary Treatise on Musical Intervals and Tem-
perament' (Macmlllan): (2) Helmholtz, 'Sensations of Tone." chap-
ters xiv, to xvli. ; and Ellis's Appendix xix. sections A to G, tables i. to
vi.: (3) Perronet Thompson, 'On the Principles and Practice of Just
Intonation ' : (4) Woolhouse, ' Esssy on Musical Intervals.'
TEMPERAMENT.
eessary to have an instrument which is capable of
producing all the combinations of notes used in
harmony, of sustaining the sound as long as may
be desired, and of distinguishing clearly between
just and tempered intonation. These conditions
are not fulfilled by the pianoforte ; for, owing to
the soft quality of its tones, and the quickness
with which they die away, it does not make the
effects of temperament acutely felt. The organ
is more useful for the purpose, since its full and
sustained tones, especially in the reed stops, en-
able the ear to perceive differences of tuning
with greater facility. The harmonium is superior
even to the organ for illustrating errors of in-
tonation, being less troublesome to tune and less
liable to alter in pitch from variation of tempera-
ture or lapse of time.
By playing a few chords on an ordinary har-
monium and listening carefully to the effect, the
student will perceive that in the usual mode of
tuning, called Equal Temperament, only one
consonant interval has a smooth and continuous
sound, namely the Octave. All the others are in-
terrupted by heats, that is to say, by regularly
recurring throbs or pulsations, which mark the
deviation from exact consonance. For example,
the Fifth and Fourth, as at (a;), are each made
to give about one beat per second. This error
is so slight as to be hardly worth notice, but in
the Thirds and Sixths the case is very different.
The Major Third, as at (y), gives nearly twelve
beats per second : these are rather strong and dis-
tinct, and become still harsher if the interval
is extended to a Tenth or a Seventeenth. The
Major Sixth, as at (2), gives about ten beats per
second, which are so violent, that this interval
in its tempered form barely escapes being reckoned
as a dissonance.
The Difference-Tones resulting from these tem-
pered chords are also thrown very much out of
tune, and, even when too far apart to beat, still
produce a disagreeable effect, especially on the
organ and the harmonium. [Resultant Tones,]
The degree of harshness arising from this source
varies with the distribution of the notes ; the
worst results being produced by chords of the
following types —
TEMPERAMENT.
71
By playing these examples, the student will
obtain some idea of the alteration which chords
undergo in equal temperament. To understand
it thoroughly, he should try the following simple
experiment. * Take an ordinary harmonium and
tune two chords perfect on it. One is scarcely
enough for comparison. To tune the triad of
C major, first raise the G a very little, by scraping
the end of the reed, till the Fifth, C— G, is dead
in tune. Then flatten the Third E, by scraping
the shank, till the triad C — E — G is dead in
tune. Then flatten F till F— C is perfect, and
A till F — A — C is perfect. The notes used are
easily restored by tuning to their Octaves.
The pure chords obtained by the above process
offer a remarkable contrast to any other chords
on the instrument.'* It is only by making one-
self practically familiar with these facts, that the
nature of temperament can be clearly understood,
and its effects in the orchestra or in accompanied
singing, properly appreciated.
Against its defects, equal temperament has
(me great advantage which specially adapts it to
instruments with fixed tones, namely its extreme
simplicity from a mechanical point of view. It
is the only system of tuning which is complete
with twelve notes to the Octave. This result is
obtained in the following manner. If we start
from any note on the keyboard (say Gb), and
proceed along a series of twelve (tempered) Fifths
upwards and seven Octaves downwards, thus —
5 ^^^ 7
we come to a note (FjJ) identical with our original
one (Gb). But this identity is only arrived at
by each Fifth being tuned somewhat too flat for
exact consonance. If, on the contrary, the Fifths
were tuned perfect, the last note of the series
(Fj) would be sharper than the first note (Gb)
by a small interval called the 'Comma of Pytha-
goras,' which is about one-quarter of a Semitone.
Hence in equal temperament, each Fifth ought
to be made flat by one-twelfth of this Comma;
but it is extremely difficult to accomplish this
practically, and the error is always found to be
greater in some Fifths than in others. If the
theoretic conditions which the name ' equal
temperament' implies, could be realised in the
tuning of instruments, the Octave would be
equally divided into twelve Semitones, six Tones,
or three Major Thirds. Perfect accuracy, in-
deed, is impossible even with the best-trained
ears, but the following rule, given by Mr. Ellis,
is much less variable in its results than the or-
dinary process of guesswork. It is this : — ' make
all the Fifths which lie entirely within the
Octave middle c' to treble c" beat once per second ;
and make those which have their upper notes
above treble c" beat three times in two seconds.
Keeping the Fifth treble /' and treble c" to the
last, it should beat once in between one and two
seconds.' ^ In ordinary practice, however, much
rougher appi-oximations are found suflScient.
The present system of tuning, by equal tem-
perament, was introduced into England at a
comparatively recent date. In 1854 organs
I Bosanquet, ' Temperament.* p. S. < Ibid. p. 0.
72
TEMPERAMENT.
built and tuned by this method were sent out
for the first time by Messrs. Gray & Davison,
Walker, and Willis. 1854 is therefore the date
of its definite adoption as the trade usage in
England. There was no equally tempered organ
of English make in the Great Exhibition of 1 85 1 ;
and before that time the present system appears
to have been only used in a few isolated cases,
as in the organ of S. Nicholas, Newcastle-upon-
Tyne, which was retuned in 1842. For the
pianoforte equal temperament came into use
somewhat earlier than for the organ. It was
introduced into the works of Messrs. Broad-
wood about 1846. In France the change had
already taken place, for M. Aristide Cavaill^-
Coll states that since 1835 ^^ ^^^ consistently
laboured to carry out the equal principle in the
tuning of his organs.^ What little is known of
the history of temperament in Germany, seems
to show that the new tuning was employed there
at a still earlier date, but there are reasons for
believing that equally tuned organs had not
become general even as late as the time of Mozart
(died 1 791). Emanuel Bach seems to have been
the first musician who advocated in a prominent
manner the adoption of equal temperament,
whence we may infer that it was unusual in
his day.^ His father is also said to have en-
ployed this system on his own clavichord and
harpsichord: but even his authority was not
sufficient to recommend it to his contemporary
Silbermann, the famous organ-builder (1683-
1753). An earlier builder, Schnitger, is said to
have used something approaching it in the organ
built by him about 1688-93, in the S. Jacobi
Church at Hamburg. Before that time the sys-
tem appears to have had hardly more than a
theoretic existence in Europe.^
The mode of tuning which prevailed before
the introduction of equal temperament, is called
the Meantone System.* It has hardly yet died
out in England, for it may still be heard on
a few organs in country churches. According
to Don B. Yniguez, organist of Seville Cathedral,
the meantone system is generally maintained on
Spanish organs, even at the present day.' Till
about a century ago, this tuning, or a closely
allied variety, was almost universally employed,
both in England and on the Continent. It was
invented by the Spanish musician Salinas, who
was bom at Burgos in 15 13, lived for many
years in Italy, and died at Salamanca in 1590."
On account of its historical interest, as well as
its intrinsic merits, the meantone system requires
a short explanation. It will be convenient to
take equal temperament as the standard of com-
parison, and to measure the meantone intervals
by the nmnber of equal Semitones they contain.
I BllU. In • Nature ' for Aug. 8, 1878, p. 388.
s 0. P. K. Bach, 'Versuch fiber die wahre Art du Clavier rn
splelen, Elnleltung, sect. 14 ; published 1753.
3 ElHs. 'History of Musical Pitch,' In Journal of Society of Art*.
March 5 and April 2, 1880, and Jan. 7, 1881. From these valuable
papers many of the facts given In the text have been derived.
* Otherwise Mesotonic ; so called because In this tuning the Tone
is a mean between the Major and the Minor Tones of Just Intonation ;
or half a Major Third. See p. 79 b.
'> The invention of this temperament has also been attributed to
Zarlino and to Guido d'Aiezzo.
TEMPERAMENT.
The relations of the two systems may therefore
be described as follows.
If we start from say D on the keyboard,
and proceed along a series of four equal tempera-
ment Fifths upwards and two Octaves down-
wards, thus —
* ^^ ■••w^
we arrive at a note (Fj) which we employ as
the Major Third of our original note (D). This
tempered interval (D — Fjf) is too sharp for ex-
act consonance by nearly one-seventh of a Semi-
tone ; but if we make these Fifths flatter than
they would be in equal temperament, then the
interval D — Fj will approach the perfect Major
Third. We may thus obtain a number of systems
of tuning according to the precise amount of
flattening we choose to assign to the Fifth. Of
this class the most important is the Meantone
System, which is tuned according to the following
rule. First, make the Major Third (say D— F|)
perfect; then make all the intermediate Fifths
(D— A— E— B— Fjf) equally flat by trial. After
a little practice this can be done by mere estima-
tion of the ear ; but if very accurate results are
desired, the following method may be used. A
set of tuning forks should be made (say at French
pitch) giving </ «= 260.2, ^ = 389.1, d' = 290*9,
a'= 435 vibrations per second. The notes c', flr',
d', a', of the instrument should be tuned in unison
with the forks, and all other notes can be ob-
tained by perfect Major Thirds and perfect
Octaves above or below these.
There is one difficulty connected with the use
of the meantone system, namely that it requires
more than twelve notes to the Octave, in order
to enable the player to modulate into any given
key. This aiises from the nature of the system;
for as twelve meantone Fifths fall short of seven
Octaves, the same sound cannot serve both for
Gb and for Fj. Hence if we tune the following
series of meantone Fifths
Eb-Bb-F-C-G-D-A-E-B-Fj-Cj-G#
on the piano, or on any other instrument with
twelve notes to the Octave, we shall have only
six Major scales (Bb, F, C, G, D, A), and three
Minor scales (G, D, A). When the remoter keys
are required, the player has to strike GjJ instead
of Ab, or Eb instead of Dj, producing an intoler-
able eficct. For in the meantone system the in-
terval Gj— Eb is sharper than the 'perfect Fifth
by nearly one-third ot a Semitone, and the four
intervals B— Eb, F#— Bb, CJ— F, GJ— C, are
each sharper than the perfect Major Third by
more than three-fifths of a Semitone. The
extreme roughness of these chords caused them
to be compared to the howling of wolves.
[WOLP.]
To get rid of the ' wolves * many plans were
tried. For instance, the GjJ was sometimes raised
till it stood half-way between G and A ; but the
result was unsatisfactory, for the error thus
avoided in one place had to be distributed else-
TEMPERAMENT.
where. This was called the method of Unequal
Temperament, in which the notes played by the
white keys were left in the meantone system,
while the error was accumulated on those played
by the black keys. The more usual scales were
thus kept tolerably in tune, while the remote
ones were all more or less false. Such a make-
shift as this could not be expected to succeed,
and the only purpose it served was to prepare
the way for the adoption of equal temperament.
The meantone system is sometimes described
as an * unequal temperament,' but wrongly, since
in it the so-called 'good keys' are all equally
good ; the ' bad keys ' are simply those for which
the necessary notes do not exist when the system
is limited to twelve notes per Octave. The de-
fect therefore lies not in the system itself, but in
its application, and the only legitimate remedy
is to increase the number of notes, and so pro-
vide a more extended series of Fifths. This was
well understood from the first, for we find that
as early as the 1 6th century many organs were
constructed with extra notes. ^ Salinas tells us
that he had himself played on one in the Domi-
nican Monastery of Santa Maria Novella at
Florence. Similar improvements were attempted
in England. In the deed of sale of the organ
built by Father Smith in 1682-3 for the Temple
Church, London, special mention is made of the
additional notes, which were played in the fol-
lowing manner : — two of the black keys were
divided crosswise ; the front halves, which were
of the usual height, playing GJJ and Eb ; the back
ones, which rose above them, A b and D J. About
1865, this organ was tuned for the first time
in equal temperament, but the extra keys were
not removed till 1878. The same method was
followed in designing another organ of Father
Smith's, which was built for Durham Cathedral
in 1684-5, although the additional notes do not
appear to have been actually supplied till 1691.^
A different but equally ingenious plan of con-
trolling the extra notes was used in the organ of
the Foundling Hospital, London.^ Here the key-
board was of the ordinary form, without any
extra keys ; but by means of a special mechanism
four additional notes, Db, Ab, DJ, AJJ, could be
substituted at pleasure for C$, GjJ, Eb, Bb of the
usual series. Close to the draw-stops on either
side there was a handle or lever working in a
horizontal cutting, and having three places of
rest. When both handles were in the mid
position, the series of notes was the same as on
an ordinary instrument, namely
Eb-Bb-F-C-G-D-A-E-B-Fj-CjJ-Gjt ;
but when the handles on both sides were moved
in the outward direction, the Eb and Bb pipes
were shut off, and the DjJ and AJ were brought
into operation. The use of this mechanism was
> The extra notes were sometimes called ' Quartertones,' not a very
suitable name, since a Quartertone is not a sound, but an interval,
and the Semitone is not divided equally In the meantone system.
2 See vol. ii. p. 593, note.
3 The history of this instrument has been carefully Investigated
by Mr. Alexander J. Ellis. F.R.S. The facts given in the text were
derived by him from a MS. note-book made by Mr. LefiBer (died
1819). organist of 8. Katharine's (then by the Tower), and father of
the singer William Lefflek. [See vol. ii. p. 112.]
TEMPERAMENT.
78
afterwards misunderstood ; the levers were nailed
up for many years, and at last removed in 1848;
but the tuning remained unaltered till 1855,
when the organ itself was removed and a new
one built in its place. The history of the old
organ just described is of special interest, as
bearing on Handel's position with reference to
the question of temperament. Unfortunately all
that we can now ascertain on the subject amounts
to this : — that Handel presented an organ to the
Hospital ; that he performed on it at the opening
ceremony on May i, 1750 ;* and that it was still
in existence in 1785.* We first hear of the extra
notes in 1 799,^ but there is nothing to show that
they did not belong to the original instrument
given by Handel half a century before. Assuming
this to have been the case, it would tend to show
that the great composer was not in favour of
abolishing the meantone system, but of remedy-
ing the defective form in which it was then
employed. His example, and that of Father
Smith, found few imitators, and those who did
attempt to solve the problem seem often to have
misunderstood its nature.'^ The difficulty how-
ever could not be shirked ; for the development
of modern music brought the remote keys more
and more into common use ; and as instruments
continued to be made with only twelve notes per
Octave, the only possible way to get rid of the
' wolves ' was to adopt equal temperament.
The long contest between the different systems
of tuning having practically come to an end, we
are in a position to estimate what we have gained
or lost by the change. The chief advantage of
equal temperament is that it provides keyed in-
struments with unlimited facility of modulation,
and places them, in this respect, more on a level
with the voice, violin and trombone. It has
thus assisted in the formation of a style of com-
position and execution suited to the pianoforte.
It is the only system of intonation which, in
concerted music, can be produced with the same
degree of accuracy on every kind of instrument.
Its deviations from exact consonance, though
considerable, can be concealed by means of unsus-
tained harmony, rapid movement, and soft quality
of tone, so that many ears never perceive them.
By constantly listening to the equally tempered
scale, the ear may be brought not only to tolerate
its intervals, but to prefer them to those of any
other system, at least as far as melody is con-
cerned. It has proved capable of being applied
even to music of a high order, and its adoption
* Brownlow, ' History and Objects of the Foundling Hospital,' p. 78.
5 Burney, ' Slcetch of the life of Handel,' p. 28, prefixed to ' Account
of the Commemoration.'
6 See remarks by an anonymous writer in ' The European Maga-
zine," for Feb. 1799. who, however, states (l)that the organ with extra
notes was not given by Handel, and (2) that it was built under the
direction of Dr. Robert Smith, Master of Trinity College, Cambridge.
The contradiction between this writer and Burney might be removed
by supposing that a new instrument was built between 1785 and 1799 ;
but of this we have no record. If the extra notes were designed by
Dr. Smith, it must have been before 1768, as he died in that year,
aged 79. In 1762 he had published a ' Postscript ' to his treatise on
' Harmonics,' recommending an arrangement of stops by which a
meantone series of nineteen notes to the Octave (Db to Fjfjf) aWW
be played with the ordinary keyboard. He had this plan cibrried
out in a harpsichord constructed by Eirkman.
7 See account of Renatus Harris's invention, Hopkins, ' The Organ,
in RImbault's ' History of the Organ,' pp. 121, 122.
74
TEMPERAMENT.
may be considered an artistic success. From a
commercial point of view, the change has been
highly advantageous. It has enabled the maker
of the pianoforte or the organ to obviate a
serious imperfection without disturbing the tra-
ditional structure of the instrument; while, on
the other hand, alterations both in the internal
mechanism and in the form of keyboard would
have been necessary if musicians had insisted
that the * wolves ' should be got rid of without
abolishing the old tuning. Trade usage will,
therefore, be strongly on the side of equal tem-
perament for a long time to come, and any at-
tempt to recover the nieantone system can only
be made on a small scale, and for special pur-
poses. Still, as many writers have pointed out,
such a limited restoration would be useful. It
would enable us to hear the music of the earlier
composers as they heard it themselves. The
ecclesiastical compositions of Bach, and all the
works of Handel and his predecessors as far back
as the 1 6th century, were written for the mean-
tone system. By performing them in equal tem-
perament we fail to realise the original intention.
This would not be matter for regret if the old
music were improved by our alteration; but such
is certainly not the case. The tuning in which
the old composers worked is far more harmonious
than that which has replaced it. This much is
generally admitted even by those who do notfavour
any attempt to restore the meantone system.
They sometimes appeal to the authority of Se-
bastian Bach, and quote his approval of equal
temperament as a reason why no other tuning
should be used. But in reality very little is cer-
tainly known of Bach's relations to the subject.
We are told that he was accustomed to tune his
own clavichord and harpsichord equally, though
the organ still remained in the meantone system.
This statement is borne out by internal evidence.
In Bach's organ works the remoter keys are
scarcely ever employed, while no such restrictions
are observable in his works for the clavichord.
With his preference for a wide range of modula-
tion he would naturally find the limits of the
old-fashioned meantone organ irritating, and we
can easily understand that he would have fa-
voured any tuning which made all the keys
available. He would doubtless have welcomed
any practical method of extending the meantone
system ; but to provide this was a task beyond
the inventive capacity of that age. His authority,
then, may fairly be quoted to show that all the
keys must be in tune to the same degree ; but
this condition can be realised by many other
systems besides temperament when a sufficient
number of notes is provided in each Octave.
If the question were to be decided by an appeal
to authority alone, we might quote the names of
many musicians of last century who were ac-
quainted with both kinds of temperament, and
whose judgment was directly opposed to that of
Bach. But this style of argument, always in-
conclusive, will appear peculiarly out of place
when we consider what changes music has
passed through since Bach's day. That the de-
TEMPERAMENT.
fects of equal temperament were not so notice-
able then as now, may be attributed both to the
different kind of instrument and the different
style of composition which have since been de-
veloped. The clavichord which is said to have
been an especial favourite with Bach, was cha-
racterised by a much softer quality of tone, and
feebler intensity, than the modern pianoforte.*
Again, composers of a century and a half ago
relied for effect chiefly on vigorous counterpoint
or skilful imitation between the various melodic
parts, and not on the thick chords and sustained
harmonies which have become so marked a fea-
ture in modern music. Owing to these changed
conditions the evils of temperament are greatly
intensified nowadays, and the necessity for some
remedyhas become imperative. There is but one
direction in which an efficient remedy can be
found, namely in the use of some more har-
monious form of intonation than that which at
present prevails. It is only by the help of an
instrument on which the improved systems of
tuning can be employed in an adequate manner,
that the student will be able to estimate their
value. Such an instrument we will now proceed
to describe.
If we wish to employ any other system of tuning
than equal temperament, we must increase the
number of notes per Octave, since the ordinary
twelve notes, unless tuned equally, are useless for
anything beyond illustration or experiment. The
methods used by Father Smith and byHandel can-
not be followed nowadays. The ordinary keyboard
is already so unsymmetrical, that the insertion
of a few additional black or white keys would
make it almost unplayable ; and the changing of
levers would be a troublesome interruption of
the performance. The only way to bring the
improved systems of temperament within the
range of practical music, is to remodel and
simplify the keyboard. This has been done in
different ways by several inventors of late years.
At a meeting of the Musical Association ot Lon-
don on May i, 1875, an organ on which one of
the stops was tuned according to the meantone
system was exhibited by Mr. R. H. M. Bosan-
quet, of S. John's College, Oxford. The key-
board of this instrument — which is now in the
South Kensington Museum — is arranged sym-
metrically, so that notes occupying the same
relative position always make the same musical
interval. There are twelve finger keys in the
Octave, of which seven as usual are white and
five black. The distance across from any key
to its Octave, centre to centre, is six inches ;
each key is three-eighths of an inch broad, and
is separated on either side from the next key by.
the space of one-eighth of an inch. As the
Octave is the only interval in which all systems
of intonation agree, keys an Octave apart are
on the same level with each other. The rest
of the keys are placed at various points higher
or lower to correspond with the deviations of
the pitch of their notes from equal temperament.
Thus the G key is placed a quarter of an inch
X Bosanquet, 'Temperament,' pp. 28, 29.
TEMPERAMENT.
farther back, and one-twelfth of an inch higher
than the C. The D key recedes and rises to the
same extent relatively to the G, and so with
the rest. After twelve Fifths we come to the
Bj key, and find it three inches behind and
one inch above the C from which we started.
This oblique arrangement enables us to greatly
increase the number of notes per Octave without
any inconvenience to the player. At the same
time the fingering is greatly simplified, for any
given chord or scale always has the same form
under the hand, at whatever actual pitch it may
be played. Nor is it necessary to decide before-
hand on the exact key- relationship of the passage,
as it will be played in the same manner, what-
ever view may be taken of its analysis. The
advantage of having thus to learn only one style
of fingering for the Major scale, instead of twelve
different styles, as on the ordinary keyboard, is
self-evident. Chromatic notes are played accord-
ing to the following rule : — put the finger up for
a sharp and down for a flat. This results from
the principle on which the keyboard is arranged,
the higher keys corresponding to notes which
are reached by an upward series of Fifths, and
the lower keys to notes reached by a downward
series. The following diagram shows the positions
of the notes on the keyboard when applied to the
meantone system : —
en
aff . .
. . . riJt
//ff . . . .
TEMPERAMENT.
75
6 .
bb
eb
db
cb
P
hbb
ebb
abb
rfbb
dbb
As all proposed improvements, either in music
or anything else, are sure to meet with opposi-
tion, we will here consider some of the objections
which may be made to the use of an instrument
such as we have just described. It is natural
that the new form of keyboard should be re-
ceived with some hesitation, and that its style of
fingering should be thought difficult ; but in fact
the old keyboard is far from being a model of
simplicity, and many attempts have been made
to reform it, independently of any aim at im-
proving the tuning. [See Key, vol. ii. pp. 54,
55.] On the new keyboard the fingering is of
the simplest possible character, and permits the
attainment of any required rate of speed. All
desirable combinations lie within easy grasp •
related notes beinix nearly on the same level.
To prove that ordinary music can be easily
adapted to the meantone organ, Mr. Bosanquet
performed on it three of Bach's preludes at the
meeting of the Musical Association already re-
ferred to. There would be no difficulty in con-
structing this form of keyboard with several
manuals, nor in applying the same symmetrical
arrangement to a pedal.
The advantage gained by employing an im-
proved system of tuning depends so much on
the quality of tone of the instrument, that it
is very doubtful whether it would be worth while
to adopt the meantone system for the pianoforte.
It is only on the modern 'concert-grand' that the
defects of equal temperament are felt to any
great extent, and it might therefore be well to
construct these instruments with a complete
meantone scale. Still, the result would hardly
be so satisfactory as on the organ, whether used
in solo performance or in leading the voices of
a choir.
The last objection which has to be considered
is that enharmonic changes are supposed by
some to be impossible in any system of tuning
which provides distinct sounds for Gb and Fj.
This view is incorrect, as we shall recognise if
we enquire what enharmonic changes really are.
For the most part they are merely nominal, being
used to avoid the strange appearance of remote
keys. Thus in the ' Pro Pecc.itis ' of Rossini's
' Stabat Mater,' there is apparently an enhar-
monic modulation from the key of At] to that
ofDb.
0 A ! ■ ! — m— -^m~, , — I — <ii — ; — m—] — i*--.
But in reality it is a chromatic modulation
from Aq to CJI, with no enharmonic element
whatsoever. The passage would be played on a
meantone instrument as follows : —
3.
76
TEMPERAMENT.
It would be unnecessary in general to translate
passages of this kind into correct notation before
performing them, as in most cases the key-
relations would be tolerably clear, in whatever
way they were written. Should there be any
chance of error in taking the accidentals literally,
a large acute or grave mark might be drawn
across the staif, to indicate that the notes are
to be played twelve Fifths higher or lower than
they are written. In the present instance, the
acute mark could be used.
Sometimes the enharmonic change is real, and
not merely a device of notation. Take the fol-
lowing extract from * The people shall hear * in
the * Israel in Egypt ' : —
Here Bb must be played in the second bar
and A J in the third, a modulation which is
rendered easy by the general construction of the
passage. * Enharmonic changes (Helmholtz re-
marks) are least observed when they are made
immediately before or after strongly dissonant
chords, or those of the Diminished Seventh.
Such enharmonic changes of pitch are already
sometimes clearly and intentionally made by
violinists, and where they are suitable even pro-
duce a very good eiFect.' ^
The necessity of avoiding • wolves ' in the
raeantone system sometimes restricts the choice
of notes. Thus in a passage in the 'Lachrymosa*
of Mozart's Requiem : —
the discord Ab — F — Bb — Eb must be played
exactly as it is written, owing to the Bb and Eb
lieing prepared. Even if Gj stood in the text,
Ab would be substituted in performance, as the
'wolf G% — Eb is inadmissible. All such dif-
ficulties can be solved in a similar way. On the
other side, we have to reckon the great variety
of chords and resolutions which are available in
the meantone system, but have no existence in
-«qual temperament. Many chromatic chords
i ' Sensationi of Tone,' p. 613.
TEMPERAMENT.
may have two or more forms, such as the fol-
lowing : —
4-
##ii#^l#f^
each of which may be used according to the key-
relation of the context, or the eflfect required in
the melodic parts. Again, the Augmented Sixth
is much flatter in the meantone system than in
equal temperament, slightly flatter even than
the interv^ called the Harmonic Seventh. When
the strange impression which it causes at first
has worn ofi", its effect is peculiarly smooth and
agreeable, especially in full chords. It is also
available as Dominant Seventh, and may be
written with the acute mark (G — /F), to dis-
tinguish it from the ordinary Minor Seventh got
by two Fifths downwards (G— C— F).
It is important to recognise the fact that the
forms of chords can only be settled by actual
trial on an instrument, and that the judgment
of the ear, after full experience of the different
modes of tuning, cannot be set aside in favour
of deductions from any abstract theory. Practice
must first decide what chord or progression sounds
best ; and this being done, it may be worth while
to ask whether theory can give any reasons for
the ear's decision. In many cases our curiosity
will be unsatisfied, but our preference for one
effect rather than another will remain unchanged.
Neither can theory solve those questions which
sometimes arise as to the correct mode of writing
certain chords. All questions of notation can
only be decided by playing the disputed passage
in some system of tuning which supplies a sepa-
rate sound for each symbol. The reason why
Gb and FjJ were not written in the same chord
was a purely practical one ; these two signs ori-
ginally meant different sounds, which formed
combinations too rough for use. Our notation
having been formed long before equal tempera-
ment came into use, it is not surprising that
the symbols, do not correspond with the sounds.
But they correspond exactly with the mean-
tone scales, and it is on this system of tuning
that all our rules of notation are founded. * It
is only necessary to remember that we have here
the original system, which belongs from the very
beginning of modern music onward to our musicid
notation, to see that by employing it we have
the true interpretation of our notation ; we have
the actual sounds that our notation conveyed to
Handel, to all before Bach, and many after him,
only cured of the wolf, which was the consequence
of their imperfect methods,'*
To carry out any system of temperament con-
sistently in the orchestra is practically an im-
possible task. Tempered intervals can only be
produced with certainty on a small nimxber of
the instruments, chiefly the wood-wind. The
brass instruments have an intonation of their
own, which differs widely from either of the
temperaments we have described. Thus the
French horn, whose notes are the harmonics
3 Bosanquet, ' Temperament,' p. S9.
TEMPERAMENT.
arising from the subdivision of a tube, gives a
Major Third much flatter than equal tempera-
ment, and a Fifth much sharper than the meantone
system. [See Node ; and Pabtial Tones.] There
is necessarily a great deal of false harmony when-
ever the brass is prominently heard in tempered
music. Again, the tuning of the string-quartet is
accomplished by just Fifths (C— G— D— A— E),
but as these instruments have free intonation,
they can execute tempered intervals when sup-
ported by the pianoforte or organ. In the ab-
sence of such an accompaniment, both violinists
and singers seem unable to produce equally
tempered scales or chords. This is precisely
what might have been expected on theoretic
grounds, .is the consonant relations of the different
notes being partially lost through temperament,
the altered intervals would naturally be difficult
to seize and render. Fortunately, we have positive
facts to prove the truth of this deduction. The
subject has been recently investigated by two
French savans, MM. Cornu and Mercadier.^
' Their experiments were made with three profes-
sional players, M. Leonard the Belgian violinist,
M. Seiigmann, violoncellist, and M. Ferrand,
violinist of the Opdra Comique, besides amateur
players and singers. The i-esults showed that a
wide distinction must be drawn between the in-
tervals employed in unaccompanied melody, and
those employed in harmony. In solo perform-
ances, continual variety of intonation was ob-
served ; the same pitch was seldom repeated,
and even the Octave and the Fifth were some-
times sharpened or flattened. So far as any
regularity could be traced, the intervals aimed
at appeared to be those known as Pythagorean,
of which the only consonant ones are the Octave,
Fifth, and Fourth. The Pythagorean Major
Third is obtained by four just Fifths up, and is
consequently so sharp as to amount to a disson-
ance. In melody, a scale tuned in this manner
is found to be not unpleasant, but it is impossible
in harmony. This fact also was verified by
Cornu and Mercadier, who report that, in two-
part harmony, the players with whom they ex-
perimented invariably produced the intervals of
just intonation. The Thirds and Sixths gave
no beats, and the Minor Seventh on the Do-
minant was always taken in its smoothest form,
namely the Harmonic Seventh. 'I have myself ob-
served,' says Helmholtz, • that singers accustomed
to a pianoforte accompaniment, when they sang
a simple melody to my justly intoned harmonium,
sang natural Thirds and Sixths, not tempered,
nor yet Pythagorean. I accompanied the com-
mencement of the melody, and then paused while
the singer gave the Third or Sixth of the key.
After he had given it, I touched on the instru-
ment the natural, or the Pythagorean, or the
tempered interval. The first was always in uni-
son with the singer, the others gave shrill beats.'*
Since, then, players on bowed instruments as
well as singers have a strong natural tendency
towards just intervals in harmony, it is not clear
1 See Ellis'* Appendix to the 'Seasatlons of Tone,' p. 787.
s * Sensations of Tone,' p. 6i0.
TEMPERAMENT.
77
why their instruction should bo based on equal
temperament, as has been the practice in recent
times. This method is criticised by Helmholtz
in the following words : — ' The modem school of
violin-playing, since the time of Spohr, aims
especially at producing equally tempered intona-
tion. . . . The sole exception which they allow is
for double-stop passages, in which the notes have
to be somewhat differently stopped from what
they are when played alone. But this exception
is decisive. In double-stop passages the indi-
vidual player feels himself responsible for the
harmoniousness of the interval, and it lies com-
pletely within his power to make it good or bad.
. . . But it is clear that if individual players feel
themselves obliged to distinguish the different
values of the notes in the different consonances,
there is no reason why the bad Thirds of the
Pythagorean series of Fifths should be retained
in quartet-playing. Chords of several parts, exe-
cuted by a quartet, often sound very ill, even when
each one of the performers is an excellent solo
player; and, on the other hand, when quartets
are played by finely cultivated artists, it is im-
possible to detect any false consonances. To my
mind the only assignable reason for these results,
is that practised violinists with a delicate sense
of harmony, know how to stop the tones they
want to hear, and hence do not submit to the
rules of an imperfect school.'
Helmholtz found, by experiments with Herr
Joachim, that this distinguished violinist in
playing the unaccompanied scale, took the just
and not the tempered intervals. He further ob-
serves that, *if the best players, who are tho-
roughly acquainted with what they are playing,
are able to overcome the defects of their school
and of the tempered system, it would certainly
wonderfully smooth the path of performers of the
second order, in their attempts to attain a per-
fect ensemble, if they had been accustomed from
the first to play scales by natural intervals.'
The same considerations apply to vocal music.
* In singing, the pitch can be made most easily
and perfectly to follow the wishes of a fine musi-
cal ear. Hence all music began with singing,
and singing will always remain the true and
natural school of all music. . . . But where are
our singers to learn just intonation, and make
their ears sensitive for perfect chords ? They are
from the first taught to sing to the equally tem-
pered pianoforte. . . . Correct intonation in sing-
ing is so far above all others the first condition
of beauty, that a song when sung in correct in-
tonation even by a weak and unpractised voice
always sounds agreeable, whereas the richest
and most practised voice offends the hearer when
it sings false or sharpens. . . . The instruction of
our present singers by means of tempered instru-
ments is unsatisfactory, but those who possess
good musical talents are ultimately able by their
own practice to strike out the right path for
themselves, and overcome the error of their ori-
ginal instruction. . . . Sustained tones are prefer-
able as an accompaniment, because the singer
himself can immediately hear the beats betweea
78
TEMPERAMENT.
the instrnment and his voice, when he alters the
pitch slightly. . . . When we require a delicate
use of the muscles of any part of the human
body, as, in this case, of the larynx, there must
be some sure meims of ascertaining whether suc-
cess has been attained. Now the presence or
absence of beats gives such a means of detecting
success or failure when a voice is accompanied
by sustained chords in just intonation. But
tempered chords which produce beats of their
own, are necessarily quite unsuited for such a
purpose.' *
For performance in just intonation the three
quartets of voices, strings, and trombones have a
pre-eminent value ; but as it requires great prac-
tice and skill to control the endless variations of
pitch they supply, we are obliged to have some
fixed and reliable standard by which they can at
first be guided. We must be certain of obtaining
with ease and accuracy any note we desire, and
of sustaining it for any length of time. Hence
we come back once more to keyed instruments,
which do not present this difficulty of execution
and uncertainty of intonation. The only question
is how to construct such instruments with an
adequate number of notes, if all the intervals are
to be in perfect tune. Theoretically it is neces-
sary that every note en the keyboard should be
furnished with its Fifth, Major Third, and Har-
monic Seventh, upwards and downwards. There
should be Fifths to the Fifths, Thirds to the
Thirds, and Sevenths to the Sevenths, almost to
an unlimited extent. Practically these condi-
tions cannot be fully carried out, and all instru-
ments hitherto constructed in just intonation
have been provided with material for the simpler
modulations only. One of the best-known histo-
rical examples is General Perronet Thompson's
organ, now iii the collection of instruments in the
South Kensington Museum. In each Octave
this organ has forty sounds, which may be di-
vided into five series, the sounds of each series
proceeding by perfect Fifths, and being related
to those of the next series by perfect Major
Thirds. The interval of the Harmonic Seventh
is not given. With a regular and consistent
form of keyboard it would have been more suc-
cessful than it was, but the idea of arranging
the keys symmetrically had not then been de-
veloped. The first application of this idea was
made by an American, Mr. H. W. Poole, of
South Danvers, Massachusetts. His invention
is described and illustrated in * Silliman's Jour-
nal' for July, 1867. The principle of it is that
keys standing in a similar position with regard
to each other shall always produce the same
musical interval, provided it occurs in the same
relation of tonality. But if this relation of
tonality alters, the same interval will take a
different form on the keyboard. There are five
series of notes, each proceeding by perfect
Fifths : — (i) the keynotes ; (2) the Major Thirds
to the keynotes ; (3) the Thirds to the Thirds ;
(4) the Hai-monic Sevenths to the keynotes;
(5) the Sevenths to the Thirds, The Major
I ' Sensations of Tone,' pp. 605-510.
TEMPEIIAMENT.
Thirds below the keynotes, which are so often
required in modem music, as for instance in the
theme of Beethoven's Andante in F, are not
given. So that the range of modulation, though
extensive, is insufficient for general purposes.^
Owing to the limited number of notes which
keyed instruments can furnish, the attempt to
provide perfect intervals in all keys is regarded
by Helmholtz as impracticable. He therefore
proposes a system of temperament which ap-
proaches just intonation so closely as to be in-
distinguishable from it in ordinary performance.
This system is founded on the following facts : —
We saw that in equal temperament the Fifth is
too flat for exact consonance, and the Major
Third much too sharp. Also that the interval
got by four Fifths up (D— A— E— B— Fj) is
identified with the Major Third (D— FJJ).^ Now
if we raise the Fifths, and tune them perfectly,
the interval D — Fj becomes unbearable, being
sharper than the equal temperament Third. But
in a downward series of just Fifths the pitch
becomes at each step lower than in equal tem-
perament, and when we reach Gb, which is eight
Fifths below D, we find that it is very nearly
identical with the just Major Third of D, thus —
The best way of applying this fact is to tune a
series of eight notes by just Fifths — say Db, Ab,
Eb, Bb, F, C, G, D ; then a similar series form-
ing just Major Thirds with these ; whence it will
result that the last note of the latter series
(FjJ) will form an almost exact Fifth with the
first note of the former series (Db).*
In applying the ordinary' musical notation to
systems of temperament of this class, a difficulty
arises ; for the Major Third being got by eight
Fifths downward, would strictly have to be
written D — Gb. As this is both inconvenient and
contrary to musical usage, the Major Third may
still be written D — FjJ, but to distinguish this Fj
from the note got by four Fifths up, the following
convention may be used. The symbols Gb and
Fj are taken to mean exactly the same thing,
namely the note which is eight Fifths below D.
We assume Gb— Db— Ab— Eb— Bb— F— C-—
G — D — A — E — B as a normal or standard series
of Fifths. The Fifth of B is written indifferently
/Gb or /Fj, the acute mark (/) serving to show
that the note we mean belongs to the upward,
and not to the downward series. The Fifth of
/Fj is written fCf, and so on till we arrive at
/B, the Fifth of which is written // Fj. In like
manner, proceeding along a downward series, the
* The keyboard Invented by Mr. Colin Brown of Glasgow, Is similar
in principle to Mr. Poole's, except that it does not give the two series
of Harmonic Sevenths. See Bosanquet, ' Temperament.'
» In general when a series of Fifths Is compared with a Major
Third, the number of Octaves (by which we must ascend or descend
In order to bring the notes into the same part of the scale) Is not
expressed, but can be easily supplied by the reader.
* The error, which is called a ' Skhlsma,' is about the fifty-first
part of a Semitone. This system, therefore, differs so slightly from
Just Intonation, that we shall henceforward treat them as practically
Identical.
TEMPERAMENT.
Fifth below Fj (or Gb) is written \B, and so on
till we arrive at \FJJ, the Fifth below which is
written \\B. The notes B, E, A, D have their
Thirds in the same series as themselves, thus
D — Fjf, \D— \FjJ. Other notes have their Thirds
in the series next below, thus C— \E, \C— wE.
These marks may be collected at the signature,
like sharps and flats. The keys of A and E will
be unmarked ; the key of C will have three grave
notes, \A, \E, \B. When it is necessary to
counteract the grave or acute mark and restore
the normal note, a small circle (o) may be pre-
fixed, analogous to the ordinary natural.
To apply this mode of tuning to the organ
would be expensive without any great advantages
in return. Ordinary organ-tone, except in the
reed and mixture stops, is too smooth to distin-
guish sharply between consonance and dissonance,
and the pipes are so liable to the influence of heat
and cold that attempts to regulate the pitch
minutely are seldom successful. Still less would
it be worth while to tune the pianoforte justly.
It is chiefly to the orcliestra that we must look
for the development of just intonation ; but
among keyboard instruments the most suitable
for the purpose is the harmonium, which is
specially useful as a means of studying the
effects obtainable from untempered chords.
//
flP . ,
, . ,/e^
/a" ....
TEMPERAMENT.
"9
./c/l?
fU"
h^
d^
\h ,
\e
\d
\9
\c
\G
There is in the South Kensington Museum a
harmonium, the tuning of which may be con-
sidered identical with the system just explained.
The form of keyboard is that which has already
been described in connexion with the meantone
temperament ; and it is equally applicable to the
system of perfect Fifths. Being an experimental
instrument it was constructed with eighty-four
keys in each Octave, but for ordinary purposes it
is found that about half that number would be
suflficient. The fingering of the Major scale
resembles that of Ab Major on the ordinary key-
board, and is always the same, from whatever
note we start as Tonic. Moreover the form which
any given chord takes does not depend on
theories of tonality, but is everywhere symme-
trical. The diagram in the preceding column
shows the positions of the notes on the keyboard
when applied to the system of perfect Fifths.
It is unnecessary to consider here the objections
which might be made to the use of this tuning,
as they would, no doubt, be similar to those we
have already noticed in dealing with the mean-
tone temperament. But it may be pointed out
that the supposed difficulty of enharmonic change
no more exists here than elsewhere. We may
even modulate through a series of eight Fifths
down, and return by a Major Third down, without
altering the pitch. The following passage from
a madrigal, * 0 voi che sospirate,' by Luca Mar-
enzio (died 1 590) illustrates this : —
'.h<SL.
p^=
■:?^
^-^
r&^
^^^^
1^2=^
1 1-
^=W^
UJ.
^^=^=^
^^^
g-g- ^S'g'-'
i^iS*-
^^3s=3Ep±zt
- ins ' .^.^
In the 4th bar Gj and CjJ are written for Ab
and Db ; and in the 5th bar FjJ, \B and D
for Gb, \Cb, Ebb, but the confused notation
would not affect the mode of performance either
with voices or the justly tuned harmonium.
The practical use of this instrument has
brought to light certain difficulties in applying
just intonation to ordinary music. The chief
difficulty comes firom the two forms of Supertonio
which are always found in a perfectly tuned
Major Scale. Thus, starting from C, and tuning
two Fifths upwards (C — G — D) we get what
might be considered the normal Supertonic (D);
but by tuning a Fourth and a Major Sixth up-
wards (C — F — \D) we arrive at a flatter note,
which might be called the grave Supertonic ( \D).
80
TEMPERAMENT.
The first form will necessarily be employed in
chords which contain the Dominant (G), the
uecond form in chords which contain the Sub-
dominant (F) or the Superdominant (\A). Other-
wise, false Fifths or Fourths (G— \D; D— \A)
would be heard. The result is that certain
chords and progressions are unsuitable for music
which is to be performed in perfect tuning. Let
us take the following example and arrange it in
its four possible forms : —
(l) (2)
All of these are equally inadmissible ; No. i
being excluded by the false Thirds (F — A;
A— C) ; No. 2 by the false Fourth (\A— D) ;
No. 3 by the false Fifth (G— \D) ; No. 4 by the
sudden fall of the pitch of the tonic. If this
kind of progression is employed, all the advan-
tages of just intonation are lost, for the choice
only lies between mistuned intervals and anabrupt
depression or elevation of the general pitch.
The idea of writing music specially to suit
different kinds of temperament is a somewhat un-
familiar one, although, as already remarked. Bach
employed a narrower range of modulation in his
works for the meantone organ than in those for
the equally tempered clavichord. The case has
some analogy to that of the different instruments
of the orchestra, each of which demands a special
mode of treatment, in accordance with its capa-
bilities. The same style of writing will evidently
not suit alike the violin, the trombone, and the
harp. In the same way, just intonation differs
in many important features both from the equal
and from the meantone temperament ; and before
any one of these systems can be used with good
effect in music, a practical knowledge of its
peculiarities is indispensable. Such knowledge
can only be gained with the help of a keyed
instrument, and by approaching the subject in
this manner, the student will soon discover for
himself what modulations are available and suit-
able in perfect tuning. He will see that these
restrictions are in no sense an invention of the
theorist, but are a necessary consequence of the
natural relations of sounds.
If just intonation does not permit the use of
certain progressions which belong to other sys-
tems, it surpasses them all in the immense
variety of material which it places within the
composer's reach. In many cases it supplies two
or more notes of diflferent pitch where the or-
dinary temperament has but one. These alter-
native forms are specially useful in discords,
enabling us to produce any required degree of
roughness, or to avoid disagreeable changes of
pitch. For instance, the Minor Seventh may be
taken either as C — /Bb (ten Fifths up), or as
C— Bb (two Fifths down), or as C— \Bb (four-
teen Fifths down). When added to the triad
TEMPERAMENT.
C— \E— G, the acute Seventh, /Bb, is the
roughest, and would be used if the Minor Third
G — /Bb should occur in the previous chord.
The intermediate form, Bb, would be used when
suspended to a chord containing F. The grave
Seventh, \Bb, is the smoothest, being an ap-
proximation to the Harmonic Seventh. Many
other discords, such as the triad of the Aug-
mented Fifth and its inversions, may also be
taken in several forms. But this variety of
material is not the only merit of perfect tuning.
One of the chief sources of musical effect is the
contrast between the roughness of discords and
the smoothness of concords. In equal tempera-
ment this contrast is greatly weakened, because
nearly all the intervals which pass for consonant
are in reality more or less dissonant. The loss
which must result from this in the performance
of the simpler styles of music on our tempered
instruments, will be readily understood. On the
other hand, in just intonation the distinction of
consonance and dissonance is heard in its full
force. The diflferent inversions and distributions
of the same chord, the change from Major to
Minor Modes, the various diatonic, chromatic,
and enharmonic progressions and resolutions have
a peculiar richness and expressiveness when heard
with untempered harmonies.
There is yet another advantage to be gained
by studying the diflferent kinds of tuning. We
have seen that even in those parts of the world
where equal temperament has been established
as the trade usage, other systems are also em-
ployed. Many countries possess a popular or
natural music, which exists independently of the
conventional or fashionable style, and does not
borrow its system of intonation from our tempered
instruments. Among Oriental nations whose
culture has come down from a remote antiquity,
characteristic styles of music are found, which
are unintelligible to the ordinary European, only
acquainted with equal temperament. Hence
transcriptions of Oriental music, given in books
of travel, are justly received with extreme scep-
ticism, unless the observer appears to be well
acquainted with the principles of intonation and
specifies the exact pitch of every note he tran-
scribes. As illustrations of these remarks we
may cite two well-known works on the history
of the art, Kiesewetter's 'Musik der Araber,'
and Villoteau's * Musique en ifegypte.' Both of
these authors had access to valuable sources of
information respecting the technical system of an
ancient and interesting school of music. Both
failed to turn their opportunities to any advan-
tage. From the confused and contradictory state-
ments of Kiese wetter only one fact can be gleaned,
namely, that in the construction of the lute, the
Persians and the A.rabs of the Middle Age em-
ployed the approximately perfect Major Third,
which is got by eight downward Fifths. From
the work of Villoteau still less can be learnt, for
he does not describe the native method of tuning,
and he gives no clue to the elaborate musical
notation in which he attempted to record a large
number of Egyptian melodies. Yet it would
TEMPERAMENT.
have been easy to denote the oriental scales and
melodies, so as to enable us to reproduce them
with strict accuracy, had these authors possessed
a practical knowledge of un tempered intervals.
It may be useful, in concluding this article, to
refer to some current misapprehensions on the
subject of temperament. It is sometimes said
that the improvement of intonation is a mere
question of arithmetic, and that only a mathe-
matician would object to equal tuning. To find
fault with a series of sounds because they would
be expressed by certain figures, is not the kind
of fallacy one expects from a mathematicifin. In
point of fact, equal temperament is itself the
outcome of a mathematical discovery, and fur-
nishes about the easiest known method of calcu-
lating intervals. Besides, the tenor of this article
will show that the only defects of temperament
worth considering are the injuries it causes to
the quality of musical chords. Next, it is said
that the differences between the three main
systems of tuning are too slight to deserve atten-
tion, and that while we hear tempered intervals
with the outward ear, our mind understands
what are the true intervals which they represent.
But if we put these theories to a practical test,
they are at once seen to be unfounded. It lias
been proved by experiment that long and ha-
bitual use of equal temperament does react on
the sense of hearing, and that musicians who
have spent many years at the keyboard have
a dislike to just chords and still more to just
scales. The Major Sixth is specially objected to,
as differing widely from equal temperament.
This feeling is so entirely the result of habit
and training, that those who are not much ac-
customed to listen to keyed instruments do not
share these objections, and even equally tempered
ears come at last to relish just intervals. We
may infer, then, that the contrast between the
various kinds of intonation is considerable, and
that the merits of each would be easily appre-
ciated by ordinary ears. And although the student
may, at first, be unable to perceive the errors
of equal temperament or be only vaguely con-
scious of them, yet by following out the methods de-
tailed above, he will soon be able to realise them
distinctly. It need not be inferred that equal
temperament is unfit for musical purposes, or that
it ought to be abolished. To introduce something
new is hardly the same as to destroy something
old. An improved system of tuning would only
be employed as an occasional relief from the
monotony of equal temperament, by no means
as a universal substitute. The two could not,
of course, be heard together ; but each might be
used in a different place or at a different time.
Lastly, it is said that to divide the scale into
smaller intervals than a Semitone is useless.
Even if this were true, it would be irrelevant.
The main object of improved tuning is to diminish
the error of the tempered consonances : the sub-
division of the Semi tone is an indirect result of this,
but is not proposed as an end in itself. Whether
the minuter intervals would ever be useful in
melody is a question which experience alone can
VOL. IV. TT. I.
TEMPLETON.
81
decide. It rests with the composer to apply the
material of mean and just intonation, with which
he is now provided. The possibility of obtaining
perfect tuning with keyed instruments is one
result of the recent great advance in musical
science, the influence of which seems likely to be
felt in no bianch of the art more than in Tem-
perament. [J.L.]
TEMPESTA, LA. An Italian opera in 3
acts ; libretto partly founded on Shakspeare,
translated fiom Scribe ; music by Hal^vy. Pro-
duced at Her Majesty's Theatre, London, June 8,
1850 (Sontag, Lablache, Carlotta Grisi, etc.).
Produced in Paris, Theatre Italien, Feb. 25, 185 1.
Mendelssohn, at the end of 1847, had the libretto
under consideration, but it came to nothing. [See
vol. ii. 289 6.] [G.]
TEMPEST, THE. 'The music to Shak-
speare's Tempest' was Arthur Sullivan's op. i.
It consists of twelve numbers : — No. i. Introduc-
tion; No. 2, Act I, Sc. 2, Melodrama and Songs,
' Come unto these yellow sands,' and 'Full fathom
five'; No. 3, Act 2, Sc. i,- Andante sostenuto,
Orch. and Melodrama ; No. 4, Prelude to Act 3 ;
No. 5, Act 3, Sc. 2, Melodrama, Solemn music;
and No. 6, Banquet dance ; No. 7, Overture to
Act 4 ; No. 8, Act. 4, Sc. i. Masque, with No. 9,
Duet, SS. 'Honour, riches'; No. 10, Dance of
Nymphs and Reapers ; No. 1 1, Prelude to Act 5 ;
No. 12, Act 5, Sc. I, Andante, Song, * Where
the bee sucks,' and Epilogue. It was first per-
formed at the Crystal Palace April 5, 1862.
The music is arranged for 4 hands with voices
by F. Taylor, and published by Cramers. [G.]
TEMPLETON, John, tenor singer, born at
Riccai'ton, Kilmarnock, July 30, 1802. At the
age of fourteen he made his first appearance in
Edinburgh, and continued to sing in public until his
sixteenth year, when his voice broke. Appointed
precentor in Dr. Brown's church, Edinburgh, at
the age of twenty, he began to attract attention,
until Scotland became too limited for his am-
bition, and he started for London, where he
received instruction from Blewitt in thorough
bass, and from Welsh, De Pinna, and Tom
Cooke in singing. In vocalisation, power, com-
pass, flexibility, richness of quality, complete
command over the different registers, Templeton
displayed the perfection of art ; though not re-
markable for fulness of tone in the lower notes,
his voice was highly so in the middle and upper
ones, sustaining the A and Bb in alt with much
ease and power. The blending of the chest
register with his splendid falsetto was so perfect
as to make it difficult to detect the break. He
now resolved to abandon his prospects in Scot-
land and take to the stage. His first theatrical
appearance was made at Worthing, as Dermot
in 'The Poor Soldier,' in July 1828. This
brought about engasrements at the Theatre
Royal, Brighton, Southampton and Portsmouth,
and Drury Lane. He made his first appearance
in London, Oct. 13, 1831, as Mr. Belville in
' Rosina.' Two days later he appeared as Young"'
Meadawa in ' Love in a Village,' Mr. Wood
G
82
TEMPLETON.
taking tlie part of Hawthorn, with Mrs. Wood
(Miss Paton) as Rosetta. After performing for
a few months in stock pieces, he created the
part of Reimbaut in Meyerbeer's 'Robert le
Diable ' on its first performance in this country,
Feb. 20, 1832. He appeared as Lopez in Spohr's
• Der Alchymist' when first produced (March 20,
1832), Bishop's 'Tyrolese Peasant' (May 8,
1832), and John Bamett's 'Win her and wear
her' (Dec. 18, 1832) ; but the first production of
' Don Juan' at Drury Lane, Feb. 5, 1833, afforded
Templeton a great opportunity. Signer Begrez,
after studying the part of Don Ottavio for eight
weeks, threw it up a week before the date an-
nounced for production. Templeton undertook the
character, and a brilliant success followed. Bra-
ham, who played Don Juan, highly complimented
Templeton on his execution of ' II mio tesoro,'
and Tom Cooke called him * the tenor with the
additional keys.'
Madame Malibran, in 1833, chose him as
her tenor, and 'Malibran's tenor' he remained
throughout her brief but brilliant career. On the
production of * La Sbnnambula,' at Drury Lane,
May I, 1833, Templeton's Elvino was no less
successful than Malibran's Aniina. After the per-
formance Bellini embraced him, and, with many
compliments, promised to write a part that would
immortalise him. * The Devil's Bridge,' * The
Students of Jena' (first time June 4, 1833), 'The
Marriage of Figaro,' 'John of Paris,' etc., gave
fresh opportunities for Templeton to appear with
Malibran, and Tvith marked success. In Auber's
*Gustavus the Third,' produced at Covent Garden,
Nov. 13, 1833, he made another great success as
Colonel Lillienhom. During the season the opera
was repeated one hundred times. Alfred Bimn,
then manager of both theatres, so arranged that
Templeton, after playing in *La Sonnambula' or
•Gustavus the Third' at Covent Garden, had
to make his way to Drury Lane to fill the rdle of
'Masaniello' — meeting with equal success at both
houses.
On the return of Madame Malibran to England
in 1835, the production of ' Fidelio' and of Balfe's
• Maid of Artois ' (May 27, 1836) brought her and
Templeton again together. July 16, 1836, was
fated to be their last appearance together. At
the end of the performance Malibran removed the
jewelled betrothal ring from her finger which
she had so often worn as Amina, and presented
it to Templeton as a memento of respect for his
talents ; and it is still cherished by the veteran
tenor as a sacred treasure. Templeton sustained
the leading tenor parts in Auber's 'Bronze
Horse' (1836), in Herold's 'Corsair' (1836),
Rossini's 'Siege of Corinth* (1836), in Balfe's
*Joan of Arc' (1837) and 'Diadeste' (1838),
in Mozart's 'Magic Flute' (1838), Benedict's
'Gipsy's Warning' (1838), H. Phillips' 'Har-
vest Queen' (1838), in Donizetti's 'Love Spell'
(1839), and in 'La Favorita' (1843) on their
first performance or introduction as English
operas ; altogether playing not less than eighty
different leading tenor characters.
In 1836-37 Templeton made his first profes-
TEMPO.
sional tour in Scotland and Ireland with great
success. Returning to London, he retained liis
position for several years. In 1842 he visited
Paris with Balfe, and received marked attention
from Auber and other musical celebrities. The
last twelve years of his professional career were
chiefly devoted to the concert-room. In 1846 he
starred the principal cities of America with his
'Templeton Entertainments,' in which were given
songs illustrative of England, Scotland, and Ire-
land, and as a Scottish vocalist he sang himself
into the hearts of his countrymen. With splendid
voice, graceful execution, and exquisite taste, he
excelled alike in the pathetic, the humorous, and
the heroic ; his rendering of ' My Nannie O,'
' Had I a cave,' ' Gloomy winter,' ' Jessie, the
Flower o' Dunblane,' 'Com Rigs,' 'The Jolly
Beggar,' and 'A man's a man for a' that,' etc., left
an impression not easily effaced. Mr. Templeton
retired in 1852, and now enjoys a well-earned
repose at New Hampton. [W. H.]
TEMPO (Ital., also Movimento ; Fr. Mouve-
ment). This word is used in both English and
German to express the rate of speed at which a
musical composition is executed. The relative
length of the notes depends upon their species,
as shown in the notation, and the arrangement
of longer and shorter notes in bars must be in
accordance with the laws of 2'ime, but the actual
length of any given species of note depends upon
whether the Tempo of the whole movement be
rapid or the reverse. The question of Tempo is
a very important one, since no composition could
suffer more than a very slight alteration of speed
without injury, while any considerable change
would entirely destroy its character and render
it unrecognisable. The power of rightly judging
the tempo required by a piece of music, and of
preserving an accurate recollection of it under
the excitement caused by a public performance,
is therefore not the least among the qualifications
of a conductor or soloist.
Until about the middle of the 17th century,
composers left the tempi of their compositions
(as indeed they did the nuances to a great extent)
entirely to the judgment of performers, a correct
rendering being no doubt in most cases assured
by the fact that the performers were the com-
poser's own pupils ; so soon however as the
number of executants increased, and tradition
became weakened, some definite indication of
the speed desired by the composer was felt to be
necessary, and accordingly we find all music
from the time of Bach * and Handel (who used
tempo-indications but sparingly) marked with
explicit directions as to speed, either in words,
or by a reference to the Metronome, the latter
being of course by far the most accurate method.
[See vol. ii. p. 318.]
Verbal directions as to tempo are generally
written in Italian, the great advantage of thig
practice being that performers of other nation-
alities, understanding that this is the custom,
> In the 48 Preludes and Fugues there is but one tempo-indlcft*
tion. Fugue 24, toI. i. is marked ' Largo,' and even this is rather ait
Indication of style than of actual speed.
I
TEMPO.
and having learnt the meaning of the terms in
general use, are able to understand the directions
given, without any further knowledge of the
language. Nevertheless, some composers, other
than Italians, have preferred to use their own
native language for the purpose, at least in part.
Thus Schumann employed German terms in by
far the greater number of his compositions, not
alone as tempo-indications but also for diiections
as to expression,^ and Beethoven took a fancy
at one time for using German,'^ though he after-
wards returned to Italian. [See vol. i. p. 193.]
The expressions used to denote degrees of
speed may be divided into two classes, those
which refer directly to the rate of movement, as
Lento — slow ; Adagio — gently, slowly ; Moderato
— moderately; Presto — quick, etc.; and those (the
more numerous) which rather indicate a certain
character or quality by which the rate of speed
is influenced, such as Allegro — gay, cheerful;
Vivace — lively; Animato — animated; Maestoso —
majestically J Grave — with gravity; Largo —
broad; etc. To these last may be added ex-
pressions which allude to some well-known form
of composition, the general character of which
governs the speed, such as Tempo di Minuetto —
in the time of a Minuet; Alia Marcia, Alia
Polacca — in the style of a march, polonaise, and
so on. Most of these words may be qualified by
the addition of the terminations etto and ino,
which diminish, or issimo, which increases, the
effect of a word. Thus Allegretto, derived from
Allegro, signifies moderately lively. Prestissimo
— extremely quick, and so on. The same
varieties may also be produced by the use of the
words molto — much ; assai — very ; piu — more ;
meno — less ; un poco (sometimes un pocketiino ^)
— a little ; nan troppo — not too much, etc.
The employment, as indications of speed, of
words which in their strict sense refer merely to
style and character (and therefore only indirectly
to tempo), has caused a certain conventional
meaning to attach to them, especially when used
fcy other than Italian composers. Thus in most
vocabularies of musical terms we find Allegro
rendered as 'quick,' Largo as 'slow,' etc.,
although these are not the literal translations
of the words. In the case of at least one word
this general acceptance of a conventional mean-
ing has brought about a misunderstanding which
is of considerable importance. The word is
Andante, the literal meaning of which is ' going,' *
but as compositions to which it is applied are
usually of a quiet and tranquil character, it has
gradually come to be understood as synonymous
with ' rather slow.' In consequence of this, the
direction piit andante, which really means
•going more* i.e. faster, has frequently been
erroneously understood to mean slower, while
the diminution of andante, andantino, literally
1 He used Italian terms In op. 1-4, 7-11, 13-15, 88, 41, 44, 47, 62, 64,
and 61 ; the rest are In German.
3 Beethoven's German directions occur chiefly frpm op. 81a to 101,
irlth a few isolated instances as for on as op. 128.
3 See Brahms, op. 34. Finale.
* The word is derived trom andare, ' to go.' In his Sonata op. 81 a,
Beethoven expresses AndanU by the words In gehtnder Betoegung—
la going movement.
TEMPO.
83
'going a little,' together with meno andante —
'going less' — both of which should indicate a
slower tempo than andante — have been held to
denote the reverse. This view, though certainly
incorrect, is found to be maintained by various
authorities, including even Koch's 'Musikal-
isches Lexicon,' where piii, andante is distinctly
stated to be slower, and andantino quicker,
than andante. In a recent edition of Schumann's
• Kreisleriana ' we find the composer's own in-
dication for the middle movement of No. 3,
'Etwas langsamer,' incorrectly translated by
the editor poco piii andante, which coming im-
mediately after animato has a very odd effect.
Schubert also appears to prefer the conventional
use of the word, since he marks the first move-
ment of his Fantasia for Piano and Violin, op. 159,
Andante molto. But it seems clear that, with
the exception just noted, the great composers
generally intended the words to bear their literal
interpretation. Beethoven, for instance, places his
intentions on the subject beyond a doubt, for the
4th variation in the Finale of the Sonata op. 109
is inscribed in Italian * Un poco meno andante, cio
h, un poco piii adagio come il tema ' — a little less
andante, that is, a little more slowly like (than ?)
the theme,' and also in German Etwas langsamer
als das Thema — somewhat slower than the theme.
Instances of the use of piii andante occur in
Var. 5 of Beethoven's Trio op. i, no. 3, in
Brahms's Violin Sonata op. 78, where it follows
(of course with the object of quickening) the
tempo of Adagio, etc. Handel, in the air
' Revenge, Timotheus cries ! ' and in the choruses
' For unto us ' and ' The Lord gave the word,'
gives the direction Andante allegro, which may
be translated * going along merrily.'
When in the course of a composition the
tempo alters, but still bears a definite relation to
the original speed, the proportion in which the
new tempo stands to the other may be expressed
in various ways. When the speed of notes of
the same species is to be exactly doubled, the
words doppio movimento are used to denote the
change, thus the quick portion of Ex. i would
be played precisely as though it were written
as in Ex. 2.
Brahms, Trio, op. 8.
Allegro doppio viovhnento
Adagio non troppo
4
Another way of expressing proportional tempi is
by the arithmetical sign for equality ( = ), placed
between two notes of different values. Thus
(^ =s J would mean that a crochet in the one
movement must have the same duration as a
s Beethoven's Italian, however, does not appear to have bee«
faultless, for the German translation above shows him to have used
the word come to express ' than ' Instead of 'like.'
G2
u
TEMPO.
minim in the other, and so on. But this method
is subject to the serious drawback that it is
possible to understand the sign in two opposed
senses, according as the first of the two note-
values is taken to refer to the new tempo or to
that just quitted. On this point composers are
by no means agreed, nor are they even always
consistent, for Brahms, in his ' Variations on a
Theme by Paganini,' uses the same sign in
opposite senses, first in passing from Var. 3 to
Var. 4, where a J^ of Var. 4 equals a J of Var.
3 (Ex. 3), and afterwards from Var. 9 to Var.
10, a J of Var. 10 being equal to a ^** of Var. 9
(Ex. 4).
Ev.8. Var.3. ^
-^ 1 J ^-<^-^-» — —
~rrrTT"£^
Var. 10. (J=^N
P^^
333s
A far safer means of expressing proportion is by
a definite verbal direction, a method frequently
adopted by Schumann, as for instance in the
'Faust' music, where he says Ein Taltt loie vorher
zicei — one bar equal to two of the preceding move-
ment; and Um die JIdlfte langsamer (by which is
to be understood twice as slow, not hcilf as slow
again), and so in numerous other instances.
When there is a change of rhythm, as from
common to triple time, while the total length of
a bar remains unaltered, the words Vistesso tempo,
signifying * the same speed,' are written where the
change takes place, as in the following example,
where the crotchet of the 2-4 movement is equal
to the dotted crotchet of that in 6-8, and so, bar
for bar, the tempo is unchanged.
Bbethovbn, Bagatelle, op. 119, No. 6.
AUearetto.
The same words are occasionally used when
there is no alteration of rhythm, as a warning
against a possible change of speed, as in Var. 3
TEMPO.
of Beethoven^s Variations, op. lao, and also,
though less correctly, when the notes of any
given species remain of the same length, while
tlie total value of the bar is changed, as in the
following example, where the value of each quaver
remains the same, although the bar of the 2-4
movement is only equal to two-thirds of one of
the foregoing bars,
BsKTHOVEN, Bagatelle, op. 126, No. 1.
Andante con tnofo. Vistesso tempo.
A gradual increase of speed is indicated by
the word accelerando or stringendo, a gradual
slackening by ralkntando or ritardando. All
such effects being proportional, every bar and
indeed every note should as a rule take its share
of the general increase or diminution, except
in cases where an accelerando extends over
many bars, or even through a whole composition.
In such cases the increase of speed is obtained
by means of frequent slight but definite changes
of tempo (the exact points at which they take
place being left to the judgment of performer or
conductor) much as though the words piit mosso
were repeated at intervals throughout. Instances
of an extended accelerando occur in Mendels-
sohn's chorus, ' 0 ! great is the depth,* from ' St.
Paul' (26 bars), and in his Fugue in E minor,
op. 35, no. I (63 bars). On returning to the
original tempo after either a gradual or a precise
change the words tempo pHmo are usually em-
ployed, or sometimes Tempo del Tema, as in
Var. 1 2 of Mendelssohn's ' Variations S^rieuses.*
The actual speed of a movement in which the
composer has given merely one of the usual
tempo indications, without any reference to the
metronome, depends of course upon the judg-
ment of the executant, assisted in many cases by
tradition. But there are one or two considera-
tions which are of material influence in coming
to a conclusion on the subject. In the first
place, it would appear that the meaning of the
various terms has somewhat changed in the
course of time, and in opposite directions, the
words which express a quick movement now signi-
fying a yet more rapid rate, at least in instru-
mental music, and those denoting slow tempo a
still slower movement, than formerly. There ia
no absolute proof that this is the case, but a
comparison of movements similarly marked, but
of different periods, seems to remove all doubt.
For instance, the Presto of Beethoven's Sonata,
op. 10, no. 3, might be expressed by M.M.
,s5 = 144. while the Finale of Bach's Italian
Concerto, also marked Presto, could scarcely be
played quicker than <5l = i26 without disad-
vantage. Again, the commencement of Handel's
Overture to the * Messiah ' is marked Grave, and
is played about J = 60, while the Grave of Bee-
thoven's Sonata Pathdtique requires a tempo of
only J^ = 60, exactly twice as slow. The causes
of these difierences are probably on the one hand
the greatly increased powers of execution pos-
TEMPO.
sessed by modem instrumentalists, which have
induced composers to write quicker music, and
on the other, at least in the case of the piano-
forte, the superior sostenuto possible on modem
instruments as compared with those of former
times. The period to which the music be-
longs must therefore be taken into account in
determining the exact tempo. But besides this,
the general character of a composition, especially
as regards harmonic progression, exercises a very
decided influence on the tempo. For the appa-
rent speed of a movement does not depend so
much upon the actual duration of the beats, as
upon the rate at which the changes of harmony
succeed each other. If, therefore, the harmonies
in a composition change frequently, the tempo
will appear quicker than it would if unvaried
harmonies were continued for whole bars, even
though the metronome-time, beat for beat, might
be thd same. On this account it is necessary, in
order to give effect to a composer's indication
of tempo, to study the general structure of tlie
movement, and if the changes of harmony are
not frequent, to choose a quicker rate of speed
than would be necessary if the harmonies were
more varied. For example, the first movement
of Beethoven's Sonata, op, 22, marked Allegro,
may be played at the rate of about <sJ = 72, but
the first movement of op. 31, no. 2, though also
marked Allegro, will require a tempo of at least
<d = 1 20, on account of the changes of harmony
being less frequent, and the same may be ob-
served of the two adagio movements, both in
9-8 time, of op. 22 and op. 31, no. i ; in the
second of these most bars are founded upon a
single harmony, and a suitable speed would be
about ^N = 1 1 6, a rate which would be too quick
for the Adagio of op. 22, where the harmonies
are more numerous.^
Another cause of greater actual speed in the
rendering of the same tempo is the use of the
time-signature dJ or alia breve, which requires
the composition to be executed at about double
the speed of the Common or C Time. The
reason of this is explained in the article Bbeve^
vol. i. p. 274.
A portion of a composition is sometimes
marked a ptacere, or ad libitum, at 'pleasure,' sig-
nifying that the tempo is left entirely to the per-
former's discretion. Passages so marked however
appear almost always to demand a slower, rather
than a quicker tempo — at least, the writer is ac-
quainted with no instance to the contrary. [F.T.]
TEMPO DI BALLO is the indication at the
head of Sullivan's Overture composed for the
Birmingham Festival 1870, and seems less to in-
dicate a particular speed than that the whole work
is in a dance style and in dance measures. [G.]
J Hummel, In hii ' Pianoforte School,' speaking In praise of the
Metronome, gives a list of instances of the variety of meanings
attached to the same words by different composers, in which we find
JPretto varying from ol=72 to 0=224, Allegro from 0=60 to
0=172, Andantt from J^=S2 to J^ = 1S2 etc. But Hummel does
not specify the particular movements be quotes, and it seems prob-
able that, regard Iselng had to their varieties of harmonic structure,
the discrepancies may not really have been so great as at first sight
TENDUCCf.
g5
TEMPO ORDINARIO (Ttal.), common time,
rhythm of four crotchets in a bar. The time-
signature is an unbarred semicircle C , or in
modem form Q, in contradistinction to the barred
semicircle (^ or 0, which denotes a diminished
value of the notes, i. e. a double rate of movement.
[See Breve; Common Time.] In consequence of
the notes in tempo ordinario being of full value
(absolutely as well as relatively), the term is
understood to indicate a moderate degree of
speed. It is in this sense that Handel employs
it as an indication for the choruses ' Lift up your
heads,' ' Their sound is gone out,' etc. [F.T.]
TEMPO RUBATO (Ital., literally roUed or
stolen time). This expression is used in two differ-
ent senses ; first, to denote the insertion of a short
passage in duple time into a movement the
prevailing rhythm of which is triple, or vice versa,
the change being effected without altering the
time-signature, by means of false accents, or
accents falling on other than the ordinary places
in the bar. Thus the rhythm of the following
example is distinctly that of two in a bar, al-
though the whole movement is 3-4 time.
Schumann, Jsovellette, Op. 21, No. 4.
I
^^
R^^=i-
^
'-rf
2. In the other and more usual sense the term
expresses the opposite of strict time, and indicates
a style of performance in which some portion of
the bar is executed at a quicker or slower tempo
than the general rate of movement, the balance
being restored by a corresponding slackening or
quickening of the remainder. [Kubato.] Perhaps
the most striking instances of the employment of
tempo ruhato are found in the rendering of Hun-
garian national melodies by native artists. [F.T.]
TENDUCCI, GiusTO Ferdinando, a cele-
brated sopranist singer, very popular in this
country, was bom at Siena, about 1 736, whence
(like a still greater singer) he was sometimes
called Senesino. His earliest stage-appearances
in Italy were made at about twenty j^ears of age,
and in 1758 he came to London, where he finst
sang in a pasticcio called 'Attalo.' But it was
in the * Ciro riconosciuto ' of Cocchi that he first
attracted special notice. Although he had only
a subordinate part, he quite eclipsed, by his voice
and style, the principal singer, Portenza, and
from that time was established as the successor
of Guadagni. In company with Dr. Ame, in
whose * Artaxerxes ' he sang with great success,
he travelled to Scotland and Ireland, retuming to
London in 1765, where he was the idol of the
fashionable world, and received enormous sums
for his performances. In spite of this, his vanity
j and extravagance were so unbounded that in
89
TENDUCCT.
1776 he was forced to leave England for debt.
In a year, however, he found means to return,
and remained in London many years longer,
singing with success as long as his voice lasted,
and even when it had almost disappeared. In
1785 he took part in a revival of Gluck's *Orfeo,*
and appeared at Drury Lane Theatre as late as
1790. He also sang at the Handel Commemo-
ration Festivals at Westminster Abbey, in 1784
and 1 791. Ultimately he returned to Italy, and
died there early in this century.
Tenducci was on friendly terms with the
Mozart family during their visit to London in
1764. In 1778, at Paris, he again met Mozart,
who, remembering their former intercourse, wrote
a song for him, which has been lost. He was the
author of a Treatise on Singing, and the composer
of an overture for full band (Preston, London),
and of * Ranelagh Songs,' which he sang at con-
certs. [F.A.M.]
TENEBR^ (Liteially, Darkness). The
name of a Service appointed, in the Roman
Breviary, for the three most solemn days in
Holy Week, and consisting of the conjoined
Matins and Lauds, ^ for the Thursday, Friday,
and Saturday, which are sung ' by anticipation '
on the afternoons of the Wednesday, Thursday
and Friday. The name is taken from the open-
ing sentence of the Responsorium which follows
the Fifth Lesson on Good Friday, Tenebrce
factce sunt — There was darkness.
The Service begins with three Nocturns, each
consisting of three Psalms, with their doubled
Antiphons, a Versicle and Response, and three
Lessons, each followed by its appropriate Re-
sponsorium. The Psalms and Antiphons are
sung in unisonous Plain Chaunt ; and, at the con-
clusion of each, one of the fifteen candles on the
huge triangular Candlestick by which the Chapel
is lighted is ceremoniously extinguished. The
Lessons for the First Noctum on each of the
three days are the famous 'Lamentations,'
which have already been fully described.'' The
Lessons for the Second and Third Nocturns are
simply monotoned. Music for the Responsoria
has been composed by more than one of the
greatest Polyphonic Masters ; but most of them
are now sung in unisonous Plain Chaunt. The
Third Noctum is immediately followed by Lauds,
the Psalms for which are sung in the manner,
and with the ceremonies, already described.
Then follows the Canticle, • Benedictus,' during
the singing uf which the six Altar Lights are
extinguished, one by one. And now preparation
is made for the most awful moment of the whole
— that which introduces the first notes of the
'Miserere.'' The fifteenth candle, at the top
of the great Candlestick, is removed from its
place, and hidden behind the Altar. The An-
tiphon, * Christus factus est obediens,' is sung by
a single Soprano Voice; and, after a dead silence
of considerable duration, the Miserere is sung,
in the manner, and with the Ceremonies de-
scribed in vol. ii. pp. 335-338. The Pope then
1 Sm Uatins, and Lauds. 2 See Lamentations.
i See MisiBEBi.
TENOR.
says an appointed Prayer ; the Candle is brought
out from behind the Altar; and the Service
concludes with a trampling of feet, sometimes
said to represent the passage of the crowd to
Calvary, or the Jews seizing our Lord.
The Services proper for Holy Week are de-
scribed, in detail, in the 'Manuel des C^r^monies
qui ont lieu pendant la Semaine Sainte,' formerly
sold annually in Rome, but now very difficult to
obtain. The Music was first published by Dr.
Bumey, in • La Musica della Settimana Santa,'
now very scarce, and has since been reprinted,
by Alfieri, in his ♦ Raccolta di Musica Sacra.'
A minute and interesting account, though
somewhat deformed by want of sympathy vrith
the ancient Ritual, will be found in Mendelssohn's
letter to Zelter, of June 16, 183 1. [W.S.R.]
TENERAMENTE; CON TENEREZZA—
' tenderly' ; a term slightly stronger and used more
emphatically than dolce, but having very much the
same meaning and use in music. A good instance
of the distinction between the terms is found in
the lovely second movement of Beethoven's Sonata
in E minor, op. 90, where the subject, at its first
entry labelled dolce, is subsequently directed to
be played teneramente. From the whole charac-
ter of the movement it is evidently intended to
become slightly more impassioned as it goes on ;
and it is generally understood that the second
and following entries of the subject should be
played with more feeling, and perhaps in less
strict time, than the opening bars of the move-
ment. [J.A.F.M.]
TENOR (Fr. Taille; Ger. Tenor Stimme)-
The term applied to the highest natural adult
male voice and to some instruments of some-
where about the same compass. Its etymology
is accepted to be teneo, '1 hold,' and it was
the voice that, in early times, held, took, or
kept the principal part (originally the only-
real part), the plainsong, subject, air, or mo-
tive of the piece that was sung. It holds the
mid-position in the musical scale. Its
clef is the C clef on the fourth line of
the stave (in reality the middle line of
the great stave of eleven lines *) generally super-
seded in the present day by the treble or G clef,
which however does not represent or indicate
the actual pitch, but gives it an octave too high.
The average compass of the tenor voice is C to
A or B (a), though in large rooms notes below F
(6) are usually of little avail. In primitive times,
(o) j=a. or i^ „ „ (6)
before true polyphony or harmony were known,
it was natural that what we now call the tenor
voice should hold the one real part to be sung,
should lead, in fact, the congregational singing,
for the reason that this class of voice is sweeter
and more flexible than the bass voice, and also
would most readily strike the ear, as being the
higher voice in range, until boys were employed;
4 See 'A Short Treatise on the Stare ' (Hullah).
TENOR.
and even then boys could not have either the
knowledge or authority to enable them to lead
the singing, more especially as the chants or
hymns were at first transmitted by oral tra-
dition; and females were npt officially engaged
in the work. The boys probably sang in unison
with, at times an octave higher than, the tenor,
and the basses in unison with, or an octave
below, the tenor, as suited them respectively.
An elaborate classification of voices was not
then necessary. Indeed it is most probable that
at first the only distinction was between the
voices of boys and men, alius and hasstis {high
and l(yvo), the very limited scales then in use
coming easily within the compass of the lower
part of tenors and the higher part of basses ; and
it will have been only observed that some men
could sing higher or lower than others, while
the different qualities of voices will not have
been taken into account. If a very low bass
found a note rather high, he may have howled
it as he best could, or it would perhaps itself
have cracked up into falsetto, or he will have
gone down instinctively to the octave below,
or remained where he was until the melody
came again within his reach — ears being not yet
critically cultivated. Even now, towards the end
of the 19th century, it is not at all unusual to
hear amongst a congregation basses singing the
air of a hymn below the actual bass part, or
soprani singing in the tenor-compass for con-
venience sake. In a few village churches, and
in many Scotch kirks, an after-taste of such
early singing is still to be had. But with the
extension of the scale and the introduction of
a system of notation, and the consequent gradual
replacement of the empirical mode of practice
by more scientific study, the first rude attempts
at harmony and polyphony, diaphony or or-
ganum (which see), would necessitate a more
exact classification of voices.
The term Baritone is of comparatively late intro-
duction. This voice is called by the French hasse-
taille, or low tenor, taille being the true French
word for tenor, and it is not impossible that,
as this word signifies also the waist or middle of
the human figure, it may have been adopted to ex-
press the middle voice. The addition of a second
part, a fourth or fifth above or below the Canto
Fermo or plain-chant, v»rould also so much in-
crease the compass of music to be sung, that the
varieties and capacities of different voices would
naturally begin to be recognised, and with the
addition of a third part, triplum (treble), there
would at once be three parts, altus, medius,
and bassus, — high, middle, and low ; and as the
medius, for reasons already given, would natu-
rally be the leader who held {tenuit) the plain-
song, the term tenor would replace that of medius.
Then, as the science and practice of music ad-
vanced, and opera or musical drama became more
and more elaborated, the sub-classification of each
individual type of voice in accordance with its
varied capacities of expression would be a matter
of course. Hence we have tenore rohusto (which
used to be of about the compass of a modern
TENOR.
87
high* baritone), tenore di foizay tenore di mezzo
carattere, tenore di grazia, and tenore leggiero,
one type of which is sometimes called tenore
contraltino. These terms, though used very
generally in Italy, are somewhat fantastic, and
the different qualifications that have called them
forth are not unfrequently as much part of the
morale as of the physique. Although not only
a question of compass but of quality, the word
' tenor ' has come to be adopted as a generic term
to express that special type of voice which is so
much and so justly admired, and cannot now be
indicated in any other way.
The counter-tenor, or natural male alto, is a
highly developed falsetto, whose so-called chest
voice is, in most cases, a limited bass. Singers
of this class down to the beginning of the 17th
century came principally from Spain, they being
afterward chiefly superseded by artificial male
alti. One of the finest examples of counter-tenor
known in London at the time of writing this
article is an amateur distinguished for his excel-
lent part-singing. Donzelli was a tenore rohusto
with a voice of beautiful quality. It has been
the custom to call Duprez, Tamberlik, Wachtel,
Mongini, and Mierzwinski tenori robtisti, but
they belong more properly to the tenori di forza.
The tenore rohusto had a very large tenor quality
throughout his vocal compass.
It is not easy to classify precisely such a voice
as that of Mario,^ except by calling it the per-
fection of a tenor voice. Mario possessed, in
a remarkable degree, compass, volume, richness,
grace, and flexibility (not agility, with which
the word is often confounded in this country,
but the general power of inflecting the voice
and of producing with facility nice gradations of
colour). Historical singers are generally out of
the usual category, being in so many cases gifted
with exceptional physical powers. Rubini, a
tenore di grazia, physically considered, was en-
dowed with an extraordinary capacity of pathetic
expression, and could at times throw great force
into his singing, which was the more striking
as being somewhat unusual, but he indulged too
much perhaps in the vihrato, and may not im-
probably be answerable for the vicious use of this
(legitimate in its place) means of expression, which
has prevailed for some years past, but which, be-
ing now a mannerism, ceases to express more than
the so-called ' expression stop' on a barrel organ.
But it must be said of Rubini that the vibrato
being natural to him, had not the nauseous effect
that it has with his would-be imitators.
Davide, who sang in the last half of the iStli
century, must have been very great, with a beau-
tiful voice and a thorough knowledge of his art.
[See vol. i. p. 434.] His son is said to have been
endowed with a voice of three octaves, comprised
within four B flats. This doubtless included
something like an octave o( falsetto, which must
have remained to him, instead of in great part
disappearing with the development of the rest of
1 Baritone may etymologically be considered to mean a heavy
voice, and as the priccipal voice was the tenor, it may be taken to
mean heavy tenor, almost equivalent to Basse-laille,
3 Died at Borne Dec. 11, 1863.
68
TENOR.
the voice, as is usually the case. In connection with
this may be mentioned the writer's experience
of a tenor, that is to say a voice of decided tenor
tone, with a compass of ^
that of
a limited bass only, thus showing how the word
' tenor' has come to express quality quite as much
as compass. — Roger (French), another celebrity,
and a cultivated man, overtaxed his powers, as
many otheis have done, and shortened his active
artistic career. — Campanini is a strong tenore di
mezzo caratlere. This class of tenor can on oc-
casions take parti di fwza or di grazia.
If the Germans would only be so good as to
cultivate more thoroughly the art of vocalisation,
we should have from them many fine tenori di
forza, with voices like that of Vogel.
A tenore di grazia of modern times must
not be passed without special mention. Italo
Gardoni possessed what might be called only
a moderate voice, but so well, so easily and
naturally produced, that it was heard almost to
tiie same advantage in a theatre as in a room.
This was especially noticeable when he sang the
part of Florestan, in ♦ Fidelio,* at Covent Garden,
after an absence of some duration from the stage.
The unaffected grace of his style rendered him
as perfect a model for vocal artists as could well
be found. Giuglini was another tenore di grazia,
with more actual power than Gardoni. Had it
not been for a certain mawkishness which after
a time made itself felt, he might have been
classed amongst the tenori di mezzo carattere.
In this country Braham and Sims Reeves have
their place as historical tenori, and Edward
Lloyd, with not so large a voice as either of
these, will leave behind him a considerable repu-
tation as an artist.
Of the tenore leggiero, a voice that can generally
execute fioritura with facility, it is not easy to
point out a good example. The light tenor,
sometimes called tenore contraliino, has usually
a somewhat extended register of open notes, and
if the singer is not seen, it is quite possible to
imagine that one is hearing a female contralto.
The converse of this is the case when a so-called
female tenor sings. One of these, Signora Mela,
appeared at concerts in London in the year 1868.
A favourite manifestation of her powers was the
tenor part in Rossini's Terzetto buffo * Pappataci.'
Barlani-Dini is another female tenor, singing at
present in Italy. These exhibitions are, however,
decidedly inartistic and inelegant, and may easily
become repulsive. A list of tenor singers will be
found in the article Singing. [See vol. iii. p. 5 1 1 .]
Tenor is also the English name of the viola.
[See Tenor Violin.] The second of the usual
three trombones in a full orchestra is a tenor
instrument both in compass and clef.
The Tenor Bell is the lowest in a peal of bells,
and is possibly so called because it is the bell
11 pon which the ringers hold or rest. The Tenor-
drum (without snares) is between the ordinary
side-drum and the bass-drum, and, worn as a
side drum, is used in foot-regiments for rolls.
TENOR VIOLIN.
There are various opinions as to the advisa-
bility of continuing, or not, the use of the tenor
clef. There is something to be said on both
sides. It undoubtedly expresses a positive position
in the musical scale; and the power to read
it, and the other G clef, is essential to all
musicians who have to play from the music
printed for choirs and for orchestra up to the
present day. But as a question of general utility
a simplification in the means of expressing mu-
sical ideas can scarcely be other than a benefit,
else why not continue the use of all the seven
clefs ? The fact that the compass of the male
voice is, in round terms, an octave lower than
the female (though from the point of view of
mechanism the one is by no means a mere
re -production of the other), renders it very easy,
indeed almost natural, for a male voice to sing
music in the treble clef an octave below its
actual pitch, or musical position in the scale,
and as a matter of fact, no difficulty is found in
so doing. In violoncello or bassoon-music the
change from bass to tenor clef is made on ac-
count of the number of ledger lines that must
be used for remaining in the lower clef. This
objection does not exist in expressing tenor music
in the treble clef. On the contrary, if it exists
at ail it is against the tenor.— A kind of com-
promise is made by Mr. Otto Goldschmidt in
the • Bach Choir Magazine ' (Novello), where a
~- double soprano clef is used for the
tenor part. This method was proposed
by Gr^try, Essai s. la musique, v. 200,
While on the subject of clefs, passing reference
may be made to Neukomm's somewhat erratic
idea of putting the whole of the tenor part in
his edition of Haydn's ' Creation ' in the bass clef.
It was an attempt to make the desired simplifi-
cation, and at the same time denote the actual
pitch of the voice. [H. C. D.]
TENOROON, a name sometimes given to
the Tenor Bassoon or Alto Fagotto in F. It is
obviously a modification of the word Bassoon,
for which little authority can be found. The
identity of this instrument with the Oboe di
Caccia of Bach has already been adverted to,
and the error of assigning parts written for it
by that composer, Beethoven, and others, to the
Como Inglese or Alto Oboe in the same key has
been corrected. At the present time it has
entirely gone out of use. A fine specimen, now
in the writer's possession, was until lately in
the boys' band at the Foundling Hospital;
supposed to be intended, from its smaller size,
for the diminutive hands of young players.
Its tone is characteristic, somewhat more reedy
than that of the Bassoon. The word was used by
Gauntlett for the compass of a stop. [W.H.S.]
TENOR VIOLIN (Alto, Contralto, Quinte,
Taillb, Bratsohe, Viola, etc.) A violin usually
about one-seventh larger in its general dimen-
sions than the ordinary violin, and having its
compass a fifth lower, or an octave above the
violoncello. As its name implies, it corresponds
in the string quartet to the tenor voice in the
TEXOR VIOLIN.
vocal quartet. Its part is written in the C alto
clef, thus —
The three uppermost strings of the Tenor are
identical in pitch with the three lowest strings
of the violin ; but their greater length requires
them to be proportionately stouter. The fourth
string, like the third, is covered with wire. The
player holds the Tenor like the violin ; but the
stop is somewhat longer, the bow used for it is
somewhat heavier, and it requires greater mus-
cular force in both hands. The method of execu-
tion in other respects is identical with that on
the violin. The tone of the Tenor however,
owing to the disproportion between the size and
pitch of its strings on the one hand, and the
comparatively small size of its body on the other,
is of a different quality from that of the violin. It
is less powerful and brilliant, having a muflSed
character, but is nevertheless sympathetic and
penetrating. Bad Tenors are worse than bad vio-
lins ; they are unequal and ' wolfish,' and have
sometimes a decided nasal twang. The instrument
is humorously described by Schnyder von Warten-
see, in his 'Birthday Ode' addressed to Guhr: —
Mann nennt mich Frau Base, (Aunt)
Denn etwaa sprech* ich durch die Nase,
Doch ehrlich mein' ich ea, und treu :
Altmodisch bin ich: meine Sitte
Ist stets zu bleiben in der Mitte.
Und nie mach' ich ein gross' Geschrei.
In this article, following common usage, the
word ' Tenor ' is used to denote the intermediate
member of the quartet to the exclusion of ' Alto ' :
but the fact is that the Tenor and Alto were
once distinct instruments, and the instrument
which we call 'Tenor' is really the Alto, the
true Tenor, which was a size larger, though of
the same pitch, being practically obsolete.
The Tenor is an earlier instrument than the
violin, and is in fact the oldest instrument of
the quartet. Both 'Violitio' in Italian and
'Violon' in French appear to have originally
designated the Tenor. In the first piece of
music in which * Violino' occurs, a double quar-
tet in the church style, published in 1597,' this
instrument has a part written in the alto clef,
from which the following is an extract : —
This could not be played on the violin, and was
obviously written for the Tenor : and an instru-
ment of such a compass capable of holding its
own against a cornet and six trumpets, however
lightly voiced the latter may have been, can
have been no ordinary fiddle. The large and
solid Tenors of this period made by Gaspar di
I Giovanni Gabriel!, Sonate Plan e Forte allaquarta bassa. Frinted
in the Musical Appendix to Waslelewskls ' Die Violine im xvii Jahr-
liundert).' The lowest parts iii each quartet are assigned to trum-
vets \.Ti'omboui}, the other soprano part to the cornet (Ziuken).
TENOR VIOLIN. 8D
Salo, the earlier Amatis, Peregrine Zanetto, etc.,
many of which are still in existence, appear to
represent the original 'Violine' These Tenors
when new, must have had a powerful tone, and
they were probably invented in order to produce
a stringed instrument which should compete in
church music with the comet and trumpet. Being
smaller than the ordinary bass viola, which was
the form of viol chiefly in use, they obtained the
name *Violino.' This name was however soon
transferred to the ordinary violin. When the latter
first made its appearance in Italian music,'* it
was called * Piccolo Violino alia Francese ' ; indi-
cating that this smaller ' Violino,' to which the
name has been since appropriated, though not
generally employed in Italy, had come into use
in France. It accords with this that the original
French name of the violin is ' Pardessus ' or
* dessus ' ' de Violon,' or ' treble of the Violon,'
Violon being the old French diminutive of Viole,*
and exactly equivalent to * Violino.' Again, the
very old French name 'Quinte' for the Tenor,
and its diminutive ' Quinton,' used for the violin,
seems to indicate that the latter was a diminutive
of some larger instrument in general use. We
have therefore good ground for concluding that
the Tenor is somewhat older than the treble or
common violin, and is in fact its archetype.
Very soon after the ' Orfeo ' of Monteverde,
which is dated 1608, we find the above-mentioned
composer, Gabrieli, writing regular violin passages
in a sonata for three common violins and a Bass,
the former being designated * Violini.' * We may
therefore fairly suppose that the early years of
the 17th century saw the introduction of the
violin into general use in Italy, and the transfer
of the name ' Violino ' to the smaller instrument.
In the same year (16 15) we have a 'Canzonk
6' by the same writer, with two treble violins
(Violini), a comet, a tenor vioKn (called Tenore)
and two trumpets.' In Gregorio Allegri's ' Sym-
phonia k 4'* (before 1650) the Tenor is deno-
minated 'Alto,' and the Bass is assigned to the
'Basso di Viola' or Viola da Gamba. Massi-
miliano Neri (1644), in his 'Canzone del terzo
tuono ' ' has a Tenor part in which the Tenor is
called for the first time 'viola,' a name which
has clung to it ever since.
Shortly after this (1663) we have a string
quintet with two viola parts, the upper of which
is assigned to the 'Viola Alto,' the lower, written
in the Taille or true tenor clef, to the 'Viola
Tenore.'* It appears from the parts that the
compass of the two violas was identical, nor
is any distinction observable in the treatment.
This use of the two violas is common in the
Italian chamber music of the end of the 17th
century, a remarkable instance being the 'So-
nate Varie' of the Cremonese composer Vitali
(Modena, 1684): and Handel's employment of
the two instruments, mentioned lower down, is
2 In the ' Orfeo ' of Monteverde.
3 So voXIk, vaXlon ; iupe, jupon, etc.
« Sonata con tre Violini. 1615. Wa*ielewtki, Appendix, p. 13.
6 Ibid. p. 15. 6 Ibid. p. 26. 7 Ibid. p. 32.
« Sonata a cinque, da Giovanni Legrenzi. Wasielewslci. Appendix,
p. 43. The treble parts are«ssigned to violins, ttae tiaas to the ' Viola
da brazzo.*
90
TENOR VIOLIN.
TENOR VIOLIN.
probably based on reminiscences of this class of
music. But the compass and general effect ol the
instruments being the same, the disappearance
of the great viola was only a matter of time.
Though the fiddle-makers continued for some
time to make violas of two sizes, alto and
tenor [see Stradivari], the two instruments
coalesced for practical purposes, and the superior
facility with which the smaller viola (Alto) was
handled caused the true Tenor to drop out of use.
From about the end of the century the Alto
viola appears to have assumed the place in the
orchestra which it still occupies, and to have
had substantially the same characteristics.
The Tenor has been made of all sizes, ranging
from the huge instruments of Caspar di Salo
and his contemporaries to the diminutive ones,
scarcely an inch longer than the standard violin,
commonly made for orchestral use a century or
so ago : and its normal size of one-seventh larger
than the violin is the result of a compromise.
The explanation is that it is radically an ano-
malous instrument. Its compass is fixed by
strictly musical requirements: but when the
instrument is built large enough to answer
acoustically to its compass, that is, so as to
produce the notes required of it as powerfully as
the corresponding notes on the violin, it conies
out too large for the average human being to play
it fiddle-wise, and only fit to be played cello-
wise between the knees. If, however, the Tenor
is to be played like the violin, and no one has
seriously proposed to play it otherwise, it follows
that its size must be limited by the length of the
human arm when beat at an angle of about 1 20
degrees. But even the violin is already big
enough : though instruments have from time to
time been made somewhat larger than usual, and
that by eminent makers [see Stradivari], play-
ers have never adopted them ; and it is practi-
cally found that one-seventh longer than the
ordinary violin is the outside measurement for
the Tenor if the muscles of the arms and hands
are to control the instrument comfortably, and to
execute ordinary passages upon it. The Tenor
is therefore by necessity a dwarf : it is too small
for its pitch, and its tone is muffled in conse-
quence. But its very defects have become the
vehicle of peculiar beauties. Every one must
have remarked the penetrating quality of its
lower strings, and the sombre and passionate
effect of its upper ones. Its tone is consequently
so distinctive, and so arrests the attention of the
listener, that fewer Tenors are required in the
orchestra than second violins.
Composers early discovered the distinctive
capabilities of the Tenor. Handel knew them,
though he made but little use of them : they
were first freely employed in that improvement
of the dramatic orchestra by Cluck and Sacchini,
which preceded its full development under Mozart.
Previously to this, the Tenor was chiefly used
to fill up in the Tutti. Sometimes it played in
unison with the violins ; more frequently with
the violoncellos : but in general it was assigned
a lower second violin part. Handel employs the
Tenor with striking effect in 'Revenge, Timotheua
cries.' The first part of the song, in D major,
is led by the violins and hautboys in dashing
and animated passages ; then succeeds the trio
in C minor, which introduces the vision of the
♦ Crecian ghosts, that in battle were slain.' Here
the violins are silent, and the leading parts, in
measured largo time, are given to the tenors in
two divisions, each division being reinforced by
bassoons. The effect is one of indescribable gloom
and horror. It is noteworthy that the composer,
whether to indicate the theoretical relation of
the two parts, or the practical employment of
the larger Tenors by themselves for the lower
one, has written the first part only in the alto
clef, and headed it ' Viola,' the second part being
written in the Taille or true tenor clef, and
headed 'Tenor': but the compass of the parts is
identical. The climax will serve as a specimen : —
J^ii^-J-
-Tpn
^J J j-*-r--U-f i I I r3EB
^
glo-rioos on the Plain
andun '
^^1^^
TENOR VIOLIN.
TENOR VIOLIN.
Berlioz, who overlooks this passage in Handel,
enumerates among the early instances of the em-
ployment of its distinctive qualities, the passage
in *Iphigenia in Aulis,' where Orestes, over-
whelmed with fatigue and remorse, and panting
for breath, sings *Le calme rentre dans mon
ccEur'; meanwhile the orchestra, in smothered
agitation, sobs forth convulsive plaints, unceas-
ingly dominated by the fearful and obstinate
chiding of the Tenors. The fascination, the
sensation of horror, which this evokes in the
audience, Berlioz attributes to the quality of
the note A on the Tenor's third string, and the
syncopation of the note with the lower A on the
basses in a different rhythm. In the overture to
• Iphigenia in Aulis,' Gluck employs the Tenors
for another purpose. He assigns them a light
bass accompaniment to the melody of the first
violins, conveying to the hearer the illusion that
he is listening to the violoncellos. Suddenly, at
the forte, the basses enter with great force and
surprising effect. Sacchini uses the Tenors for the
same effect (pour preparer une explosion) in the
air of (Edipus, * Votre coeur devient mon asyle,'
(This effect, it may be observed, is also to be
found in Handel.) Modern writers have often
used the Tenor to sustain the melody, in antique,
religious, and sombre subjects. Berlioz attributes
its use in this way to Spontini, who employs it
to give out the prayers of the Vestal. Mehul,
fancying that there resided in the Tenor tone a
peculiar aptitude for expressing the dreamy cha-
racter of the Ossianic poetry, employed Tenors
for all the treble parts, to the entire exclusion
of violins, throughout his opera of ' Uthal.* It
was in the course of this dismal and monotonous
wail that Grdtry exclaimed ' Je donnerai un louis
pour entendre une chanterelle ! '
Berlioz, in ' Harold en Italic,' and Bennett, in
his Symphony in G minor, have employed the
Tenor with great effect to sustain pensive melo-
dies. When melodies of a similar character are
entrusted to the violoncellos, the tone acquires
great roundness and purity if reinforced by the
Tenors — witness the Adagio of Beethoven's Sym-
phony in C minor. In chamber music, the Tenor
executes sustained and arpeggio accompaniments,
occasionally takes up melodic subjects, and em-
ployed in unison is a powerful supporter of either
of its neighbours. Mozart's Trio for piano, clari-
net, and viola, one of the most beautiful and
effective works in the whole range of chamber
music, affords admirable illustrations of its gen-
eral capacities when used without a violoncello.
Brahms's Quintet in Bb, and one of his
string quartets, will afford good examples of the
prominent use of the viola, and the special effect
produced by it. It is interesting to observe that
the modem chamber string quartet, of which
the Tenor is so important a member, is based,
not on the early chamber music, but on the
stringed orchestra of the theatre. Corelli, Pur-
cell, and Handel employed the Tenor in their
orchestral writings, but excluded it from their
chamber music; nor was it until the orchestral
quartet had been perfected for theatrical pur-
poses by Handel, Gluck, and Sacchini that the
chamber quartet settled into its present shape in
the hands of Haydn, Abel, J. C. Bach, and their
contemporaries. Mozart marks the period when
the Tenor assumed its proper rank in both kinds
of music.
The Tenor is essentially an ancillary instru-
ment. Played alone, or in combination with the
piano only, its tone is thin and ineffective : and
the endeavours which have been made by some
musicians to create an independent school of
tenor-playing, and a distinctive class of tenor
music, are founded on error. It is simply a large
violin, intended to fill up the gap between the
fiddle and the bass ; and except in special effects,
where, as we have seen, it is used for purposes
of contrast, it imperatively demands the ringing
tones of the violin above it.
Competent musicians, who are masters of the
piano, attracted by the simplicity of the tenor part
in most quartets, often take up theTenor with but
little knowledge of the violin. This is a mis-
take : it is usually found that the Tenor can only
be properly played by a practised violinist. The
Violin and Tenor make an effective duet ; witness
the charming works of Haydn, Mozart, and
Spohr, and the less known but very artistic
and numerous ones of Rolla, by the aid of which
any competent violinist will soon become master
of the Tenor. Mozart wrote a concerto for Vio-
lin, Tenor, and Orchestra. The trios of Mozart
and Beethoven for Violin, Tenor, and Violoncello
are too well known to need more than mentioning.
Owing, probably, to the structural peculiarities
that have been explained above, what is the best
model for the violin is not the best for the Tenor.
It would seem that the limitation which neces-
sity imposes upon its length ought to be com-
pensated by an increase in height : for Tenors of
high model are undoubtedly better than those of
flat model, and hence Stradivari Tenors are kept
rather to be admired than played upon. The best
Tenors for use are certainly those of the Amati
school, or old copies of the same by good English
makers : in this country the favourite Tenor-
maker is undoubtedly Banks. New fiddles are
sometimes fairly good in tone : but new Tenors
are always intolerably harsh, from the combined
effect of their newness and of the flat model which
is now universally preferred. If, however, makers
of the Tenor would copy Amati, instead of Stra-
divari, this would no longer be the case.
Mr. Hermann Ritter, a Tenor-player resident
in Heidelberg, in ignorance of the fact that the
large Tenor was in use for more than a century,
and was abandoned as impracticable, claims a
Tenor of monstrous proportions, on which he is
said to play with considerable effect, as an inven-
tion of his own.^ If all Tenor-players were of the
herculean proportions of Mr. Ritter, the great
Tenor might perhaps be revived : but human
1 See 'Die Qeschlchte der Viola Alts, tind die GnindsStze Ihret-
Baues, Von H. Ritter ' (Leipzio, Weber. 18T7); 'Hermann Kitter und
seine Viola Alta, Von E. Adema' (Warzburg, Stuber, 1881). The prac-
tical vlolln-maker may estimate the value of Instruments constructed
on Mr. Bitter's rules from the fact that he takes as his guide the
'calcolo ' of Bagatella !
92
TENOR VIOLIN.
TENTH SYMPHONY.
beings of ordinary stature are quite incapable of
wrestling with such an instrument : to which it
may be added that tlie singular and beautiful
tenor tone, resulting from the necessary dispro-
portion between the pitch and the dimensions of
the instrument, is now too strongly identified
with it to admit of any change.
The following is a list of special music for the
Tenor.
Methods :
Bbdni, Marsh, Fickert, Lutgen (recom-
mended).
Studies :
Campagnoli — 41 Caprices, op. 22.
Kayser — Studies, op. 43, op. 55.
Tenor and Orchestra :
F. David— Concertino, op. 12.
Tenor and Piano :
Schumann — op. 113, *Mahrchen Bilder,* 4
pieces.
W. Hill — Nottumo, Scherzo, and Romance.
Joachim — Op. 9, Hebrew Melodies ; op. 10,
Variations on an original theme.
Kalliwoda — 6 Nocturnes, op. 186.
LiJTGBN— Barcarole, op. 33.
Taglichsbeck — Op. 49, Concertstiick.
HoFMANN. C. — Reverie, op. 45.
Wallner — Fantaisie de Concert.
Herr H. Ritter has also edited * Repertorium
fiir Viola Alta* (Niimberg, Schmid), containing
twenty-two pieces, mostly classical transcriptions
with pianoforte accompaniment. [E. J.P.]
Scherzo. Presto.
TENTH SYMPHONY, BEETHOVEN'S.
In Beethoven's (dictated) letter to Moscheles
acknowledging the £100 sent by the Philhar-
monic Society, and dated Vienna, March 18,
1827, eight days before his death, there occur
the words 'A Symphony completely sketched
is lying in my desk, as well as a new Overture
and other things.* This therefore was the
'Tenth Symphony.' It should however be re-
marked that a large part of the letter con-
taining the words quoted is struck through with
the pen. Two days afterwards, says Schindler
(ii. 142), 'he was greatly excited, desired to
have the sketches for the Tenth Symphony
again brought to him, and said much to me
on the plan of the work. He intended it abso-
lutely for the Philharmonic Society.* Some
sketches — whether those alluded to or not —
were printed in the ist no. of Hirschbach's
♦ Musikalisch-kritisches Repertorium.' for Jan.
1844, with an introduction which we translate : —
' From Beethoven's sketch-books. Herr Schind-
ler on his return from Berlin to Aix la Chapelle,
not only showed many very remarkable relics of
Beethoven to his friends at Leipzig, but has
been good enough to allow us to publish some
of them in this periodical. The following are
some of the existing sketches of the Tenth Sym-
phony and of an Overture on the name of Bach,^
all belonging to the summer months of the year
1824, and in the order in which they were noted
down.
*From the sketches for the Tenth Sym-
phony : — *
-#--#--•-
S^
tit
^
Jii
Trio.
g-rfTTTCiC
i
It
^111 I
ffTT
i==t
±f|=J=t
-^
rff
Andante. A flat.
^pr.
m: I r fmn
^
Ferma.
Some further scraps of information have been
Mndly furnished by Mr. Thayer, *Carl Holz
told Otto Jahn that there was an Introduction
to the Tenth Symphony in Eb major, a soft
piece; then a powerful Allegro in C minor.
These were complete in Beethoven's head, and
had been played to Holz on the piano.' Con-
sidering that the date of Beethoven's death was
1827, nearly three years after the sununer of
1824, and considering also Beethoven's habit
of copious sketching at works which were in
his head, it is almost impossible but that more
sketches than the trifles quoted above exist in
some of the sketch-books. And though Notte-
bohm is unhappily no more, some successor to
him will doubtless be found to decypher and
place these before us. [G.]
1 rosslbly for the overture mentioned above. These are omitted in
the present reprint.
2 We have no clue as to whichof the words attached to theslcetchea
are Beethoven's, and which Schindler's.
TENUTO.
TENUTO, 'held'; a direction of very frequent
occurrence in pianoforte music, though not often
used in orchestral scores. It (or its contraction
ten. ) is used to draw attention to the fact that parti-
cular notes or chords are intended to be sustained
for their full value, in passages where staccato
phrases are of such frequency that the players
might omit to observe tliat some notes are to be
played smoothly in contrast. Its effect is almost
exactly the same as that of legato, save that this
last refers ratlier to the junction of one note with
another, and tenuto to the note regarded by itself.
Thus the commoner direction of the two for pas-
sages of any length, is legato: tenuto however
occurs occasionally in this connection, as in the
slow movement of Beethoven's Sonata, op. 2, no.
2, in A, where the upper stave is labelled ' tenuto
sempre,* while the bass is to be played staccato.
Another good instance is in the slow movement
of Weber's Sonata in Ab, op. 39. [J.A.F.M.]
TERCE (Lat. Officium {vel Oratio) ad horam
tertiam. Ad tertiam). The second division of
the Lesser Hours, in the Roman Breviary. The
Office consists of the Versicle and Response,
•Deus in adjutorium'; the Hymn 'Nunc Sancte
nobis Spiritus'; 48 Verses of the Psalm, 'Beati
immaculati,' beginning at Verse 33, and sung
in three divisions under a single Antipbon ; the
Capitulum and Responsorium for the Season ;
and the Prayer or Collect for the Day. The
Plain Chaunt Music proper to the Office will
be found in the *Antiphonarium Romanum,' and
the * Directorium Chori.' [W.S.R.]
TERPODION. A musical friction-instrument,
invented by Buschmann of Berlin in 1816, and
improved by his sons in 1832. The principle ap-
pears to have been the same as that of Chladni's
clavicylinder, except that instead of glass, wood
was employed for the cylinder. [See Chladni.]
In form it resembled a square piano, and its keys
embraced 6 octaves. Warm tributes to its merits
by Spohr, Weber, Rink and Hummel are quoted
(A. M. Z. xxxiv. 857, 858, see also 634, 645;
and 1. 451 note), but notwithstanding these, the
instrument is no longer known. [G.]
TERZETTO (Ital). Generally a composition
for three voices. Beyond one instance in Bach,
and a few modern examples consisting of pieces
not in sonata-form, the term has never been
applied to instrumental music. It is now be-
commg obsolete, being superseded by Trio,
which is the name given to music written for
three instruments, and now includes vocal music
as well. It would have been wiser to preserve
the distinction.
A Terzetto may be for any combination of three
voices, whether for three trebles — as the unac-
companied Angels* Trio in 'Elijah,' those of the
three ladies and three boys in * Die Zauberflote,'
and that for three florid sopranos in Spohr's
* Zemire und Azor' — or for three male voices, like
the canonic trio in the last-named opera. More
frequent, naturally, are Terzetti for mixed voices,
the combinations being formed according to the
exigencies of the situation. There is nothing to
TESI-TRAMONTINI.
93
be observed in the form of a Terzetto different
from that of any other vocal composition ; but as
regards harmony it should be noticed that when
a bass voice is not included in the combination
the accompaniment usually supplies the bass
(where 4-part harmony is required) an(t the three
upper parts, taken by the voices, must be so
contrived as to form a tolerable 3-part harmony
themselves. Such writing as the following, for
^^
though sounding well enough when played on the
piano, would have a detestable effect if sung, as
the bass would not really complete the chords of
6-^ demanded by the lower parts, on account of
the difference of timbre.
We may point to the end of the 2nd act of
Wagner's 'Gotterdaminerung' as an example of
three voices singing at the same time but cer-
tainly not forming a Terzetto. [^-C]
TESI-TRAMONTINI, Vittoria, celebrated
singer, bom at Florence in 1690.^ Her first
instructor was Francesco Redi, whose school of
singing was established at Florence in 1706.
At a later date she studied under Campeggi, at
Bologna, but it is evident that she sang on the
public stage long before her years of study were
over. Fdtis and others say that her debut was
made at Bologna, after which nothing transpires
about her till 1719, in which year she sang at
Venice and at Dresden, and just at the time
when Handel arrived there in quest of singers
for the newly-established Royal Academy in
London. It seems probable that he and Vittoria
had met before. In his Life of Handel, Dr.
Chrysander suggests, and shows good reason for
doing so, that Vittoria Tesi was the young prima
donna who sang in Handel's first Italian opera
* Rodrigo,' at Florence, in 1707, and in his
*Agrippina,' at Venice, in 1708, and who fell
desperately in love with the young Saxon
maestro. Her voice was of brilliant quality and
unusual compass. Quantz, who heard her at
Dresden, defines it as * a contralto of masculine
strength,' but adds that she could sing high or
low with equally little effort. Fire, force, and
dramatic expression were her strong points, and
she succeeded best in men's parts : in florid
execution she did not greatly excel. Her fame
and success were at their zenith in 17 19, but it
does not appear that Handel made any effort to
secure her for England. Perhaps he objected to
her practice of singing bass songs transposed
alV oltava. La Tesi sang at Venice in 1723, at
Florence and Naples in 1724-5, at Milan in
1727, Parma 1728, Bologna 1731, Naples (San
Carlo Theatre) from November 4, 1737* t^l^ *^^®
u
TESI-TRAMONTINI.
end of the ensuing Carnival, for which engage-
ment she received about 500^., a large sum in
those days. In 1 748 she was at Vienna, where,
in 1749, she played in Jommelli's 'Didone.' The
book was by Metastasio, who wrote of this
occasion, *' The Tesi has grown younger by
twenty years.' She was then fifty- five. Bumey
met her at Vienna in 1772, and speaks of her
«s more than eighty. Hiller and Fetis say she
was only that age at her death, in 1775. But
if Gerber's date and Chrysander's theory are
right, Bumey was right. Her nature was
vivacious and emporU to a degree, and many
tales were told of her freaks and escapades.
Perhaps most wonderful of all is the story of her
marriage, as told by Bumey in his ' Musical
Tour * ; in which, to avoid marrying a certain
nobleman, she went into the street, and ad-
dressing herself to a poor labouring man, said
she would give him fifty ducats if he would
marry her, not with a view to their living to-
gether, but to serve a purpose. The poor man
readily consented to become her nominal hus-
band, and they were formally married; and
when the Count renewed his solicitations, she
told him that she was already the wife of another.
Among the pupils of La Tesi were the • Teube-
rinn,' and Signora de Amicis, who took a friendly
interest in the boy Mozart, and sang in his
earliest operatic efforts in Italy. [F. A. M.]
TESSITURA (Italian), literally texture, from
tessere, to weave. A term, for wliich there is no
direct equivalent in English, used by the Italians
to indicate how the music of a piece * lies ' ; that
is to say, what is the prevailing or average
position of its notes in relation to the compass
of the voice or instrument for which it is written,
whether high, low, or medium. ' Range * does not
at all give the idea, as the range may be ex-
tended, and the general tessitura limited; while
the range may be high and the tesdtura low,
or medium. In place of a corresponding word
we say that a part 'lies high or low.'
' Vedrai carino,' • Dalla sua pace,' 'Dove sono,'
are examples of high tessitura, fatiguing gene-
rally to voices that are not highly developed.
Indeed, there are many who would prefer sing-
ing the 'Inflammatus' from Rossini's 'Stabat
Mater' to such a piece as 'Dove sono.' Many of
the old Italian composers wrote music of a high
tessitura, though it is true that the pitch was
lower in their day than it is now. * Deh ! vieni,
non tardar,' is an example of moderate tessitura,'
though it has a compass of two octaves. The fes-
eitura of the vocal music in Beethoven's 9th Sym-
phony is justly the singers' nightmare. [H.C.D.]
TETRACHORD (Gr. TerpaxopSov). A system
of four sounds, comprised within the limits of a
Perfect Fourth.
It was for the purpose of superseding the cum-
brous machinery of the Tetrachords upon which the
old Greek Scale depended for its existence,* that
I A description of the Greek Tetrachords would be quite beside the
purpose of the present article. Those who wish for a closer ac-
quaintance with the peculiarities of the Greek .Scale will do well to
consult a little tract, by General Perronet Thompson, called 'Just
Intouatioa ' (Loudon, EfflDgham Wilson, 11 Boyal Exchanse).
TEUFELS LUSTSCHLOSS.
Guido d'Arezzo invented the series of Hexa-
chords, which, universally accepted by the Poly-
phonic Composers of the Middle Ages, remained
in constant use until the Ecclesiastical Modes
were finally abandoned in favour of our present
Scale ;^ and it is only by comparing these Hexa-
chords with the divisions of the older system that
their value can be truly apfireciated. It is not
pretended that they were perfect ; but modem
mathematical science has proved that the step
taken by Guido was wholly in the right direc-
tion. The improvement which led to its aban-
donment was, in the first instance, a purely
empirical one ; though we now know that it
rests upon a firm mathematical basis. The
natural craving of the refined musical ear for
a Leading Note led, first, to the general employ-
ment of a recognised system of ' accidental '
sounds'; and, in process of time, to the un-
restricted use of the ^olian and Ionian
Modes — the prototypes of our Major and Minor
Scales. These changes naturally prepared the
way for the unprepared Dissonances of Monte-
verde ; and, with the introduction of these, tlie
old system was suddenly brought to an end, and
our present Tonality firmly established upon its
ruins.
Our present Major Scale is formed of two
Tetrachords, separated by a greater Tone: the
Semitone, in each, occurring between the two
highest sounds.
i
Our Minor Scale is formed of two dissimilar
Tetrachords, also disjunct (i.e. separated by a
greater Tone) ; in the uftpermost of which the
Semitone occurs between the two gravest sounds,
as at (a) ; while, in the lower one, it is placed
between the two middle ones ; as at (6) (&).
(«).
(P)
This last Tetrachord maintains its form un-
changed, whether the Scale ascend or descend;
but, in the ascending Minor Scale, the upper
Tetrachord usually takes the form of those em-
ployed in the Major Mode.
[W.S.R.]
TEUFELS LUSTSCHLOSS, DES (The
Devil's Country-house). A comic opera in 3 acts,
by Kotzebue, music by Schubert; composed be-
tween Jan. II and May 15, 18 14, and re-written
in the autumn. Act 2 was afterwards burnt. Acts
I and 3 of the 2nd version are in the collection
of Herr Nicolaus Dumba of Vienna. The overture
was played by the London Musical Society, June
17, 1880, and at the Crystal Palace on Oct. 23
following. It contains a singular anticipation of
the muted violin passage in the overture to
3 8«e hexacbord.
a 8m Ucsica Ficta.
TEUFELS LUSTSCHLOSS.
*Euryanthe.' The work will form no. 6 of
Series XV, in the complete critical edition of
Schubert, announced by Messrs. Breitkopfs. [G.]
TEUTSCHE. Mozart's way of spelling Deut-
sche, i.e. Deutsche Tanze — little German waltzes
in 3-8 or 3-4, of which he, Beethoven, and
Schubert, wrote many. For Schubert's *Atzen-
brucker Deutsche, July 1S21,' see vol. iii. p.
334 6. The famous ' Trauer-Waltzer,' sometimes
called *Le D^sir' (op. 9, no, 2), for long attri-
buted to Beethoven, is a Teutsch. [Allemande,
no. 2, vol. i. p. 55 6.] [G.]
THALBERG, Sigismond, one of the most
successful virtuosi of this century, was born at
Geneva — according to his biographer, Mendel, on
May 5, according to Fetis on Jan. 7, according
to a brother of his now established at Vienna, on
Feb. 7, 1812. Being the son of Prince Dietrich-
stein, who had many wives without being mar-
ried, Thalberg had several brothers of different
family names. The one just mentioned is Mr.
Leitzinger, three months older than Thalberg —
a fact which speaks for itself. Another half-
brother of his is Baron Denner. Thalberg's
mother was the Baroness Wetzlar, a highly-
educated lady, full of talent, who took the
greatest care of Thalberg's early education. In
Geneva he remained in the pension Siciliewski
under the guidance of a governess, Mme. Denver,
and the superintendence of his mother. This
Mme. Denver, and Miiller — a Frenchman, al-
though his name be German — took Thalberg to
Vienna to his father's palace. He was then just
10 years old. The Prince was so fond of him
that he gave up an Ambassador's appointment
to devote all his time to the education of ' Sigi '
(this was his pet-name). Thalberg showed a
great aptitude for music and languages, and
was destined by his father to become a diplo-
matist, and with a view to this had the best
masters to teach him. If a friendly — perhaps
too friendly — source is to be credited, he made
rapid progress, especially in Greek and geo-
graphy, which may account for the curious
collection of maps with which he adorned his
room at Naples. His first success dates back
so far as 1826, when he was 14 years old, and
played at an evening party at Prince Clemens
]Metternich's, the then master of the diplomatic
world, of whom it is said that, when a lady, a
great patroness of music, asked him whether it
was true that he was not fond of music, he re-
plied : — 'Oh, Madame, je ne la crains pas!'
About Thalberg's piano teachers a number of
divergent reports are current; but it is certain
that he learned from Mittag, and that the great
organist and harmonist, Sechter, the first Ger-
man who simplified and most clearly demon-
strated the principles of harmony, taught him
counterpoint. F^tis's statements about Thalberg
are not sufiiciently verified. Czemy never taught
him, though he gave five or six lessons to Franz
Liszt. The first opportunity which offered for
Thalberg's celebrity was in 1833, at a soiree
given by Count Apponyi, then Austrian Am-
THALBERG.
95
bassador at Paris, and later Austrian Ambas-
sador in London. Thalberg was then 2 1 years
old, of an agreeable aristocratic appearance, re-
fined manners, very witty ; only a trifle too much
given to making puns, an amusement rather easy
in French, and in which foreigners too much in-
dulge. Kind-hearted, and uncommonly careful
not to say an incautious word which might hurt
any one's feelings, he became at once the ladies'
pet— and what that means in Paris, those who
know French society will not undervalue. His
innovations on the piano were of the smallest
possible importance ; he invented forms and
effects. He had wonderfully formed fingers, the
forepart of which were real little cushions. This
formation and very persevering study enabled
Thalberg to produce such wonderful legates, that
Liszt said of him, * Thalberg is the only artist,
who can play the violin on the keyboard.' When
he played for the first time in public, at Viexma,
1829, his touch and expression at once conquered
the audience, but even then principally the ladies.
In Paris his winning manners and the touch of
scientific education, which with adroit modesty he
knew how to show under pretence of concealing
it, contributed as much as his talent to render him
the talk of the day. Thalberg was so fond of music
that he overcame Prince Dietrichstein's idea of
a diplomatic career, by dint of earnest determin-
ation. He often left his bed at three o'clock in
the morning to practise his piano, and those who
heard hini privately and knew him intimately were
much more apt to estimate the ease with which he
overcame difficulties, than those were who heard
him play his compositions in public. Among all
great piano-players, it should be said of him,
as Catalani said of Sontag : ' His genre was not
great, but he was great in his genreJ' He was .
amiable, both as a man and as a performer. It
was certainly a curious anomaly that while he
so earnestly preached against the mania of the
century to sacrifice everything to effect, the gist
of his art, the aim and purpose of all his musical
studies, was nothing but to produce effect.
In his career as a composer of operas, two events,
both unfoitunate, must be mentioned. His opera
'Cristina' was a dead failure. 'Florinda,' which
was performed under Balfe's direction in London
in 185 1, with Cruvelli, Sims Reeves, Lablache,
was, as an eyewitness states, by the best critics of
the time found ugly, difficult to sing, uninter-
esting. Even the song which was the hit of the
evening, so well sung by Sims Reeves that it
created a genuine success, was, to say the least,
unhandsome. The Queen and Prince Albert
headed a most brilliant assembly, and everything
was done that could make the work acceptable, but
the thin stuff of the score could not be sustained.
The story was badly told, the music devoid of
interesting ideas, and so the fate of the opera
was sealed ; partly, it was asserted by Thalberg's
j friends, Mme. Cruvelli bore the fault of the non-
success, because, not being pleased with her r6le,
she deliberately sacrificed it, and at one moment
hummed her air instead of singing it ; so much
so, that a person "sitting in the front row of the
96
THALBERG.
8tall8, behind Balfe, who conducted, heard him
call out to Cruvelli, * Sing properly, for if you do
not respect yourself, you ought at least to respect
the audience, and Her Majesty the Queen.*
But if Thalberg was not successful on the
stage, it is but fair to say that his compositions
for the piano not only combined novel effects
both in form and arrangement, but real inven-
tion, because he had the talent, through adroit
use of the pedal and new combinations, to make
you believe that you heard two performers at
the same time.
A catalogue at the end of this article gives a
list of his piano compositions. It comprises more
than ninety numbers, many of which earned
glory and money for their author, and stamped
him as a specialist for his instrument, the com-
bined effects of which nobody had ever better
understood. Robert Schumann was one of the
composers for whom Thalberg entertained a per-
fect enthusiasm, although their natures both
as musicians and men widely differed. It is
undeniable that until 1830 the performers of
Mozart, Beethoven, Hummel, Moscheles, etc., sub-
mitted their talent to the interpretation of the
composer, whereas afterwards the sacrifice of the
composer to the virtuoso became the fashion,
Thalberg married, not, as F^tis states, in 1845,
but in 1843, at Paris, Mme. Boucher, the daughter
of the famous Lablache, and widow of a painter
of merit. He travelled through Belgium, Hol-
land, England, and Russia in 1839, and Spain
1845, went to Brazil in 1855, North America
1856, and settled in Posilipo (Naples) in 1858.
He appeared again in public in 1862, and in 1863
played in London, in concerts arranged by his
brother-in-law, Frederic Lablache, after which
. he retired to Naples and lived as a landowner
and winegrower. The writer saw him in his
house at Posilipo, that wonderfully picturesque
position above the Bay of Naples, opposite San
Agata, and over all the property there was not
a trace of a piano to be found. His collection
of autographs (still apparently unsold) was of
extraordinary interest and value. Thalberg died
at Naples on April 27, 1871. He leaves a
daughter (granddaughter of Madame Angri),
who resembles him much, and who broke what
seemed to be a promising career as a prima
donna by singing too early and straining her
voice in parts too high for her tessitura, both
common faults with present singers, who are
always too anxious to reap before they have
sown, and who fancy that shouting high notes
to elicit injudicious applause is all that is re-
quired to make them renowned singers.
Schumann, in an access of ill-humour (boser
Laune), says that Thalberg kept him in a
certain tension of expectancy, not ' on account of
the platitudes which were sure to come, but on ac-
count of the profound manner of their preparation,
which warns you always when they are to burst
upon you. He deceives you by brilliant hand and
finger work in order to pass off his weak thoughts,
and it is an interesting question how long the
world will be pleased to put up with such me-
THALBERG.
chanical music* It was the Grand Fantaisie
(op. 22) which so irritated Schumann. It once
happened that while Mme. Schumann was playing
Thalberg's waltzes, Schumann laid a few roses
on the desk, which accidentally slipped down
on the keyboard. By a sudden jump of the
left-hand to the bass her little finger was
wounded by one of the thorns. To his anxious
inquiries she replied that nothing much was the
matter, only a slight accident, which showed,
like the waltzes themselves, no great suffering,
only a few drops of blood caused by rose-thorns.
Thalberg's first Caprice (E minor), says Schu-
mann, containsawell-developed principal thought,
and is sure to provoke loud a))plause ; and he ex-
presses the wish that Thalberg might furnish for
the appreciation of the critic a piece thoroughly
well-written throughout. His wrath however
relents when speaking of Thalberg's Variations
on two Russian airs. He finds the intro-
duction,* through which, every now and then, the
childs song peeps like an angel's head, fanciful
and effective.' ' Equally tender and flexible are
the variations, very musicianlike, well-flowing,
and altogether well rounded off. The finale, so
short that the audience is sure to listen whether
there is nothing more to come ere they explode
in spontaneous applause, is graceful, brilliant,
and even noble.' These expressions seem cer-
tainly enthusiastic enough, and scarcely bear
out the severity of his judgment on the general
qualities of the composer of the Fantaisie. (See
'Ges. Schriften,' i. 316; ii. 55).
Concerning Thalberg's fantasia on motifs from
the 'Huguenots,' some of Erard's friends fancied
that he had written the brilliant octave repetition
variation to show off the double echappement of
Erard. This is not very likely. Thalberg had one
thing in view, and that only — to find new forms,
new effects, new surprises for the public. Schu-
mann says that in this fantasia Thalberg reminds
him of Goethe's saying : — * Happy are those who
by their birth are lifted beyond the lower stratum
of humanity, and who need not pass through those
conditions in which many a good man anxiously
passes his whole life ' (G. S. ii. 66).
Thalberg had the great art of composing works
much more difficult in appearance than in reality.
His studies, incomparably easier than those of
Moscheles and Chopin, sound as brilliantly as
if they required the most persevering labour to
overcome their difficulties. That makes them
grateful to play and pleasing to the ear. It has
been said of the * Etudes * that they are graceful
work for ladies, ' for the tepid temperature of the
drawing-room, not for the healthy atmosphere
outside the house.' His studies and his * Art du
chant ' are only specimens of what he could do
best. It is in one or another form his full, light,
energetic and singing touch. His studies are the
expression of his successes, of his glory, and of
his very industrious hard work. For be it well
known, he studied perpetually. Thalberg was es-
sentially the pianist of the French, who in art, poli-
tics, and life, have only one desire, 'Autre chose !'
He was therefore continually forced to devise
THALBERG.
gome surprising effect, and thereby to find at
every moment 'autre chose.' Schumann, who
knew human nature well, says that to criticise
Thalberg would be to risk a revolt of all the
French, German, and foreign girls. 'Thalberg
sheds the lustre of his performance on whatever
he may play, Beethoven or Dussek, Chopin or
Hummel. He writes melody in the Italian style,
from eight bars to eight bars. He knows wonder-
fully how to dress his melodies, and a great deal
might perhaps be said about the difference between
real composition, and conglomeration in this new-
fashioned style ; but the army of young ladies
advances again, and therefore nothing remains
to be said but, He is a god, when seated at the
piano.* (G. S. iii. 75.)
That Thalberg, like De Beriot, once took a grand
motif of Beethoven and distorted it into 'effective
variations,' enraged Schumann, as it must every
true musician. His was a certain mission: elegance
and effect ; to pour a rain of rosebuds and pink
diamonds into the eager listener's ear and enchant
him for the moment — no more.
It is interesting to learn the opinion of two
great authorities both in piano and composition,
viz. Mendelssohn and Rubinstein, on the relative
merits of Liszt and Thalberg. Mendelssohn, in
his Letters, speaks of the 'heathen scandal
(Heidenscandal) both in the glorious and the
reprehensible sense of the word, which Liszt
created at Leipsic' He declares Thalberg's calm
ways and self-control much more worthy of the
real virtuoso. Compare this with Liszt's opinion
of himself, when he has been heard to say, after
Thalberg's immensely successful concerts, given
at Vienna after his return from Paris, that ' he
hoped to play as Thalberg did, when once he
should be partly paralysed and limited to the use
of one hand only.' Undoubtedly Liszt's execution
was more brilliant, and particularly more crush-
ing. The strings flew, the hammers broke, and
thus Chopin said once to him, * I prefer not
playing in public, it unnerves me. You, if you
cannot charm the audience, can at least astonish
and crush them.* Mendelssohn continues, in his
comparison of the two men, that Liszt's com-
positions are beneath his performance, since
above all 'he lacks ideas of his own, all his
writing aiming only at showing off his virtuosity,
whereas Thalberg's "Donna del lago," for in-
stance, is a work of the most brilliant effect, with
an astonishing gradual increase of difficulties and
ornamentation, and refined taste in every bar.
His paw {Favst) is as remarkable as the light
deftness of his fingers. Yet Liszt's immense
execution {Technik) is undeniable/ Now put
against this, what Rubinstein said, when asked
why in a Recital programme he had put
Thalberg's Don Juan fantasia immediately after
Liszt's Fastasia on motifs of the same opera :
*Pour bien faire ressortir la difference entre
«et Spicier et le Dieu de la musique.' Un-
necessary to point out that with Rubinstein the
*God of music' is Liszt, and Thalberg the
'grocer.* Thalberg, a perfect aristocrat in
look, never moved a muscle beyond his elbow.
VOL. IV. PT. I.
THALBERG.
97
His body remained in one position, and what-
ever the difficulties of the piece, he was, or at any
rate he appeared, unmoved, calm, master of the
keyboard, and what is more difficult, of himself.
Liszt, with his long hair flying about at every
arpeggio or scale, not to mention his restlessness
when playing rapid octaves, studied his public
unceasingly. He kept the audience well under
his eye, was not above indulging in little
comedies, and encouraging scenes to be played
by the audience — for instance, that the ladies
should throw themselves upon a glove of his,
expressly forgotten, on the piano, tear it to bits
and divide the shreds among themselves as
relics ! It gave a sensational paragraph !
Thalberg thoroughly disdained such a petty
course. In their fantasias — because, not until
the gray hair adorned the celebrated Abbe's
forehead, did his orchestral fertility assert itself
— there was a marked difference to this effect :
Liszt heaped, as Mendelssohn and Schumann
said, difficulty upon difficulty, in order to furnish
himself with a pretext for vanquishing them
with his astounding mechanism. His smaller
works, arrangements of Schubert's songs, Rossini's
* Soirees musicales,' etc., or the little Lucia fan-
tasia— which so pleased Mendelssohn — with its
arpeggios and shakes for the left hand excepted,
there are very few that le commun des martyrs
of the pianist-world could even attempt to play.
In his Puritani fantasia and others there are
sometimes shakes for the last two fingers, ex-
tending over several pages, which he himself
played divinely, his shake with the little finger
being most stupendous ; but who else could do
it? His concertos, unhandsome and unmusical,
requiring a strength and execution very rarely
to be met with, are not grateful, while Thalberg's
compositions are so. In the latter, first of all,
you find the fundamental basis of all music —
singing. Where there is not one of those graceful
little Andante-cantabile which he ordinarily puts
at the beginning of his pieces, one finger is sure
to sing a motif which the others in varied modes
accompany. Whether the figure be that of
chromatic scales as in the Andante, or the motif
be surrounded with arpeggios as in * Moise,* or
interwoven in scales as in the minuet of 'Don
Juan,' or changing hands as in the Airs Russes, or
specially brilliantly arranged for the left hand
to play the motif, with accompanying chords
written on two lines, while the right hand plays
a brilliant variation noted on a third line, as in
his fantasia on 'God save the Queen' — you always
hear the two hands doing the work of three,
sometimes you imagine that of foxu*, hands.
Forty years ago photography had not reached
its present place in artistic life — at least not por-
trait photography — and the likenesses of artists
depended on the engraver : witness the wonder-
ful portrait of Jenny Lind engraved at that
date. At Vienna that was the grand time
for the lithographers. Kaiser and the famous
Kriehuber made the most successful portraits
both of Thalberg and Liszt, especially of the
latter, who courted advertisement of any kind, as
H
98
THALBERG.
much as Thalberg treated it infra dignitatem.
Kriehuber made a splendid portrait of Thal-
berg, though it seems never to have gone
largely into the trade. In fact Thalberg never
encouraged the hero-worship of himself in any
shape.
Thalberg appeared at the Philharmonic
Concerts in London on May 9 and June
6, 1836. He played at the first concert his
Grand Fantasia, op. i, and at the second his
Caprice No. 2 in Eb.
The following is a list of his published com-
positions, in the order of their opus-number, from
the * Biographical Lexicon of the Austrian Em-
pire' of Dr. von Wurzbach (1882). The first
three were published as early as 1828, when he
[6 years old.
was
I. Fant&Isle et Tariations (Eu-
ryanthe).
S. Do. Do. (Tb£m» dcossals).
S. Impromptu (Si6ge do Corin
the).
4. Souvenirs de VIenne.
5. Gran Concerto (F minor).
e hi*. Hommage ^ Bossini (Gull
Tell).
6. Fantalsle (Robert le Diable).
7. Grand Divertissement (F
minor).
8. Sechs deutsche Lleder (1—6).
9. Fantaisle (La Straniera).
10. Gr. Fantaisie et Variations (I
Montecchi).
11. Seclis deutsche Lleder (7—12).
12. Gr. Fiintaisle et Variations
(Norma).
13. Seclis deutsche Lleder aS— 18)
14. Or. Fantaisie et Variations
(Don Juan).
15. Caprice B minor.
16. 2 Nocturnes (V%, B).
17. 2 Airs russes varies (G).
18. DiTertissemeut (Soirees musi-
cales).
19. 2nd Caprice (Eb).
20. Fantaisie (Uuguenots).
2L 3 Nocturnes.
22. Grand Fantaisie.
23. Sechs deutsche Lleder (19—24).
S4. Sechs ditto do. (25-30).
25. Sechs ditto do. (31-36).
26. 12 Etudes.
27. Gr. Fantaisie (God save the
Queen and Rule Britannia)
Ab.
28. Nocturne (E).
29. Sechs deutsche Lleder (37—42).
30. Sechs ditto do. (43—48).
31. Scherzo (A).
32. Andante In D».
S3. Fantaisie (Moise).
84. Divertissement (Gipsy's Warn-
ing).
88. Grand Nocturne (F{>
86&ts. Etrennes auz Jeunes Pi-
anistes. Nocturne.
86. (1) La Cadence. Impromptu
(A minor). (2) Nouv. Etude
de Perfection. (3)Mi manca la
voce(Ab). (4)LaKomanesca.
(6) Canzonette Italienne. (6)
Romance sans paroles.
87. Fantaisie (Oberon).
88. Romance et Etude (A).
99. Souvenir de Beethoven. Fan-
taisie (A minor).
40. Fantaisie (Donna del Lago),
41. 2 Romances sans paroles.
42. Gr. Fantaisie (Serenade et
Henuet, D. Juan).
Gr. Fantaisie No. 2 (Hugue-
nots).
Andante final de Lucia, varl^e.
Theme orig. et Etude (A
minor).
Gr. Caprice (Sonnambula).
Gr. Valses brillantes.
Gr. Caprice (Charies VI).
Fantaisie (Lucrezia).
Gr. Fantaisie (Semi ramide).
Fantaisie (La Muette).
Gr. Fantaisie (Zampa)
Thalberg et de Beriot. Or.
Duo concertante (Semlra-
mide).
Le Depart. varI6e en forme
d'Ktude.
Grand Senate (C minor).
10 Morceaux, servant d'Ecole
preparatolre.
Gr. Caprice (Marche de Ber-
59. Marche funSbre varide.
«). Barcarole.
61. Melodies Styrlennes Gr. Fant.
arr. par Wolflf.
62. Valse melodique.
63. Gr. Fantaisie (Barbler).
64. Les Caprlcleuses, Valses.
65. Tarantelle.
65. Souvenir de Festb.
Introd. et Var. sur la Barcarole
deL'Elisire.
67 Gr. Fantaisie (Don Pasquale).
Fantaisie (Fille du Regiment).
69. Trio.
0. L'Art du chant appllqud au
Piano. 4 Series containing
22 transcriptions.
70 o. Ballade de Preciosa; transc.
70 b. Grand duo de Freischiltz.
71. Florinda, op^ra. 6 Transcrii>-
tlons.
72 or 74. Home, sweet home I . .
Vari^e,
73. The last rose of summer. . .
VarWe.
74. Lilly Dale . . Varide.
75. Les Soirees de Pausillppe. 24
Fens^es musicales, in 6
books.
76. O^lebre Ballade.
77. Gr. Fantaisie de Concert (H
Trovatore).
78. Ditto. do. (Traviata).
a. 8 Melodies de F. Schubert
transcrltes.
796. Romance dramatlque.
80. La Napolltalne. Danse.
81. Souvenir duBallo in Maschera.
82. Ditto de RIgoletto.
83. Air d'AmazUy (Fernand Cor-
tei).
JJnimnAereS pfeee*.— Anf Flttgeln (Mendelssohn) transcr.— 2 Mor-
ceaux sur Lucrezia. -Arietta, 'No so fremar.'— Zwel Gedlchte.—
Thalberg and Panofka, Grand Duo.— Graciosa, Rom. sans paroles.—
Kocturno In D'\— Romance Tari4e In Eb.— Viola, Melodle.— Thalberg
Oaloppe.— La Berceuse.— Le flls du Corse.— FauUne. Yalse.— Larmes
d'uneieuns fllla.— Pianoforte School.
[L.E.]
THAYER.
THAYER, Alexander Wheelook, the bio.
grapher of Beethoven, was born near Boston,
U. S. A., at South Natick, . Massachusetts, Oct.
2 2, 1 817, and is descended from original settlers
of 1629. In 1843 he graduated at Harvard
University, took the degree of Bachelor of Laws
there, and was for a few years employed in the
College library. In 1849 he left America for
Europe, and remained for more than two years in
Bonn, Berlin, Prague, and Vienna, studying Ger-
man, corresponding with newspapers at home, and
collecting materials for a life of Beethoven, the
idea of which had presented itself to him while at
Harvard, and which has since been his one serious
pursuit for 30 years. In 1852 he tried journal-
ism on the staff of the New York 'Tribune,' but
only to the detriment of his health. ' Dwight's
Journal of Music ' was started at Boston in
April 1852, and Thayer soon became a promi-
nent and favourite writer therein. In 1854
he returned to Germany, and worked hard at
the rich Beethoven materials in the Royal
Library at Berlin for nearly a year. Hi-health
and want of means drove him back to Boston
in 1856, and amongst other work he there
catalogued the musical library of Lowell Mason.
In the summer of 1858, by Mason's help, he
was enabled to cross once more to Europe, re-
mained for some months in Berlin and Frank-
fort on the Oder, and in 1859 arrived at Vienna
more inspired than ever for his mission. A severe
and able review of Marx's Beethoven in the
' Atlantic Monthly,' republished in German by
Otto Jahn, had made him known in Germany,
and henceforth the Biography became his voca-
tion. The next year was passed in Berlin,
Vienna, Gratz, Linz, Salzburg, Frankfort, Bonn,
etc., in intercourse with Hiittenbrenner, We-
geler, Schindler and other friends of Beethoven,
in minute investigation of documents, and in
a fruitless visit to Paris for the sake of papers
elucidating the history of Bonn. His next vibit
was to London, where he secured the reminis-
cences of Neate, Potter, and Hogarth (Neate's
particularly valuable), and received much sub-
stantial kindness from Chorley. From England
he returned to Vienna, and in 1863 accepted
a small post in the U. S. Legation there,
afterwards exchanged for that of U. S. Consul
at Trieste, where he still resides. His book
is entitled *Ludwig van Beethoven's Leben.*
It was written in English, translated into Ger-
man by Herr H. Deiters of Bonn, and published
by Weber of Berlin — vol. i (1770-1796) in 1866;
vol. 3 (1792-1806) in 1873; vol. 3 (1807-1816)
in 1879. Vol. 4 is in preparation, but can hardly
finish the work, since ii full and complicated
years are still left to be described.
The quantity of new letters and facts, and
of rectifications of dates, contained in the book
is very great. For the first time Beethoven's life
is placed on a solid basis of fact. At the same
time Mr. Thayer is no slavish biographer. He
views his hero from a perfectly independent
point of view, and often criticises his caprice
or harshness (as in the cases of Malzel and
THAYER.
THEME.
Johann Beethoven) very sharply. When the
work is completed it will be a mine of accurate
information, indispensable for all future stu-
dents. With some condensations an English
edition would be very welcome.
Besides the Biography, Mr. Thayer is the
author of counties^ articles in American news-
papers; of 'Signer Masoni' (Berlin, Schnei-
der, 1862) ; of *Ein kritischer Beitrag zur Bee-
thoven-Literatur ' (Berlin, Weber, 1877); ^^^
of 'The Hebrews and the Red Sea' (Andover,
Mass., Draper). [G.]
THEATRE. A terra usually employed in
England for a house in which plays are acted,
in contradistinction to an opera-house, in which
musical pieces are performed. Abroad this dis-
tinction, either of house or word, does not pre-
vail to at all the same extent as here. [G.]
THEILE, Johann, known to his contem-
poraries as 'the father of contrapuntists,' the
son of a tailor, was born at Naumburg, July 29,
1646, learned music under great difficulties at
Halle and Leipzig, and became a pupil of the
great Heinrich Schtitz. In 1673 he became
Capellmeister to the Duke of Holstein at Got-
torp, and in 1678 produced a Singspiel, 'Adam
and Eva,' and an opera, ' Orontes,' at Hamburg.
In 1685 he became Capellmeister at Wolfen-
biittel, then went to Merseburg and finally back
to his native town, where he died in 1724.
Buxtehude, Hasse, and Zachau were all his
scholars. His principal works are a German
Passion (Liibeck 1675) ; a Christmas Oratorio
(Hamburg, 1681, MS.) ; * Noviter inventum
opus musicalis compositionis 4 et 5 vocum,' etc.
20 masses in Palestrina style ; Opus secundum
— instrumental; two treatises on double counter-
point, 1 69 1. Korner has printed in the ' Orgel-
virtuos' No. 65 a chorale by Theile, which is
characterised by Spitta (Bach, i. p. 98) as 'very
scientific but intolerably pedantic and stifi".'
No other work of his appears to have been
reprinted. [G.]
THEMATIC CATALOGUE. A catalogue
of musical works, in which, in addition to the
title and other particulars of each, the first few
bars— the theme— either of the whole work or of
each movement are given in musical notation.
1. The earliest published list of this description
was in six parts, issued between 1762 and
1765, and 16 supplements extending from 1766
to 1787, the whole forming a thick 8vo. volume
of 792 pages. Part I is signed by Johann Gottlob
Immanuel Breitkopf, the virtual founder of the
great firm. [See vol. i. p. 272.] It is mentioned
by Burney in his Musical Tour (ii. 74).
2. Haydn, towards the end of his life (1797),
made a thematic catalogue of a large number
of his works. This has not been printed, but
copies have been made by Dehn, Otto Jahn,
and others. It is now superseded by the com-
plete thematic list which forms so valuable a
part of Mr. C. F. Pohl's ' Life of Haydn ' (i. 284,
etc.; 317, etc.; 334; 345 J ii. Anhang).
3. A thematic catalogue has been preserved, in
which Mozart entered his works as he composed
them, from Feb. 9, 1784, to Nov. 15, 1791. This
interesting document was published by Andre in
Nov. 1828. The title, in Mozart's hand, runs as
follows :—
Verzeichniss
aller meaner Werke
vom Monath Febraio 1784 bia Monath 1.
Wolfgang Amade Mozart.
It contains 145 works, begins with the PF. con-
certo in Eb (K. 449), * 9te Hornung,' ^ 1 784, and
ends with the ' kleine Freymaurer Kantate,*
Nov. 15, 1 791 — nineteen days before his death.
4. A thematic catalogue of the MSS. by Mozart
then in the hands of Andre — an octavo pamphlet
of 79 closely printed pages — was published by
him at Offenbach on May i, 1841 ; one of 172
important symphonies and overtures was issued
by Hofmeister in 1831 ; and one of Mozart's
PF. sonatas, prepared by Edward Holmes, by
Messrs. NoveUo & Co. in 1849.
5. In 1851, Breitkopf & Hartel published their
first thematic catalogue of Beethoven's works.
This was a thick volume of 167 pages, large
8vo, and a great advance on anything before
it. It is arranged in order of opus-numbers,
with names of dedicatees and publishers, arrange-
ments, etc. The 2nd edition, 1868, is much en-
larged (220 pages) by the addition of many
interesting particulars, dedications, dates of com-
position, etc. It is in fact a new work, and is a
model of accuracy, as may be infei-red from the
name of its compiler, Gustav Nottebohm. So is
the Catalogue of Schubert by the same inde-
fatigable explorer and critic — 288 pages, pub-
lished by Schreiber. Vienna, 1 8 74, dealing both
with the published and the unpublished works,
and extraordinarily accurate considering the im-
mense difficulties involved. Catalogues of Men-
delssohn, Schumann, Chopin, and Liszt have been
published by Breitkopf; of Moscheles by Kistner ;
and of Bach's instrumental works in Peters's
collected edition (by A. Dorffel, Aug. 1867).
Two Catalogues stand apart from the rest
owing to the vast amount of information that
they contain, and still more to the important fact
that they are arranged in the chronological order
of the composition of the works — the only real
method of contemplating the productions of a
composer. These are Von Kochel's ' Chronolog-
isch-thematisches Verzeichniss ' of all Mozart's
works (Breitkopfs, 1862, 551 pages), and Jahns's
' Carl Maria von Weber in seinen Werken.
Chron. Them. Verzeichniss,' etc. (Schlesinger,
1 87 1 — 480 pages, and 8 pages more of facsimiles
of handwriting). These two works (the latter
perhaps a trifle overdone) are indispensable to
all students. [G.]
THEME— t.g. Subject, or Text (Ital. B Tema,^
H Soggetto, H Motivo ; Germ, from Lat. Thema,
from Ital. Motiv ; Fr. Tli^me, Air). A term
only to be applied, in its fullest significance, to
the principal subject of a musical composition ;
1 The old German term for February.
a Used thus, with the masculine article, In order to dlstingulsli «
from La Tema (fear).
H2
100
THEME.
THEORBO.
although, in general language, it is frequently
used to denote a Subject of any kind, whether
of a leading or subsidiary character. From the
time of Sebastian Bach to our own, the terms
Theme and Subject have been used with much
looseness. In his ' Musikalisches Opfer,' Bach
designates the Motivo given to him by Frederick
the Great as 'II Soggetto reale,' in one place,
and ' Thema regium * in another ; thus proving,
conclusively, that he considered the two terms as
interchangeable. But, in another work, founded
on a Motivo by Legrenzi, he calls the principal
Subject • Thema,' and the Counter-Subject * Sub-
jectum'; and this is unquestionably the more
correct method of using the terms. [See SuB-
JEC3T, vol. iii. p. 749.]
A familiar application of the word ' Thema ' is
found in connection with a Subject followed by
Variations ; as, ' Tema con Variazioni,' with its
equivalent in other languages. In the 18th
century, this form of composition was called
*Air et Doubles'; the substitution of the word
'Doubles' for * Variations,' clearly owing its origin
to the then almost universal custom of wiiting
the two first Variations in the Second and Third
Orders of Counterpoint — that is to say, in notes
the rapidity of which was doubled at each new
form of development. [W.S.R.]
THEORBO (Fr. Thdorbe, Tuorbe ; Ital. Tiorba
or Tuorha, also Archi-
liuto). The large
double-necked lute with
two sets of tuning pegs,
the lower set holding
the strings which lie
over the fretted finger-
board, while the upper
set are attached to the
bass strings, or so -called
diapasons, which are
used as open notes.
The illustration has
been engraved from a
specimen at South
Kensington Museum,
According to Baron's
* Untersuchung des In-
struments d. Lauten*
(Numbergi727,p.i3i),
thePaduan theorbo was
the true one. The Eng-
lish Archlute of that
time, so frequently
named as an alterna-
tive to the harpsichord
or organ for the Basso
Continuo or 'Through
Base' accompaniment,
was such a theorbo,
and we must, onBaron's
authority, allow it a
deeper register than
has been stated in the
article Abchlute [vol,
i. p. 81]. He gives
— eight notes on the fingerboard and nine off.
This is the old lute-tuning of Thomas Mace
('Musick's Monument,' London 1676), who says
(p. -207) that the theorbo is no other than the
old English lute. But early in the 1 7 th century
many large lutes had been altered to theorbos
by substituting double necks for the original
single ones. These altered lutes, called, accord-
ing to Mersenne, * luth tdorbd ' or ' liuto attior-
bato,' retained the double strings in the bass.
The theorbo engraved in Mersenne's ' Harmonie
Universelle ' (Paris, 1636) is really a theorboed
lute. He gives it the following accordance : —
The Chanterelle single. For the ' Tuorbe ' as
practised at Rome the same authority gives
(p. 88)-
P^
mt^^
^
In the musical correspondence of Huygens,
edited by Jonckbloet and Land, and published
(1882) at Leyden, is to be found a letter of
Huygens wherein he wishes to acquire a large
lute, to elevate it to the quality of a theorbo,
for which he considered it from its size more
fit. The same interesting work enables the
writer to make some corrections to Lute. [See
vol. ii. p. 177 &.] It was Charles I who bought
a Laux Maler lute for £100 sterling, and
gave it to his lutenist, whose name should be
spelt Gaultier.* The lute had belonged to Jehan
Ballard, another famous lutenist who never would
part with it. The King bought it of his heritors.
Two other corrections in the same article may
be here appropriately introduced. As M. Chou-
quet has pointed out, the wood of old lutes
could not be used for repairing fiddles. What hap-
pened was, the lutes were transformed into Vielles
or Hurdy-gurdies. Professor Land suggests that
Luther is a local name. Lutemaker in German
would be Lauter. The drawing of the Maler
lute, vol. ii. p. 1 76, shows a guitar head and single
stiinging, which became adopted before the lute
went entirely out. Following Gaultier in the
Huygens correspondence, Maler's period was
about 1500-20, later than the date given by Carl
Engel.
Prjetorius ('Organographia,* Wolfenbiittel
1619, p. 50), with whom Mersenne agrees,
states that the diflference between lute and the-
orbo is that the lute has double and the theorbo
single basses. The Paduan theorbo is about 4 ft.
7 ins. high. Praetorius, in the work referred to
1 Huygens met Gaultier In England, In 1C22 at the EilliKrewi^
whoK musical reunions he remembered all his life.
THEORBO.
{V' 52). seems to prefer the Roman theorbo or
Chitarronb, which, although according to his
measurement about 6 ft. i in. in height, is not
so broad in the body or so awkward to hold
and grasp as the Paduan. Baron praises espe-
cially the Roman theorbos of Buchenberg or
Buckenberg, a German lute-maker, who was
living at Rome about a.d. 1606. His instru-
ments had ' ovalround ' bodies of symmetrical
form and a delicate and penetrating metallic
timbre ; a criterion of good tone in a stringed
instrument.
Mace regards the lute as a solo instrument,
and the theorbo as a concert or accompanying
instrument : the name theorbo, however it origin-
ated, certainly became fixed to the double-necked
lute ; which first appeared with the introduction
of opera and oratorio, when real part-playing was
exchanged for the chords of the figured bass.
Merseime ('Harmonicorum,' Kb. xii. Paris, 1636)
calls it 'Cithara bijuga.' One account credits
the invention of the double neck to a Signor
Tiorba about 1600. Athanasius Kircher (*Mu-
surgia,' Rome 1650, cap. ii. p. 476) attributes
the introduction of the theorbo to a Neapolitan
market follower, who gave it the name in a joke.
His idea, says the same authority, was brought
to perfection by a noble German, Hieronymus
Capsberger. M.Victor Mahillon, in his catalogue
of the Brussels Museum (1880, p. 249), names as
the inventor, a Roman called Bardella (properly
Antonio Naldi) who was in the service of the
Medicis, and was much praised by Caccini in
the preface to 'Nuove Musiche' (a.d. 1601).
These attributions all centre in the same epoch,
that of the rise of accompaniment. The theorbo
was last written for by Handel, as late as 1732,
in the oratorio of ' Esther,' in combination with
a harp, to accompany the song * Breathe soft, ye
winds,' a fact which would seem to support
Mace's view of its being an orchestral instrument.
The Archiliuto also appears in 'Deborah,' 1733,
in ' Gentle Airs.' It remained in occasional use
until the end of the i8th century. Breitkopf's
Thematic Catalogue for 1 769 contains eight pages
of * Partite per il Liuto solo.'
The drawing to Aechlute and Chitarronb
should be referred to. [A.J.H.]
THEORY. A term often used in England to
express the knowledge of Harmony, Counter-
point, Thorough-bass, etc., as distinguished fi^om
the art of playing, which is in the same way called
* Practice.* ' The theory and practice of music' is
an expression often heard, and to be interpreted
as above. [G.]
THESIS (from 06<tis, a putting down), an an-
cient musical term, the opposite of Arsis. [See
vol. i. p. 95&]. It is now only occasionally
employed for the down -beat of the bar in con-
ducting. [G.]
THESPIS, OR THE GODS GROWN OLD.
Comic opera in 2 acts ; words by W. S. Gilbert,
music by Arthur Sullivan. Produced at the Gaiety
Theatre, Dec. 23, 1871, the tenor part being
taken by Mr. Toole. It ran 80 nights con-
THIBAUT.
101
secutively, but has not been revived. Thespis
was the first of the series of Gilbert-Sullivan
pieces which have proved so popular. [G.]
THIBAUT, Anton Friedrich Justus, born
Jan. 4, 1772, at Hameln on the Weser, studied
law at Gottingen, became tutor at Konlgsberg,
and law-professor at the University of Kiel,
then at Jena, and in 1805 at Heidelberg, where
he remained till his death, March 25, 1840. The
Archduke of Baden made him Geheimrath. He
was an ardent admirer of the old Italian church-
composers, especially of Palestrina, and founded
a society for the practice of such music at his
own house. ^ The performances took place be-
fore a select circle of invited guests, and were
distinguished for their variety, Thibaut placing
at their disposal the whole of his valuable and
scarce collection of music. After his death
Heidelberg no longer took the same interest in
the Palestrina school, but in the meantime a
large proportion of the professors and amateurs
of Germany had become familiarised with one
of the noblest and most elevating branches of
the art. Mendelssohn for instance writes with
the greatest enthusiasm about Thibaut, 'There
is but one Thibaut,' he says, 'but he is as good
as half a dozen. He is a man.' Again, in a
letter to his mother from Heidelberg, dated
Sept. 20, 1827, is the following characteristic
passage. 'It is very singular, the man knows
little of music, not much even of the history of
it, he goes almost entirely by instinct ; I know
more about it than he does, and yet I have
learned a great deal from him, and feel I owe
him much. He has thrown quite a new light
on the old Italian church music, and has fired
me with his lava-stream. He talks of it all
with such glow and enthusiasm that one might
say his speech Uossoms. I have just come from
taking leave of him, and as I was saying that
he did not yet know the highest and best of
all, for that in John Sebastian Bach the best of
everything was to be found, he said Good-
bye, we will knit our friendship in Luis da
Vittoria (Palestrina's favourite pupil, and the
best exponent of his traditions) and then we
shall be like two lovers, each looking at the full
moon, and in that act no longer feeling their
separation.' ^
One of Thibaut's greatest services to the cause
of art was his collection of music, which included
a very valuable series of Volkslieder of all nations.
The catalogue was published in 1 847 (Heidelberg)
and Thibaut's widow endeavoured to sell it to
one of the public libraries of Germany, but was
unable to do so till 1850, when it was acquired
for the court library of Munich. Of still greater
value is his book 'Ueber Reinheit der Tonkiinst*
(Heidelberg 1825, with portrait of Palestrina;
2nd edition 1826). The title does not indicate
(as his friend Bahr observes in the preface to
the 3rd edition, 1853) purity either of con-
struction or execution, but purity of the art
1 From this, Gervlnus seems to have taken the Idea of his Sodetf
for the cultivation of Handel's music.
i « See • The Mendelssohn Family.' vol. 1. p. 138.
102
THIBAUT.
itself. Music was to him an elevating, I might
Bay a moral, art, and this treatise may justly
claim to have exercised a moral influence. Thibaut
maintains that as there is music which acts
as a powerful agent in purifying and cultivating
the mind, so there is music which has as de-
praving an influence as that exercised by im-
moral literature. From this point of view he
urges the necessity of purity in music, and sets
himself firmly against all that is shallow, com-
mon, unhealthy or frivolous. But this is diflfi-
cult ground. His idea of impurity may be
gathered from the fact that in the essay on instru-
mentation he unhesitatingly condemns the flutes,
clarinets, and bassoons, added by Mozart to 'The
people that walked in darkness,' urging that they
entirely change the character of the piece. He also
strongly censures the frequent changes of tempo
and expression by which Mozart gives colour
to his splendid motet 'Misericordias Domine.'
The remaining articles are on the following
topics : — The Chorale ; Church-music outside the
Chorale ; Volksgesange ; The study of models as
a means of culture ; Instrumentation as a means of
effect ; the great masters compared ; Versatility ;
Corruptions of the text ; and Choral unions. It
is not too much to say that this book, dealing as
it does in a spirit of great earnestness with
questions which are at this moment agitating
the musical world, will always be of interest.
The last German edition came out in 1861.
The English version ('Purity in Musical Art,'
John Murray 1877) is by Mr. W. H. Gladstone,
son of the Premier. [F-GrO
THILLON, Anna, was bom in 1819 in Lon-
don. Her father's name was Hunt. At the age
of fourteen she left England for France with her
mother and sister, and received instruction from
Bordogni, Tadolini, and M. Thillon, conductor of
the Havre Philharmonic Society, whom she mar-
ried at the early age of fifteen. She appeared at
Havre, Clermont, and Nantes, with such success
as to obtain an engagement at the Th^^tre de la
Renaissance, Paris (Salle Ventadour), where she
made her debut Nov. 15, 1838, as the heroine, on
the production of Grisar's * Lady Melvil.' She
was very popular in that and several new operas,
as Argentine in *L*Eau Merveilleuse,' Grisar;
D^nise in *La Chasse Royale,' Godefroid; La
chaste Suzanne, Monpou; etc. Her voice was
a 'soprano sfogato' of marvellous timbre, from
Bb below the stave to Eb in alt., and, combined
with her personal charms, it obtained for her the
favour of the public in a remarkable degree. In
August 1840 she first appeared at the Opdra
Comique as Mathilde in *La Neige.' She next
played Elizabeth in 'Lestocq,' and became a
great favourite with Auber, who gave her in-
struction, and composed 'Les Diamans de la
Couronne' (produced March 6, 1841) expressly
for her. She also sustained the parts of Bianca
di Molina and Casilda in his *Duc d'Olonne'
and *Part du Diable' on their production.
Mme. ThiUon also created Geraldine (• Les Puits
d' Amour'), Balfe; Gorilla ('Cagliostro'), Adam ;
Maro[uise de Gfevres ('Sainte Cecile*); Montfort;
THIRD.
and played Laurette on the revival of Gr^try's
* Richard Coeur de Lion.' On May 2, 1 844, she first
appeared in public in England at the Princess's
in the * Crown Diamonds,' and met with extra-
ordinary success, both on account of her voice,
her charming acting and attractive manners;
and the opera, then first produced in England,
ran to the end of the season. She was also well
received at the Philharmonic and other concerts.
She afterwards appeared in England in 45 and
46 at Drury Lane, playing Stella in the 'En-
chantress,' on its production May 14, 45, a part
composed expressly for her by Balfe ; in 46 at
the Haymarket in * Le Domino noir ' and * L'Eau
merveilleuse'; and in 48 at the Princess's in
*La Fille du Regiment.' She also played at
Brussels and in the French and English provinces,
and from 51 to 54 in America, first introducing
opera at San Francisco. She reappeared in
54 at JuUien's concerts, after which she was
only heard at intervals, on account of a severe
throat attack. Her last appearances in opera
were in 1856 at the Lyceum as La Catarina. The
performances ended abruptly on account of her
illness. She was last heard in public at Kuhe's
Festival of 1867. She and her husband now reside
at Torquay. [A.C.]
THIRD. One of the most important intervals
in modem music, since, by one or other of its
principal forms, it supplies the means of de-
finition in all the most characteristic chords.
Three forms are met with in modern music-
major, minor, and diminished. The first of these
occurs most characteristically in the major scale
between the Tonic and the Mediant — as between
C and E in the key of C (a). It is also an im-
l^ortant factor in the Dominant chord, whether in
the major or minor mode — as between G and B
in the Dominant of the key of C (6). The minor
third occurs most characteristically in the minor
scale as the converse to the principal major third
in the major scale ; that is, between Tonic and
Mediant ; as C and Eb in C minor (c). It also
makes its appearance characteristically in the
chord of the subdominant — as F-Ab in C minor
(d) ; but both this minor third and the major
third of the dominant chord are sometimes sup-
planted by major and minor thirds respectively
for the convenience of melodic progression in
the minor mode. In all fundamental discords,
such as the Dominant seventh and Dominant
major and minor ninths, the first interval from
the root-note in the original position of the
chord is a major third.
The major third is well represented in the
series of partial tones or harmonics, by the tone
which comes fourth in order, and stands in the
second octave from the prime tone or generator.
The ratio of the sounds of the major third is
4 : 5, and that of the minor third 5 : 6. Thirds
were not accepted by the ancients as consonances.
THIRD.
THOMAS.
103
and when they began to come into use in the
early middle ages as so-called imperfect con-
sonances the major third used was that commonly
known as the Pythagorean third, which is ar-
rived at by taking four fifths from the lower
note. The ratio of this interval is 64: 8i, and
it is therefore considerably sharper than the just
or natural third ; while the major third of equal
temperament generally used in modem music lies
between the two, but a little nearer to the
Pythagorean third.
The resultant tones of thirds are strong. That
of the major third is two octaves lower than the
lowest of the two notes, and that of the minor
third two octaves and a major third.
Diminished thirds are rough dissonances ; they
occur in modem music as the inversions of aug-
mented sixths, as FjJ — Ab (e) ; and their ratio
is 225 : 256. They are of powerful effect, but are
sparingly used by great masters of the art. They
rarely appear in the position of actual thirds, but
more commonly in the extended position as dimin-
ished tenths. [C.H.H.P.]
THIRLWALL, John Wade, born Jan. 11,
1809, at a Northumbrian village named Shil-
bottle, was the son of an engineer who had been
the playmate of George Stephenson. He ap-
peared in public before he was 8 years old, at
the Newcastle Theatre, afterwards became music
director at the Durham Theatre, and was en-
gaged by the Duke of Northumberland to collect
Northumbrian airs. He subsequently came to
London, was employed in the Opera band, and
was music director at Drury Lane, the Hay-
market, Olympic, and Adelphi Theatres suc-
cessively. After the death of Nadaud in 1864
he was appointed conductor of the ballet music
at the Royal Italian Opera. In 1843 he com-
posed the music for * A Book of Ballads,' one of
which, ' The Sunny Days of Childhood,' was very
popular ; also many songs, violin solos, and in-
strumental trios. He was for some time music
critic to the ' Pictorial Times,' * Literary Gazette,'
and 'Court Circular.' Besides music he culti-
vated poetry and painting, and in 1872 published
a volume of poems. He died June 15, 1875.
His daughter and pupil, Annie, a soprano
singer, first appeared at the National Concerts,
Exeter Hall, in 1855. On Feb. 4, 1856, she
first performed on the stage at the Strand Thea-
tre, whence she removed to the Olympic, Oct. 1 2,
1856. In Oct. 1859 she joined the Pyne and
Harrison company at Covent Garden. A few
years afterwards she became the leading member
of an English-Opera company which performed
in the provinces, and retired in 1876. [W. H. H.]
THOINAN, Ernest, the nom de plume of
Ernest Roquet, a distinguished amateur and col-
lector of works on music. From collecting he
advanced to writing, first as a contributor to ' La
France musicale,' •£' Art musical,' and others. His
essays in these periodicals he has since pub-
lished : — *La Musique k Paris en 1862 ' (Paris,
1863) ; • L'Opera des Troy ens au Pdre La chaise'
(1863); *Les origines de la Chapelle musique
des souverains de France ' (1864); 'Les deplora-
tions de Guillaume Crestin' (1864) » * Mangars'
(1865) ; • Antoine de Consu' (1866) ; 'Curiosit^s
musicales' (1866); * Un Bisaieul de Molifere :
recherches sur les Mazuel' (1878); Louis Con-
stantin, roi des violons' (1878); 'Notes biblio-
graphiques sur la guerre des Gluckistes et des
Piccinnistes ' (1878). These pamphlets contain
much curious information, and many corrections
of F^tis's mistakes. He has also republished
the very scarce * Entretien des musiciens,' by
Annibal Gantaz (1878), with notes and ex-
planations. He has in preparation a book on
Lully, said to embody many unpublished docu-
ments. .[Gr.C]
THOMAS, Arthue Goring, born at Ratton,
Sussex, in November, 1851, was educated for
another profession and did not begin to study
music seriously until after he came of age. In
1875 he went to Paris, and studied for two years
under M. Emile Durand. On his return to
England he entered the Royal Academy, studied
there for three years under Messrs. Sullivan and
Prout, and twice gained the annual prize for
composition. His principal compositions are an
opera in 3 acts (MS.), libretto by Mr. Clifford
Harrison, on Moore's poem *The Light of the
Harem ' ; four Concert-scenas, two of which have
been performed in London and one at the Crystal
Palace ; an anthem for soprano solo, chorus, and
orchestra, performed at S. James's Hall in 1878 ;
some detached pieces for orchestra ; ballet music,
etc. ; a number of songs ; and a cantata, 'The Sun-
worshippers,' given with success at the Norwich
Festival in 1881. His 4-act opera, 'Esmeralda,'
words by Randegger and Marzials, was produced
by Carl Rosa at Drury Lane, March 26, 1883,
with great success, and has since been reproduced
at Cologne. [W.B.S.]
THOMAS, Charles Ambroise, eminent
French composer, bom at Metz, Aug. 5, 1811.
The son of a musician, he learnt his notes with
his alphabet, and while still a child played the
piano and violin. Having entered the Paris
Conservatoire in 1828, he carried off the first
prize for piano in 1829, for harmony in 1830,
and the Grand Prix in 1832. He also studied
the piano with Kalkbrenner, harmony with Bar-
bereau, and composition with the venerable Le-
sueur, who used to call him his 'note sensible'
(leading-note), because he was extremely sensi-
tive, and the seventh of his pupils who had
gained the Prix de Rome. His cantata * Her-
mann und Ketty ' was engraved, as were also
the works composed during his stay in Italy,
immediately after his return. The latter com-
prise a string-quartet and quintet; a trio for
PF., violin, and cello ; a fantasia for PF, and
orchestra ; PF. pieces for 2 and 4 hands ; 6
Italian songs; 3 motets with organ; and a
' Messe de Requiem ' with orchestra.
Early works of this calibre gave promise of
a musician who would work hard, produce much,
and by no means rest content with academical
honours. He soon gained access to the Op^ra
Comique, and produced there with success 'La
double Echelle,' i act (Aug. 23, 1837); 'Le
104
THOMAS.
Perruquier de la licence,' 3 acts (Maxell 30,
1838) ; and * Le Panier fleuri/ i act (May 6,
1839). Ambition however prompted him to
attempt the Academic, and there he produced
*La Gipsy * (Jan. 28, 1839), a ballet in 3 acts, of
which the 2nd only was his; 'Le Comte de
Carmagnola' (April 19, 1841) ; * Le Guerillero '
(June 2, 1842), both in 2 acts; and 'Betty'
(July 10, 1846), ballet in 2 acts: but it was hard
for so young a composer to hold his own with
Auber, Halevy, Meyerbeer, and Donizetti, so
Thomas returned to the Op^ra Comique. There
he composed successively * Carline,* 3 acts (Feb.
24, 1840) ; 'Ang^Iique et MMor,' i act (May 10,
1843); *Mina,' 3 acts (Oct. 10, 1843); 'Le
Caid,' 2 acts (Jan, 3, 1849); *Le Songe d'une
nuit d'dt^,' 3 acts (April 20, 1850) ; 'Raymond,'
3 acts (June 5, 1851); *La Tonelli,' 2 acts
(March .^o, 1853); *La Cour de C^limfene/ 2
acts (April 11, 1855) ; 'Psych^,' 3 acts (Jan. 26,
1857, revived with additions May 21, 1878) ;
'Le Camaval de Venise,' 3 acts (Dec. 9, 1853);
•Le Roman d'Elvire,' 3 acts (Feb. 3, i860);
'Mignon,' 3 acts (Nov. 17, i866) ; and 'Gille et
Gillotin,' I act, composed in 1861, but not pro-
duced till April 22, 1874. To these must be
added two cantatas composed for the inaugura-
tion of a statue to Lesueur at Abbeville (Aug, 10,
1852), and for the Boieldieu centenary at Rouen
(June 13, 1875) ; a * Messe Solennelle' (Nov. 22,
1857), a 'Marche R^ligieuse * (Nov. 22, 1865)
composed for the Association des Artistes
Musiciens; and a quantity of part-songs and
choral scenas, such as 'France,' 'Le Tjnrol,' 'L'At-
lantique,' 'Le Carnavalde Rome,' ' LesTraineaux,'
* La Nuit du Sabbat,' etc. The life and dramatic
movement of his unaccompanied part-songs for
men's voices showed the essentially dramatic
nature of M. Thomas's genius, which after en-
larging the limits of opera comique, found a
congenial though formidable subject in * Hamlet,'
5 acts (March 9, 1868). The Prince of Denmark
was originally cast for a tenor, but there being
at that time no tenor at the Opdra capable of
creating such a part, Thomas altered the music
to suit a baritone, and entrusted it to Faure.
The success of this great work following im-
mediately on that secured by ' Mignon,' pointed
out its composer as the right man to succeed
Auber as director of the Conservatoire^ (July 6,
1871). The work he has done there— daily in-
creasing in importance — has been already de-
scribed. [See CoNSERVATOiBE, vol. i. 393.] A
post of this nature leaves scant leisure for other
employment, and during the last twelve years M.
Tliomas has composed nothing beyond the solfeg-
gios and exercises for the examinations, except
one opera ' Fran9oise de Rimini ' (April 14, 1882),
the prologue and fourth act of which are en-
titled to rank with his 'Hamlet.'
The musical career of Ambroise Thomas may
be divided into three distinct periods. The first
period extended to 1848, and, taking 'Mina'
and 'Betty' as specimens, its main characteristics
1 He had been Professor of Composition since 1852 and a
of the lostitate from 1861.
THOMAS.
were elegance and grace. The second began
with the op^ra bouffe ' Le Caid/ the refined wit
of which was a protest against the hackneyed
phrases and forced declamation of the Italian
school, and continuing with *Le Songe d'une
Nuit d'dt^,' ' Raymond,' and 'Psych^,' all works
novel in form, and poetic in idea, ended in i86i.
The last 20 years include * Mignon,* * Hamlet/
and • Fran9oise de Rimini,' all full of earnest
thought, and showing continuous progress.
Carrying forward the work begun by Harold,
he brings to his task an inborn instinct for the
stage, and a remarkable gift of interpreting
dramatic situations of the most varied and op-
posite kinds. His skill in handling the orchestra
is consummate, both in grouping instruments of
different timbre, and obtaining new effects of
sound ; but though carrying orchestral colouring
to the utmost pitch of perfection, he never allows
it to overpower the voices. With a little more
boldness and individuality of melody this accom-
plished writer, artist, and poet — master of all
moods and passing in turn from melancholy
musings to the liveliest banter — would rank with
the leaders of the modern school of composers ;
as it is, the purity and diversity of his style
make him a first-rate dramatic composer.
Ambroise Thomas is one of the few survivors
of a society of eminent artists — Gatteaux, Baltard,
Hippolyte Flandrin, Alexandre Hesse, and many
others — who gathered round Ingres as their head.
Intimate from his youth with the family of
Horace Vernet, he was much in good society,
though it would be unfair to call him devoted
to it. Tall, slender, and fond of physical exer-
tion, he enjoys country life, but he is also known
as a connoisseur of old furniture and hHc-a-brac,
and an assiduous fi'equenter of the Hotel
Drouot. Indeed his rooms at the Conservatoire,
his villa at Argenteuil, and his island retreat
at Zilliec in Brittany, may almost be called
museums. M. Thomas was made a Grand Cross
of the Legion of Honour in 1880.
There is a fine oil-painting of him by Hippolyte
Flandrin, a terra-cotta bust by Doublemard, and
a marble bust and medallion, the last a striking
likeness, by Oudind. [G.Cj
THOMAS, Harold, bom at Cheltenham,
July 8, 1834, a favourite pupil of Stemdale
Bennett, under whom he was placed at the Royal
Academy of Music at a very early age. His
other masters were Cipriani Potter (theory), and
Henry Blagrove (violin). He made his first ap-
pearance as a pianist at a Royal Academy Con-
cert, May 25, 1850, and after this appeared
frequently at the same concerts, both as pianist
and composer. In 1858, Mr. Thomas played
before the Queen and Prince Consort at Windsor,
and in 1864 played Bennett's First Concerto at
the Philharmonic. A few years later, he retired
from public life and devoted himself to teaching.
Mr. Thomas is now Professor of the piano at the
Royal Acadeniy of Music, and the Guildhall
School of Music. His compositions include many
original piano pieces, some songs, many arrange-
ments, etc., and three overtures for orchestra : —
THOMAS.
* Overture for a Comedy ' ; * As you like it,*
produced by the Musical Society of London in
1864; and 'Mountain, Lake, and Moorland,'
produced at the Philharmonic in 1880. The
last two works have been frequently played with
great success. [W.B.S.]
THOMAS, John (known in Wales as * Pen-
cerdd Gwalia,' i.e. chief of the Welsh minstrels,
a title conferred on him at the Aberdare
Eisteddfod of 1861), a very distinguished harpist,
was born at Bridgend, Glamorganshire, on St.
David's Day, 1826. He played the piccolo when
only four, and when eleven won a harp at an
Eisteddfod. In 1840 he was placed by Ada,
Countess of Lovelace (Byron's daughter), at the
Royal Academy, where he studied under J. B.
Chatterton (harp), C. J. Read (piano), and Lu-
cas and Cipriani Potter (composition). He re-
mained at the Academy for about eight years,
during which time he composed a harp concerto, a
symphony, several overtures, quartets, two operas,
etc. On leaving the Academy he was made in
succession Associate, Honorary Member, and
Professor of the Harp. In 185 1 he played in
the orchestra of Her Majesty's Opera, and in the
same year went a concert tour on the continent,
a practice he continued during the winter months
of the next ten years, playing successively in
France, Germany, Russia, Austria, and Italy. In
1862 Mr. Thomas published a valuable collection
of Welsh melodies, and in the same year gave
with great success the first concert of Welsh
music in London. In 1871 he was appointed
conductor of a Welsh Choral Union, which for
six years gave six concerts annually. In 1872,
on the death of Mr. J. B. Chatterton, he was
appointed Harpist to the Queen, and is now
teacher of the harp at the Royal College of
Music.
Mr. Thomas has always taken a deep interest
in the music of his native country. There
has scarcely been an Eisteddfod of importance
held during the last twenty years at which
he has not appeared as both adjudicator and
performer, and he has recently (1883) collected
a large sum with which he has endowed a per-
manent scholarship for Wales at the Royal
Academy of Music. In 1866, at the Chester
Eisteddfod, he was presented with a purse of
500 guineas in recognition of his services to
Welsh music. Mr. Thomas is a member of
the Academies of St. Cecilia and the Philhar-
monic of Rome, the Florentine Philharmonic,
and the Royal Academy, Philharmonic, and
Royal Society of Musicians, of London. His
compositions include a large amount of harp
music, amongst which are 2 concertos, one of
which was played at the Philharmonic in 1852 ;
' Llewelyn,' a cantata for the Swansea Eisteddfod
(1863) ; and 'The Bride of Neath Valley,' for
the Chester Eisteddfod (1866). [W.B.S.]
THOMAS, Lewis William, bom in Bath, of
Welsh parents, learnt singing under Bianchi Tay-
lor, and in 1850, when 24, was appointed lay-clerk
in Worcester Cathedral. In 1852 he was made
master of the choristers, and during the next few
THOMAS.
105
years sang frequently at Birmingham, Gloucester,
Hereford, and Worcester. In 1854 he made his
first appearance in London, at St. Martin's Hall;
in 1855 ^^ sang at the Sacred Harmonic, and
in 1856 settled in London, with an appoint-
ment at St. Paul's. In the following year
Mr. Thomas left St. Paul's for the choir of the
Temple Church, and in the same year was ap-
pointed a gentleman of Her Majesty's Chapel
Royal. In 1857 he had lessons of Mr. Randegger,
and appeared under his direction on the operatic
stage, which however he soon abandoned for the
concert-room, where he is chiefly known as a
bass singer of oratorio music. During the last
few years Mr. Thomas has been a contributor
to the press on matters connected with music
and art. [W.B.S.]
THOMAS, Theodore, born Oct. 11, 1835, at
Esens, in Hanover ; received his first musical
instruction from his father, a violinist, and at
the age of six made a successful public appear-
ance. The family emigrated to the United States
in 1845, and for two years Theodore made fre-
quent appearances as a solo violinist in concerts
at New York. In 1851 he made a trip through
the Southern States. Returning to New York
he was engaged as one of the first violins in
concerts and operatic performances during the
engagements of Jenny Lind, Sontag, Grisi, Ma-
rio, etc. He occupied the position of leading
violin under Arditi, and subsequently, the same
position in German and Italian troupes, a part
of the time officiating as conductor, until 1861,
when he withdrew from the theatre. In 1855
he began a series of chamber-concerts at New
York, with W. Mason, J. Mosenthal, Carl Berg-
mann, G. Matzka, and F, Bergner, which were
continued every season until 1869, In 1864 Mr.
Thomas began his first series of symphony con-
certs at Irving Hall, New York, which were
continued for five seasons, with varying success.
In 1872 the symphony concerts were resumed
and carried on until he left New York in 1878.
Steinway Hall was used for these concerts, and
the orchestra numbered eighty performers. In
the summer of 1866, in order to secure that effi-
ciency which can only come from constant practice
together, he began the experiment of giving
nightly concerts at the Terrace Garden, New
York, removing, in 1868, to larger quarters at
the Central Park Garden. In 1869 he made his
first concert tour through the Eastern and Western
States. The orchestra, at first numbering forty
players, was, in subsequent seasons, increased to
sixty. The programmes presented during these
trips, as well as at New York, were noticeable
for their catholic nature, and for the great number
of novelties brought out. But it was also notice-
able that the evenings devoted to the severer class
of music, old or new, in the Garden concerts
at New York, were often the most fully at-
tended. Thomas's tendencies, it was plainly seen,
were toward the new school of music; but he
was none the less attentive to the old, and he
introduced to American amateurs a large num-
ber of compositions by the older masters. The
106
THOMAS.
repertory of the orchestra was very large, and
included compositions in every school. In 1878
Thomas was appointed director of the new Col-
lie of Music at Cincinnati. In April, 1879, he
■was unanimously elected conductor of the New
York Philharmonic Society, a position which he
had occupied in the season of 1877-78. The
concerts by the Brooklyn Philharmonic Society
were in his charge during the seasons of 1862,
1866 to 1870 inclusive, and have been since his
last election. May 26, 1873. He has directed
several festivals at Cincinnati and New York
since 1873. In 1883 he went from New York
to San Francisco with an orchestra and several
eminent singers, giving, on his way, concerts in
the principal cities. In some cities embraced in
this tour, notably Baltimore, Pittsburg, Chicago,
Milwaukee, St. Louis, Denver, and San Fran-
cisco, festivals, in which were included perform-
ances of important choral works, were given
with the aid of local societies under his direction.
Mr. Thomas withdrew from the College of Music
at Cincinnati in 1880. At present (18S3) he
is director of the Philharmonic Societies of
Brooklyn and New York, and of the New York
Chorus Society. [F.H.J.]
THOMSON, George, born at Limekilns,
Edinburgh, Mar. 4, 1757 or 1759, died at Leith,
Feb. II, 1 85 1, was for tifty years 'Secretary to
the Board of Trustees for the Encouragement
of Arts and Manufactures in Scotland.' His
place in musical history is that of the most en-
thusiastic, persevering and successful collector
of the melodies of Scotland, Wales and Ireland,
a work begun in his youth and continued for
forty years or more.
I. (i) Scotland. He proposed to rescue from
oblivion, so far as it could possibly be accom-
plished, every existing Scotch melody, in all its
forms and varieties. Being in correspondence
■with and knowing personally gentlemen in every
part of Scotland, no man had greater facilities
for the work. He proposed, further, to publish
* all the fine airs both of the plaintive and lively
kind, unmixed with trifling and inferior ones.'
The precise date at which he began the publi-
cation in 'sets' does not appear; but the preface
to the second edition of the first volume — con-
taining 25 songs — is dated Edinburgh, Jan. i,
1794.
(2) Ireland. At first he included 20 favourite
Irish airs in his 'sets,' denoting them in the
index by an asterisk. Burns persuaded him to
undertake a separate publication of Irish me-
lodies, and offered to write the new texts. This
was the origin of the two volumes under that
title, for the collection of which Thomson was
indebted especially to Dr. J. Latham of Cork,
and other friends in various parts of Ireland, who
are responsible for whatever faults of omission and
commission they exhibit. [See Irish Music,
vol. ii. p. 22.]
(3) Wales. Meantime he undertook to collect
the melodies played by Welsh harpers and adapt
them to the voice. The project found favour
in Wales, and friends in all parts of it sent
THOMSON.
them to him as played by the harpers ; ' but
the anxiety he felt to have a complete and au-
thentic collection induced him to traverse Wales
himself, in order to hear the airs played by the
best harpers, to collate and correct the manu-
scripts he had received, and to glean such airs
as his correspondents had omitted to gather.'
There was of course no deciding as to the
original form of an air on which no two
harpers agreed, and Thomson could only adopt
that which seemed to him the most simple and
perfect. Very few if any had Welsh texts, or
were at all vocable. To make them so, he in
some cases omitted monotonous repetitions; in
some repeated a strain; in most discarded the
ornaments and divisions of the harpers ; but no
changes were made in the tunes except such as
were absolutely necessary to 'make songs of
them.' ^
II. In regard to their texts, these three col-
lections of melodies consisted of four classes:
(i) without words ; (2) with none in English ;
(3) with English texts, silly, vapid, or indecent,
not to say obscene ; (4) a few with unimpeachable
words, even in which cases he mostly thought it
well to add a new song.^ In fact, in the first
24 Scotch airs, 16 have 2 songs each, most if
not all written expressly for the work. A
large number of eminent authors were employed
by Thomson for this purpose.
When the melody was known to the poet, there
was no difficulty in writing an appropriate song ;
when not, Thomson sent a copy of it with its
character indicated by the common Italian terms.
Allegro, etc., which were a sufficient guide.
Burns was the principal writer. Allan Cunning-
ham, in his ' Life and Works ' of the poet, leaves
the impression that Thomson was niggardly and
parsimonious towards him. Thomson disdained to
take any public notice of Cunningham's charges ;
but in a copy of the work in possession of his son-
in-law, George Hogarth (i860), there are a few
autograph notes to the point. Thus in July
1793, Bums writes:
•I assure you, my dear sir, that you truly hurt
me with your pecuniary parcel. It degrades me
in my own eyes. However, to return it would
savour of affectation ; but as to any more traflBc
of this debtor and creditor kind, I swear by that
HONOUB which crowns the upright statue of
Robert Burns's integrity — on the least motion
of it I will indignantly spurn the by-past trans-
action, and from that moment commence entire
stranger to you !'^
Thomson writes, Sept. i, to Bums : —
* While the muse seems so propitious, I think
it right to inclose a list of all the favours I have
to ask of her— no fewer than twenty and three !
. . . most of the remaining airs ... are of that
peculiar measure and rhythm that they must be
familiar to him who writes for them.'
A comparison of dates removes the doubt in
I This of course detracts largely from the value of his labour. [G.}
3 The same leaven of Interference.
» This protest evidently refers to all songs written or to be writteu,
and thus disposes of Cuuniogham's arguments.
THOMSON.
relation to Moore, raised in the article on Irish
Music. True, the completed volumes of Thom-
son's ' Irish Melodies' are dated 1814 ; but they
were completed long before, except as to the
instrumental accompaniments. Messrs. Power
engaged Moore to write songs for their rival
publication in 1806, at which time the poet was
only known in Edinburgh as a young writer of
indecent and satiric effusions. (See ' Edinburgh
Review' of July 1806.)
Til. As to the instrumental accompaniments,
Thomson's plan was as new and original as it
was bold. Besides the pianoforte accompani-
ment each song was to have a prelude and coda,
and parts ad libitum throughout for violin, or
flute, and violoncello, the composition to be
entrusted to none but the first composers.
In the years 1 791-3, Pleyel stood next to Haydn
and Mozart ; they in Vienna, he at that time
much in London. Thomson engaged Pleyel for the
work, but he soon ceased to write, and Thomson
was compelled to seek another composer. Mo-
zart was dead ; Haydn seemed to occupy too
lofty a position ; and Kozeluch of Vienna was
engaged. But the appearance of Napier's Collec-
tion of Scotch Songs with pianoforte accompani-
ments, written by Haydn during his first visit to
London, showed Thomson that the greatest living
composer did not disdain this kind of work.
Thomson applied to him ; and Haydn worked for
him until about 1806. The star of Beethoven
had now risen, and he did not disdain to continue
the work. But he, too, died before Thomson's
work was completed, and Bishop and George
Hogarth made up the sixth volume of Scotch
songs (1841).
The following list exhibits each composer's
share in the work : —
Scotch Songs.
Vol. I. originally all by Pleyel.
Vol. II. „ „ Kozeluch (?).
In the second edition of these (1803) Thomson substi-
tuted arrangements by Haydn for several which
were ' less happily executed than the rest.'
Vols, in., IV. all by Haydn.
Vol.V.(Pref. dated June 1,1818) Haydn . . . 4
Beethoven . 26
THOMSON.
107
Vol. VI. (dated Sept. 1841)
Haydn. . . 12
Beethoven . 13
Kozeluch . . 1
Hogarth . . 21
Bishop ... 6
52
Welsh Melodies.
The Preface is dated May, 1809.
Vol. I. Kozeluch 10
Haydn 20
go
Vol. n. Kozeluch 15
Haydn 17
Kozeluch and Haydn 1
33
Vol. ni. Haydn ..... 4
Beethoven .... 26
30
As a means of extending the knowledge of the
Scotch melodies, Thomson, at the beginning of
his intercourse with Pleyel and Kozeluch, ordered
sonatas based upon such airs. Both composed
works of this kind; but how many does not
appear. It is evident from a letter of Beethoven
to Thomson (Nov. 1, 1806) that besides arrange-
ments of melodies, the latter had requested trios,
quintets, and sonatas on Scotch themes from him
also. Beethoven's price for compositions, which
could only sell in Great Britain and Ireland,
was such as could not be acceded to, and none
were written. About 1818-20 he wrote varia-
tions on a dozen Scotch melodies, which Thomson
published, but which never paid the cost of
printing either in Great Britain or Germany. At
the lowest estimate Beethoven received for his
share in Thomson's publications not less than
•£5 50* George Hogarth, who married Thomson's
daughter, told the writer that the Scotch songs
only paid their cost.
In the winter of 1860-61 there appeared in
Germany a selection of these songs from Bee-
thoven's MSS,, edited by Franz Espagne, in the
preface to which he writes : ' The songs printed
in Thomson's collection are, both as to text and
music, not only incorrectly printed, but wilfully
altered and abridged.' These groundless charges
were made honestly, but with a most plentiful
lack of knowledge. They need not be discussed
here, as they were amply met and completely
refuted in the Vienna 'Deutsche Musikzeitung'
of Nov. 23 and Dec. 28, 1861. All Beethoven's
Scotch and Irish songs are contained in Breit-
kopf 's complete edition of his works, Series 24,
Nos. 257-260. [A.W.T.]
THOMSON, John, first Professor of Music
at Edinburgh University, was the son of an
eminent clergyman, and was born at Ednam,
Kelso, Oct. 28, 1805. His father afterwards
became minister of St. George's Church, Edin-
burgh. He made the acquaintance of Mendels-
sohn during the visit of the latter to Edinburgh
in the summer of 1829, and showed him much
attention, which Mendelssohn requited by a
warm letter of introduction to his family in
Berlin, in which he says of Thomson ' * he is
very fond of music ; I know a pretty trio of his
composition and some local pieces which please
me very well * (ganz gut gefallen). During his
visit to Germany he studied at Leipzig, kept
up his friendship with Mendelssohn, and made
the intimate acquaintance of Schumann, Mo-
scheles, and other musicians, and of Schnyder
von Wartensee, whose pupil he became. In 1839.
he was elected the first Keid Professor at Edin-
burgh, a result which was doubtless not unin-
fluenced by the warm testimonials from his
Leipzig friends which he submitted. He gave
the first Reid Concert on Feb. 12, 1841, and
the book of words contains analytical remarks
by him on the principal pieces — probably the
first instance of such a thing. Thomson died
May 6, 1841, deeply lamented. He wrote three
operas or dramatic pieces, ' Hermann, or the
Broken Spear,' * The House of Aspen,' and • The
Shadow on the Wall.' The last two were brought
out at the Royal English Opera (Lyceum), on
1 He spells the name Thompson, but it must surely be the sam» .
man. See ' Die Familie Mendelssohn,' 1. 243.
108
THOMSON.
Oct. 27, 1834, and April 21, 1835 respectively,
and had each a long run. Two of his songs,
• Harold Harfager/ and 'The Pirates' Serenade,'
are mentioned as spirited and original. [G.]
THORNE, Edward H., bom at Cranboume,
Dorsetshire, May 9, 1834, received his musical
education at St. George's Chapel, Windsor, where
he was articled to Sir George Elvey. In 1832
he was appointed to the Parish Church, Henley,
and in 1862 to Chichester Cathedral, which
appointment he resigned in 1870 in order to
devote himself more closely to the more con-
genial work of teaching the pianoforte. Mr.
Thome removed to London, and has been suc-
cessively organist at St. Patrick's, Brighton;
St. Peter's, Cranley Gardens ; and St. Michael's,
Comhill. His published works comprise several
services, including a Magnificat and Nunc Di-
mittis for chorus, soli, and orchestra, written for
the Festival of the Sons of the Clergy ; the 1 25th
Psalm; a festival march, toccata and fugue,
funeral march, overture, and six books of volun-
taries for the organ ; some pianoforte pieces ;
several songs and part-songs ; the 47th Psalm
(for female voices), etc. His unpublished works
include trios for piano-violin, and violoncello;
sonatas for the violoncello, and the clarinet ; the
57th Psalm for tenor solo, chorus, and orchestra ;
and many other compositions. [W.B.S.]
THORNE, John, of York, an eminent musi-
cian in the middle of the 16th century, is men-
tioned by Morley in his * Introduction.' He
was probably attached to York Cathedral. A
3-voice motet by him, 'Stella cceli,' is printed
in Hawkins's History. He was also a skilled
logician. He died Dec. 7, 1573, and was buried
in York Cathedral. [W. H. H.]
THOROUGHBASS (Thoroughbase, Figured-
Bass; Lat. Bassus generalis, Bassus continuus ;
Ital. Continuo, Basso coniinuo^; Germ. General-
bass ; Fr. Basse continue, Basse chiffrie). An
instrumental Bass-Part, continued, without in-
terruption, throughout an entire piece of Music,
and accompanied by Figures, indicating the gene-
ral Harmony.
In Italy, the Figured-Bass has always been
known as the Basso continuo, of which term our
English word. Thorough (i.e. Through) bass, is a
sufficiently correct translation. But, in England,
the meaning of the term has been perverted,
almost to the exclusion of its original intention.
Because the Figures placed under a Thorough-
bass could only be understood by a performer
well acquainted with the rules of Harmony, those
rules were vulgarly described as the Rules of
Thoroughbass ; and, now that the real Thorough-
bass is no longer in ordinary use, the word sur-
vives as a synonym for Harmony — and a very
incorrect one.
The invention of this form of accompaniment
was long ascribed to Lodovico Viadana (1566-
1644), ^^ ^^^ authority of Michael Praetorius,
Johann Cruger, Walther, and other German
1 Not to l>e mistaken for Bcmw oUinato (Fr. Bau« eontreinU) irhtch
Indicates a Ground-Bass.
THOROUGHBASS.
historians of almost equal celebrity, fortified by
some directions as to the manner of its perform-
ance, appended to Viadana's 'Concerti ecclesi-
astici.' But it is certain that the custom of in-
dicating the Intervals of a Chord by means of
Figures placed above or below the Bass-note,
was introduced long before the publication of
Viadana's directions, which first appeared in a
reprint of the * Concerti ' issued in 161 2, and are
not to be found in any earlier edition; while a
true Thoroughbass is given in Peri's * Euridice,*
performed and printed in 1600 ; an equally com-
plete one in Emilio del Cavaliere's Oratorio, * La
rappresentazione dell' anima e del corpo,' pub-
lished in the same year ; and another, in Caccini's
'Nuove Musiche' (Venice, 1602). There is, in-
deed, every reason to believe that the invention
of the Continuo was synchronous with that of the
Monodic Style, of which it was a necessary con-
tingent; and that, like Dramatic Recitative, it
owed its origin to the united eflPbrts of the en-
thusiastic reformers who met, during the closing
years of the i6th century, at Giovanni Bardi's
house in Florence. [See Viadana, Ludovico ;
MoNODiA ; Recitative ; also vol. ii. p. 98.]
After the general establishment of the Mono-
dic School, the Thoroughbass became a necessary
element in every Composition, written, either
for Instruments alone, or for Voices with Instru-
mental Accompaniment. In the Music of the
1 8th century, it was scarcely ever wanting. In
the Operas of Handel, Buononcini, Hasse, and
their contemporaries, it played a most important
part. No less prominent was its position in
Handel's Oratorios ; and even in the Minuets
and Gavottes played at Ranelagh, it was equally
indispensable. The * Vauxhall Songs ' of Shield,
Hook, and Dibdin, were printed on two Staves,
on one of which was written the Voice-Part,
with the Melody of the Ritomelli, inserted
in single notes, between the verses, while the
other was reserved for the Thoroughbass. In
the comparatively complicated Cathedral Music
of Croft, Greene, and Boyce, the Organ-Part
was represented by a simple Thoroughbass,
printed on a single Stave, beneath the Vocal
Score. Not a chord was ever printed in full,
either for the Organ, or the Harpsichord ; for the
most ordinary Musician was expected to play, at
sight, from the Figured-Bass, just as the most
ordinary Singer, in the days of Palestrina, was
expected to introduce the necessary accidental
Sharps, and Flats, in accordance with the laws
of Cantus Fictus. [See MusiCA Ficta.]
The Art of playing from a Thoroughbass still
survives — and even flourishes — among our best
Cathedral Organists. The late Mr. Turle, and
Sir John Goss, played with infinitely greater
efiect from the old copies belonging to their
Cathedral libraries, than from modem ' arrange-
ments ' which left no room for the exercise of
their skill. Of course, such copies can be used
only by those who are intimately acquainted
with all the laws of Harmony : but, the applica-
tion of those laws to the Figured Bass is exceed-
ingly simple, as we shall now proceed to show.
THOROUGHBASS.
1. A wholesome rule forbids the insertion of
any Figure not absolutely necessary for the ex-
pression of the Composer's intention.
2. Another enacts, that, in the absence of any
special reason to the contrary, the Figures shall be
written in their numerical order; the highest
occupying the highest place. Thus, the full
figuring of the Chord of the Seventh is, in all
ordinary cases, s ; the performer being left at
liberty to play the Chord in any position he may
find most convenient. Should the Composer
write a, it will be understood that he has some
particular reason for wishing the Third to be
placed at the top of the Chord, the Fifth below
it, and the Seventh next above the Bass ; and
the performer must be careful to observe the
directions implied in this departure from the
general custom,
3. In conformity with Rule i, it is understood
that all Bass-notes unaccompanied by a Figure
are intended to bear Common Chords. It is only
necessary to figure the Common Chord, when it
follows some other Harmony, on the same Bass-
note. Thus, at (a), in Example i, unless the
Common Chord were figured, the ^ would be
continued throughout the Bar ; and in this case,
two Figures are necessary for the Common Chord,
because the Sixth descends to a Fifth, and the
Fourth to a Third. At (6) two Figures are equally
necessary; otherwise, the performer would be
perfectly justified in accompanying the lower G
with the same Chord or the upper one. Instances
may even occur in which three Figures are
needed, as at (c), where it is necessary to show
that the Ninth, in the second Chord, descends
to an Eighth, in the third. But, in most ordi-
nary cases, a 3, a 5, or an 8, will be quite suf-
ficient to indicate the Composer's intention.
THOROUGHBASS.
109
The First Inversion of the Triad is almost
always sufficiently indicated by the Figure 6,
the addition of the Third being taken as a matter
of course ; though cases will sometimes occur in
which a fuller formula is necessary; as at (a),
in Example 3, where the 3 is needed to show
the Resolution of the Fourth, in the preceding
Hannony ; and at (6), where the 8 indicates the
Resolution of the Ninth, and the 3, that of the
Fourth. We shall see, later on, how it would
have been possible to figure these passages in a
more simple and convenient way.
A small treatise which was once extraordin-
arily popular in England, and is even now used
to the exclusion of all others, in many * Ladies
Schools,' foists a most vicious rule upon the
Student, with regard to this Chord ; to the effect
that, when the Figure 6 appears below the
Supertonic of the Key, a Fourth is to be added to
the Harmony. We remember, when the treatise
was at the height of its popularity, hearing Sir
Henry Bishop inveigh bitterly against this abuse»
which he denounced as subversive of all true
musical feeling ; yet the pretended exception to
the general law was copied into another treatise,
which soon became almost equally popular. No
such rule was known at the time when every one
was expected to play from a Thoroughbass.
Then, as now, the Figure c indicated, in all
cases, the First Inversion of the Triad, and
nothing else; and, were any such change now
introduced, we should need one code of laws for
the interpretation of old Thorough-Basses, and
another for those of later date.
Ex.:
(a)
(P)
^^
^^r
~-Bt
-^^
^rw
m
9 8
5 8
4 S
The Second Inversion of the Triad cannot be
indicated by less than two Figures, J- Cases
may even occur, in which the addition of an 8 is
needed ; as, for instance, in the Organ-Point at
(a), in Example 3 ; but these are rare.
Ex.3.
^^g^-
In nearly all ordinary cases, the Figure 7 only
is needed for the Chord of the Seventh ; the ad-
dition of the Third and Fifth being taken for
granted. Should the Seventh be accompanied by
any Intervals other than the Third, Fifth, and
Octave, it is, of course, necessary to specify them ;
and instances, analogous to those we have already
exemplified when treating of the Common Chord,
will sometimes demand even the insertion of a 3
or a 6, when the Chord follows some other Har-
mony, on the same Bass-note. Such cases are
very common in Organ Points.
The Inversions of the Seventh are usually indi-
cated by the formulae, «, *, and * ; the Intervals
needed for the completion of the Harmony being
understood. Sometimes, but not very often, it
will be necessary to write s, *. or 4. In some
rare cases, the Third Inversion is indicated by a
simple 4 : but this is a dangerous form of abbre-
viation, unless the sense of the passage be very
clear indeed ; since the Figure 4 is constantly
used, as we shall presently see, to indicate another
form of Dissonance. The Figure 2, used alone,
is more common, and always perfectly intelligible;
the 6 and the 4 being understood.
no
THOROUGHBASS.
The Figures », whether placed under the
Dominant, or under any other Degree of the Scale,
indicate a Chord of the Ninth, taken by direct
percussion. Should the Ninth be accompanied by
other Intervals than the Seventh, Fifth, or Third,
Buch Intervals must be separatelynoticed. Should
it appear in the form of a Suspension, its figuring
will be subject to certain modifications, of which
we shall speak more particularly when describing
the figuring of Suspensions generally.
The formulae I and ? are used to denote the
chord of the Eleventh — i.e. the chord of the
Dominant Seventh, taken upon the Tonic Bass.
The chord of the Thirteenth — or chord of the
Dominant Ninth upon the Tonic Bass — is repre-
» 9 7
tented by e or I or f . In these cases, the 4 re-
4 4 jj
presents the Eleventh, and the 6 the Thirteenth :
for it is a rule with modern Composers to use
no higher numeral than 9 ; though in the older
Figured Basses — such as those given in Peri's
'Euridice,' and Emilio del Cavaliere's ' La Rap-
presentazione dell' anima e del corpo,' — the
numerals, Id, 11, 12, 13, and 14, are constantly
used to indicate reduplications of the Third,
Fourth, Fifth, Sixth, and Seventh, in the Octave
above.
Accidental Sharps, Flats, and Naturals are ex-
pressed in three different ways. A J, b, or tj, used
alone — that is to say, without the insertion of a
numeral on its own level — indicates that the Third
of the Chord is to be raised or depressed a Semi-
tone, as the case may be. This arrangement is
entirely independent of other numerals placed
above or helow the Accidental Sign, since these
can only refer to other Intervals in the Chord.
Thus, a Bass-note with a single b beneath it, must
be accompanied by a Common Chord, with a flat-
tened Third. One marked s must be accom-
panied by the First Inversion of the Chord of the
Seventh, with its Third flattened. It is true
that, in some Thoroughbasses of the last century,
we find the forms J3, bs, or |j3 ; but the Figure
is not really necessary.
A dash drawn through a B, or 4, indicates that
the Sixth or Fourth above the Bass-note, must
be raised a Semitone. In some of Handel's
Thoroughbasses, the raised Fifth is indicated by
d ; but this foim is not now in use.
In all cases except those already mentioned,
the necessary Accidental Sign must be placed
before the numeral to which it is intended that
it should apply; as be, jj7, tj5, b9, b4, [j4, [j6,
etc.; or, when two or more Intervals are to be
Altered, 1%, ''^ \,h etc. ; the Figure 3 being always
b
suppressed in modem Thoroughbasses, and the
Accidental Sign alone inserted in its place when
the Third of the Chord is to be altered.
By means of these formulae, the Chord of the
Augmented Sixth is easily expressed, either in its
Italian, French, or German form. For instance,
with the Signature of G major, and Eb for a Bass-
note, the Italian Sixth would be indicated by B,
the French by 4, the German by \,5, or bs*
THOROUGHBASS.
The employment of Passing-Notes, Appoggi-
aturas, Suspensions, Organ-Points, and other pas-
sages of like character, gives rise, sometimes, to
very complicated Figuring, which, however, may
be simplified by means of certain formulae, which
save much trouble, both to the Composer and the
Accompanyist.
A horizontal line following a Figure, on the
same level, indicates that the note to which the
previous Figure refers is to be continued, in one
of the upper Parts, over the new Bass-note, what-
ever may be the Harmony to which its retention
gives rise. Two or more such lines indicate that
two or more notes are to be so continued; and,
in this manner, an entire Chord may frequently
be expressed, without the employment of a new
Figure. This expedient is especially useful in the
case of Suspensions, as in Example 4, the full
Figuring of which is shown above the Continue,
and, beneath it, the more simple form, abbreviated
by means of the horizontal lines, the arrangement
of which has, in some places, involved a departure
fi:om the numerical order of the Figures.
Ex. 4.
l^T^. I H-.— . U
3 8 - - 8
Any series of Suspended Dissonances may be
expressed on this principle— purposely exaggerated
in the example — though certain very common
Suspensions are denoted by special formulsB
which very rarely vary. For instance, 4 3 is
always understood to mean * ^ — the Common
Chord, with its Third delayed by a suspended
Fourth — in contradistinction to « 3 already men-
tioned; 9 8 means the Suspended Ninth re-
solving into the Octave of the Common Chord ;
9 I indicates the Double Suspension of the Ninth
and Fourth, resolving into the Octave and Third ;
etc.
In the case of Appoggiaturas, the horizontal
lines are useful only in the Parts which accompany
the Discord. In the Part which actually contains
the Appoggiatura, the absence of the Concord of
Preparation renders them inadmissible, as at (o)
in Example 5.
Passing-Notes, in the upper Parts, are not often
noticed in the Figuring, since it is rarely necessary
that they should be introduced into the Organ
or Harpsichord Accompaniment ; unless, indeed,
they should be very slow, in which case they are
very easily figured, in the manner shown at (6) iu
Example 5.
THOROUGHBASS.
THOROUGHBASS.
Ill
The case of Passing-Notes in the Bass is very
different. They appear, of course, in the Continue
itself ; and the fact that they really are Passing-
Notes, and are, therefore, not intended to bear in-
dependent Harmonies, is sufficiently proved by
a system of horizontal lines indicating the con-
tinuance of a Chord previously figured ; as in
Example 6, in the first three bars of which the
Triad is figured in full, because its intervals are
continued on the three succeeding Bass-Notes.
Ex.6.
^^
s=€=
Tr
S=
But in no case is the employment of horizontal
lines more useful than in that of the Organ Point,
which it would often be very difficult to express
clearly without their aid. Example 7 shows the
most convenient way of figuring complicated Sus-
pensions upon a sustained Bass-Note.
In the Inverted Pedal-Point, the lines are still
more valuable, as a means of indicating the con-
tinuance of the sustained note in an upper Part ;
as in Example 8, in which the Figure 8 marks the
beginning of the C, which, sustained in the Tenor
Part, forms the Inverted Pedal, while the hori-
zontal line indicates its continuance to the end of
the
Ex.8.
t-^ = l-n 1 1-, , 1 ^^-1 U-r-^ U,
4 'y^ a N :j 5 fj j-^
3-6
When, in the course of a complicated Move-
ment, it becomes necessary to indicate that a cer-
tain phrase — such as the well-known Canto-Fermo
in the 'Hallelujah Chorus' — is to be delivered in
Unison, — or, atmost,only doubled in the Octave —
the passage is marked Tasto Solo, or, T. S. — i. e.
' with a single touch' ( = key).^ When the Sub-
ject of a Fugue appears, for the first time, in the
Bass, this sign is indispensable. When it first
appears in an upper Part, the Bass Clef gives
place to the Treble, Soprano, Alto, bv Tenor, as
the case may be, and the passage is written in
single Notes, exactly as it is to be played. In
both these cases it is usual also to insert the first
few Notes of the Answer, as a guide to the Ac-
companyist, who only begins to introduce full
Chords when the figures are resumed. In any
case, when the Bass Voices are silent, the lowest
of the upper Parts is given in the Thoroughbass,
either with or without Figures, in accordance with
the law which regards the lowest sound as the
real Bass of the Harmony, even though it may
be sung by a Soprano Voice. An instance of this
kind is shown in Example 9.
Ex. 9. ill III Handel.
We shall now present the reader with a general
example, serving as a practical application of the
rules we have collected together for his guidance ;
selecting, for this purpose, the concluding bars
of the Chorus, 'All we like sheep,' from Handel's
' Messiah.*
Ex. 10.
Handeu
1 As lately as the last century, the keys of the Organ and Harpd-
cbord were called * Touches ' by English vriten .
112
THOROUGHBASS.
^^1^^
g=^p4y^
The Figuring here given contains nothing which
the Modern Professor of Harmony can safely
neglect to teach his pupils. The misfortune is,
that pupils are too often satisfied with writing
their exercises, and too seldom expected to play
from a Thoroughbass at sight. Many young stu-
dents could write the figured Chords correctly
enough ; but few care to acquire sufficient fluency
of reading and execution to enable them to ac-
company a Continuo effectively, though this power
is indispensable to the correct rendering, not only
of the works of Handel and Bach, but even of the
Oratorios and Masses of Haydn and Mozart —
the latest great works in which the Organ Part is
written on a single Stave. [W.S.R.]
THREE CHOIRS, OF GLOUCESTER,
WORCESTER, and HEREFORD, Meetings,
OB Festivals of the. These Meetings were
first held in 1724, if not earlier, but became
permanent in that year, when the Three Choirs
assembled at Gloucester for the performance of
cathedral service on a grand scale, with or-
chestral accompaniment. Their establishment
was mainly promoted by Rev. Thomas Bisse,
chancellor of Hereford, and brother of Dr. Philip
Bisse, bishop of the diocese, and the proceeds
were applied in aid of a fund for the relief of the
widows and orphans of the poorer clergy of the
three dioceses, or of the members of the three
choirs.^ In 1725 a sermon was preached at
Worcester for the benefit of the charity, and in
1726 a remarkable one by the Rev. Thomas Bisse
at Hereford. The meetings have since con-
tinued to be held, in unbroken succession, up to
the present time, the i6oth meeting having
taken place at Gloucester in 1883. They are
held alternately in each of the three cities,
each having thereby in its turn a triennial fes-
tival. On their first establishment it was cus-
tomary for the members of the Three Choirs
to assemble on the first Tuesday in Septem-
ber, and unitedly to perform choral service on
the following two days. Six stewards, two
from each diocese, were appointed to superintend
the distribution of the charity. Evening con-
1 The utter did not long continue to participate in the benefits
of the charity ; the relief Is supposed to have been discontinued when
their performance ceased to be gratuitous.
THREE CHOIRS.
certs were given, in the Shire Halls usually,
on each of the two days. Purcell's Te Deum
and Jubilate in D, and Handel's Utrecht Te
Deum and Jubilate were constantly performed,
and from 1748 the Dettingen Te Deum. Ora-
torios were given, as well as secular music,
at the evening concerts, but it was not until
1759 *^3,t they were admitted into the cathe-
drals, when the * Messiah ' was performed in
Hereford Cathedral, and continued to be the
only oratorio so performed until 1787, when
' Israel in Egypt ' was given in Gloucester Ca-
thedral. In 1753 the festivals were extended
to three days, and in 1836 to four days, at
which they have ever since continued. It has
always been the practice to hand over the col-
lections made at the cathedral doors after the
morning performances intact to the charity,
the excess, if any, of expenditure over receipts
from sale of tickets being made good by the
stewards. The excess became eventually so
permanent that in 1837 great difficulty 'was
experienced in inducing gentlemen to undertake
the office of steward, and the existence of the
Meeting was seriously imperilled ; but the diffi-
culty has been since overcome by very largely
increasing the number of stewards. The festivals
are conducted by the organist of the cathedral in
which they are successively held, the organists
of the other two cathedrals officiating respect-
ively as organist and pianoforte accompanist.
Deviations from this practice have, however,
sometimes occurred. For instance, Mr. (after-
wards Dr.) Boyce conducted in 1737, and for
several subsequent years ; Dr. William Hayes
(at Gloucester), in 1757 and 1760; and Dr. John
Stephens (at Gloucester) in 1 766. The last occa-
sion upon which a stranger was called upon to
conduct was in 1842, when, in consequence of
the illness of the then organist of Worcester
cathedral, the baton was placed in the hands of
Mr. Joseph Surman. Until 1859 the first morning
of the festival was devoted to the performance of
cathedral service by the whole of the performers,
but since that time the service has been per-
formed at an early hour by the members of the
Three Choirs only, to organ accompaniment, and
an oratorio given later in the day. In 1875 an
attempt was made, at Worcester, to alter the
character of the performances in the cathedrals,
by excluding oratorios and substituting church
music interspersed with prayers. But this met
with decided opposition and has not been re-
peated. The band at these festivals is com-
posed of the best London professors, and the
chorus comprises, in addition to the members
of the Three Choirs, members of the local choral
societies and others. The most eminent prin-
cipal singers of the day are engaged for the
solo parts. The pieces usually selected for per-
formance at the Meetings were those which were
most popidar. But occasionally new and untried
compositions were introduced. For instance, an
anthem by Boyce, Worcester, 1 743 ; anthems by
Dr. Alcock and J. S. Smith, Gloucester, 1773;
Clarke- Whitfeld's 'Crucifixion/ Hereford, 1822 ;
THREE CHOIRS.
TIE.
113
F. Mori's 'Fridolin,' Worcester, 1851 ; an an-
them (1852) and Jubilate (1855) by G. T. Smith,
Hereford ; anthems by G. J. Elvey, Gloucester,
1853, and Worcester, 1857; and Sullivan's 'Pro-
digal Son,' Worcester, 1869; Beethoven's Mass
in D, Mendelssohn's Lobgesang and Elijah,
Spohr's Oratorios, and other favourite works.
In later years new compositions were more fre-
quently produced, and recently scarcely a year
has passed without some new work being given.
At the Gloucester Meeting of 1883 no fewer
than three new works were performed for the
first time, viz. sacred cantatas by Drs. Stain er
and Arnold, and a secular choral work by Dr.
Hubert Parry. This is not the place to dis-
cuss, from either an artistic or a financial point
of view, the desirability of such a course, but it
may be noted that at the Gloucester Festival
of 1883 the excess of expenditure over receipts
from sale of tickets exceeded 500Z. [W.H.H.]
THURNAM, Edward, bom at Warwick,
Sept. 24, 1825, was organist of Reigate Parish
Church from 1849, and from 1849 to 1876 con-
ductor of the Reigate Choral Society, and also
an able violinist, and the composer of a Cathedral
Service, and several songs and pieces for various
instruments, of considerable merit. He died
Nov. 25, 1880. [W.H.H.]
THURSBY, Emma, bom at Brooklyn, New
York, Nov. 17, 1857, is the daughter of an
Englishman, and is descended by her mother
from an old United States family. She received
instruction in singing first from Julius Meyer
and Achille Erani, then in 1873 at Milan from
Lamperti and San Giovanni, and finally com-
pleted her studies in America under Madame
RudersdorfF. In 1875 she undertook a tour
through the United States and Canada. She
made her debitt in England May 22, 1878, at
the Philharmonic, with such success that she was
engaged at a subsequent concert of the Society
in the same season. She remained in England
until the end of 1879, singing with acceptance
at the Crystal Palace, the Popular 'Concerts,
Leslie's Choir, etc., and in the summer of the
same year sang in Paris and the French pro-
vinces. In 1880-81 she made an extended con-
cert-tour through Germany, Austria, Holland,
Belgium, Spain, Norway, Denmark, etc., and
returned to America at the end of 82. In 1883
she was singing in the States and Canada.
Her voice is a soprano, of remarkable compass,
ranging from middle C to E b above the lines ;
not large but rich ; somewhat veiled, but noble
and sympathetic. • Miss Thursby's technique is
extraordinary ; her legato and staccato are
models of certainty and correctness, her respira-
tion is admirably managed, and her shake as
rippling as it is long enduring.' * [A.C.]
TICHATSCHEK, Joseph Alois, bom July
II, 1807, at Ober Weckelsdorf, in Bohemia. He
began by studying medicine, but abandoned it for
music, and received instruction in singing from
J 'ninstnted Sporting and Dramatic News/ Oct. 18, 1879; and
F. Gumbert. in the Neue Berliner HusikzeitunK.
VOL. IV. FT. I.
Ciccimara, a favourite Italian singing master.
In 1830 he became a chorus singer at the
Kamthnerthor theatre, was next appointed
chorus inspector, played small parts, and after-
wards, those of more importance, viz, Idreno
(* Semiramide '), Alphonse (*Stumme'), and
Raimbaud ('Robert'). He sang for two years
at Gratz, and again at Vienna, as principal
tenor. On Aug. 11, 1837, he made his debut at
Dresden as Gustavus III. (Auber), with such
success as to obtain an engagement for the fol-
lowing year. At this period he attracted the
attention of Schroeder-Devrient, who gave him
the benefit of her advice and experience, with
the result of a long and intimate friendship,
which terminated only with her death. Until
his retirement in 1870, he remained permanently
in Dresden, where, on Jan. 16, as Idomeneo,
he celebrated the 40th anniversary of his pro-
fessional career, having previously, on Jan. 17,
1863, celebrated his 25th anniversary at Dresden,
as Hernando Cortes (Spontini). His repertoire
consisted of the tenor parts in the operas of Gluck,
Mozart, Beethoven, Weber,' Marschner, Mdhul,
Boieldieu, Auber, Nicolo, Meyerbeer, Spontini,
Flotow, Spohr, etc. ; and on Oct. 20, 42, and
Oct. 19, 45 respectively, was the original Rienzi,
and Tannhauser. In 1 841 he sang for a few nights
in German at Drury Lane Theatre as Adolar,
Tamino, Robert, etc. ; also at Liverpool and
Manchester, and is thus described by a con-
temporary— *Herr Tichatschek has proved him-
self the hit of the season ; he is young, prepossess-
ing, and a good actor ; his voice is excellent, and
his style, though not wanting in cultivation, is
more indebted to nature than art.' * [A.C.]
TIE. A curved line uniting two notes of the
same pitch, whereby they form a single note
which is sustained for the value of both. The
tie is also called the Bind, and by some writers
the Ligature, although this term properly refers
to certain slurred groups of notes which occur
in ancient music. [Ligature, vol. ii. p. 136.]
It has already been described under the former
heading, but to what was there stated it may be
added, that ties are occasionally met with in
pianoforte music where the note is actually
repeated. [See Bind, vol. i. p. 242.] To efiect
this repetition properly some skill and care are
required ; the finger which strikes the first of the
two tied notes is drawn inwards, and the fol-
lowing finger falls over it as closely and rapidly
as possible, so as to take its place before the key
has had time to rise to its full distance, and
therefore before the damper has quite fallen.
Thus there is no actual silence between the
two sounds, the repetition takes place before
the first sound has ceased, and an efiect is pro-
duced which resembles the old effect of Bebuno
as nearly as the modem pianoforte can imitate
it. [See vol. i. p. 1 60.] The particular occasions
on which this effect is required are not indicated
2 On Oct. 13, 1842, he sang the part of Max on the occasion of tha
hundredth performance of ' Der Freischatz.' a part he sang no less
than 106 times during his career up to 1863.
1 • Musical World.' June 17, 1841.
114
TIE.
by any specific sign, since an experienced per-
former can always judge from the nature of the
passage. As a rule, it may be said that when-
ever two tied notes are written for which a
single longer note might have been substituted,
repetition is indicated — for the use of the tie
proper is to express a note -value which cannot
be represented by a single note, e.ff. five quavers.
Thus Ex. I, which is an instance in point, might,
if no repetition had been required, have been
written in quavers, as in Ex. 2.
llEKTHovEN. Sonata, op. io6. Adagio.
Another instance of the employment of this
close repetition sometimes occurs when an un-
accented note is tied to an accented one, as in
Ex. 3. Here the rhythm would be entirely lost if
the tied notes were sustained instead of repeated.
Chopin. Valse, op. 31, no. i.
Ex.3, n— 5 I
^^^^S^^p
?^
t^^^
^
In the same sense it seems quite possible that
the subject of the scherzo of Beethoven's Sonata
for piano and violoncello, op. 69, and other
similar phrases, may have been intended to be
played with repetition ; and in support of this
view it may be mentioned that an edition exists
of the Sonata Pastorale, op. 28, by Cipriani
Potter, who had opportunities of hearing Bee-
thoven and becoming acquainted with his inten-
tions, in which the analogous passage in the first
movement is printed with what is evidently
meant for a sign of separation between the tied
notes, thus —
Ex. 4. — __
fe
^
izzt
±=t
TIEDGE, Christoph August, bom 1752,
died March 8, 1841 ; a German elegiac poet
and friend of Beethoven's, who in Rhineland
dialect always called him 'Tiedsche,' and who
set some lines to Hope — 'an die Hoffnung'
— from his largest and best poem, * Urania,' to
music twice, once in Eb, op. 32, and again in
G, op. 94. Both are for voice and piano ; the
former dates from 1808, the latter from 18 16.
Tiedge's name occurs in the correspondence be-
tween Beethoven and Amalie Sebald, and there
is a most interesting letter from Beethoven
to him of Sept. ii, 181 1, betokening great in-
timacy. (Thayer, iii. 179, 21 3, etc.) [G.]
TIERSCH.
TIERCE, i. e. Tiers, third. I. A name given to
the interval of the Third, whether Major or Minor.
I I. The fourth of the series of natural har-
monics, being the Major Third in the third
octave above the ground-tone or prime ; its vi-
brations are five times as numerous as those of
its prime.
III. An open metal organ stop of the same
pitch as the similarly-named harmonic; i.e. if
the note CC is held down and the Tierce-stop
drawn, the E above middle C will be heard.
That such a stop can only be used in combina-
tion with certain other harmonics, and then but
sparingly, will be evident when it is remem-
bered that if C, E, and G be held down there
will be heard at the same time G sharp and B.
Hence, the Tierce when found in a modern
organ is generally incorporated as a rank of
the Sesquialtera or Mixture, in which case it
is of course combined with other harmonics, its
near relations. Some organ-builders, however,
altogether exclude it. A serious difficulty is
now met with, if a Tierce be introduced ; it is
this — modern organs are tuned to * equal temper-
ament,' whereas the Tierce (whether a separate
stop or a rank) certainly ought to be tuned
to its prime in 'just intonation,' in which case
tempered and natural thirds would be heard
simultaneously when the Tierce is used. Much
difference of opinion exists as to the utility or
effect of this stop. [J. S.]
TIERCE DE PICARDIE. In Polyphonic
Music, it is essential that every Composition
should end with a Major Third, even though the
Third of the Mode in which it is written should
be Minor. The Third, thus made Major by an
Accidental Sharp or Natural, is called the 'Tierce
de Picardie.' It is not very easy to arrive at the
origin of the term ; though it may perhaps be
accounted for by the proximity of Picardy to
Flanders, in which country the characteristic
Interval was in common use, at a very early
period. Rousseau's explanation of the term
(Dictionn&ire, ' Tierce ') is a very strange one,
viz. that it was given ' in joke, because the use
of the interval on a final chord is an old one in
church music, and therefore frequent in Picardy,
where there is music in many cathedrals and
other churches' ! [W.S.R.]
TIERSCH, Otto, bom Sept. 1, 1838, at Kalbs-
rieth in Thuringia, received instruction from
Topfer of Weimar, Billermann, Marx, and Erk ;
was then teacher in Stern's Conservatorium, and
is now teacher of singing to the city of Berlin.
His writings are practical, and concern them-
selves much with an endeavour to make the
modern discoveries of Helmholtz and others, in
acoustics, available in teaching singing. The
principal are as follows, 'System und Method
der Harmonielehre' (1868) ; * Elementarbuch der
musikalischen Harmonie und Modulationslehre '
(1874); 'Kurzes praktisches generalbass Har-
monielehre ' (1876) ; the same for Counterpoint
and Imitation (1879). The article on 'Har-
monielehre' in Mendel's Lexicon is by him. [G.],
TIETJENS.
TIGRANE.
115
TIETJENS or TITIENS, Therese Caroline
Johanna, the great prima donna, was bom at
Hamburg, of Hungarian parents, according to
some biographers in 1834, to others, in 183 1. The
latter date agrees best with subsequent facts, and
also with the inscription on her tombstone, which
states that she died in 1877, aged 46.
Her voice, even in childhood, gave so much
promise of future excellence that she was edu-
cated for the lyric stage. She appeared for the
first time at the Hamburg Opera, in 1849, as
Lucrezia Borgia, and achieved an immediate
success. She proceeded to Frankfort, and thence,
in 1856, to Vienna, where, though not engaged
as the leading prima donna, her performance of
Valentine raised her at once to the highest rank.
The late Madame Jullien heard her at this
time, and it was largely due to her glowing ac-
counts that Mdlle. Tietjens was quickly engaged
by Mr.Lumley for his last season at Her Majesty's
Theatre in London; and when, on April 13, 1858,
she appeared in ' The Huguenots,' her imperson-
ation of Valentine achieved a success which in-
creased with every repetition of the opera, and
was the first link in that close union between
the performer and the public which was only to
be severed by death.
England from that time became her home.
She remained at Her Majesty's Theatre during
the successive managements of Mr. E. T. Smith
and Mr. Mapleson, and after the burning of the
theatre in 1867 followed the fortunes of the com-
pany to Drury Lane. She sang at Covent Gar-
den during the two years' coalition of the rival
houses in 69 and 70, returning to Drury Lane in
71, and finally, just before her death, to the new
house in the Haymarket.
Her performances are still fresh in the memory
of all opera and concert goers. Never was so
mighty a soprano voice so sweet and luscious in
its tone : like a serene, full, light, without dazzle
or glare, it filled the largest arena without appear-
ing to penetrate. It had none of a soprano's
shrillness or of that peculiar clearness called
' silvery ' ; when it declined, as it eventually did,
in power, it never became wiry. It had a mezzo-
soprano quality extending to the highest register,
perfectly even throughout, and softer than velvet.
Her acting in no way detracted from her singing ;
she was earnest, animated, forcible, in all she
did conscientious and hearty, but not electric.
Her style of singing was noble and pure. When
she first came to England her rapid execution left
much to be desired ; it was heavy and imperfect.
Fluency and flexibility were not hers by nature,
but by dint of hard work she overcame all diffi-
culties, so as to sing with success in the florid
music of Hossini and Bellini. Indeed she at-
tempted almost everything, and is perhaps the
only singer, not even excepting Malibran, who
has sung in such completely opposite r61es as
those of Semiramide and Fides. But her perform-
ance of light or comic parts was a mere tour
de force; her true field was grand opera. As
Lucrezia, Semiramide, Countess Almaviva, she
was great ; as Donna Anna and Valentine she
was greater ; best of all as Fidelio, and as Medea
in Cherubini's opera, revived for her and not
likely to be forgotten by any who heard it.
In the * Freischtitz,' as in * Fidelio,' her ap-
pearance was unsuited to her part, but she sang
the music as no one else could sing it. In her
later years she set a good example by undertaking
the r6le of Ortrud in ' Lohengrin.* The music
however did not show her voice to advantage,
and this was still more the case with the music
of Fides, although her acting in both parts was
very fine. Her repertoire also included Leonora
(•Trovatore'),the Favorita, Alice, Lucia, Amalia
('Un Ballo in Maschera*), Norma, Pamina,
Margherita, Marta, Elvira ('Ernani') Reiza
(' Oberon'), and Iphigenia in Tauris.
Her voice was as well suited to sacred as to
dramatic music, and she applied herself as-
siduously to the study of oratorio, for which her
services were in perpetual request. Perhaps the
hardest worked singer who ever appeared, she
was also the most faithful and conscientious of
artists, never disappointing her public, who knew
that her name on the bills was a guarantee against
change of programme, or apology for absence
through indisposition. No doubt her splendid
physique enabled her often to sing with impunity
when others could not have done so, but her
ceaseless eff'orts must have tended to break up
her constitution at last. This great conscien-
tiousness, as well as her genial sympathetic nature,
endeared her to the whole nation, and, though
there never was a ' Tietjens fever,' her popularity
steadily increased and never waned. Her kind-
ness and generosity to young and struggling
artists and to her distressed countrymen knew no
bounds and became proverbial.
The first symptoms of the internal disorder
which proved fatal to her appeared in 1875, but
yielded to treatment. They recurred during a
visit to America in the next year, but were again
warded off for the time, and throughout a sub-
sequent provincial tour in this country she sang
'as well as she had ever done in her life.' In
1876 she had her last benefit concert, at the
Albert Hall. In April 1877 her illness increased
to an alarming extent, and her last stage-ap-
pearance was on May 19, as Lucrezia. 'She
fainted twice during the performance, in her
dressing-room; but she would appear, though
she had to undergo a painful operation on the
following Tuesday. *If I am to die,' she said
to a friend, *I will play Lucrezia once mqre.'
Those who then heard her will always recall her
rendering of the despairing cry after Gennaro's
death. She died Oct. 3, 1877, and was buried
in Kensal Green Cemetery. On the day before,
a messenger had arrived from the Queen and
Princesses with special enquiries, which had
greatly pleased her. Her death was felt as a
national loss, and it may be long before any
artist arises who can fill the place she filled so
worthily and so well. [F.A.M.]
TIETZE. [See Titze.]
TIGRANE, IL. An Italian opera, composed
by Righini, 1800, the overture of which was at
12
116
TIGRANE.
TIMBRE.
one time a favourite in London. The discovery
of the parts of this overture in his father's
warehouse gave Schumann his first opportunity
of conducting.* It lias been lately re-scored,
and published by Aibl of Munich. [G.]
TILMANT, TniopHiLE, French conductor,
bom at Valenciennes July 8, 1 799, and educated
at the Paris Conservatoire, where he took the
first violin prize in R. Kreutzer's class in 1818.
He played with great fire and brilliancy, and
had a wonderful instinct for harmony, though
without much scientific knowledge. On the
formation of the Soci^t^ des Concerts in 1828 he
was appointed vice-conductor, and also played
solo in a concerto of Mayseder's. In 1834 ^®
became vice- and in 1838 chief-conductor at the
Theatre Italien, where he remained till 1849.
In 1838, with his brother Alexandre, a distin-
guished cellist (bom at Valenciennes Oct. 2, 1808,
died in Paris June 1 3, i88o),he founded a quartet-
society, which maintained its popularity for some
ten years or so. In 1849 he succeeded Labarre
as conductor of the Op^ra Comique, an enviable
and responsible post, which he held for nearly
20 years. The composers whose operas he mounted
found him earnest and conscientious, and he con-
ducted with a fire and a dash perfectly irresistible,
both there and at the Concerts du Conservatoire,
which he directed from i860 to 1863. In 1868 he
left the Opdra Comique, and retired to Asniferes,
where he died May 7, 1878. He received the
Legion of Honour in 1861. [G.C.]
TIMANOFF, Vera, a native of Russia, re-
ceived pianoforte instruction in music fi:om Liszt,
and for a long time past has enjoyed a wide
continental reputation. She made her debut in
England, August 28, 1880, at the Promenade
Concerts, Covent Garden, where she fulfilled six
nights' engagement under the conductorship of
Mr. F. H. Cowen, and made a lively impression
by her brilliant rendering of the works of her
master and other pieces of the same school. On
May 19, 1881, she played Chopin's Concerto in
F minor at the Philharmonic, and * by her bril-
liant execution of the florid passages, by the
delicacy with which she rendered the fairylike
fancies of the composer, and by the marked
character resulting from her strong feeling for
rhythm and accent, gave the concerto an ad-
ventitious interest." On May 13, 1882, she
played at the Crystal Palace Liszt's 'Fantasia
on the Ruins of Athens,' and on June 6 of the
same year she gave a recital and was heard with
pleasure in light pieces of Moskowski, Liszt, and
Rubinstein. [A.C.]
TIMBALES is the French word for Kettle-
drams. [See Drum 2 ; vol. i. p. 463.] In that
article, at p. 464 6, it is mentioned that Meyer-
beer used 3 drums, G, C, and D, in No. 17 of
the score of * Robert le Diable ' ; but it was really
written for 4 drums, in G, C, D, and E, and was
so played at the Paris Acaddmie, where it was
produced. This real kettle-drum solo begins
1 WMlelemki, p. 14.
3 Daily Telesrapb.
thus, and is probably a unique example of its
kind : —
'V 9^ J
— 1
, -) M
TH 1 rn .N^
pp
- -r- —\
T^
1 Lj s 1 =
— • •■•^
tiA
-Z4^-^
* -d* * ^ 1 -
The printed score has only 3 drums, G, C, and
D, to facilitate the performance in ordinary
orchestras, the E being then played by the con-
trabasso. [V. de P.]
TIMBRE. A French word, originally signify-
ing a bell, or other resonant metallic instrument,
of which the sense was subsequently extended to
denote peculiar ringing tones, and lastly employed
by the older writers on Acoustics to indicate the
difference between notes which, though of iden-
tical pitch, produce dissimilar effects upon the
ear. The cause of this variety not being then
understood, the vagueness which characterises
the expression was hardly misplaced. But the
researches of Helmholtz put an end to the
ambiguity, by showing that difference of timbre
was due to change in the upper-partial tones, or
harmonics, which accompany the foundation-tone,
or ground-tone, of a note or sound.
A somewhat better, but rather metaphorical
phrase was afterwards suggested in Germany;
by which varieties of timbre were termed Klang-
fdrhe or Sound-colours. This term, in the out-
landish shape of 'Clangtint,' was adopted by
Tyndall and other writers as an English equiva-
lent of the German word.
But a term has been latterly employed which
must commend itself to all as at once a pure English
word and a symbol to express the idea, now become
definite ; namely the word Quality. A sound
may therefore be said in fair English to possess
three properties, and no more— Pitch, Intensity,
and Quality ; respectively corresponding to the
Frequency, the Amplitude, and the Form of the
Sound-wave. In case this definition be objected
to as unnecessarily geometrical, the Quality, or
Timbre, of a note may be described as the
sum of the associated vibrations which go to
make up that complex mental perception.
* If the same note,' says Helmholtz,' 'is sounded
successively on a pianoforte, violin, clarinet, oboe,
or trumpet, or by the human voice, notwith-
standing its having the same force and pitch,
the musical tone of each is different, and we
recognise with ease which of these is being used.
Varieties of tone-quality seem to be infinitely
numerous even in instruments ; but the human
voice is still richer, and speech employs these very
qualitative varieties of tone in order to distin-
guish different letters. The different vowels
belong to the class of sustained tones which can
be used in music ; while the character of conson-
ants mainly depends on brief and transient noises.*
It is well known that he analysed these com-
pound tones by means of Resonators, and sub-
sequently reproduced them synthetically by a
» •Senskttoai of Tpne.' EUU't tnuul. p. 28.
TIMBRE.
system of electrically controlled tuning-forks.
Hie full demonstration of these facts occupies
the larger part of his classical work on ' Sensa-
tions of Tone,' and can hardly be given in a brief
summary. Pure tones can be obtained from a
tuning-fork held over a resonance tube, and by
blowing a stream of air from a linear slit over
the edge of a large bottle. The quality of tone
in struck strings depends on (i) the nature of
the stroke, (2) the place struck, and (3) the
density, rigidity, and elasticity of the string.
In bowed instruments no complete mechanical
theory can be given; although Helmholtz's
beautiful • Vibration Microscope ' furnishes some
valuable indications. In violins, the various parts,
such as the belly, back, and soundpost, all con-
tribute to modify the quality ; as also does the
contained mass of air. By blowing across the
/-hole of a Straduarius violin, Savart obtained
the note c' ; in a violoncello, F ; and in a viola, a
note one tone below that of the violin.
Open organ pipes, and conical double reed
instruments, such as the oboe and bassoon, give
all the notes of the harmonic series. Stopped
pipes and the clarinet give only the partial tones
of the uneven numbers. On this subject, neither
Helmholtz nor any other observer has given more
detailed information: indeed the distinguished
German physicist points out that here there is
still • a wide field for research.*
The theory of vowel-quality, first enunciated
by Wheatstone in a criticism on Willis's experi-
ments, is still more complicated. Valuable as are
Helmholtz's researches, they have been to some
extent corrected and modified of late by R. Koenig
in his • Experiences d'Acoustique.' ^ The latter
writer begins by stating that, according to the
researches of Bonders and Helmholtz, the mouth,
arranged to produce a particular vowel-sound, has
a powerful resonance-tone which is fixed for each
vowel, whatever be the fundamental note. A
slight change of pronunciation modifies the sound
sufficiently to sustain the proposition made by
Helmholtz of defining by these accessory sounds
the vowels which belong to different idioms and
dialects. It is therefore very interesting to deter-
mine the exact pitch of these notes for the dif-
ferent vowels. Helmholtz and Bonders however
difier considerably in their results. Koenig de-
termines the accessory resonance-tones for the
vowels as pronounced by the North-Germans as
follows : —
TIME.
ii7
ou
0
A
E
I
Bb,
Bt>a
Bb4
Bb«
Bb.
335
4io
900
1800
3600 vibrations.
The simplicity of these relations is certainly in
their favour, and is suggested by M. Koenig as
the reason why we find essentially the same
five vowels in all hvnguages, in spite of the un-
doubted powers which the human voice possesses
of producing an infinite number and v.iriety of
such sounds. [W.H.S.]
1 Quelques Gzp^rieneeB d'Acoustique. Tula 1882 (prirately printed).
Bssajr vi. p. 42.
TIME (Lat. Tempus, Tactus; Ital. Tempo,
Misura, Tatto ; Fr. Mesure; Germ. TaJd, Tdktart,
Tahtordnung).
No musical term has been invested with a
greater or more confusing variety of significa-
tions than the word Time ; nor is this vagueness
confined to the English language. In the Middle
Ages, as we shall show, its meaning was very
linaited ; and bore but a very slight relation to
the extended signification accorded to it in modern
Music. It is now used in two senses, between
which there exists no connection whatever. For
instance, an English Musician, meeting with two
Compositions, one of which is headed, ' Tempo di
Valza,' and the other, 'Tempo di Menuetto,' will
naturally (and quite correctly) play the first in
' Waltz-Time ' ; that is to say, at the pace at which
a Waltz is commonly danced ; and the second, at
the very much slower pace peculiar to the Minuet.
But an Italian Musician will tell us that both
are written in * Tempo di tripla di semiminima';
and the English Professor will (quite correctly)
translate this by the expression, ♦ Triple Time,*
or ' 3-4 Time,' or ' Three Crotchet Time.' Here,
then, are two Compositions, one of which is in
* Waltz-Time,' and the other in ' Minuet Time,*
while both are in 'Triple Time'; the words
* Tempo ' and ' Time ' being indiscriminately used
to indicate pace and rhythm. The difficulty
might have been removed by the substitution of
the term * Movimento ' for ' Tempo,' in all cases
in which pace is concerned ; but this word is
very rarely used, though its French equivalent,
' Mouveraent,* is not uncommon.
The word Tempo having already been treated,
in its relation to speed, we have now only to
consider its relation to rhythm.
In the Middle Ages, the words * Tempus,'
* Tempo,* 'Time,' described the proportionate
duration of the Breve and Semibreve only;
the relations between the Large and the Long,
and the Long and the Breve, being determined
by the laws of Mode,'* and those existing be-
tween the Semibreve and the Minim, by the
rules of Prolation.' Of Time, as described by
mediaeval writers, there were two kinds — the
Perfect and the Imperfect, In Perfect Time,
the Breve was equal to three Semi breves. The
Signature of this was a complete Circle. In
Imperfect Time — denoted by a Semicircle — the
Breve was equal to two Semibreves only. The
complications resulting from the use of Perfect
or Imperfect Time in combination with the
different kinds of Mode and Prolation, are
described in the article Notation, and deserve
careful consideration, since they render possible,
in antient Notation, the most abstruse combina-
tions in use at the present day.
In modern Music, the word Time is applied
to rhythmic combinations of all kinds, nxostly
indicated by fractions (^ etc.) referring to the
aliquot parts of a Semibreve — the norm by which
2 Here, again, we meet witli another curious anomaly ; for th«
word ' Mode ' is also applied, by mediaeval writers, to the peculiar
forms of Tonality which preceded the Invention of the modera
Scale. •* See MojjE, Tuolaiiok, and Vol. U. pp. 471 6 -472 a.
118
TIME.
the duration of all other notes is and always has
been regulated. [See Time-Signature.]
Of these combinations, there are two distinct
orders, classed under the heads of Common (or
Duple) Time, in which the contents of the Bar*
— as represented by the number of its Beats —
are divisible by a ; and Triple Time, in which
the number of beats can only be divided by 3.
These two orders of Time — answering to the
Imperfect and Perfect forms of the earlier system
— are again subdivided into two lesser classes,
called Simple and Compound. We shall treat
of the Simple Times first, begging the reader to
remember, that in every case the rhythmic
value of the Bar is determined, not by the
number of notes it contains, but by the number
of its Beats. For it is evident that a Bar of
what is generally called Common Time may just
as well be made to contain two Minims, eight
Quavers, or sixteen Semiquavers, as four Crotch-
ets, though it can never be made to contain
more or less than four Beats. It is only by the
number of its Beats, therefore, that it can be
accurately measured.
I. Simple Common Times (Ital. Tempi pari; Fr.
Mesures d qiiatre ou d deux temps ; Germ. Einfache
gerade Tdkt), The forms of these now most com-
monly used, are —
I. The Time called 'Alia Breve,' which con-
tains, in every Bar, four Beats, each represented
by a Minim, or its value in other notes.
A , ^^ ^ ^^ ^
This species of Time, most frequently used in
Ecclesiastical Music, has for its Signature a
Semicircle, with a Bar drawn perpendicularly
through it' ^
and derives its name
from the fact that four Minims make a Breve.
a. Four Crotchet Time (Ital. Tempo ordi-
nario ;' Fr. Mesure d, quatre temps ; Germ. Vier-
vierteltaJd) popularly called Common Time, par
excellence.
s=
1 — r
m^-gis^
This kind of Time also contains four Beats in a
Bar, each Beat being represented by a Crotchet —
or its value, in other notes. Its Signature is an
unbarred Semicircle ( - {* ■ ) , or, less com-
monly, J. •
3. The Time called Alia Cappella— some-
times very incorrectly misnamed Alia Breve —
1 strictly speaking, the term ' Bar' applies only to the lines drawn
perpendicularly acros.i the Stave, for the purpose of dividing a Com-
position into equal portions, properly called ' Measures.' But. in
common language, the term 'Bar' Is almost invariably substituted
for ' Measure.' and consequently used to denote not only the perpen-
dicular lines, but also the Music contained between them. It is in
this latter sense that the word is used throughout the present
wtiele.
3 Not a 'capital 0, for Common Time,' as neophytes sometimes
TIME.
containing two Minim Beats in the Bar, and
having for its Signature a barred Semicircle ex-
actly similar to that used for the true Alia Breve
already described (No. l).
This Time — essentially modem— is constantly
used for quick Movements, in which it is more
convenient to beat twice in a Bar than four
times. Antient Church Music is frequently
translated into this time by modem editors,
each bar of the older Notation being cut into
two ; but it is evidently impossible to call it
* Alia Breve,' since each bar contains the value
not of a Breve but of a Semibreve only.
4. Two Crotchet or Two-four Time, sometimes,
though very improperly, called ' French Common
Time' (Ital. Tempo di dupla; Fr. 3Iesure A
dev^ temps; Germ. Zweivierteltdkt), in which
each Bar contains two Beats, each represented
by a Crotchet.
In very slow Movements, written in this Time,
it is not at all unusual for the Conductor to
indicate four Beats in the Bar instead of two ;
in which case the effect is precisely the same as
that which would be produced by Four Crotchet
Time, taken at the same rate of movement for
each Beat. It .would be an excellent plan to
distinguish this slow form of ^ by the Time-
Signature, ^ ; since this sign would indicate the
subsidiary Accent to be presently described.
5. Eight Quaver Time (Germ. AchtachteltaJct)
— that is, eight Beats in a Bar, each represented
by a Quaver — is not very frequently used : but
an example, marked |, will be found in the PF.
arrangement of the Slow Movement of Spohr's
Overture to 'Faust.'
A A A A A A h A
In the Orchestral Score, each Bar of this Move-
ment is divided into two, with the barred Semi-
circle of Alia Cappella for its Time-Signature.
It is evident that the gross contents of a Bar of
this Time are equal, in value, to those of a Bar
of 4; but there is a great difference in the
rendering, which will be explained later on.
6. Two Quaver Time (Germ. Zweiachteltdkt,
or Viersechszehntheiltakt), denoted by 2 or j"^ is
also very uncommon : but examples will be found
in the Chorus of Witches in Spohr's Faust, and
in his Symphony * Die Weihe der Tone.'
A A A A
3 Not to be mistaken for the ' Tempo ordlnarlo ' so often nsed by
Handel, In which the term 'Tempo' refers to pace, and not to
rhythm, or meoswr*.
The forms of Simple Common Time we have
here described suffice for the expression of every
kind of Rhythm characterised by the presence of
I
TIME.
two, four, or eight Beats in a Bar, though it
would be possible, in case of necessity, to invent
others. Others indeed have actually been in-
vented by some very modem writers, under
pressure of certain needs, real or supposed. The
one indispensable condition is, not only that the
number of Beats should be divisible by 2 or 4,
but that each several Beat should also be capable
of subdivision by 2 or 4, ad infinitum}
II. When, however, each Beat is divisible by
3, instead of 2, the Time is called Compound
Common (Germ. Gerade zusammengesetzte Told)-.
Common, because each Bar contains two, four,
or eight Beats ; Compound, because these Beats
are represented, not by simple, but by dotted
notes, each divisible by three. For Times of
this kind, the term Compound is especially
well-chosen, since the peculiar character of the
Beats renders it possible to regard each Bar as
an agglomeration of so many shorter Bars of
Triple Time.
The forms of Compound Common Time most
frequently used are —
la Twelve-four Time (Germ. Zwolfviertel-
faJct), ^?, with four Beats in the Bar, each Beat
represented by a dotted Minim — or its equi-
vjJent, three Crotchets; used, principally, in
Sacred Music.
2 a. Twelve-eight Time (Ital. Tempo di Do-
diciupla; Germ. ZwolfachteltaJct), ^ , with four
Beats in the Bar, each represented by a dotted
Crotchet, or its equivalent, three Quavers.
A A A
3 a. Twelve-sixteen Time, j| ; with four
Beats in the Bar, each represented by a dotted
Quaver, or its equivalent, three Semiquavers.
TIME.
119
4 a. Six-two Time, f ; with two beats in each
Bar ; each represented by a dotted Semibreve —
or its equivalent, three Minims; used only in
Sacred Music, and that not very frequently.
5 a. Six-four Time, (Germ. Sechsvierteltaht),
with two Beats in the bar, each represented by a
dotted Minim — or its equivalent, three Crotchets.
A A-
6 a. Six-eight Time (Ital. Tempo di Sea-
tupla; Germ. Sechsachteltakt), with two Beats
» This law does not militate against the use of Triplets, Sextoles.
or other groups containing any odd number of notes, since these
abnormal groups do not belong to the Time, but are accepted as
infractions of itt rules.
in the Bar, each represented by a dotted Crotchet
— or its equivalent, three Quavers.
^ A A
7 a. Six-sixteen Time, p^, with two Beats
in the Bar, each represented by a dotted Quaver
— or its equivalent, three Semiquavers.
8 a. Twentyfour-sixteen, H, with eight Beats
in the Bar, each represented by a dotted Quaver
— or its equivalent, three Semiquavers.
A A A A A
III. Unequal, or Triple Times (Ital. Tempi dis-
pari ; Fr. Mesures a trois temps ; Germ. Ungerade
Taht ; Tripel TaU) diflfer from Common, in that
the number of their Beats is invariably three.
They are divided, like the Common Times, into
two classes — Simple and Compound — the Beats
in the first class being represented by simple
notes, and those in the second by dotted ones.
The principal forms of Simple Triple Time
(Germ. Einfache ungerade Taht) are —
16. Three Semibreve Time (Ital. Tempo di
Tripla di Semibrevi), \, or 3, with three Beats
in the Bar, each represented by a Semibreve.
This form is rarely used in Music of later date
than the first half of the 1 7th century ; though,
in Church Music of the School of Palestrina, it
is extremely conunon.
A A^ ^-s ,--s
26. Three-two Time, or Three Minim Time
(Ital. Tempo di Tripla di Minime) with three
Beats in the Bar, each represented by a Minim,
is constantly used, in Modern Church Music, as
well as in that of the i6th century,
A
3 b. Three-four Time, or Three Crotchet Time
(Ital. Tempo di Tripla di Semiminime, Emiolia
maggiore; Germ. Dreivierteltakt) with, three Beats
in the Bar, each represented by a Crotchet, is
more frequently used, in modern Music, than
any other form of Simple Triple Time.
A A
46. Three-eight Time, or Three Quaver Time
(Ital. Tempo di Tripla di Crome, Emiolia
minore ; Germ. Dreiachteltakt) with three Beats
in the Bar, each represented by a Quaver, is also
very frequently used, in modem Music, for slow
movements.
,120
TIME.
It is possible to invent more forms of Simple
Triple Time (as ^q, for instance), and some very
modem Composers have done so ; but the cases
in which they can be made really useful are
exceedingly rare.
IV. Compound Triple Time (Germ. Zusammen-
gesetzte Ungeradetakt) is derived from the simple
form, on precisely the same principle as that
already described with reference to Common
Time. Its chief forms are —
ic. Nine-four Time, or Nine Crotchet Time
(Ital. Tempo di Nonupla maggiore ; Germ. Neun-
vierteltakt) contains three Beats in the Bar, each
represented by a dotted Minim — or its equiva-
lent, three Crotchets.
2C. Nine-eight Time, or Nine Quaver Time
(Ital. Tempo di Nonupla minore ; Germ. Neun-
addeltakt) contains three Beats in a Bar, each
represented by a dotted Crotchet — or its equiva-
lent, three Quavers.
A A
3 c. Nine-sixteen Time, or Nine Semiquaver
Time (Germ. NennsecJiszehntheiltakt), contains
three Beats in the Bar, each represented by a
dotted Quaver— or its equivalent, three Semi-
quavers.
It is possible to invent new forms of Compound
Triple Time (as 2) i but it would be difficult to
find cases in which such a proceeding would be
justifiable on the plea of real necessity.
V. In addition to the universally recognised
forms of Rhythm here described, Composers have
invented certain anomalous measures which call
for separate notice: and first among them we
must mention that rarely used but by no means
unimportant species known as Quintuple Time
(4 ^^ ^)' ^^^^ ^^® Beats in the Bar, each Beat
being represented either by a Crotchet or a
Quaver as the case may be. As the peciiliarities
of this rh3rthmic form have already been fully
described,^ we shall content ourselves by quoting,
in addition to the examples given in vol. iii. p. 6 1,
one beautiful instance of its use by Brahms, who,
in his 'Variations on u Hungarian Air,' Op. 21,
No. 2, has fulfilled all the most necessary condi-
tions, by writing throughout in alternate Bars
of Simple Common and Simple Triple Time,
under a double Time-Signature at the beginning
of the Movement.
There seems no possible reason why a Com-
poser, visited by an inspiration in that direction,
should not write an Air in Septuple Time, with
1 See QUIKTCFLE TlUK.
TIME.
seven beats in a bar. The only condition need-
ful to ensure success in such a case is, that the
inspiration must come first, and prove of suffi-
cient value to justify the use of an anomalous
Measure for its expression. An attempt to
write in Septuple Time, for its own sake,
must inevitably result in an ignoble failure.
The chief mechanical difficulty in the employ-
ment of such a Measure would lie in the un-
certain position of its Accents, which would not
be governed by any definite rule, but must
depend, almost entirely, upon the character of
the given Melody, and might indeed be so
varied as to give rise to several different species
of Septuple Time ' — a very serious objection, for,
after all, it is by the position of its Accents that
every species of Time must be governed.' It was
for this reason that, at the beginning of this
article, we insisted upon the necessity for measur>
ing the capacity of the Bar, not by the number
of the notes it contained, but by that of its
Beats : for it is upon the Beats that the Accents
fall ; and it is only in obedience to the position
of the Beats that the notes receive them. Now
it is a law that no two Accents — that is to
say, no two of the greater Accents by which
the Rhythm of the Bar is regulated, without
reference to the subordinate stress which ex-
presses the division of the notes into groups —
no two of these greater Accents, we say, can
possibly fall on two consecutive Beats; any more
than the strong Accent, called by Grammarians
the ' Tone,' can fall on two consecutive syllables
in a word. The first Accent in the Bar — ^marked
thus ( A ) in our examples, corresponds in Music
with what is technically called the * Tone-syllable'
of a word. Where there are two Accents in the
Bar, the second, marked thus, ( A ), is of much less
importance. It is only by remembering this, that
we can understand the diflference between the
Time called 'Alia Cappella,' with two Minim Beats
in the Bar, and 4 with four Crotchet Beats :
for the value of the contents of the Bar, in notes,
is exactly the same, in both cases ; and in both
cases, each Beat is divisible by 2, indefinitely.
The only difference, therefore, lies in the distri-
bution of the Accents; and this difference is
entirely independent of the pace at which the
Bar may be taken.
A A A
In like maimer, six Quavers may be written,
s See the remarks on an analogous uncertainty in Quintuple Time.
Vol. Hi. p. 616.
8 The reader will bear in mind that we are here speaking of
Accent, pur et simple, and not of emphasis, A note may be em-
phasised, in any part of the Bar ; but the quiet dwelling upon it
which constitutes true Accent— Accent analogous to that used In
speaking— can only take place on the accented Beat, the position of
which Is invariable. Hence it follows that the most strongly accented
notes in a given passage may also be the softest. In all questions
concerning Rhythm, a clear understanding of the difference between
Accent— produced by quieUy dwelling on a note— and Empfaasis—
produced by forcing it. U of the utmost importance.
TIME.
TIME.
121
with equal propriety, in a Bar of ^ or in one of
^ Time. But the effect produced will be alto-
gether different ; for, in the first case, the notes
will be grouped in three divisions, each contain-
ing two Quavers ; while, in the second, they will
form two groups, each containing three Quavers.
Again, twelve Crotchets may be written in a
Bar of §, or ^? Time ; twelve Quavers, in a Bar
of ^, or ^g ; or twelve Semiquavers, in a Bar of
^, or § ; the division into groups of two notes,
or three, and the effect thereby produced, de-
pending entirely upon the facts indicated by the
Time- Signature — in other words, upon the ques-
tion whether the Time be Simple or Compound.
For the position of the greater Accents, in
Simple and Compound Time, is absolutely identi-
cal ; the only difference between the two forms
of Khythm lying in the subdivision of the Beats
by 2, in Simple Times, and by 3, in Compound
ones. Every Simple Time has a special Com-
pound form derived directly from it, with the
greater Accents — the only Accents with which
we are here concerned — falling in exactly the
same places; as a comparison of the foregoing
examples of Alia Breve and ^^, C and 3^* -A-Ua
Cappella and §, 4 and §, | and Jg, | and j^, g
and 6^, § and ^, 3 and §, g and 9^, wiU dis-
tinctly prove. And this rule applies, not only
to Common and Triple Time, but also to Quint-
uple and Septuple, either of which may be
Simple or Compound at will. As a matter of
fact, we believe we are right in saying that
neither of these Rliythms has, as yet, been at-
tempted, in the Compound form. But such a
form is possible : and its complications would in
no degree interfere with the position of the
greater Accents.^ For the strongest Accent wiU,
in all cases, fall on the first Beat in the Bar;
while the secondary Accent may fall, in Quin-
tuple Time — whether Simple or Compound —
either on the third or the fourth Beat ; and
in Septuple Time — Simple or Compound — on the
fourth Beat, or the fifth — to say nothing of
other places in which the Composer would be
perfectly justified in placing it.''
In a few celebrated cases — more numerous,
nevertheless, than is generally supposed — Com-
Danza Tbdesca.
Ex. 1.
From ' II Don Giovanni.
1 Compound Quintuple Bhythm would need, for Its Time-Signa- i means satisfactory 'rule of thumb,' that all firactions with i
ture. the fraction ^' or \^; and Compound Septuple Bhythm. 2^^ or rator greater than 5 denote Compound Timea.
i'^. Tyrus are sometimes taught the perfectly correct though by no I 2 See TiHE-BEATWa.
122
TIME.
TIME, BEATING.
posers have produced particularly happy effects
by the simultaneous employment of two or
more different kinds of Time. A very simple
instance will be found in Handel's so-called • Har-
monious Blacksmith,' where one hand plays
in Four-Crotchet Time ( C ). and the other in
^&. A more ingenious combination is found in
the celebrated Movement in the Finale of the First
Act of *Il Don Giovanni,' in which three dis-
tinct Orchestras play simultaneously a Minuet in
? Time, a Gavotte in ^, and a Waltz in 3, as in
Ex. I on previous page ; the complexity of the ar-
rangement being increased by the fact that each
three bars of the Waltz form, in their relation to
each single bar of the Minuet, one bar of Compound
Triple Time (S) ; while in relation to each single
bar of the Gavotte, each two bars of the Waltz
form one bar of Compound Common Time (§).
A still more complicated instance is found in
the Slow Movement of Spohr's Symphony, ' Die
Weihe der Tone ' (Ex. a on previous page) ; and
here again the difficulty is increased by the con-
tinuance of the slow Tempo — Andantino — in the
part marked ^, while the part marked Allegro
starts in Doppio movlmento, each Quaver being
equal to a Semiquaver in the Bass.
Yet these complications are simple indeed
when compared with those to be found in Pales-
trina's Mass *L'hommearmd,' and in innumerable
Compositions by Josquin des Pres, and other
writers of the 15th and i6th centuries ; triumphs
of ingenuity so abstruse that it is doubtful
whether any Choristers of the present day could
master their difficulties, yet all capable of being
expressed with absolute certainty by the various
forms of Mode, Time, and Prolation, invented
in the Middle Ages, and based upon the same
firm principles as our own Time-Table. For,
all the mediaeval Composers had to do, for the
purpose of producing what we call Compound
Common Time, was to combine Imperfect Mode
with Perfect Time, or Imperfect Time with the
Greater Prolation; and, for Compound Triple
Time, Perfect Mode with Perfect Time, or Perfect
Time with the Greater Prolation. [W.S.R.]
TIME, BEATING. Apart from what we know
of the manners and customs of Greek Musicians,
the practice of beating Time, as we beat it at the
present day, is proved, by the traditions of the
Sistine Choir, to be at least as old as the 15th
century, if not very much older. In fact, the
continual vaiiations of Tempo which form so im-
portant an element in the interpretation of the
works of Palestrina and other mediaeval Masters,
must have rendered the * Solfa '^-or, as we now
call it, the Baton — of a Conductor indispens-
able ; and in the Pontifical Chapel it has been
considered so from time immemorial. When
the Music of the Polyphonic School gave place
to Choruses accompanied by a full Orchestra,
or, at least, a Thoroughbass, a more uniform
Tempo became not only a desideratum, but al-
most a necessity. And because good Musicians
found no difficulty in keeping together, in Move-
ments played or sung at an uniform pace from
beginning to end, the custom of beating time
became less general ; the Conductor usually ex-
changing his desk for a seat at the Harpsichord,
whence he directed the general style of the
performance, while the principal First Violin —
afterwards called the Leader — regulated the
length of necessary pauses, or the pace of ritar-
dandi, etc., with his Violin-bow. Notwithstand-
ing the evidence as to exceptional cases, afforded
by Handel's Harpsichord, now in the South
Kensington Museum,* we know that this custom
was almost universal in the i8th century, and
the earlier years of the 19th — certainly as late
as the year 1829, when Mendelssohn conducted
his Symphony in C Minor from the Pianoforte,
at the Philharmonic Concert, then held at the
Argyle Rooms.'' But the increasing demand for
effect and expression in Music rendered by the
full Orchestia, soon afterwards led to a per-
manent revival of the good old plan, with which
it would now be impossible to dispense.
Our present method of beating time is directly
derived from that practised by the Greeks;
though with one very important difference. The
Greeks used an upward motion of the hand, which
they called the dpais (arsis), and a downward
one, called Oeais {thesis). We use the same. The
difference is, that with us the Thesis, or down-
beat, indicates the accented part of the Measure,
and tlie Arsis, or up-beat, its unaccented portion,
while with the Greeks the custom was exactly
the reverse. In the Middle Ages, as now, the
Semibreve was considered as the norm from
which the proportionate duration of all other
notes was derived. This norm comprised two
beats, a downward one and an upward one,
each of which, of course, represented a Minim.
The union of the Thesis and Arsis indicated by
these two beats was held to constitute a Measure
— called by Morley and other old English writers
a 'Stroake.' This arrangement, however, was
necessarily confined to Imperfect, or, as we now
call it. Common Time. In Perfect, or Triple
Time, the up-beats were omitted, and three
down-beats only were used in each Measure ;
the same action being employed whether it con-
tained three Semibreves or three Mimims.
When two beats only are needed in the bar,
„ .^ we beat them, now, as
Fig. 1. 1 they were beaten in the
time of Morley; the
down-beat representing
the Thesis, or accented
part of the Measure, and
A 1 cs B 1 f5 the up-beat, the Arsis,
^) I «^ or unaccented portion, as
at (a) in the annexed
diagram.' But it some-
times happens that Pres-
1 i tissimo Movements are
taken at a pace too rapid to admit the delivery
1 See vol. 11. p. 564, note. 2 See vol. II. p. 263.
» The diagrams indicate a downward motion towards 1, for the
beginning of the bar. The hand then passes through the other
beats. In the order In which they are numbered, and, on reaching the
last, is supposed to descend thence perpendicularly, to 1. tor the be-
glonlug of the oezt bar.
TIME, BEATING.
of even two beats in a bar ; and, in these cases,
a single down-beat only is used, the upward
motion of the Conductor's hand passing unnoticed,
in consequence of its rapidity, as at (b).
When three beats are needed in the bar, the
custom is, in England, to beat once downwards,
once to the left, and once upwards, as at (a)
in Fig. 2. In France, the same system is
used in the Concert-room; but in the Theatre
it is usual to direct the second beat to the right,
TIME, BEATING.
12S
as at B, on the ground that the Conductor's Baton
is thus rendered more easily visible to performers
seated behind him. Both plans have their advan-
tages and their disadvantages; but the fact that
motions directed downwards, or towards the
right, are always understood to indicate either
primary or secondary accents, weighs strongly in
favour of the English method.
But in very rapid Movements — such as we
find in some of Beethoven's Scherzos — it is better
Fig. 2.
FiQ.9.
Em. 4.
to indicate 3-4 or 3-8 Time by a single down-
beat, like those employed in very rapid 2-4 ; only
that, in this case, the upward motion which the
Conductor necessarily makes in preparation for
the downward beat which is to follow must be
made to correspond as nearly as possible with
the third Crotchet or Quaver of the Measure,
as in Fig. 3.
"When four beats are needed in the bar, the
first is directed downwards ; the second towards
the left; the third towards the right; and the
fourth upwards. (Fig. 4.)
It is not possible to indicate more than four
full beats in a bar, conveniently. But it is easy
to indicate eight in a bar, by supplementing each
full beat by a smaller one in the same direction.
Fi&. 5.
as at (a) in Fig. 5 ; or, by the same means, to
beat six Quavers in a bar of very slow 3-4 Time,
as at (b), or (0).
Compound Times, whether Common or Triple,
may be beaten in two ways. In moderately
quick Movements, they may be indicated by the
same number of beats as the Simple Times from
which they are derived : e. g. 6-8 Time may be
beaten like 2-4; 6-4 like Alia Cappella; 12-8
like 4-4 ; 9-8 like 3-4 ; 9-16 like 3-8, etc., etc.
But, in slower Movements, each constituent of
the Compound Measure must be indicated by a
triple motion of the Baton ; that is to say, by
one full beat, followed by two smaller ones, in
the same direction ; 6-4 or 6-8 being taken as
at (a) in Fig. 6 ; 9-4 or 9-8 as at (b) ; and
12-8 as at (0). The advantage of this plan is,
that in all cases the greater divisions of the bar
are indicated by full beats, and the subordinate
ones by half-beats.
For the anomalous rhythmic combinations
with five or seven beats in the bar, it is difl&cult
to lay down a law the authority of which is
sufl&ciently obvious to ensure its general accepta-
tion. Two very different methods have been re-
commended; and both have their strong and
their weak points.
One plan is, to beat each bar of Quintuple
124 TIME, BEATING.
Time in two distinct sections; one containing
two beats, and the other, three: leaving the
question whether the duple section shall precede
the triple one, or the reverse, to be decided by
the nature of the Music. For Compositions like
that by Brahms (Op. 21, No. 2), quoted in the
preceding article, this method is not only excel-
lent, but is manifestly in exact accordance with
the author's intention — which, after all, by divid-
TIME, BEATING.
ing each bar into two dissimilar members, the
one duple and the other triple, involves a com-
promise quite inconsistent with the character of
strict Quintuple Rhythm, notwithstanding the
use that has been made of it in almost all other
attempts of like character. The only Composition
with which we are acquainted, wherein five in-
dependent beats in the bar have been honestly
maintained throughout, without any compromise
Fig. 6.
whatever, is Reeve's well-known 'Gypsies' Glee ';'
and, for this, the plan we have mentioned would
be wholly unsuitable. So strictly impartial is
the use of the five beats in this Movement, that
it would be quite impossible to fix the position
of a second Accent. The bar must therefore be
expressed by five full beats ; and the two most
convenient ways of so expressing it are those
indicated at (a) and (b) in Fig. 7.
This is undoubtedly the best way of indicating
Quintuple Rhythm, in all cases in which the Com-
poser himself has not divided the bar into two
unequal members.
Seven beats in the bar are less easy to manage.
In the first place, if a compromise be attempted,
the bar may be divided in several different ways ;
e.g. it may be made to consist of one bar of
4-4, followed by one bar of 3-4 ; or, one bar of
3-4, followed by one bar of 4-4 ; or, one bar of
3-4, followed by two bars of 2-4 ; or, two bars
of 2-4, followed by one of 3-4 ; or, one bar of 2-4,
one of 3-4, and one of 2-4. But, in the absence
Fig. 7.
of any indication of such a division by the Com-
poser himself, it is much better to indicate seven
honest beats in the bar. (Fig. 8.)
Yet another complication arises, in cases in
which two or more species of Rhythm are em-
ployed simultaneously, as in the Minuet in 'Don
Giovanni,' and the Serenade in Spohr's 'Weihe
der Tone.* In all such cases, the safest rule is,
to select the shortest Measure as the norm, and
to indicate each bar of it by a single down-beat.
Thus, in *Don Giovanni,' the Minuet, in 3-4
Time, proceeds simultaneously with a Gavotte in
1 6«eT0l.iiLp.61&
2-4, three bars of the latter being played against
two bars of the former ; and also with a Waltz
in 3-8, three bars of which are played against
each single bar of the Minuet, and two against
each bar of the Gavotte. We must, therefore,
select the Time of the Waltz as our norm ; in-
dicating each bar of it by a single down-beat ; in
which case each bar of the Minuet will be in-
dicated by three down beats, each bar of the
Gavotte by two, and each bar of the Waltz by
one — an arrangement which no orchestral player
can possibly misunderstand.
In like manner, Spohr*8 Symphony will be
TIME, BEATING.
most easily made intelligible by the indication
of a single down-beat for each Semiquaver of the
part written in 9-16 Time — a method which
Mendelssohn always adopted in conducting this
Symphony.*
This method of using down-beats only is also
of great value in passages which, by means of
complicated syncopations, or other similar ex-
pedients, are made to go against the time ; that
is to say, are made to sound as if they were
TIME, BEATING.
125
written in a different Time from that in which they
really stand. But, in these cases, the down-
beats must be employed with extreme caution,
and only by very experienced Conductors, since
nothing is easier than to throw a whole Orchestra
out of gear, by means used with the best possible
intention of simplifying its work. A passage
near the conclusion of the Slow Movement of
Beethoven's ' Pastoral Symphony ' will occur to
the reader as a case in point.
Fig. 8.
The rules we have given will ensure mechanical
correctness in beating Time. But, the iron strict-
ness of a Metronome, though admirable in its
proper place, is very far from being the only
qualification needed to form a good Conductor,
who must not only know how to beat Time with
precision, but must also learn to beat it easily
and naturally, and with jiisb so much action as
may suffice to make the motion of his B^ton seen
and understood by every member of the Orches-
tra, and no more. For the antics once practised
by a school of Conductors, now happily almost
extinct, were only so many fatal hindrances to
an artistic performance.
Many Conductors beat Time with the whole
arm, instead of from the wrist. This is a very
bad habit, and almost always leads to a very
much worse one — that of dancing the Baton,
instead of moving it steadily. Mendelssohn,
one of the most accomplished Conductors on
record, was very much opposed to this habit,
and reprehended it strongly. His manner of
beating was excessively strict ; and imparted
such extraordinary precision to the Orchestra,
that, having brought a long level passage— such,
for instance, as a continued forte — into steady
swing, he was sometimes able to leave the per-
formers, for a considerable time, to themselves ;
and would often lay down his Baton upon the
desk, and cease to beat Time for many bars
together, listening intently to the performance,
and only resuming his active functions when his
instinct told hira that his assistance would pre-
sently be needed. With a less experienced chief,
such a proceeding would have been fatal : but,
when he did it — and it was his constant practice
I See the examples of these two passages, tn the foregoing article
(p. 121).
— one always felt that everything was at its very
best.
It may seem strange to claim, for the me-
chanical process of time-beating, the rank of an
element — and a very important element — neces-
sary to the attainment of ideal perfection in art :
yet Mendelssohn's method of managing the
BS,ton proved it to be one. He held 'Tempo
rubato ' in abhorrence ; yet he indicated nuances
of emphasis and expression — as opposed to the
inevitable Accents described in the foregoing
article — with a precision which no educated
musician ever failed to understand ; and this
with an effect so marked, that, when even Ferdi-
nand David — a Conductor of no ordinary ability
— took up the baton after him at the Gewand-
haus, as he frequently did, the soul of the Orches-
tra seemed to have departed.'^ The secret of this
may be explained in a very few words. He
knew how to beat strict Time with expression ;
and his gestures were so full of meaning, that he
enabled, and compelled, the meanest Ripieno to
assist in interpreting his reading. In other words,
he united, in their fullest degree, the two quali-
fications which alone are indispensable in a great
Conductor — the noble intention, and the power
of compelling the Orchestra to express it. No
doubt, the work of a great Conductor is immea-
surably facilitated by his familiarity with the
Orchestra he directs. Its members learn ta
understand and obey him, with a certainty
which saves an immensity of labour. Sir Michael
Costa, for instance, attained a position so eminent,
that for very many years there was not, in all
England, an orchestral player of any reputation
' We do not make this assertion on our own unsupported authority.
The circumstance has been noticed, over and over again ; and all
who carefully studied Mendelssohn's method will bear witness to
126
TIME, BEATING.
who did not comprehend the meaning of the
slightest motion of his hand. And hence it was
that, during the course of his long career, he
was ahle to modify and almost revolutionise
the method of procedure to which he owed his
earliest successes. Beginning with the com-
paratively small Orchestra of Her Majesty's
Theatre, as it existed years ago, he gradually
extended his sway, until he brought under
command the vast body of 4000 performers as-
sembled at the Handel Festivals at the Crystal
Palace. As the number of performers increased,
he found it necessary to invent new methods of
beating Time for them ; and, for a long period,
used an uninterrupted succession of consecutive
down-beats with a freedom which no previous
Conductor had ever attempted. By using down-
beats with one hand, simultaneously with the
orthodox form in the other, he once succeeded,
at the Crystal Palace, in keeping under command
the two sides of a Double Chorus, when every one
present capable of understanding the gravity of
the situation believed an ignoble crash to be
inevitable. And, at the Festival of 1883, his
talented successor, Mr. Manns, succeeded, by
nearly similar means, in maintaining order under
circumstances of unexampled difficulty, caused
by the sudden illness of the veteran chief whose
place he was called upon to occupy without due
time for preparation. In such cases as these the
Conductor's left hand is an engine of almost un-
limited power, and, even in ordinary conducting,
it may be made extremely useful. It may beat
four in a bar, or, in unequal combinations, even
three, while the right hand beats two ; or the
reverse. For the purpose of emphasising the
meaning of the right hand.its action is invaluable.
And it may be made the index of a hundred
shades of delicate expression. Experienced players
display a wonderful instinct for the interpretation
of the slightest action on thepart of an experienced
Conductor. An intelligent wave of the baton will
often ensure an effective sforzando, even if it be
not marked in the copies. A succession of beats,
beginning quietly, and gradually extending to
the broadest sweeps the baton can execute, will
ensure a powerful crescendo, and the opposite pro-
cess, an equally effective diminuendo, unnoticed
by the transcriber. Even a glance of the eye
will enable a careless player to take up a point
correctly, after he has accidentally lost his place
— a very common incident, since too many players
trust to each other for counting silent bars, and
consequently re-enter with an indecision which
energy on the part of the Conductor can alone
correct.
It still remains to speak of one of the most
important duties of a Conductor — that of start-
ing his Orchestra. And here an old-fashioned
scruple frequently causes great uncertainty.
Many Conductors think it beneath their dignity
to start with a preliminary beat : and many more
players think themselves insulted when such a
beat is given for their assistance. Yet the
value of the expedient is so great, that it is mad-
ness to sacrifice it for the sake of idle prejudice.
TIME-SIGNATURK
No doubt good Conductors and good Orchestras
can start well enough without it, in all ordinary
cases ; but it is never safe to despise legitimate
help, and never disgraceful to accept it. A
very fine Orchestra, playing Beethoven's Sym-
phony in 0 minor for the first time under a
Conductor with whose 'reading' of the work
they were unacquainted, would probably escape
a vulgar crash at starting, even without a pre-
liminary beat; but they would certainly play
the first bar very badly : whereas, with such a
beat to guide them, they would run no risk at all.
For one preliminary beat suffices to indicate to
a cultivated Musician the exact 'rate of speed at
which the Conductor intends to take the Move-
ment he is starting, and enables him to fulfil his
chiefs intention with absolute certainty. [W.S.R.]
TIME-SIGNATURE (Lat. Signum Modi,
vel Temporis,vel Prolationis; Germ. Taktzeichen).
A Sign placed after the Clef and the Sharps or
Flats which determine the Signature of the Key,
in order to give notice of the Rhythm in which
a Composition is written.
Our present Time-signatures are directly de-
scended from forms invented in the Middle Ages.
Mediaeval Composers used the Circle — the most
perfect of figures — to denote Perfect (or, as we
should now say. Triple) Rhythm ; and the Semi-
circle for Imperfect or Duple forms. The Sig-
natures used to distinguish the Greater and Lesser
Modes,^ Perfect or Imperfect — Signa Modi,
Modal Signs — were usually preceded by a group
of Rests,^ showing the number of Longs to
which a Large was equal in the Greater Mode,
and the number of Breves which equalled the
Long in the Lesser one — that is to say, three
for the Perfect forms, and two for the Imperfect.
Sometimes these Rests were figured once oiUy :
sometimes they were twice repeated. The fol-
lowing forms were most commonly used : —
Greater Mode Perfect.
Pi
:e:
i^^^
i^
Greater Mode Imperfect.
- or
m
s
Lesser Mode Perfect,
Lesser Mode Imperfect.
Combinations of the Greater and Lesser Modes,
when both were Perfect, were indicated by a
Point of Perfection, placed in the centre of the
Circle, as at (a) in the following example. When
the Greater Mode was Perfect, and the Lesser
Imperfect, the Point was omitted, as at (Jb).
1 See Mode.
3 The reader mnst be careful to obserre the position of these
Rests ; because It Is only when they precede the Circle or Semicircle,
that they are used as signs. When they follow It, they must be
counted as marks of silence.
TIME-SIGNATUEE.
When both Modes were Imperfect, or the
Greater Imperfect and the Lesser Perfect, the
difference was indicated by the groups of Rests,
as at (c) and (d).
(6) Greater Mode Perfect,
and Lesser Imperfect.
TINCTORIS.
127
(a) Both Modes Perfect.
^^i
i
B^B5
/-\ T>^iu nir^A^^ T ^»_fc^* («0 Greater Modes Imperfect,
(c) Both Modes Imperfect. and Lesser Perfect.
i
fl=F
The Circle and the Semicircle, were also used
either alone or in combination with the figures
3 or 2, as Signatures of Time, in the limited
sense in which that term was used in the Middle
Ages;^ i.e. as applied to the proportions existing
between the Breve and the Semibreve only —
three to one in Perfect, and two to one in Im-
perfect forms.
Perfect Time.
EEO:
i
;e
Imperfect Time.
lB~z
\E^
The same signs were used to indicate the pro-
portion between the Semibreve and the Minim,
in the Greater and Lesser Prolation ; ^ but gener-
ally with a bar drawn perpendicularly through
the Circle or Semicircle, to indicate that the
beats were to be represented by Minims ; and
sometimes, in the case of the Greater Prolation,
with the addition of a Point of Perfection.
The Greater Prolation.
s
i^$^°-|=s=i
i
:E
The Lesser Prolation.
- or
i^
Combinations of Mode, Time, and Prolation
sometimes give rise to very complicated forms,
which varied so much at different epochs, that
even Omitoparchus, writing in 15 17, complains
of the diflficulty of understanding them.^ Some
writers used two Circles or Semicircles, one
within the other, with or without a Point of
Perfection in the centre of the smaller one. The
inversion of the Semicircle ( D) always denoted
a diminution in the value of the beats, to the ex-
tent of one-half; but it was only at a compara-
tively late period that the doubled figure (C ))
indicated an analogous change in the opposite
direction. Again, the barred Circle or Semi-
circle always indicated Minim beats ; but the
unbarred forms, while indicating Semibreves, in
Mode, and Time, were used, by the Madrigal
writers, to indicate Crotchet beats, in Prolation.
The application of these principles to modern
1 See p. 176.
2 See Trolation.
s See TOl. 111. p. 12.
Time-signatures is exceedingly simple, and may
be explained in a very few words. At present
we use the unbarred Semicircle to indicate
four Crotchet beats in a bar ; the barred Semi-
circle to indicate four Minim beats, in the Time
called Alia breve, and two Minim beats in Alia
Cappella. Some German writers once used the
doubled Semicircle, barred, (C| )) for Alia breve
— which they called the Grosse Allabrevetalct,
and the ordinary single form, barred, for Alia Cap-
pella— Kleine AllabrevetaJct : but this distinction
has long since fallen into disuse.
The Circle is no longer used ; all other forms
of Rhythm than those already mentioned being
distinguished by fractions, the denominators of
which refer to the aliquot parts of a Semibreve,
and the numerators, to the number of them con-
tained in a bar, as ^ ( = J ), § ( = |^ ), etc. And
even in this we only follow the mediseval cus-
tom, which used the fraction § to denote Triple
Time, with three Minims in a bar, exactly as
we denote it at the present day.
A complete list of all the fractions now used as
Time-Signatures will be found in the article
Time, together with a detailed explanation of the
peculiarities of each. [W.S.R.]
TIME TABLE. A Table denoting the forms
and proportionate duration of all the notes used
in measured Music.
The earliest known indication of a Time Table
is to be found in the well-known work on Can-
tus mensurahilis, written by Franco of Cologne
about the middle of the nth century. Franco
mentions only four kinds of notes, the Large (or
Double Long), the Long, the Breve, and the
Semibreve. Franchinus Gafurius, in his 'Practica
musicae,' first printed at Milan in 1496, de-
scribes the same four forms, with the addition of
the Minim. These were afterwards supplemented
by the Greater Semiminim, now called the
Crotchet, and the Lesser Semiminim, or Quaver ;
and, later still, by the Semiquaver, the Demi-
semiquaver, and the Half-Demisemiquaver.
The modern Time Table, denoting the pro-
portionate value of all these notes, is too well
known in our schoolrooms to need a word of de-
scription here. [W.S.R.]
TIMIDAMENTE. The indication written by
Beethoven in his MS. of the Mass in D at the
well-known passage in the ' Agnus ' where the
trumpets produce their thrilling effect — 'Ah
Miserere ! ' etc. ; but changed by the engravers of
the first score and subsequent editions to * Tra-
midamente.' The mistake was corrected in
Breitkopf 's critical edition. [G.]
TIMPANI is the Italian word for kettle-
drums. Printers and copyists often substitute
y for i in this word, which is a great fault, as
the letter y does not exist in the Italian lan-
guage. [V. de P.]
TINCTORIS, Joannes de, known in Italy
as Giovanni del Tintore, and in England as
John Tinctor. was born at Nivelle in Brabant
12g
TINCTORIS.
in the year 1434 or 1435.^ The peculiar form
of his name has led to the supposition that he
was the son of a dyer ; but the custom of using
the genitive case, when translating proper names
into Latin, was so common in Flanders during
the Middle Ages, that it cannot, in this instance,
be accepted as a proof of the fact. All we really
know of his social status is, that his profound
learning and varied attainments were rewarded
with honourable appointments, both in his own
country and in Italy. In early youth he studied
the Law; took the Degree of Doctor, first in
Jurisprudence, and afterwards in Theology ; was
admitted to the Priesthood, and eventually ob-
tained a Canon ry in his native town. He after-
wards entered the service of Ferdinand of
Arragon, King of Naples, who appointed him
his Chaplain and Cantor, and treated him
with marked consideration and respect. At
Naples he founded a public Music-School, com-
posed much Music, and wrote the greater
number of his theoretical works. He returned
to Nivelle in 1490, and died there, as nearly
as can be ascertained, in 1520. Franchinus
Gafurius makes honourable mention of him
in several places. None of his Compositions
have been printed, but several exist in MS.
among the Archives of the Pontifical Chapel.
One of these, a * Missa Thomrae armd,' It 5, is
remarkable for the number of extraneous sentences
interpolated into the text. In the 'Sanctus'
the Tenor is made to sing * Clierubim ac Sera-
phim, cseterique spiritus angelici Deo in altissi-
mis incessabili voce proclamant'; in the first
*Osanna,' the Altus sings 'Pueri Hebraeorum
stementes vestimenta ramos palmarum lesu filio
David, clamabant ' ; and in the ' Benedictus,' the
Tenor interpolates ' Benedictus semper sit filius
Altissimi, qui de coelis hue venit '; while, in each
case, the other Voices sing the usual words of tlie
Mass.^ This senseless corruption of the authorised
text, it will be remembered, was one of the
abuses which induced the Council of Trent to
issue the decree which resulted in the composition
of the * Missa Papje Marcelli.' '
The theoretical works of J. de Tinctoris are
more numerous and important, by far, than his
Compositions. Their titles are * Expositio manus,'
* Liber de natura et proprietate tenorum,' 'De
notis ac pausis,* *De regulari valore notarum,'
* Liber imperfectionum notarum,* 'Tractatus
alterationum,' 'Super punctis musicalibus,' ' Liber
de arte contrapuncti,' * Proportionale musices,'
'Complexus efFectuum musices/ and 'Termino-
rum musicse diffinitorium.'
This last-named work will, we imagine, be
invested with special interest for our readers,
since it is undoubtedly the first Musical Diction-
ary that ever was printed. It is of such extreme
rarity, that, until Forkel discovered a copy in the
Library of the Duke of Gotha, in the latter half
of the last century, it was altogether unknown.
About the same time, Dr. Bumey discovered an-
1 Not, u some hUtorians have supposed, tn liSO.
> Bee rol. U. pp. 228b, 229a.
> Bee TOl. Ui. p. ass.
TIRARSL
other copy, in the Library of King George III,
now in the British Museum.* The work is un-
dated, and the place of publication is not men-
tioned ; but there is reason for believing that it
was printed at Naples about the year 1474. It
contains 291 definitions of musical terms, arranged
in alphabetical order, exactly in the form of an
ordinary Dictionary. The language is terse and
vigorous, and, in most cases, very much to the
purpose. Indeed it would be difficult to over-
estimate the value of the light thrown, by some
of the definitions, upon the Musical Terminology
of the Middle Ages. Some of the explanations,
however, involve rather curious anomalies, as
for instance, ' Melodia idem est quod armonia.*
Forkel reprinted the entire work in his 'Liter*
atur der Musik,' p. 204 etc.; and his reprint
has been republished, in the original Latin, under
the editorship of Mr. John Bishop, of Chelten-
ham, by Messrs. Cocks & Co.'
No other work by J. de Tinctoris has ever
been printed ; though both F^tis and Choron are
said to have once contemplated the publication
of the entire series. [W. S. R.]
TIRABOSCHI, GiROLAMO, a well-known
writer on Italian literature, born at Bergamo,
Dec. 28, 1 731, and educated by the Jesuits, to
which order he at one time belonged. He was
librarian of the Brera in Milan for some years,
and in 1 770 removed to a similar post at Modena.
His 'Storia della Letteratura Italiana' (13 vols,
quarto, 1772 to 1782) includes the history of
Italian music. He published besides 'Biblloteca
Modenese ' (6 vols. 1 781 to 86) the last volume of
which, ' Notizie de' pittori, scultori, incisori, ed
architetti, nati degli Stati del Sig. Duca di
Modena,' has an appendix of musicians. Tira-
boschi died June 3, 1797, at Modena. [P.G.]
TIRANA. An Andalusian dance of a very
graceful description, danced to an extremely
rhythmical air in 6-8 time. The words which
accompany the music are written in * coplas ' or
stanzas of four lines, without any * estrevillo.*
[See Seguidilla, vol. iii. p. 457 a.] There are
several of them in Preciso's *Colleccion de Coplas,*
etc. (Madrid, 1 799), whence the following example
is derived: —
TCi eres mi primer amor,
T(i me enseBaste & querer
No me ensefies d. olvidar,
Que no lo quiero aprender.'
Tiranas are generally danced and sung to a
guitar accompaniment. The music of one (* Si
la mar fuera de tinta') will be found in 'Arias
y Canciones Nacionales Espafloles* (London,
Lonsdale, 18 71). [W.B.S.]
TIRARSI, DA, Ho draw out.' Trombe, or
Comi, da tirarsi, i.e. Trumpets or Horns with
slides, are found mentioned in the scores of
Bach's Kirchencantatas, usually for strengthen-
ing the voices. See the Bachgesellschaft volumes,
ii. pp. 293, 317, 327 ; X. 189, etc. etc. [G.]
* King's Lib. 66. e. 121.
5 At the end of ' Hamilton's Dictionary of 2000 Musical Terms.'
s Translation :— Thou art my first love. Thou taughtest me to love.
Teach me not to fortet, For I do not wish to learn it.
'TIS THE LAST EOSE OF SUMMER.
'TIS THE LAST ROSE OF SUMMER.
A song written by Thomas Moore to the tune
of 'The Groves of Blarney'; this again being
possibly a variation of an older air called ' The
Young Man's dream,' which Moore has adapted
to the words 'As a beam on the face of the
waters may glow.' Blarney, near Cork, be-
came popular in 1788 or 1789, and it was then
that the words of *The Groves of Blarney* were
written by R. A. Millikin, an attorney of Cork.
The tune may be older, though this is not at
all certain : it is at all events a very beautiful
and characteristic Irish melody. We give it in
both its forms, as it is a good example of the
way in which Moore, with all his taste, often
destroyed the peculiar character of the melodies
he adapted.*
The Groves of Blarney,
TOCCATA.
129
na .. ~
■/* :i —
^=^
\T^=^G'~r^i'=^-^i^
^^
14 "^^J 1 La **- J
The Latt Rose of Summer,
'Tls the last rose of sum-mer. Left
K 0 — A I ' ^ • •-
bloom - tog a - lone; All her love - ly
give sigh
sigh.
Beethoven (20 Irische Lieder, No. 6) has set
it, in E b, to the words * Sad and luckless was the
season.' Mendelssohn wrote a fantasia on the
air, published as op. 15,^ considerably altering
> The writer Is Indebted to Mr. T. W. Joyce for the above Informa-
tion. See too Mr. and Mrs. S. 0. Hall's * Ireland,' i. 49, and Lover's
• Lyrics of Ireland.'
2 Of the date of this piece no trace Is forthcoming. It probably be-
longs to his first English visit. Its publication (by Spina) appears to
date from Mendelssohn's visit to Vienua, e» rouU to Italy.
VOL. IV. PT. 3.
the notation ; and Flotow has made it the leading
motif in the latter part of 'Martha.' Berlioz's
enthusiasm for the tune equals his contempt for
the opera. * The delicious Irish air was so simply
and poetically sung by Patti, that its fragrance
alone was sufficient to disinfect the rest of the
work.' 3 [G.]
TITZE, or TIETZE, LuDwm, member of the
Imperial chapel and of the Tonkiinstler-Societat,
and Vice-Pedell of the University of Vienna, bom
April I, 1797, died Jan. 11, 1850. Possessor of a
sympathetic and highly-trained tenor voice, with
a very pure style of execution, Titze was univer-
sally popular. He sang at the Concerts Spirituels,
and acted as choir-master, Karl Holz being leader,
and Baron Lannoy conductor. Between 1822 and
1 8 39 he appeared at 2 6 concerts of the Tonkiin stler-
Societat, singing the tenor solos in such works as
Handel's 'Solomon,' 'Athaliali,' * Jephthah,' and
' Messiah,' and Haydn's ' Creation' and ' Seasons,'
associated in the latter with Staudigl after 1833.
From 1822 he also sang at innumerable concerts
and soirdes of the Gesellschaft der Musikfreunde.
His special claim to distinction, however, was his
production of Schubert's songs at these soirees.
He sang successively, ' Rastlose Liebe' (1824
and 31); *Erlkonig' (1825); 'Der Einsame'
(1826); 'Nachthelle' (1827) ; 'Norman's Ge-
sang' (March 8, 1827, accompanied by Schubert
on the PF., and 1839); 'Gute Nachf (1828);
' Der blinde Knabe,' and ' Drang in die Feme'
(1829) ; * Liebesbotschaft,' and 'Auf dem Strome'
(1832) ; 'An mein Herz,' 'Sehnsucht,' and ' Die
Sterne' (1833); besides taking his part in the
quartets 'Geist der Liebe' (1823 and 32) ; 'Die
Nachtigall' (1824) ; 'Der Gondelfahrer' (1825);
and the solo in the 'Song of Miriam' (1832).
At the single concert given by Schubert, March
26, 1 828, he sang 'Auf dem Strome,' accompanied
on the French horn by Lewy, jun.. and on the
PF. by Schubert. These lists show that Schu-
bert's works were not entirely neglected in
Vienna. His name appears in the programmes
of the Gesellschaft soirees 88 times between 182 1
and 1840. [C.F.P.]
TOCCATA (Ital.), from toccare, to touch, is the
name of a kind of instrumental composition
originating in the beginning of the 17th cen-
tury. As the term Sonata is derived from the verb
suonare, to sound, and may thus be described as
a sound-piece, or Tonstiick, so the similarly formed
term Toccata represents a touch-piece, or a com-
position intended to exhibit the touch and exe-
cution of the performer. In this respect it is some-
what synonymous with the prelude and fantasia ;
but it has its special characteristics, which are
so varied as to make them difficult to define
clearly. The most obvious are a very flowing
movement in notes of equal length and a homo-
phonous character, there being often indeed in
the earlier examples but one part throughout,
though occasionally full chords were employed.
There is no decided subject which is made such
by repetition, and the whole has the air of a
* 'Lettreiiatimes.'p.283.
ISO
TOCCATA.
showy improvisation. Giovanni Gabrieli (i557~
1 613) and Claudio Merulo (1533-1604) were the
first writers of any importance who used this
form, the Toccatas of the latter being scarcely
80 brilliant as those of the former, though more
elaborate. Frescobaldi, Luigi Rossi, and Scherer
developed the idea and sometimes altered the
character of the movement, using chords freely
and even contrapuntal passages. It was Bach
however who raised the Toccata far beyond all
previous and later writers. The Toccatas to his
Fugues for Clavecin are in some cases a chain
of short movements of markedly different tempi
and styles. The fourth of those in the Peters
Volume of ' Toccatas and Fugues ' is the only one
which answers to the description given above,
the others being almost overtures. That to the
G minor Fugue in No. 211 of the same edition is
very extended. His organ Toccatas are very
grand, one of the finegt being that in F on this
subject^ —
the semiquaver figure of which is treated at great
length alternately by the two hands in thirds
and sixths over a pedal bass, and then by the
pedals alone. Another in C (Dorffel, 830) is
equally brilliant. Bach sometimes begins and
ends with rapid cadenza-like passages in very
short notes divided between the two hands, as in
the well-known Toccata in D minor, with its fugue,
which Tausig has arranged as a piano solo.''
Probably from the fact of its faint individuality
the Toccata has in later times had but a flickering
vitality, and has found scant favour with com-
posers of the first rank. A collection of six
Toccatas for piano published by Mr. Pauer has
resuscitated as prominent specimens one by
F. Pollini (not the famous one of his 32) in G,
and others by Czerny, Onslow, Clementi, etc.
That by Pollini is of the form and character of a
Bourr^e, and the others would be better named
Etudes in double notes, having all definite sub-
jects and construction. The same may be said of
Schumann's Toccata in C (op. 7), which is a
capital study for practice, and is in sonata form.
Contemporary musicians have given us two or
three specimens of real Toccatas worth mention,
prominent among them being that in G minor
by Rheinberger, which is a free fugue of great
boldness and power. The same composer has
used the diminutive term TOCOATINA for one of
a set of short pieces; and another instance of
the use of this term is the Toccatina in Eb by
Henselt, a short but very showy and difficult
piece. Dupont has published a little PF. piece
entitled Toocatella. Toccatas by Walter Mac-
farren and A. H. Jackson may close our list of
modem pieces bearing that name. [See Touch ;
Tucket.] [F.C]
1 (Dflrffel's Cat. 816). In the old edltloni of tblc, Behumsnn hu
pointed out a hoit of errors. See ' Gesammelto Schriften,' W. 59.
» Both these— hi D and F— are entitled * Prnludlum (Toccata).'
Three Toccatas— in F with a fugue, in D minor, and in E with two
fugues— are printed in vol. 15 of the Bachgesellschaft edition.
TODI.
TODI, Ldiza Rosa de Aquiar, known as
Madame Todi, from her husband Francesco
Saverio Todi, was a famous mezzo-soprano
singer, and was born at Setubal, Jan. 9, 1753-
She received her musical education from David
Perez, at Lisbon. When, in her seventeenth
year, she first appeared in public, she at once
attracted notice by the beautiful, though
somewhat veiled, quality of her voice. She
made her cUhtct in London in 1777, in Pai-
siello's * Due Contesse,' but was not success-
ful. Her voice and style were unsuited to
comic opera, which, from that time, she aban-
doned. At Madrid, in the same year, her per-
formance of Paisiello's ' Olimpiade ' won warm
admiration, but her European fame dates from
1778, when her singing at Paris and Versailles
created a lasting sensation. She returned for one
year to Lisbon, but in 1781 was at Paris again.
In 1782 she engaged herself for several years
to the Berlin Opera, at a yearly salary of 2000
thalers. But the Prussian public thought her
affected and over-French in manner, and at the
end of a year she gave up her engagement and
returned to Paris, where she always found an
enthusiastic welcome. Madame Mara was also
in Paris, and the two queens of song appeared
together at the Concert Spirituel. The public
was divided into 'Maratistes' and 'Todistes,'
and party spirit ran as high as between the
'Gluckistes ' and * Piccinnistes,' or the adherents
of Cuzzoni and Faustina. The well-known retort
shows that the contest was not conducted with-
out wit : — * Laquelle etoit la meilleure ? C'est
Mara. C'est bien Todi (bient6t dit).'
Mara excelled in bravura, but Todi would
seem to have been the more pathetic. Their
rivalry gave rise to the following stanza —
Todi, par sa voix touchante,
De doux pleurs raoiiille mes yeux;
Mara, plus vive, plus brillante,
M'^tonne, me transporte aux cieux.
IVune ravit et I'autre enchante,
Mais celle qui platt le mieux
Est toujours celle qui chante.
Todi returned to Berlin in 1 783, where she sang
the part of Cleofide in *Lucio Papirio.* The
king wished her to remain, but she had already
signed an engagement for St. Petersburg. There
her performance of Sarti's 'Armida' was an
immense success. She was overwhelmed with
presents and favours by the Empress Catherine,
between whom and the prima donna there
sprang up a strange intimacy. Todi acquired
over Catherine an almost unbounded influence,
which she abused by her injustice to Sarti, the
imperial Chapelmaster, whom she disliked.
Seeing that she was undermining his position at
court, Sarti revenged himself by bringing Mar-
chesi to St. Petersburg, whose wonderful vocal
powers diverted some part of the public admira-
tion from Todi. Todi retorted by procuring Sarti's
dismissal. This ugly episode apart, she is asserted
to have been amiable and generous.
Meanwhile the king of Prussia was tempting
her back to Berlin, and, as the Russian climate was
telling on her voice, she, in 1 786, accepted his offers.
TODI.
and was far more warmly received than upon her
first visit. With the exception of six months in
Russia, she remained at Berlin till 1 789, achiev-
ing her greatest triumphs in Reichardt's * Andro-
meda' and Neumann's 'Medea.' In March 1789
she reappeared in Paris, and among other things
sang a scena composed for her by Cherubini,
*Sarete alfin contenti,' eliciting much enthusiasm.
After a year's visit to Hanover she proceeded to
Italy, and sang with great success. In 1792 she
returned to Lisbon, where she died October i,
1833.
It is strange that Todi should have made no
impression in this country, for there seems no
doubt that she was one of the best singers of
her time, equal in many respects, superior in
some, to Mara, who was much admired here.
Lord Mount-Edgecumbe speaks of her as having
* failed to please here,' and Bumey, later in her
career, writes of her, ' she must have improved
very much since she was in England, or we
treated her very unworthily, for, though her voice
was thought to be feeble and seldom in tune
while she was here, she has since been extremely
admired in France, Spain, Russia, and Germany,
as a most touching and exquisite performer.'
There is a pretty and scarce portrait of her in
character, singing, called ' L'Euterpe del Secolo
XVIII * (i 79 1 ) . She was twice married, and left
to her husband and her eight children, who sur-
vived her, a sum of 400,000 francs, besides jewels
and trinkets worth a fortune. [F,A.M.]
TOD JESU, DER, ». e. the Death of Jesus—
the 'Messiah' of Germany, a * Passions-Cantate,'
words by Ramler, music by Graun. It was
first performed in the Cathedral of Berlin, on
Wednesday before Easter, March 26, 1755, and
took such hold as to become an essential part of
the Passion week at Berlin. It is still given
there at least twice a year. In England I can
find no record of its complete performance. There
are three editions of the full score — 1760, 1766,
1810; and PF. arrangements without number,
beginning with one by J. Adam Hiller, 1783, and
ending with one in Novello*s 8vo. series. [G.]
TOFTS, Mbs. Cathbeinb, * little inferior,
either for her voice or her manner, to the best
Italian women,' ^ was the first of English birth
who sang Italian Opera in England. A sub-
scription concert was instituted in November
1703 at the Theatre in Lincoln's Inn Fields,
where Mrs. Tofts sang several songs, both
Italian and English." In the following year
she continued to sing at the ' Subscription
Music' On January 29, Margherita de I'Epine
sang for the first time, at Drury Lane. On the
second appearance of this, Tofts's future rival, a
disturbance occurred at the Theatre, while she
was singing, which *was suspected'^ to have been
created by her emissaries,' a suggestion which
she denied in the 'Daily Courant,' Feb. 8, 1704.
In the same year she sang and played the part
of Pallas in Weldon's 'Judgment of Paris.'
In 1 705 came the first attempt to plant Italian,
1 Hawkins. > Borsey.
TOFTS.
131
or psendo-Italian, Opera in England ; and to
the success of this endeavour Mrs. Tofts and
her rival were the chief contributors, the
former playing successively the chief parts in
•Arsinoe,' 'Camilla,' * Rosamond,' 'Thomyris,'
and 'Love's Triumph.* *Mrs. Tofts,' who took
her first grounds of musick here in her own
country, before the Italian taste had so highly
prevailed, was then not an adept in it; yet
whatever defect the fashionably skilful might
find in her manner, she had, in the general
sense of her spectators, charms that few of
the most learned singers ever arrive at. The
beauty of her fine proportioned figure, and
the exquisitely sweet, silver tone of her voice,
with that peculiar rapid swiftness of her
throat, were perfections not to be imitated
by art or labour.' At a very early stage of
her short but brilliant career, she drew a salary
of £500,* higher than that which was paid to
any other member of the company, — a sure
test of the estimation in which she was held
by the management and the public: at the
same time, Valentin! and de I'Epine only drew
£400 apiece, and the Baroness, £200. At
another time, this salary was commuted* into a
share in the profits of the theatre. Again, we
find her* offering to sing for 20 guineas a night,
or 'in consideration the year is so far advanced*
for 400 guineas till the ist of July, provided
she was allowed to sing in another play, to be
produced elsewhere, if not on an opera night.
These were high terms in 1 708. She sang also
at the concerts at Court. Meanwhile, she was
no stranger to the quarrels and disputes which
seem to have prevailed at the Opera then as in
later times. There was a warm correspondence *
about a bill of 80 guineas, for Camilla's dress,
which Rich declined to pay ; but Camilla refused to
appear in * Thomyris ' till it was paid ; and Rich
then compromised the matter. She further de-
manded* an allowance for 'locks for hair, Jewells,
ribbons, muslin for vails, gloves, shoes, washing
of vails, etc.,' for which she modestly affirmed
that *£ioo was not sufficient for the season.'
Were it not that similar complaints and
demands were common from other singers, there
would seem to be here some foundation for the
charge brought against Mrs. Tofts in the epigram,
attributed to Pope : —
So bright is thy beauty, so charming thy Bong,
As had drawn both the beasts and their Orpheus along ;
But such is thy avarice, and such is thy pride,
That the beasts must have starved, and the poet have diedl
She must however have had a great passion
for money, and a great disregard of the means
of raising it, if Lady Wentworth's contemporary
account may be trusted. 'Mrs. Taufs,' says
that delightful writer and most eccentric speller,
* was on Sunday last at the Duke of Somerset's,
where there were about thirty gentlemen, and
every kiss was one guinea; some took three,
others four, others five at that rate, but none
less than one.'*
• Otbbar's Apology. « Colce Papers, In the writer's possession.
» Letter. March 17, 1709, in * Wentworth Papers,' p. 66.
182
TOFTS.
This unfortunate singer, the first English- j
woman distinguished in Italian Opera, lost her
reason early in 1709. In a most ungenerous
vein Steele alludes to her affliction/ and
attributes it to the habit she had acquired of
regarding herself as really a queen, as she
appeared on the stage, a habit from which she
could not free herself. Bumey supposes that
this was an exaggeration, by means of which
the writer intended only to • throw a ridicule on
opera quarrels in general, and on her particular
disputes at that time with the Margarita or
other female singers.' Hawkins says that she
was cured, temporarily at least, and *in the
meridian of her beauty, and possessed of a large
sum of money, which she had acquired by
singing, quitted the stage (1709), and was
married to Mr. Joseph Smith, afterwards Eng-
lish consul at Venice. Here she lived in great
state and magnificence, with her husband, for a
time ; but her disorder returning' (which, if true,
upsets Bumey's theory), 'she dwelt sequestered
from the world in a remote part of the house,
and had a large garden to range in, in which
she would frequently walk, singing and giving
way to that innocent frenzy which had seized
her in the earlier part of her life.' She was
still living about the year 1735.'
Her voice did not exceed in compass' that of
an ordinary soprano, and her execution, as shown
by the printed airs which she sang, 'chiefly
consisted in such passages as are comprised in
the shake, as indeed did that of most other
singers at this time.' It may be observed,
however, that all singers * at this time ' added a
good deal to that which was • set down for them'
to execute ; and probably she did so too.
It is somewhat strange that, of a singer so
much admfred as Mrs. Tofts undoubtedly was, no
portrait should be known to exist, either painted
or engraved. [J.M.]
TOLBECQDE, a family of Belgian musicians,
who settled in France after the Restoration.
The original members were four brothers :— the
eldest, Isidore Joseph (bom at Hanzinne Ap. 17,
1 794, died at Vichy May 10, 1871), was a good con-
ductor of dance-music. Jean Baptiste Joseph
(bom at Hanzinne in 1797, died in Paris, Oct. 23,
1869), violinist, composer, and excellent conductor,
directed the music of the court balls during
Louis Philippe's reign, and also those at Tivoli
when those public gardens were the height of
the fashion. He composed a quantity of dance-
music — quadrilles, vakes, and galops — above the
average in merit; an op^ra-comique in one act
•Charles V. et DuguescUn' (Od^on, 1827), with
Gilbert and Guiraud ; and with Deldevez, ' Vert-
Vert' (Op^ra, 1 851), a 3-act ballet, his most
important work. He was a member of the
8oci6t6 des Concerts du Conservatoire from its
foundation in 1859. The third brother, Auguste
Joseph, also bom at Hanzinne, Feb. 28, 1801,
died in Paris, May 2 7, 1 869. A pupil of Kudolph
1 Tatler, No. 20, May 26. 1709.
2 Hawkins. Buruey says (probably a miqirlnt) In 170B.
' Buraey.
TOMASCHEK.
Kreutzer, he took the first violin prize at the
Conservatoire in 1821, made some mark as a
virtuoso, was an original member of the Soci<5t6
des Concerts, and one of the best violinists at
the Op^ra, and for several seasons was well
known in London, where he played first violin at
Her Majesty's Theatre. The youngest, Chables
Joseph, bom May 27, 1806, in Paris, where he
died Dec. 39, 1835, was also a pupil of R. Kreut-
zer, and an original member of the Society des
Concerts. He took a prize at the Conservatoire
in 1824, and became conductor at the Vari^tds in
1830. In this capacity he composed pretty songs
and pieces for interpolation in the plays, several
of which attained some amount of popularity.
The Tolbecque family is at this moment re-
presented by Auguste, son of Auguste Joseph,
a distinguished cellist, born in Paris, March 30,
1830. He took the first cello prize at the Con-
servatoire in 1849, and has published some 15
works of various kinds for his instrument, in-
cluding *La Gymnastique du Violoncelle' (op.
14), an excellent collection of exercises and
mechanical studies. He is also a clever restorer
of old instruments, and formed a collection,
which he sold to the Brussels Conservatoire
in 1879. H^^ ^o"» Jean, bom at Niort, Oct. 7,
1857, took the first cello prize at the Paris Con-
servatoire in 1873, and has studied the organ
with Cdsar Franck. [G.C.]
TOLLET, Thomas, composed and published
about 1694, in conjunction with John Lenton,
* A Consort of Musick in three parts,' and was
author of * Directions to play on the French
flageolet.' He was also a composer of act tunes
for the theatre, but is best known as composer
of * Toilet's Ground,' printed in the Appendix to
Hawkins's History. [W.H.H.]
TOMASCHEK, Wenzel, composer, bom
April 17, 1774, at Skutsch in Bohemia. He
was the youngest of a large family, and his
father, a well-to-do linen-weaver, having been
suddenly reduced to poverty, two of his brothers,
a priest and a public official, had him educated.
He early showed talent for music, and was placed
at Chrudim with Wolf, a well-known teacher,
who taught him singing and the violin. He
next wished to learn the piano and organ, and
his brother the priest sent him a spinet, on
which he practised day and night. The Minorite
fathers of Iglan offered him a choristership, with
instruction in theory. On the breaking of his
voice in 1 790, he went to Prague to study philo-
sophy and law, supporting himself the while by
giving lessons. All his spare time, even the
hours of rest, was spent in studying the works
of Marpurg, Kirnberger, Matheson, Tiirk, and
Vogler, and he thus laid a solid foundation of
scientific knowledge. Neither did he neglect
practical music, but made himself familiar with
the works of Mozart and Pleyel, and became ac-
quainted with Winter, Kozeluch, and above all,
Beethoven, who exercised a life-long influence
over him. In his autobiography, published in a
volume called 'Libussa' (1845, etc.), Tomaschek
writes, * It was in 1 798, when I was studying
TOMASCHEK.
law, that Beethoven, that giant among players,
came to Prague. At a crowded concert in the
Convict-hall he played his Concerto in C (op. 15),
the Adagio and Rondo grazioso from the Sonata
in A (op. 2), and extemporised on a theme from
Mozart's Clemenza di Tito, "Ah tu fosti il primo
oggetto." His grand style of playing, and
especially his bold improvisation, had an extra-
ordinary effect upon me. I felt so shaken that
for several days I could not bring myself to touch
the piano ; indeed it was only my inextinguishable
love for the art, that, after much reasoning with
myself, drove me back to the instrument with
even increased industry.' Before long, however,
the critical faculty returned. After hearing Bee-
thoven twice more, he says, 'This time I was
able to listen with greater calmness of mind, and
though I admired as much as ever the power
and brilliancy of his playing, I could not help
noticing the frequent jumps from subject to
subject which destroyed the continuity and
gradual development of his ideas. Defects of
this kind often marred those most magnificent
creations of his superabundant fancy.' 'Had
Beethoven's compositions (only a few of which
were then printed) claimed to be classical
standard works as regards rhythm, harmony,
and counterpoint, I should perhaps have been
discouraged from carrying on my self-cultivation ;
but as it was, I felt nerved to further effort.'
Three years later Tomaschek declared Beethoven
to have still further perfected his playing. He
himself about this time published some 'Un-
garische Tanze* (without ever having heard a
Hungarian air) and Holty's * Elegie auf eine
Kose,' an early specimen of programme-music.
Twelve waltzes had a great success at the
Prague Carnival of 1797; but these he burnt.
He was known as a pianist, and esteemed as
a teacher by the principal nobility, bat hesi-
tated between the profession of music and an
official career. Meantime Count Bucquoi von
Longueval offered him the post of composer in
his household, with such a salary as to place
him at ease in money-matters; and this he
accepted. Prague continued to be his home,
but he made occasional journeys, especially to
Vienna. In November 1814 he paid Bee-
thoven a visit, of which he has left an account
('Libussa,' 1846) in the form of a conversation.
He tells us that Meyerbeer and other artists
had put themselves at Beethoven's disposal, for
the performance of the * Battle of Vittoria,' and
that Meyerbeer played the big drum. * Ha ! ha !
ha ! ' exclaims Beethoven, 'I was not at all pleased
with him ; he could not keep time, was always
coming in too late, and I had to scold him well.^
Ha ! ha ! ha ! I dare say he was put out. He
is no good. He has not pluck enough to keep
time.' Pluck was a quality which Meyerbeer
never possessed, even at the time of his greatest
successes. A fortnight later Tomaschek repeated
the visit, and describes it in even greater detail
('Libussa' 1S47). Meyerbeer's 'Two Caliphs'
I This looks as if Beethoven, even in 1814, wuld hear pretty well on
oocasiuu.
TOMASINI.
133
v/as then being performed, and on Tomaschek
saying that it began with a Hallelujah and ended
with a Requiem, Beethoven remarked, * Yes, it
is all up with his playing.' And again, 'He
knows nothing of instrumental music; singing
he does understand, and that he should stick to.
Besides, he knows but little of composition. I
tell you he will come to no good.' Beethoven's
prophecy was not fulfilled ; but these notes are
interesting records of his opinions, and show a high
esteem for Tomaschek.
Tomaschek's house became the centre of mu-
sical life in Prague, and the list of his pupils in-
cludes Dreyschock, Kittl, Kuhe, Schulhoff, Bock-
let, Dessauer, Worzischek, and Wiirffel. In
1823 he married Wilhelmine Ebert, remaining
in Count Bucquoi's service, though with a house
of his own, where he was much visited by
strangers, especially by English. He was hos-
pitable and pleasant except on the subject of
music, on which he was given to laying down
the law. In person he was tall, and of a mili-
tary carriage. The superficial was his abhorrence.
Even in his smaller works there was a technical
completeness, which procured him the title of the
' Schiller of music' His church music includes
a Missa Solennis in Eb, and several Requiems,
but his predilection was for dramatic music, to
which he was led by its connection with the
Ballad and the Lied. He set several of Goethe's
and Schiller's poems, and also old Czech songs
from the Koniginhof MS.'*
Tomaschek played his setting of Goethe's
poems before the poet himself at Eger, and
was very kindly received. His opera ' Seraphine'
(181 1) was weU received at the National Theatre
in Prague, in spite of a poor libretto ; but in spite
of this success he declined to permit the appearance
of two other operas, 'Alvara' and 'Sakuntala.'
He left scenas from Goethe's ' Faust,' and from
'Wallenstein,* 'Maria Stuart,' and the 'Braut
von Messina,' as well as other vocal compositions,
which were presented with his other remains to
the Bohemian National Museum in Prague, by
his nephew Freiherr von Tomaschek.
Besides a quantity of smaller works, chiefly
Lieder, Tomaschek published 1 10 with opus
numbers, including the interesting 'Eklogues'
(op- 35' 39» 47. 51. 5.3, 66 and 83) and ' Dithy-
ramb ' (op. 65, Prague, Berra), which would still
repay the attention of pianists. It is unfor-
tunate for Tomaschek's fame that his works
were contemporaneous with Beethoven's, but
they exercised a material influence on such an
artist as Robert Schumann. Is it too much to
hope that these lines may direct some musicians
to an unjustly forgotten composer ?
Tomaschek died April 3, 1850, and was buried
in the churchyard of Koschir, near Prague. [F.G.]
TOMASINI, LuiGi (Aloysius), eminent violin-
ist, and distinguished member of Prince Ester-
hazy's band under Haydn, born 174I at Pesaro.
In 1757 he became a member of Prince Paul
Anton's household at his palace of Eisenstadt in
2 The authenticity of which has been disproved by Sembora, th*
great authority on Csech literature.
184
TOMASINI.
Hungary, and on Haydn's undertaking the Vice-
Capellmeistership in 1761, was at once promoted
by him to be first violin. He was afterwards
leader, and director of the chamber-music, with a
largely increased salary. Prince Nicholas (suc-
cessor to Paul Anton) left him a pension in 1 790,
but Tomasini remained in the service till his
death, April 25, 1808. He was on the most in-
timate terms with Haydn, who wrote all his
quartets with a view to Tomasini's playing, and
remarked to him, 'Nobody plays my quartets so
much to my satisfaction as you do.' He only
once appeared in public in Vienna, at a concert
of the Tonkiinstler-Societat (1775), of which he
had been a member from its foundation in 1771.
In all probability Haydn gave him instruction in
composition. He published violin-concertos, quar-
tets, duos, concertants (dedicated to Haydn), etc.
For the Prince he wrote * 24 Divertimenti per il
Paridon (barytone), violino, e violoncello,' now in
the archives of the Gesellschaft der Musikfreunde
in Vienna. A few of Haydn's violin-concertos
were written expressly for Tomasini (' fatto per il
Luigi' ). Besides two daughters, who saug in the
church and opera at Eiaenstadt, Tomasini had two
talented sons. The eldest,
Luigi, bom 1779, ^^ Esterhaz, an excellent
violinist, was received into the chapel in 1796,
dismissed several times for incorrigible levity, but
as often readmitted at Haydn's request. The
latter speaks of his *rare genius,' and so did
Hummel. He played in Vienna in 1796 and 1801
at the Tonkiinstler-Societat, and in 1806 at the
Augarten concerts. In 1808 he had to fly, for
having married, without the Prince's leave, Sophie
GroU, a singer in the chapel, but he secured an
appointment as Concertmeister to the Duke of
Mecklenburg-Strelitz. In 18 12 he and his wife
gave a concert in Berlin, when Luigi played
Beethoven's concerto, and his wife, a pupil of
Righini's, was much applauded. In 18 14 he gave
a concert in the court theatre in Vienna, after
which he wholly disappears. His brother,
Anton, bom 1775 at Eisenstadt, played in the
chapel as an amateur from 1791 to 96, when he
became a regular member. His instrument was
the viola. He married the daughter of a Polish
General in 1803, in which year he also became a
member of the Tonkiinstler-Societat. He resem-
bled his brother both in talent and disposition,
and, like him, was several times dismissed, and
taken on again with increased salary. In 1820
be became leader of the band, and died at Eisen-
stadt June 12, 1824. [C.F.P.]
TOMKINS. A family which, in the i6th and
1 7th centuries, produced many good musicians.
Rev. Thomas Tomkins was chanter and minor
canon of Gloucester Cathedral in the latter part
of the 1 6th century. He contributed to 'The
Triumphes of Oriana,' 1600, the madrigal *The
feunes and satirs tripping,' commonly attributed
to his more celebrated son and namesake.
John Tomkins, Mus. Bac., one of his sons, was
probably a chorister of Gloucester Cathedral. He
afterwards became a scholar of King's College,
Cambridge, of which in 1606 he was appointed 1
TONAL FUGUE.
organist. He resigned ini62 3 upon being chosen
organist of St. Paul's Cathedral. In 1625 he was
appointed gentleman extraordinary of the Chapel
Royal * for the next place of an organist there/
and in 1625 became Gospeller. He died Sept.
27, 1638, and was buried at St. Paul's. Some
anthems by him are contained in Barnard's MS.
collection. His son, Robert, was in 1641 one of
the King's musicians.
Thomas Tomkins, Mus. Bac, another son of
Thomas, was a pupil of Byrd, and graduated at
Oxford, July 11, 1607. He soon afterwards be-
came organist of Worcester Cathedral. On Aug.
2, 162 1, he was sworn in as one of the organists
of the Chapel Royal upon the death of Edmond
Hooper. In 1622 he published ' Songs of 3, 4, 5
and 6 parts,' containing 28 madrigals and an-
thems of a high degree of excellence. He died
in June, 1656, and was buried at Martin Hass-
ingtree, Worcestershire. A collection of hia
church music, comprising 5 services and 68
anthems, was published in 1664 under the title
of 'Musica Deo Sacra & Ecclesiae Anglicanae;
or, Musick dedicated to the Honor and Service of
God, and to the Use of Cathedral and other
Churches of England, especially to the Chappel
Royal of King Charles the First.' A second im«
pression appeared in 1668.
Many MSS. of his music are found in the
Tudway collection, at Ely, Ch. Ch. Oxford, etc.
At St. John 8 Coll. Oxford, there is a volume
written by him and Este, containing, among other
remarkable things, the bass part of a Service by
Tallis for 5 voices, otherwise unknown. [See
Tallis, vol. iv. p. 54 a.]
Giles Tomkins, a third son, succeeded his
brother, John, as organist of King's College,
Cambridge, in 1622. He afterwards became
organist of Salisbury Cathedral, which appoint-
ment he held at the time of his death in 1668.
Nathaniel Tomkins, bom 1584, son of a gen-
tleman of Northampton, chorister of Magdalen
College, Oxford, from 1596 to 1604, clerk there
from 1604 to 1606, and usher of the College
School from 1606 to 161 o, and Abeaham Tom-
kins, chorister of the same College from 161 1 to
1617, were probably members of another branch
of the same family. [W. H. H.]
TONAL FUGUE (Fr. Fugue du Ton ; Germ.
Einfache Fuge, Fuge dea Tones). A form of
Fugue, in which the Answer {Comes), instead of
following the Subject {Dux) exactly. Interval
for Interval, sacrifices the closeness of its Imita-
tion to a more important necessity — that of exact
conformity with the organic constitution of the
Mode in which it is written ; in other words, to
the Tonality of its Scale. [See Subject.]
This definition, however, though sufiBcient
to distinguish a Tonal Fugue from a Real one
of the same period and form, gives no idea what-
ever of the sweeping revolution which followed
the substitution of the later for the earlier
method. A technical history of this revolution,
though giving no more than a sketch of the
phases through which it passed, between the
death of Palestrina and the maturity of Handel
TONAL FUGUE.
and Sebastian Bach, would fill a volume. We
can here only give the ultimate results of the
movement ; pausing first to describe the position
from which the earliost modern Fuguists took
their departure.
The Real Fugue of the Polyphonic Composers,
as perfected in the i6th century, was of two
kinds — Limited, and Unlimited. With the
Limited form— now called Canon — we have, here,
no concern.^ The Unlimited Real Fugue started
with a very short Subject, adapted to the opening
phrase of the verbal text — for it was always vocal
— and this was repeated note for note in the
Answer, but only for a very short distance. The
Answer always began before the end of the Sub-
ject; but, after the exact Imitation carried on
through the first few notes, the part in which it
appeared became ' free,' and proceeded whither
it would. The Imitation took place generally in
the Fifth above or the Fourth below ; sometimes
in the Fourth above, or Fifth below, or in the
Octave ; rarely, in Unlimited Real Fugue, in any
less natural Interval than these. There was no
Counter-Subject ; and, whenever a new verbal
phrase appeared in the text, a new musical phrase
was adapted to it, in the guise of a Second "Sub-
ject. But it was neither necessary that the open-
ing Subject should be heard simultaneously with
the later ones ; nor, that it should reappear, after
a later one had been introduced. Indeed, the
cases in which these two conditions — both indis-
pensable, in a modern Fugue — were observed,
even in the slightest degree, are so rare, that
they may be considered as infringements of a
very strict rule.
The form we have here described was brought
to absolute perfection in the so-called * School of
Palestrina,' in the latter half of the i6th century.
The first departure from it — rendered inevitable
by the substitution of the modern Scale for the
older Tonalities — consisted in the adaptation of
the Answer to the newer law, in place of its
subjugation, by aid of the Hexachord, to the
Ecclesiastical Modes. [See Hexachobd.] The
change was crucial. But it was manifest that
matters could not rest here. No sooner was the
transformation of the Answer recognised as an
unavoidable necessity, than the whole conduct
of the Fugue was revolutionised. In order to
make the modifications through which it passed
intelligible, we must first consider the change
in the Answer, and then that which took place
in the construction of the Fugue founded upon
it — the modern Tonal Fugue.
The elements which enter into the composition
of this noble Art-form are of two classes ; the one,
comprising materials essential to its existence ;
the other consisting of accessories only. The es-
sential elements are (i) The Subject, (3) The
Answer, ( 3) The Counter-Subject, (4) The Codetta,
(5) The Free Part, (6) The Episode, (7) The
1 Those who wish to trace the relation between the two wHI do
well to study the • Messa Canonica,' edited by La Fage, and by him
attributed to Palestrina, or the ' Mlssa Canonica ' of Via, side by
side with Palestrlna's ' Mlssa ad Fugam' ; taking the two first-named
works as examples of Limited, and the third of Unlimited Beal
Fugue.
TONAL FUGUE.
135
Stretto, and (8) The Pedal-Point, or Organ-Point.
The accessories are, Inversions of all kinds, in
Double, Triple, or Quadruple Counterpoint ;
Imitations of all kinds, and in all possible Inter-
vals, treated in Direct, Contrary, or Retrograde
Motion, in Augmentation, or Diminution ; Modu-
lations ; Canonic passages ; and other devices too
numerous to mention.
Among the essential elements, the first place
is, of course, accorded to the Subject; which
is not merely the Theme upon which the Com-
position is formed, but is nothing less than an
epitome of the entire Fugue, which must contain
absolutely nothing that is not either directly
derived from, or at least more or less naturally
suggested by it.
The qualities necessary for a good Subject are
both numerous and important. Cherubini has
been laughed at for informing his readers that
' the Subject of a Fugue ought neither to be too
long, nor too short' : but, the apparent Hibernian-
ism veils a valuable piece of advice. The great
point is, that the Subject should be complete
enough to serve as the text of the discourse,
without becoming wearisome by repetition. For
this purpose, it is sometimes made to consist of
two members, strongly contrasted together, and
adapted for separate treatment ; as in the fol-
lowing Subject, by Telemann, in which the first
member keeps up the dignity of the Fugue, while
the second provides perpetual animation.
i
w
^;
First Member, |
Second Member.
e
:g^
i=Mz
Sometimes the construction of the Subject is
homogeneous, as in the following by Kirnberger ;
and the contrast is then produced by means of
varied Counterpoint.
-f^r-rf-&.
g
S
-tJ?2=
^1^
Many very fine Subjects — perhaps, the finest
of all — combine both qualities ; aff'ording suffi-
cient variety of figure when they appear in com-
plete form ; and, when separated into fragments,
serving all necessary purposes, for Episodes,
Stretti, etc., as in the following examples —
Prescobaldi.
136 TONAL FUGUE.
Mbndblssohn (Op. 3S, No. 4).
Sometimes, the introduction of a Sequence, or
the figure called ROSALIA, affords opportunities
for very effective treatment.
Ebbrlin.
Sebastian Bach constantly made use of this
device in his Pedal Fugues, the Subjects of
■which are among the longest on record. There
are few Subjects in which this peculiarity is
cnrried to greater excess than in that of his
Pedal-Fugue in E Major.
Very different from these are the Subjects
designed by learned Contrapuntists for the ex-
press purpose of complicated devices. These are
short, massive, characterised by extremely con-
cordant Intervals, and built upon a very simple
rhythmic foundation. Two fine examples are to
be found in Bach's • Art of Fugue ' ; and the ' Et
vitam* of Cherubini's ' Credo ' in G for 8 voices.
S. Bach.
i
Cherubini.
rf^-^-^
^=
Next in importance to the Subject is the
Answer; which, indeed, is neither more nor
less than the Subject itself, presented from a
different point of view. We have already said
that the Tonal Answer must accommodate itself,
not to the Intervals of the Subject, but, to the
organic constitution of the Scale. The essence of
this accommodation consists in answeringtheTonic
by the Dominant, and the Dominant by the Tonic :
not in every unimportant member of the Subject —
for this would neither be possible nor desirable
— ^but in its more prominent divisions. The first
thing is to ascertain the exact place at which
the change from Real to Tonal Imitation must
be introduced. For this process there are cer-
tun laws. The most important are —
(i) When the Tonic appears in a pr(»mnent
position in the Subject, it must be answered by
the Dominant ; all prominent exhibitions of the
Dominant being answered in like manner by the
Tonic. The most prominent positions possible
are those in which the Tonic passes directly to the
Dominant, or the Dominant to the Tonic, without
the interpolation of any other note between the
two ; and, in these cases, the rule is absolute.
TONAL FUGUE.
Subject. Answer. Subject. Answer.
(2) When the Tonic and Dominant appear in
less prominent positions, the extent to which
Rule I can be observed must be decided by the
Composer's musical instinct. Beginners, who
have not yet acquired this facidty, must carefully
observe the places in which the Tonic and Do-
minant occur ; and, in approaching or quitting
those notes, must treat them as fixed points to
which it is indispensable that the general contour
of the passage should accommodate itself.
(o) Dominant, answered by Tonic, at («).
(6) Dominant, answered by Supertonic, at (d).
(3) The observance of Rules i and 2 will
ensure compliance with the next, which ordains
that all passages formed on a Tonic Harmony, in
the Subject, shall be formed upon a Dominant
Harmony in the Answer, and vice versd.
Subject. Answer.
Tonic
Harmony,
Dominant Dominant Tonic "^
Harmony. Harmony. Harmony.
(4) The Third, Fourth, and Sixth of the Scale
should be answered by the Third, Fourth, and
Sixth of the Dominant, respectively.
Subject
W («) (/)
(a) Sixth of Tonic (6) Third of Tonic, (c) Fourth of Tonic,
(d) Sixth of Dominant (e) Third of Dominant.
(/) Fourth of Dominant.
(5) The Interval of the Diminished Seventh,
whether ascending or descending, should be an-
swered by a Diminished Seventh.
Subject.
Answer.
(6) As a general rule, all Sevenths should be
answered by Sevenths ; but a Minor Seventh,
ascending from the Dominant, is frequently an-
swered by an ascending Octave ; in which case,
its subsequent descent will ensure conformity with
Rule 4, by making the Third of the Dominant
answer the Third of the Tonic.
p
Subject.
TONAL FUGUE.
Answer.
TONAL FUGUE.
137
^^^
(7) The most difficult note of the Scale to
answer is the Supertonic, It is frequently ne-
cessary to reply to this by the Dominant ; and
when the Tonic is immediately followed by
the Supertonic, in the Subject, it is often ex-
pedient to reiterate, in the Answer, a note,
which, in the original idea, was represented by
two distinct Intervals ; or, on the other hand, to
answer, by two different Intervals, a note which,
in the Subject, was struck twice. The best safe-
guard is careful attention to Rule 3, neglect of
which will always throw the whole Fugue out
of gear.
Answer.
Subject.
22ZZS:
^^S^^p^PP
(a) (6) (c) (d)
(a) Tonic, answered by Dominant, at (e).
(6) Supertonic, answered by Dominant, at (d).
Simple as are the foregoing Rules, great judg-
ment is necessary in applying them. Of all the
qualities needed in a good Tonal Subject, that of
suggesting a natural and logical Tonal Answer
is the most indispensable. But some Subjects
are so difficult to manage that nothing but the
insight of genius can make the connection between
the two sufficiently obvious to ensure its recogni-
tion. The Answer is nothing more than the pure
Subject, presented under another aspect : and,
unless its effect shall exactly correspond with
that produced by the Subject itself, it is a bad
answer, and the Fugue in which it appears a
bad Fugue. A painter may introduce into his
picture two horses, one crossing the foreground,
exactly in front of the spectator, and the other
in such a position that its figure can only be
truly represented by much foreshortening. An
ignorant observer might believe that the pro-
portions of the two animals were entirely
different ; but they are not. True, their actual
measurements differ; yet, if they be correctly
drawn, we shall recognise them as a well-
matched pair. The Subject and its Answer
offer a parallel case. Their measurement (by
Intervals) is different, because they are placed
in a different aspect; yet, they must be so ar-
ranged as to produce an exactly similar effect.
We have shown the principle upon which the
arrangement is based to be simply that of an-
swering the Tonic by the Dominant, and the
Dominant by the Tonic, whenever these two
notes follow each other in direct succession;
with the farther proviso, that all passages of
Melody formed upon the Tonic Harmony shall
be represented by passages formed upon the
Dominant Harmony, and vice versd. Still, great
difficulties arise, when the two characteristic
notes do not succeed each other directly, or,
when the Harmonies are not indicated with
inevitable clearness. The Subject of Handel's
Chorus, 'Tremble, guilt,' shows how the whole
swing of the Answer sometimes depends on the
change of a single note. In this case, a per-
fectly natural reply is produced, by making the
Answer proceed to its second note by the ascent
of a Minor Third, instead of a Minor Second,
as in the Subject — i.e. by observing Kule 4, with
regard to the Sixth of the Tonic.
Subject. .«.. ^ 5^
r^^«r-n
1^ r ' ' T 1 h 1
Answer.
t^ — i— r~» — 1 — r — t-^*r-F-
4«^p-g*-p-
.^-h p — 1 h — J 1 -- ^' \rd__
-1 ^?-_^_iL.
The Great Masters frequently answered their
Subjects in Contrary Motion, giving rise to
an apparently new Theme, described as the In-
verted Subject (Inversio; Bivolta, Eivolzimento;
Umkehrung). This device is usually employed
to keep up the interest of the Composition, after
the Subject has been discussed in its original
form : but some Masters bring in the Inverted
Answer at once. This was a favourite device
with Handel, whose Inverted Answers are so
natural, as to be easily mistaken for regular ones.
The following example is from Cherubini's
• Credo ' already mentioned.
Subject.
I
gaee
-^-t
^^^^Ml
Et Titam.
Inversion ; or Answer in Contrary Motion.
Another method of answering is by Diminu-
tion, in which each note in the Answer is made
half the length of that in the Subject. This,
when cleverly done, produces the effect of a new
Subject, and adds immensely to the spirit of the
Fugue; as in Bach's Fugue in E, No. 33 of
the XL VIII, bars 26-30 ; in the Fugue in Cj
minor, No. 27 of the same set; and, most espe-
cially, in Handel's Chorus, • Let all the Angels.'
3"^^
Answer, by 1 diminution.
Allied to this, though in the opposite direc-
tion, is a highly effective form of treatment by
Augmentation, in which each note in the An-
swer is twice the length of that in the Subject,
or in Double Augmentation, four times its length.
The object of this is, to give weight to massive
passages, in which the lengthened notes produce
the effect of a Canto fermo. See Bach's Fugue
1 The ' Answer 'here might with equal propriety be considered as tho
* Subject • ; In wbicb case ibe answer would be by Augmentation.
138
TONAL FUGUE.
in DJ minor, no. 8, in the XL VIII, and many
other celebrated instances.
Subject. Chbrubini. ' Et vitam.'
By these and similar expedients, the one Sub-
ject is made to produce the effect of several new
ones ; though the new Motivo is simply a modified
form of the original.
But a good Subject must not only suggest a
good Answer : it must also suggest one or more
subsidiary Themes so constructed as to move
against it, in Double Counterpoint, as often as it
may appear.^ These secondary Themes are called
Counter -Subjects {Contra-Subjectum; Contra-
Tema\ Contra-suhjekt\Contre-sujet). The Counter-
Subject or Counter-Subjects, however numerous
they may be, must not only move in Double
Counterpoint with the Subject, but all must be
capable of moving together, in Triple, Quadruple,
or Quintuple Counterpoint, as the case may be.
Moreover, after the Subjecthas once been proposed,
it must nevermore be heard, except in company
with at least one of its Counter-Subjects. The
Counter-Subjects usually appear, one by one, as
the Fugue develops ; as in Bach's Fugue in CjJ
Minor — No. 4 of the XLVIII. Less frequently,
one, two, or even three Counter-Subjects appear
with the Subject, when first proposed, the Com-
position leading off, in two, three, or four Parts,
at once. It was an old custom, in these cases,
to describe the Fugue as written upon two,
three, or four Subjects. These names have
sometimes been erroneously applied even to
Fugues in which the Counter-Subjects do not
appear until the middle of the Composition,
or even later. For instance, in Wesley and
Horn's edition of Bach's XLVIII, the Fugue
in CJJ minor is called a 'Fugue on 3 Subjects,'
although the real Subject starts quite alone,
the entrance of the first Counter-Subject taking
place at bar 35, and that of the second at bar
49. Cherubini very justly condemns this no-
menclature, even when the Subject and Counter-
Subjects begin together. *A Fugue,* he says,
'neither can nor ought to have more than one
principal Subject for its exposition. All that
accompanies this Subject is but accessory, and
neither can nor ought to bear any other
name than that of Counter-Subject. A Fugue
which is called a Fugue on two Subjects, ought
to be called a Fugue on one Subject, with one
Counter-Subject,' etc. etc. It is highly desirable
that the nomenclature thus recommended should
be adopted: but there is no objection to the
terms Single and Double Fugue, as applied
respectively to Fugues in which the principal
Counter-Subject appears after or simultaneously
with the Subject; for, when the two Motivi
begin together, the term 'Double' is surely
not out of place. When two Counter-Subjects
1 8m 0«UKTIB-SDBJI0T. TOl. I. p. 4M,
TONAL FUGUE.
begin together with the Subject, the Fugue may
fairly be called Triple ; when three begin with it,
it may be called Quadruple ; the number of pos-
sible Counter-Subjects being only limited by that
of the Parts, with, of course, the necessary reserva-
tion of one Part for the Subject. A Septuple
Fugue, therefore, is a Fugue in seven Patts,
written upon a Subject, and six Counter-Subjects,
all beginning together.
The Old Masters never introduced a Counter-
Subject into their Real Fugues. Each Part, after
it had replied to the Subject, was free to move
wherever it pleased, on the appearance of the
Subject in another Part. But this is not the case
in the modem Tonal Fugue. Wherever the
Subject appears, one Part, at least, must accom-
pany it with a Counter-Subject ; and those Parts
only which have already performed this duty
become free— that is to say, are permitted, for
the moment, to fill up the Harmony by unfettered
Counterpoint.
When the Subject and Counter-Subject start
together, the Theme is called a Double-Subject ;
as in the last Chorus of Handel's 'Triumph of
Time and Truth,' based on the Subject of an
Organ Concerto of which it originally^ formed the
concluding Movement; in the 'Christe' of Mo-
zart's Requiem ; and in the following from Haydn's
* Creation.'
It is very important that the Subject and
Counter-Subject should move in different figures.
A Subject in long-sustained notes will frequently
stand out in quite a new aspect, when contrasted
with a Counter-Subject in Quavers or Semi-
quavers. In Choral Fugues the character of
the Counter-Subject is usually suggested by a
change in the feeling of the words. For instance,
the words of the Chorus, * Let old Timotheus,'
in 'Alexander's Feast,' consist of four lines of
Poetry each sung to a separate Motivo.
In order that the Subject may be more naturally
connected with its first Counter-Subject, it is
common to join the two by a Codetta (Fr.
Querie; Germ. Nachsatz), which facilitates the
entrance of the Answer, by carrying the leading
Part to a note in harmonious continuity with it.
The following Codetta is from the celebrated Fugue
called ' The Cat's Fugue,' by D. Scarlatti.
Subject.
^
W^
bJ-C^ •
^^[-p^-
Codetta. Counter-Subject.
^ " —
Answer.
ht
r^
z See the original MS., in the British Museum, George III. MSS.
SIO [274. d.]
TONAL FUGUE.
TONAL FUGUE.
139
The alternation of the Subject with the An-
swer— called its Kepercussion (Lat. Bepercussio ;
Ital. Hepercussione ; Germ. Wiederschlag) — is
governed by necessary, though somewhat elastic
laws. Albrechtsberger gives twenty-four different
schemes for a Fugue in four Parts only, showing
the various order in which the Voices may con-
sistently enter, one after the other. The great
desideratum is, that the Answer should follow the
Subject, directly; and be followed, in its turn,
by an immediate repetition of the Subject, in
some other Part: the process being continued,
until all the Parts have entered, in turn, with
Subject and Counter-Subject, alternately, and
thus become entitled to continue, for a time,
as Free Parts. But the regularity of this alter-
nation is not always possible, in Choral Fugues,
the management of which must necessarily con-
form to the compass of the Voices employed.
For instance, in Brahms's 'Deutsche Requiem,'
there are two Subjects, each embracing a range
of no less than eleven notes — a fatal hindrance
to orthodox fugal management.
When the Subject has been thus clearly set
forth, so as to form what is called the Exposition
of the Fugue, the order of its Repercussion may
be reversed ; the Answer being assigned to the
Parts which began with the Subject, and vice
versd : after which the Fugue may modulate at
pleasure. But, in common language, the term
Subject is always applied, whether accurately or
not, to the transposed Theme, even though it
may appear in the aspect proper to the Answer.
As the Fugue proceeds, the alternation of
Subject and Answer is frequently interrupted
by Episodes (Ital. Andamenti; Fr. Divertisse-
ments), founded on fragments of the Subject, or
its Counter-Subjects, broken up, in the manner
explained on page 135 ; on fragments of contra-
puntal passages, already presented, or on passages
naturally suggested by these. Great freedom is
permitted in these accessory sections of the Fugue,
during the continuance of which almost all the
Parts may be considered as Free, to a certain
extent. Nevertheless, the great Fuguists are
always most careful to introduce no irrelevant
idea into their Compositions ; and every idea not
naturally suggested by the Subject, or by the con-
trapuntal matter with which it is treated, must
necessarily be irrelevant. It is indeed neither
possible nor desirable, that every Part should be
continuously occupied by the Subject. When it
has proposed this, or the Answer, or one of the
Counter-Subjects deduced from them, it may
proceed in Single or Double Counterpoint with
■ome other Part. But, after a long rest, it
must always re-enter with the Subject, or a
Counter-Subject ; or, at least, with a contra-
puntal fragment with which one or the other of
them has been previously accompanied, and which
may, therefore, be fairly said to have been sug-
gested by the Subject, in the first instance. And
thus it is, that even the Episodes introduced into
a really good Fugue form consistent elements of
the argument it sets forth. In no Fugue of the
highest order is a Part ever permitted to enter,
without having something important to say.
After the Exposition has been fully carried
out, either with or without the introduction of
Episodes, the subsequent conduct of the Fugue
depends more on the imagination of the Com-
poser than on any very stringent rule of construc-
tion ; though the great Fuguists have always
arranged their plans in accordance with certain
well-recognised devices, which are universally
regarded as common property, even when trace-
able to known Masters. And here it is that
the ingenious Devices (Fr. Artifices ; Germ. Kun-
steleien) described at page 135 as accessory ele-
ments of the Fugue, are first seriously called
into play. The Composer may modulate at
will, though only to the Attendant Keys of the
Scale in which his Subject stands. He may
present his Subject, or Counter-Subject, upside-
down — i. e. inverted by Contrary Motion ; or
backwards, in ' Imitatio cancrizans ' ; or, * Per
recte et retro ' — half running one way, and half
the other ; or, by single or double Augmentation,
in notes twice, or four times, as long as those in
the original ; or by Diminution, in notes half the
length. Or, he may introduce a new Counter-
Subject, or even a Canto fermo. In short, he
may exercise his ingenuity in any way most con-
genial to his taste, provided only that he never
forgets his Subject. The only thing to be de-
sired is, that the Artifices should be well chosen :
not only suggested by the Subject, but in close
accordance with its character and meaning. It
is quite possible to introduce too many De-
vices ; and the Fugue then becomes a mere
dry exhibition of learning and ingenuity. But
the Great Masters never fall into this error.
Being themselves intensely interested in the pro-
gress of their work, they never fail to interest the
listener. Among the most elaborate Fugues on
record are those in Sebastian Bach's 'Art of
Fugue,' in which the Subject given on page 136
is treated with truly marvellous ingenuity and
erudition. Yet, even these are in some respects
surpassed by the * Et vitam venturi,' which forms
the conclusion of Cherubini's Credo, Alia Cap-
pella, for eight Voices, in Double Choir, with
a Thorough-Bass. The Subject (quoted on page
136) is developed by the aid of five distinct
Counter-Subjects, three of which enter simul-
taneously with the Subject itself; the First after
a Minim-rest; the Second after three Minims;
the Third after two bars : the Subject itself oc-
cupying three bars and one note of Alia Breve
Time. It may therefore justly be called a Quad-
ruple Fugue. ThetworemainingCounter-Subjects
enter at the fifth and sixth bars, respectively;
and, because the first proposal of the Subject
comes to an end before their appearance, Cheru-
bini, though giving them the title of Counter-
Subjects, does not number them, as he did the-
140
TONAL FUGUE.
first three, but calls one I'autre, and the other le
nouveau contre-sujet. The Artifices begin at the
fourth bar, with an Imitation of the Third
Counter-Subject in the Unison, and continue
thence to the end of the Fugue, which em-
bodies 243 bars of the finest contrapuntal writing
to be found within the entire range of modern
Music.
When the capabilities of the Subject have
been demonstrated, and its various Counter-Sub-
jects discussed, it is time to bind the various
members of the Fugue more closely together, in
the form of a Stretto ^ (Lat. Restrictio ; Ital.
Stretto, Restretto ; Germ. Engfuhrung ; Fr. Rap-
pi-ochement), or passage in which the Subject,
Answer, and Counter-Subjects, are woven to-
gether, as closely as possible, so as to bind the
whole into a knot. Aptitude for the formation
of an artful Stretto is one of the most desir-
able qualities in a good Fugal Subject. Some
Subjects will weave together, with marvellous
ductility, at several difierent distances. Others
can with difficulty be tortured into any kind of
Stretto at all. Sebastian Bach's power of inter-
twining his Subject and^Counter-Subjects seems
little short of miraculous. The first Fugue of
the XL VIII, in C major, contaixis seven distinct
Stretti, all differently treated, and all remark-
able for the closeness of their involutions. Yet,
there is nothing in the Subject which would
lead us to suppose it capable of any very extra-
ordinary treatment. The secret lies rather in
Bach's power over it. He just chose a few simple
Intervals, which would work well together ; and,
this done, his Subject became his slave. Almost
all other Fugues contain a certain number of
Episodes ; but here there is no Episode at all :
not one single bar in which the Subject, or some
portion of it, does not appear. Yet, one never
tires of it, for a moment ; though, as the Answer
is in Real Fugue, it presents no change at all,
except that of Key, at any of its numerous re-
currences. Some wonderfully close Stretti will
also be found in Bach's 'Art of Fugue'; in
Handel's *Amen Chorus'; in Cherubini's 'Et
vitam,' already described; in the *Et vitam' of
Sarti's * Credo,' for eight Voices, in D ; and in
many other great Choral Fugues by Masters of
the 1 8th century, and the first half of the 19th,
including Mendelssohn and Spohr. Some of
these Stretti are found on a Dominant, and
some on a Tonic Pedal. In all, the Subject is
made the principal feature in the contrapuntal
labyrinth. The following example, from the
'Gloria* of Purcell's English 'Jubilate,' composed
for S. Cecilia's Day, 1694, is exceptionally in-
teresting. In the first place, it introduces a
new Subject, — a not uncommon custom with
the earlier Fuguists, when new words were to
be treated — and, without pausing to develop
its powers by the usual process of Repercus-
sion, presents it in Stretto at once. Secondly,
it gives the Answer, by Inversion, with such
easy grace, that one forgets all about its inge-
nuity, though it really blends the learning of
1 From »ringere, to biad.
TONAL FUGUE.
Polyphony with the symmetry of modem Form
in a way which ought to make us very proud of
our great Master, and the School of which he
was so bright an ornament. For, when Purcell'g
*Te Deum' and 'Jubilate' were written, Se-
bastian Bach was just nine years old.
Subject Inversion.
With the Stretto or Organ-Point the Fugue
is generally brought to a conclusion, and, in many
examples, by means of a Plagal Cadence.
Having now traced the course of a fully de-
veloped modern Tonal Fugue, from its Exposi-
tion to its final Chord, it remains only to say a
few words concerning some well-recognised ex-
ceptions to the general form.
We have said that the modem Fugue sprang
into existence through the recognition of its
Tonal Answer, as an inevitable necessity. Yet
there are Subjects — and very good ones too —
which, admitting of no natural Tonal Answer
at all, must necessarily be treated in Real Fugue :
not the old Real Fugue, formed upon a few slow
notes treated in close Imitation ; but, a form of
Composition corresponding with the modern Tonal
Fugue in every respect except its Tonality. Such
a case is Mendelssohn's Fugue in E minor (op. 35,
no. i), in which the Answer is the Subject ex-
actly a fifth higher.
Subject,
^f?^^.
Again, a Fugue is sometimes written upon, or
combined with, a Canto fermo ; and the resulting
conditions very nearly resemble those prevailing
on board a Flag-Ship in the British Navy ; the
functions of the Subject being typified by those
of the Captain, who commands the ship, and the
privileges of the Canto fermo, by those of the
Admiral, who commands the Captain. Some-
times the Subject is made to resemble the
Canto fermo very closely only in notes of shorter
duration ; sometimes it is so constructed as to
move in Double Counterpoint against it. In
neither case is it always easy to determine which
TONAL FUGUE.
is the real Subject ; but attention to the Expo-
sition will generally decide the point. Should
the Canto fermo pass through a regular Expo-
sition, in the alternate aspects of Dux and
Comes, it may be fairly considered as the true
Subject, and the ostensible Subject must be ac-
cepted as the principal Counter-Subject. Should
any other Theme than the Canto fermo pass
through a more or less regular Exposition, that
Theme is the true Subject, and the Canto fermo
merely an adjunct. Examples of the first method
are comparatively rare in Music later than the
17th century. Instances of the second will be
found in Handel's * Utrecht Te Deum and Ju-
bilate,' 'Hallelujah Chorus,' 'The horse and his
rider,' Funeral, and Foundling Anthems; and
in J. S. Bach's * Choral Vorspiele.'
Other exceptional forms are found in the ' Fugue
of Imitation,' in which the Answer is neither an
exact reproduction of the Subject, nor necessarily
confined to Imitation in any particular Interval ;
the Fughetta, or Little Fugue, which terminates
at the close of the Exposition ; and the Fugato,
or Pezzo Fugato, which is not really a Fugue,
but only a piece written in the style of one.
But these forms are not of sufficient importance
to need a detailed description. [W.S.E..]
TONALITY is the element of key, which in
modem music is of the very greatest importance.
Upon the clearness of its definition the existence
of instrumental music in harmonic forms of the
Sonata order depends. It is defined by the con-
sistent maintenance for appreciable periods of
harmonies, or passages of melody, which are
characteristic of individual keys. Unless the
tonality is made intelligible, a work which has
no words becomes obscure. Thus in the binary
or duplex form of movement the earlier portion
must have the tonality of the principal key well
defined; in the portion which follows and sup-
plies the contrast of a new and complementary
key, the tonality of that key, whether dominant or
mediant or other relative, must be equally clear.
In the development portion of the movement
various keys succeed each other more freely,
but it is still important that each change shall
be tonally comprehensible, and that chords be-
longing to distinct keys shall not be so recklessly
mixed up together as to be undecipherable by
any process of analysis — while in the latter
portion of the movement the principal key again
requires to be clearly insisted on, especially at
the conclusion, in such a way as to give the
clearest and most unmistakeable impression of
the tonality ; and this is commonly done at most
important points by the use of the simplest and
clearest successions of harmony. Chords which
are derived from such roots as dominant, sub-
dominant, and tonic, define the tonality most
obviously and certainly; and popular dance-
tunes, of all times, have been generally based
upon successions of such harmonies. In works
which are developed upon a larger scale a much
greater variety of chords is used, and even chords
belonging to closely related keys are commonly
interlaced without producing obscurity, or weak-
TONE.
141
ening the structural outlines of the work ; but
if chords are closely mixed up together without
system, whose roots are only referable to keys
which are remote fi:om one another, the result is
to make the abstract form of the passage unin-
telligible. In dramatic music, or such music
as depends for its coherence upon words, the
laws which apply to pure instrumental music
are frequently violated without ill efiects, inas-
much as the form of art then depends upon
different conditions, and the text may often
successfully supply the solution for a passage
which in pure instrumental music would be
unintelligible. [C.H.H.P.]
TONE, in the sense of Quality, the French
timbre, is distinguished as harsh, mild, thin,
full, hollow, round, nasal, metallic or woody;
and most persons agree in assigning these epithets
to varieties of tone as usually heard. No valid
reason was forthcoming for the cause of these
varieties until Helmholtz, in 'Die Lehre der
Tonempfindungen,' settled its physical basis, de-
monstrating and explaining it by his theory of
tone sensations. Since the publication of that
great work the why and wherefore of differences
of quality may be learned by all enquirers,
without any preliminary knowledge of mathe-
matics ; and as there are admirable translations
of Helmholtz's great work, in French by M.
Gudroult, and in English by Mr. A. J. Ellis,
those who wish to pursue the study of the
subject will find no insurmountable hindrance
to doing so.
If, as Helmholtz points out, the same note is
sounded successively on a pianoforte, a violin,
clarinet, oboe or trumpet, or by the human voice,
though the pitch be the same and the force equal,
the musical tone of each is different and may be
at once recognised without seeing the instrument
or singer. These varieties of quality are infi-
nitely numerous, and we can easily distinguish
one voice from another in singing or speaking
even by memory, at distances of time and space ;
and by the delicate shades of quality in vowel
tone we perceive that each individual is furnished
with a distinct vocal instrument. This infinite
gradation of tone is due to the fact that simple
tones are very rarely heard, but that in nearly
every musical sound, though accepted by the ear
as one note, several notes are really heard in
combination, and it is the different relative
numbers and intensities of the notes combined
that cause the sensation of different quality. In
the analysis of the combination the lowest tone
is called the 'Prime' or 'Fundamental,' and
the higher ones, the 'Upper Partials.'^ The
running off into upper partial tones is to be
attributed, as Mr. Hermann Smith discovered,
to the energy with which the sounding medium,
whatever it may be, is agitated. The ^olian
Harp is a beautiful instance of the influence of
varying energy. In it several strings are tuned
to one pitch, but they are not equally sub-
» We abstain from reference to the much-debated combination or
differential tones which the ear can perceive lower In pitch than tbt
fundameutaL
142
TONE.
mitted to the force of the wind, and in conse-
quence we hear lower or higher notes in com-
binations of concord or dissonance, as the strings
vibrate in longer or shorter sections due to the
less or greater power of the wind, and its point
of impact on the string.^ The pulsations known
as Beats, which may be heard by touching and
holding down almost any key of a pianoforte
not recently tuned, affect the ear by their fre-
quency. K unapparent or nearly so, Helmholtz
characterises the sound as ' continuous,' if per-
ceptibly apparent as 'discontinuous,' and while
continuity is harmonious and gratifies the ear,
discontinuity is discordant and more or less
pains the ear according to the frequency of the
disconnection. Now the prime and upper partials
which in strings, narrow tubes, reeds and the
human voice form a musical note, proceed in a
regular succession, the Arithmetical Progression
of I, 2, 3, 4, 5, 6, etc. This succession may also
be expressed in ratios which show by fractions
the vibrating divisions of the string. We express
the same succession by Unison, Octave, Twelfth,
Double Octave, etc. Up to 8, which is the
Third Octave from the Prime or Fundamental,
the successive combination of these increasing
divisions of the string (or of the air column) is
sufficiently continuous or free from prominent
beats to satisfy the ear as harmonious, but that
point passed, the greater frequency of beats
caused by the increasing nearness of the suc-
cessive partials causes a disagreeable sensation
which is extreme when a string vibrating in 1 2
sections and another vibrating in 1 3, are sound-
ing together. The reader must take for granted
that for simple tones the particles vibrate like
the bob of a pendulum. For compound tones
the form of the vibration is very different. The
particular form in any case depends upon the
number and intensity of the partials or simple
tones of which it is compounded, and produces
the effect called quality of tone. There is
another circumstance called 'phase,* depending
upon the points of their vibrations in which
two partials coincide, when compounded ; this
alters the form of vibration in the compound
tone, but has no perceptible effect on its
quality.
We have so far touched upon the voice, and
those instruments of strings, reeds, and narrow
pipes which may have a regular series of harmonic
proper tones ; there are however irregular causes
of musical or partially musical sound with inhar-
monic proper tones, not following an arithmetical
order of succession : among these are wide pipes,
stretched membranes (as drums), plates (as
gongs), elastic rods (as tuning-forks), and the
various metal and wooden harmonicas. The use
of nearly all these varieties is in consequence
much restricted in our modem European music.
As to Resonance, any elastic body fastened so as
to be permitted to vibrate will have its own
proper tones, and will respond sympathetically to
1 The peculiar, touching, ch&racter of the .SCollan harp harmony li
determined by the frequent presence of the Harmonic Seventh, an
interval rejected In our music and replaced by sharper diatonant
sevenths of an entirely different tone chancter.
TONE.
the influence of other periodic vibrations, as may
be commonly observed with violins, pianofortes,
harps, and other stringed instruments, where
the comparatively faint sound of the strings is
materially reinforced by the responsive sound-
board.
In many wind instruments the phenomena of
Harmonics become of the first importance. In
these they are caused by increase of pressure or
force of blowing; and, in point of fact, as each
higher note is gained by the rejection of a lower
factor of sound, the quality of each note changes
and gains in brilliancy as it ascends in pitch. In
stringed instruments it is sufficient to touch the
vibrating string gently with the finger, to damp
all those simple vibrations which have segmental
cui-ves or loops at the point touched ; while at
the apparent resting-places from vibration which
are called nodes, the simple vibrations meeting
there continue to sound with undiminished loud-
ness. The quality is changed from the full sound-
ing note ; the vibrating complex being simpler,
sounds sweeter and purer, until in the very
highest harmonics the difference to the ear be-
tween string and wind seems almost lost. The
greater consistency of metal assists the mainten-
ance of a state of vibrating motion once assumed,
and from this what we characterise as metallic
tone is the comparatively steady lasting of the
high upper partial tones, but with the possible
fault of becoming tinkling. In the less elastic
mass of wood, the upper partials rapidly die
away. Unless this decrease be too rapid the ear
delights in the greater prominence gained for the
prime and its nearer upper partials. If too rapid
we characterise the tone as woody.
In the Pianoforte we meet with the readiest
application of the terms 'metallic ' and ' woody.'
Modem pianos, where the framing which holds
the strings and bears their draught is of iron,
frequently have a * metallic * tone from the higher
elasticity of the framing, which being metal does
not allow the high upper partials of the string
to die away so soon as they did in the older
pianos of iron and wood or of wood alone, the
inferior elasticity of which permitted them to
become extinct sooner and the string to pass
more quickly into longer segments of vibration.
The extreme influence of metal may be to main-
tain a * ringing ' or even a ' tinkling ' tone ; from
the wood we get a 'dull' or 'woody' quality.
There are however other conditions to be pre-
sently referred to. To show the strength of the
octave harmonic in a good pianoforte you will
rarely find the tuner adjust the pitch note C (a)
to its corresponding tuning-fork. He prefers the
middle C (J) an octave lower, because its first upper
partial (c) beats, for a certain space of time, more
(a) (6) (c)
distinctly with the fork than the fundamental with
which it is in unison. The scheme of strengthening
the octave harmonic by an additional octave string
is certainly a work of supererogation 1 But one
TONE.
very important factor in pianoforte tone is the
hammer, both in its covering and in its striking
place against the string. Helmholtz shows that
a soft hammer causes softer or rounder tone be-
cause the greater continuity of contact of the
soft material damps the very high upper partials,
while the less continuity of contact of a hard-
surfaced hammer allows small section s of the string
to sound on. Strength of blow causes loudness by
increasing the amplitude or greater vibrating ex-
cursion of the string, while it also expends more
energy and increases the number of upper partials
in the tone. Weakness of blow is, of course, of
reverse influence. The striking-place, or point
of contact of hammer and string, affects the tone
variously. Experience teaches that it should be
upon a nodal point, although many pianoforte
makers neglect an accurate adjustment of the
striking line, to the detriment of purity of tone.
If the string could be struck exactly at the half
of its length between the bridges, a kind of
clarinet tone of great beauty would be obtained.
On the other hand, by striking very near the
wrestplank bridge, and thus favouring the very
high partials at the expense of the lower ones,
an approximation to the oboe tone would be
gained. The so-called * Lute ' stop, in the
harpsichord, is a practical illustration of this
change of quality. The best fundamental tone
in combination with the best sounding partials
is obtained at the eighth of the string ; at the
ninth the tone hardens by diminution of the
power of the prime, which is proved by the ham-
mer requiring more 'toning' or softening. The
high upper partials continue to come into greater
prominence as we ascend to the tenth and higher,
for which reason, to get brighter trebles, piano-
forte makers have adopted the device of bringing
the striking-place inwards as they ascend, with
a loss of equality of tone. In the old keyboard in-
struments which preceded the pianoforte, and
indeed in the early pianofortes, no attention was
paid to accuracy of striking-place. In Harpsi-
chords and spinets the strings were usually
touched somewhere between the half and the
tenth of the length; but the small diameter
of the strings favoured the due formation of
agreeable upper partials.^
The framing and weight of stringing have much
to do with the bars attached to the under side of
the belly or soundboard of a pianoforte. These
bars cross the direction of the grain of the Spruce
Fir of which the belly is made, and promote the
elasticity of this most important tone reinforcer.
Without the Resonance table the strings would
offer scarcely any sound, and without the
elasticity gained by the bars their high upper
partials would be imperfectly reflected, or im-
mediately lost. The hard wood bridge carries
the complete pulsations of the strings to the
soundboard by alternating greater and less pres-
sures. On the whole no other musical instru-
1 The effect of the striking Is due, generally, to the Intensity of
motion of the simple vibrations, and the corresponding Increase
or decrease of the partials, at the point of excitement by the hammer,
thus affecting the composition of the musical tone. Helmholtz (Ellis)
p. 123.
TONE.
143
ment is capable of the infinite variety of the
tone qualities of the pianoforte, as various as the
wonderfully nervous touch of the ends of the
fingers of the player, which differs in every in-
dividual so that no two persons produce quite the
same tone from the pianoforte unless they may
be said to agree in the bad tone obtained by in-
elastic thumping.
^ We can compare, although remotely, the
violin with the pianoforte in some of the funda-
mental principles of tone-production, but in many
respects these instruments are very different.
For instance, in the tone-production, the string
clings to the bow until it is suddenly detached,
when it rebounds and is caught by the bow again.
Thus a peculiar vibrational form ensues, in which,
according to Helmholtz, the prime or fundamental
tone is stronger than in the pianoforte, while the
first upper partials are comparatively weak. The
sixth to the tenth are much stronger, which gives
the bowed instruments their cutting character —
the 'scolding violins,' as old Thomas Mace
called them when they were beginning to super-
sede the viols and lutes. Any scratching of the
bow is immediately shown by sudden jumps or
displacements of the compound figure of vibration.
The form of this figure is however tolerably in-
dependent of the place of bowing, usually at
about one-tenth of the length of the string. The
quality becomes somewhat duller as we approach
the fingerboard, and brighter as we approach the
bridge, at least for forte passages. We have re-
semblances to the pianoforte in the pressure of
■topping in the violin by the finger, in the piano-
forte by a firm wrestplank bearing ; by this power
the production and continuity of the upper par-
tials is assisted and maintained. The * bass bar '
in the violin answers to the more complex barring
of the piano, by screwing the belly up to the
required pitch of elasticity for the reinforce-
ment of the upper partials. Lastly, the bowing
has some analogy to the touch of the pianoforte
player; in that quality of individuality which
extinguishes or subordinates the mechanical in
performance.
Recent researches have proved that the orches-
tral division of wood and brass in wind instruments
is nominal, or nearly nominal, only. The material
affects the tone of those instruments by the
rigidity or elasticity which it offers for enclosing
columns of air. The cause of the difference
of the quality of tone is the shape of the air
column as it approximates to a cylindrical or
conical form, and is wide or narrow for the pro-
duction of the proper tones ; the upper partials as
determining the quality, and in combinations as
harmonics. The production of the tone — whether
by double reed (as in the oboe), by single reed
(as in the clarinet), or by embouchure (as in the
flute); the hypothetical air reed in flue organ
pipes, and the action of the lips as vibrating
membranes in the cupped mouthpieces of horns,
trumpets, trombones, etc. — has its place in the
determination of quality ; so much so, that to pre-
serve the colour of tone in the orchestra, clarinets
and oboes have not been improved, as the flute
144
TONE.
TONIC SOL-FA.
has been, lest their distinctive qualities of tone
should be destroyed. But orchestral qualities,
considered as a whole, do slowly change. It
would not now be possible to restore the orches-
tral colouring of Handel or Bach.
The most strident reed-tone is heard in the
harmonium. In that variety called the American
organ, the force of the high upper partials en-
gendered by the action of the reed, is qualified
by altering its position and form. It is imp'ossible
in a dictionary article to carry out the discussion
of various qualities of tone, even as far as the
subject is already known ; the writer can only
refer the inquirer to the best existing sources of
our knowledge : to the great work of Helmholtz
already referred to — especially in Mr. Ellis's
translation, which contains appendices of great
importance; to the writings of Dr. Stone and
M. Mahillon on wind instruments; to Mr. Walter
Broadwood's translation of an essay by Theobald
Boehm, on the flute, and to some interesting
articles 'In the Organ and in the Orchestra,*
written by Mr. Hermann Smith, and published in
'Musical Opinion.' The writer can only lay claim
to independent investigation as regards the piano-
forte and its congeners. [See Timbre.] [A.J.H.]
TONES or TUNES, GREGORIAN. The
most typical examples of the Church Modes,
which are described at p. 340 b of vol. ii. [See
also Geegorian Tones, in Appendix.] [G.]
TONIC SOL-FA is the name of a method of
teaching singing which has become popular in
England during the last thirty years. It is the
method now most generally used in primary
schools, and is adopted widely for the training
of popular choirs. Its leading principle is that
of 'key relationship' (expressed in the word
* Tonic '), and it enforces this by the use of the
ancient sound-names, do, re, mi, etc., as visible,
as well as oral, symbols. These names are first
put before a class of beginners in the form of a
printed picture of the scale, called a ' Modulator.'
For simplicity's sake they are spelt English-wise,
and si is called te to avoid having two names
with the same initial letter. In the first lessons
the teacher practises the class in the singing
of the sounds as he points to the name of each,
first taking the do, me, soh, of the common chord.
making his pupils feel the special character of
each sound, its distinguishing melodic effect, and
afterwards training them to recognise the inter-
mediate sounds in the same way. It is on
this * feeling ' of the different character of each
sound, the difierence due
to its place in the scale,
that the greatest stress
is laid. When the pupil
has caught the percep-
tion of these differences,
and has learnt to as-
sociate the difference of
the feeling with the dif-
ference of the name, he
has grasped, in its essen-
tial principle, the secret
of singing at sight. — The
central column only of the
modulator is used at first.
The lateral columns are
for teaching and ex-
plaining change of key.
The fe, se, etc. represent
the occasionally used
* chromatic * sounds, i. e.
• flats ' and * sharps ' not
involving modulation in-
to a new key. The
names of the sounds are
so placed on the modu-
lator as to show, accur-
ately, the true positions of the sounds in
the natural (untempered) scale. When the class
can, with some readiness, sing the sounds as
the teacher points to them on the modulator,
they are introduced to exercises printed in
a notation formed out of the initials of the
scale-names; d standing for doh, r for ray,
etc. The duration of each sound is indicated
by the linear space it occupies, each line of
print being spaced out into divisions by bars
and dots. A ' rest ' is shown by a blank
space, the prolongation of a sound by a line
( — ) occupying the space. Sounds in upper
and lower octaves are distinguished by small
figures: thus, 6}, r^ etc. signify an upper oc-
tave ; d, r, etc. a lower. The following is an
example of a vocal score : —
d'
V
- n' - 1
-^ n -8
— DOH'— f
TE — n
tn le
— LAH ^ r
la se
- SOH — d
ba f e I
— FAH
t
— ME — 1,
ma re
- KAY — s,
de '
-DOH- f,
t, - n,
— 1, ^ r,
- 8, -d,
ta
- f,
''a
- n, -la
Since first I sftw your fiwe I n-solT'd to bon-our and re-
P rf
KeyD. M. 60.
Thomas Ford.
Treble.
fa
d :-.r
m :f
Alto. i
1. Since
:d
r :-i
r :r
Tenor. \
Bass. ^
:in
m : f
sun, vrhose
d :-.d
8 :1
beams mott
d :1.
,
8 :f
bee, I
r :r
.m 1 r
re - sol
.r jr
:1
?'d To
:r
rf
S
hon
xn
:- 8 |f :m
. our and re-
:-.d It, :d
1
t :t
glo- rl
.t It
- oos are
:1 .t
Be -
d'
Ject
:-.8 |8 :8
- eth no be-
'
8, :s
.8, l8
:f
m
:-.in|r :d
TONIC SOL-FA.
eres.
~w~r
3:^<i_^— :pi
:1 — t
T=X.
33:^3
-^-j— .-i-«-~-i — i
p/D
:U-t
i^
451=
pp
K 1
II
heart had ne-ver known you.
^ — \ — u_
l-J^
J :
TONIC SOL-FA.
145
r :-
.d|
d
cres.
:d
d
:-.r
m
:f
nown
a :t,
1
you
d
. If
:d
now
d
I
:-.d
b«
d
dls-
:d
s : -
hold -
s, : -
- I
m
er,
d
: m
And
:d
m
r
:-.f
gweet
:-.d 1
s
beau
d
:I
■■i.
s :f.
mf
r
:1
s
:-.8
|f
:m
dain'd. I
r :r 1
wish
r
My
:r
heart
m
had
:-.d
nev
It,
- er
:d
t :t
past com
s, :s.
1
"l
t
pare,
S
:1 .t
Made
:f
d'
my
m
:-.s
poor
:-.ni
Is
eyes
:s
tha
:d
m .r
,_
.d
1 d
known
d
'^
you.
1 d
s
bold
: -
: -
—
I ■»
er.
1 d
The method is, it will be seen, identical
in principle with the old system known by
the name of the ' Moveable Do,' and the
notation is only so far new in that symbols are
written down which have been used, orally,
for some eight centuries. The syllables at-
tributed to Guido, circa 1024 [see Hexachoed],
were a notation, not of absolute pitch, but of
tonic relation; his ut, re, mi, etc., meaning
Bometimes
W
sometimes ^— ^
and so on, according as the tonic changed its
pitch; and this ancient use of the syllables to
represent, not fixed sounds, but the sounds of
the scale, has been always of the greatest service
in helping the singer, by association of name
with melodic effect, to imagine the sound.
The modern innovation of a * fixed Do ' is one
of the many symptoms (and effects) of the
domination of instruments over voices in the
world of modem music.^
The Tonic Sol-fa method, indeed, though
spoken of as a novelty, is really a reversion to
ancient practice, to a principle many centuries
old. Its novelty of aspect, which is undeniable,
results from its making this principle more
prominent, by giving it visual, as well as oral,
expression ; that is, by using the old sound-
names as written symbols. Those who follow
the old Italian and old English practice of the
1 sir John Herschel said In 1868 (Quarterly Journal of Science,
art. 'Musical Scales')—' I adhere throughout to the good old system of
representing by Do, Re, Mi, Fa, etc., the scale of natural notes tn any
hey whatever, taking Do for the key-note, whatever that may be. In
opposition to the practice lately introduced (and soon I hope to be
exploded), of taking Do to represent one fixed tone C,— the greatest
retrograde step, in my opinion, ever taken in teaching music, or any
other branch of knowledge.*
VOL. IV. PT. a.
* Moveable Do ' are, in effect. Tonic Sol-faists.
The question of notation is a distinct one, and
turns on considerations of practical convenience.
The argument for adhering to the old tonic use
of the syllables rests broadly on the ground that
the same thing should be called by the same
name ; that, for example, if
rj=t
is to be called do,
reasonable that
do, re 1 si, do, re, it is not
dz-ij =i^! — — ^
4—1 H— t—- -•--- ^-
the essential effect of which on the ear is the
same — for the tune is the same, and the tune is
all that the ear feels and remembers — should be
called by another set of names, si, si, do \ la, si,
do. And, conversely, it is not reasonable that
if, for example, in the passage
, I . ,-.
i
:^t:
the last two sounds are called do, la, — the same
sounds should be also called do, la, in the passage
where they sound wholly different ; the identity
of pitch being as nothing compared to the change
of melodic effect — a change, in this case, from the
plaintive to the joyous. It is on this perception
of the 'mental effect' of the sounds of the scale
that the Tonic Sol-fa teacher relies as the means
of making the learner remember and reproduce
the sounds. And it is this that constitutes the
novelty of the system as an instrument of teaching.
146
TONIC SOL-FA.
To mal<e the beginner feel these eflfects for him-
self is the teacher's first object. As a help to
such perception a set of descriptive names are
used in the earliest lessons. The pupil is told he
may think of the do as the 'strong' tone, of the
me as the ' steady' or 'calm' tone, of the lali as
the * sad ' tone, and so on ; these epithets giving,
in a rough way of course, some indication of the
* mental effect.' When in this way the pupil has
learnt to associate the names with the several
sounds, he refers the letters on the printed page
to a mental picture of the modulator, and though
the music does not ' move up and down,' as in
the Staff notation, the syllable-initials suggest to
him the names ; he sees these names, mentally,
in their places on the scale, and with the remem-
brance of the name comes the remembrance of
the sound.
This constant insistance on the scale and
Robinson.
i^^
h^tr^^^-il^^
the "1 meaning that the singer is to sing the
sound which is the me of the scale in which he
began, but to call it lah wliile singing it, and
sing onwards accordingly. When the key
changes again to the original tonic he is iji-
formed of it by the '^s, which means that he
is to sing again tlio sound he has just sung as
doh, but to think of it and sing it as soTi. These
indications of change of key give the singer direct
notice of what, in the Staff notation, he is left
to find out inferentially from the occurrence of a
sharp or flat in one of the parts, or by comparing
his own part with the others. To make these
inferences with any certainty requires a consider-
able knowledge of music, and if they are not
made with certainty the * reading ' must be
mere guess-work. Remembering that in music
of ordinary difficulty — say in Handel's choruses
— the key changes at an average every eight
or ten bars, one can easily see what an advan-
tage the Tonic Sol-faist has in thus being made
at every moment sure of the key he is sing-
ing in. The method thus sweeps out of the
beginner's way various complications which
would puzzle him in the Staff notation — ' signa-
tures,' 'sharps and flats,' varieties of clef. To
transpose, for instance, tlie above chant into the
key of F, all that is needed is to write ' Key F '
in place of ' Key E b.' Thus the singer finds all
keys equally easy. 'Accidentals' are wholly
unknown to him, except in the comparatively
rare case of the accidental properly so called, that
is, a 'chromatic' sound, one not signifying change
of key.^
These advantages can, it is true, be in part
secured by a discreet use of the ' tonic ' principle,
— a ' moveable do ' — with the staff notation. But
the advocates of the letter notation urge that the
1 In the Soprano part, for Instance, of the Messiah choruses
there are but three real ' accidentals.'
TONIC SOL-FA.
nothing but the scale carries the singer with ease
over the critical difficulties of modulation. He
has been taught to follow with his voice the
teacher's pointer as it moves up and <lown the
modulator. When it touches soh (see the modu-
lator above) he sings soh. It moves to the doh
on the same level to the right, and he sings the
same sound to this new name. As he follows
the pointer up and down the new scale he is soon
taught to understand that a new sound is wanted
to be the te of the new doh, and thus learns, by the
'feeling' of the sounds, not by any mere ma-
chinery of symbols, what modulation is. When
he has been made familiar witli the change from
scale to scale on the modulator, he finds in the
printed music a sign to indicate every change of
key. Thus the changes between tonic and
dominant in the following chant are shown as
follows (taking the soprano part only) : —
Key Eb.
|T|d>:l|8:-
f. Key Eb.
•1^ I f : m I 1 :-
Key Bb.
II '^ I t:d' I d'
t|d':~|
r :m I r :r | d : —
old notation hampers both teacher and learner
with difficulties which keep the principle out of
view ; that the notes of the staff give only a
fictitious view of interval. To the eye, for in-
stance, a major third (a) looks the same as a
minor third (&) ; which of the two is meant can
(a) {h)
P
g
:?5-
only be determined by a process of reasoning on
the 'signature.' A like process is needed before
the reader can settle which sound of the scale
any note represents. In the above chant, for
example, before the singer can sing the opening
phrase he must know that the first sound is the
soh of the key. The staff notation shows him a
mark on a particular line, but it is only after he
has made certain inferences from the three ' flats '
on the left that he can tell whore the sound is in
the scale. How much better, the Sol-faists say,
to let him know this at once, by simply printing
the sound as soh. Why impede the singer by
troubling him with a set of signs which add
nothing to his knowledge of the facts of music,
and which are only wanted when it is desired to
indicate absolute pitch, a thing which the sight-
reader is not directly concerned with ?
The question of the utility of a new notation
is thus narrowed to a practical issue : one which
may be well left to be determined by teachers
themselves. It is of course chimerical to suppose
that the ancient written language of music could
be now ' disestablished,' but musicians need not
object to, they will rather welcome, any means
of removing difficulties out of the learner's way.
The universal language of music — and we are
apt to forget how much we owe to the fact that
it is universal — may well be said to be abnost a
miracle of adaptation to its varied uses ; but it is
TONIC SOL-FA.
worth observing that there is an essential differ-
enoe between the sight-reader's and the player's
use of any system of musical signs. The player
has not to think of the sounds he makes before
he makes them. When he sees, say, the symbol
its meaning to him is not, in practice.
TONIC SOL-FA.
147
i
3?
' imagine such and such a sound,* but * do some-
thing on your instrument which will make the
sound.' To the pianist it means * touch a certain
white key lying between two black keys ' ; to the
violoncellist, ' put the middle finger down on the
first string,' and so on. The player's mental
judgment of the sound only comes in after it has
been produced. By this he 'checks' the accuracy
of the result. The singer, on the contrary, knows
nothing of the mechanical action of his own
throat : it would be useless to say to him, * make
your vocal chords perform 256 vibrations in a
second.' He has to think of the sound first ;
when he has thought of it, he utters it spon-
taneously. The imagination of the sound is all
in all. An indication of absolute pitch only
is useless to him, because the melodic effect,
the only effect the memory can recall, depends
not on absolute but on relative pitch. Hence a
* tonic * notation, or a notation which can be
used tonically, can alone serve his purpose.
An exposition of the details of the method
would be here out of place, but one or two points of
special interest may be noticed.^ One is the treat-
ment of the minor scale — a crux of all Sol-fa
systems, if not of musical theory generally. Tonio
Sol-faists are tauglit to regard a minor scale as
a variant of the relative major, not of the tonio
major, and to sol-fa the sounds accordingly. The
learner is made to feel that the special * minor *
character results from the dominance of the lah,
which he already knows as the plaintive sound of
the scale. The ' sharpened sixth' (reckoning from
the lah), when it occurs, is called ba (the only
wholly new sound-name used (see the modulator,
above), and the 'leading' tone is called se, by
analogy with ie (Italian si) of the major mode.
Thus the air is written and sung as follows : —
God be for us, who can be a '
itut
gainst us?
who can be
:t=L
gainst us? who can be a - gainst us?
Key Bb.
Lah is C.
1, d •
t,
:i, n
:n :1 s :
-.1
:f
If God
be for
us, who can
be
a-
n : 1,
gainst us ?
:
= = 1
: :1, n :
who can
-.r
be
d
a-
1 t, :1,
1 gainst us?
d s :
who can
-.f : n 1 r
be a- 'gainst
: d
us?
M
Experience appears to show that, for sight-read-
ing purposes, this is the simplest way of ti-eating
the minor mode. Some musicians object to it on
the ground that, as in a minor scale the lowest (and
highest) sound is essentially a tonic, in the sense
that it plays a part analogous to that of the do
in a major scale, calling it la seems an incon-
sistency. But this seems a shadowy objection.
The only important question is, what sign, for
oral and ocular use, will best help the singer to
recognise, by association with mental effect, one
sound as distinguished from another ? Experience
shows that the Tonic Sol-fa plan does this
effectually. The method is also theoretically
sound. It proceeds on the principle that simi-
larity of name should accord with similarity of
musical effect. Now as a fact the scale of A
minor is far more closely allied to the scale of C
major than it is to the scale of A major. The
identity of ' signature ' itself shows that the sub-
stantial identity of the two first-named scales has
always been recognised. But a proof more effec-
tive than any inference from signs and names is
that given by the practice of composers in the
matter of modulation. The scales most nearly
related must evidently be those between which
modulation is most frequent ; and changes be-
tween tonic major and relative minor (type, C
major to and from A minor) are many times
more frequent than the changes between tonic
major and ^onic minor (type, C major to and from
C minor). In Handel's music, for instance, the
proportion is some nine or ten to one.^ If there-
fore the Tonic Sol-faist, in passing from C major
to A minor, changed his doh, he would be adopt-
ing a new set of names for what is, as near as
may be, the same set of sounds.
The examples above given show the notation
as applied to simple passages ; the following will
show how peculiar or difficult modulations may
be rendered in it : —
1 The best summary account of this system for the musician is
given in 'Tonic Sol la,' one of the 'Music Primers' edited by Dr.
Stainer (Novel lo).
2 In ' Judas ' the transitions from major to relative minor, and
from minor to relative major, are, as reclconed by the writer, 67 in
number; the transitions from major to tonic minor, and from
minor to tonic major, being only 7. The practice of centuries in
points of technical nomenclature cannot, of course, be reversed, but
it is plain that the phrase ' relative ' minor is deceptive. The scale
called "A minor' would be more reasonably called (as its signature
In effect calls it) C minor. It has not been sufficiently noticed that
the diflFerent kinds of change from minor to major are used by com-
posers to produce strilcingly different effects. The change to rela-
tive major (e.g. A minor to C major) is the ordinary means ol
passing, say, from the dim to the bright— from pathetic to cheerful.
But the change to tonic major (A minor to A major) is a change to
the Intensely bright— to jubilation or triumph. A good instance is
the beginning of the great fugue in 'Judas,' 'We worship God'— a
point of extraordinary force. Another is the well-ltnown choral
finale in ' MoS(5 in Egitto,' 'Dal tuo stellato soglio,' where, after the
repetition in three successive verses of the change from G minor to
Bb major, giving an effect of reposeful serenity, the culminating
effect, the great burst of triumph in the last verse, is given by the
change from G minor to G major. Other Instances are the passago
in ' Elijah '— ' His mercies on thousands fall '—and the long prepared
change to the tonio major which begins the finale of Beethoven's
C minor Symphony.
L 2
148
TONIC SOL-FA.
^
They stand be -fore God's throne, and serve him day and
^S^^-
i^g^:
night. And the Lamb shall lead them to foun-tains of liv-lng vra-teri .
^^^m^^
Af- fright -ed fled hell's spl-rits black In throngs.
^^^^s^i^^e
id -
Down they sink in the deep a • byas to end - less night.
In the teaching of Harmony the Tonic Sol-fa
method puts forward no new theory, but it uses
a chord-nomenclature which makes the expres-
sion of the facts of harmony very simple. Each
chord is represented by the initial letter, printed
in capitals, of the sol-fa name of its essential
root, thus —
MJy cj.
^
the various positions of the same chord being
distinguished by small letters appended to the
capital, thus —
Da or D D6
Harmony being wholly a matter of relative, not
absolute pitch, a notation based on key-relation-
ship has obvious advantages as a means of indi-
cating chord-movements. The learner has from
the first been used to think and speak of every
sound by its place in a scale, and the familiar
symbols m, f, etc. convey to him at once all that
is expressed by the generalising terms * mediant,'
* subdominant.'etc. Another point in the method,
as applied to Harmony teaching, is the promi-
nence given to training the ear, as well as the
eye, to recognise chords. Pupils are taught, in
class, to observe for themselves how the various
consonances and dissonances sound ; and they are
practised at naming chords when sung to them.
The Tonic Sol-fa method began to attract
public notice about the year 1850. Its great
success has been mainly due to the energy and
enthusiasm of Mr. John Curwen, who died in
June 1880, after devoting the best part of his
life to the work of spreading knowledge of music
among the people. Mr. Curwen [see Curwen,
Appendix], born in 181 6, was a Nonconformist
minister, and it was from his interest in school
and congregational singing that he was led to
take up the subject of teaching to sing at sight.
TONIC SOL-FA.
Key Gb.
{ m I f :-.r I s : -.t, | d : | : d
1 r : -.r I f : -.t. | d : | : d .r
G : Seven removes.
I «»»r.,l,:d.t,,t, 1 m.r,r:t,.s, | r.d||
Key Eb. Lali is C.
j m I 1 : — I— : d' J m' : d' | 1 : m
|d :-.t,Il, :_| : | : Jl :_ | _: 1
I I . — I s : s I f : ^ I m : —
|r :-id : -[t, : -il, : 1, | m -||
His system grew out of his adoption of a plan of
Sol-faing from a modulator with a letter nota-
tion, which was being used with success for
teaching children some forty years ago, by a
benevolent lady living at Norwich. He always
spoke ofthislady,MissElizabethGlover(d, 1867),
as the originator of the method. Her rough
idea developed under his hand into a complete
method of teaching. He had a remarkable gift
for explaining principles in a simple way, and
his books strike the reader throughout by their
strong flavour of common sense and incessant
appeal to the intelligence of the pupil. They
abound with acute and suggestive hints on the
art of teaching : and nothing, perhaps, has more
contributed to the great success of the method
than the power which it has shown of making
teachers easily. A wide system of examinations
and graduated ' certificates,' a college for training
teachers, and the direction of a large organisa-
tion were Mr. Curwen's special work. [See ToNio
Sol-fa College.] For some time the system
was looked on with suspicion and disfavour by
musicians, chiefly on account of the novel look of
the printed music, but the growing importance of
its practical results secured the adhesion of musi-
cians of authority. Helmholtz, viewing it from the
scientific as well as the practical side, remarked
in his great work on Sound (1863) on the value
of the notation as 'giving prominence to what is
of the greatest importance to the singer, the
relation of each tone to the tonic,' and described
how he had been astonished — ' mich in Erstaunen
setzen' — by the 'certainty' with which 'a class
of 40 children, between 8 and 12 in a British
and Foreign school, read the notes, and by the
accuracy of their intonation.'* The critical ob-
jection which the Tonic Sol-faists have to meet
is, that the pupil on turning to the use of the
Staff notation has to learn a fresh set of signs.
Their reply to this is, that as a fact two-thirds
of those who become sight-singers from the letter
notation, spontaneously learn to read from the
staff. They have learnt, it is said, ' the thing
music,' something which is independent of any
system of marks on paper ; and the transition to
a set of new symbols is a matter which costs
hardly any trouble. With their habitual de-
1 TonempJIndung, App. XVIII. (Ellis p. 639). Professor Helmholti
confirmed this experience in conversation with the writer in 1881.
TONIC SOL-FA.
(lendence on tlie scale they have only to be told
that such a line of the staff is doh, and hence
that the next two lines above are me and soh,
and they are at home on the staff' as they were
on the modulator. The testimony of musicians
and choirmasters confirms this.^ Dr. Stainer,
for instance, says (in advocating the use of the
method in schools) : * I find that those who have
a talent for music soon master the Staff notation
after they have learnt the Tonic Sol-fa, and
become in time good musicians. It is therefore
quite a mistake to suppose that by teaching the
Tonic Sol-fa system you are discouraging the
acquisition (the future acquisition) of Staff music,
and so doing a damage to high art. It may be
said, if the systems so complement one another.
Why do you not teach both ? But from the time
that can be devoted to musical instruction in
schools it is absurd to think of trying to teach
two systems at once. That being so, then you
must choose one, and your choice should be
governed by the consideration of which is the
simpler for young persons, and there cannot be
a doubt which is the simpler.' This testimony
is supported by a general consensus of practical
teachers. The London School Board find that
* all the teachers prefer to teach by the Tonic
Sol-fa method,' and have accordingly adopted it
throughout their schools; and it now appears
that of the children in English primary schools
who are taught to sing by note at all, a very large
proportion (some 80 per cent) learn on this plan.
In far too many schools still, the children only
learn tunes by memory, but the practicability of
a real teaching of music has been proved, and
there is now fair hope that ere long the mass of
the population may learn to sing. The following
figures, from a parliamentary return of the
* Number of Departments ' in primary schools in
which singing is taught (1880-1), is interesting.
They tell a tale of lamentable deficiency, but show
in what direction progress may be hoped for : —
i
^
li
4
1
il
1
School Board Schools
(England and Wales) .
Other Schools
(England and Wales) ..
Schools in Scotland . .
4681
17470
1280
86
628
8
1414
1278
1648
84
607
III
z
31
19
Writing down a tune sung by a teacher has
now become a familiar school exercise for
English children, a thing once thought only
possible to advanced musicians ; and it has
become common to see a choir two or three
thousand strong singing in public, at first sight,
an anthem or part-song fresh from the printer's
hands. Such things were unknown not many
years back. In the great spread of musical
knowledge among the people this method has
I It is stated that of2025pupns who took the 'Intermediate Certi-
ficate ' in a particular year, 1327 ' did so with the optional require-
ment of sinKinis a hymn-tune at sight from the Staff-notation.'
TONIC SOL-FA COLLEGE. 149
played a foremost part, and the teaching of the
elements is far from being all that is done.
Some of the best choral singing now to be
heard in England is that of Tonic Sol-fa choirs.
The music so printed includes not only an im-
mense quantity of part-songs, madrigals, and
class-pieces, but all or nearly all the music of
the highest class fit for choral use — the oratorios
of Handel, masses by Haydn and Mozart, can-
tatas of Bach, etc. One firm alone has printed,
it is stated, more than 16,000 pages of music.
Leading English music-publishers find it de-
sirable to issue Tonic Sol-fa editions of choral
works, as do the publishers of the most popular
hymn-books. Of a Tonic Sol-fa edition of the
'Messiah,' in vocal score, 39,000 copies have
been sold.
To the pushing forward of this great and
beneficent work of spreading the love and know-
ledge of music, Mr. Curwen devoted his whole
life, and seldom has a life been spent more
nobly for the general good. He was a man of
singularly generous nature, and in controversy,
of which he naturally had much, he was re-
markable for the perfect candour and good temper
with which he met attack. If the worth of a man
is to be measured by the amount of delight he
is the means of giving to the world, few would
be ranked higher than Mr. Curwen. His was
a far-reaching work. Not only has it been, in
England, the great moving force in helping on
the revival of music as a popular enjoyment, but
it has had a like effect in other great com-
munities. We read of the forming of choral
classes, in numbers unknown before, in New
Zealand, Canada, Australia, India, the United
States. Even from savage and semi-savage
regions — Zululand or Madagascar — come ac-
counts of choral concerts. When one thinks of
what all this means, of the many hard-working
people all over the world who have thus been
taught, in a simple way, to enter into the enjoy-
ment of the music of Handel or Mendelssohn,
of the thousands of lives brightened by the
possession of a new delight, one might write on
the monument of this modest and unselfish
worker the words of the Greek poet : ' The joys
that he hath given to others — who shall declare
the tale thereof.' ^
Of the ' Galin-Chev^ ' method of teaching
sight-reading, which is based, broadly speaking,
on the same principle as the Tonic Sol-fa method,
a notice is given under Cheve, in the Ap-
pendix. [R.B.L.]
TONIC SOL-FA COLLEGE, THE, is one of
the few public institutions in England wholly
devoted to promoting the knowledge of music.
It was founded by Mr. Curwen (see preceding
article) in 1869, in order to give stability and
permanence to the Tonic Sol-fa system of teach-
ing, and was definitely established in its present
form in 1875 ^Y incorporation under the Com-
panies Act 1862. The College is chiefly an
2 eirel xf/dfifJLOi apiOfjibv irepiTTe^evyev'
eKeifO? oca \dptxar' aAAot? e9r)Ktv,
Tts ai/ ifypacra.1. SvvaLio ; FuiDAB.
150 TONIC SOL-FA COLLEGE.
examining body, but it also carries on the teach-
ing of music (mainly directed to the training of
teachers) by means of lectures and correspondence
classes. The buildings, lecture-rooms, ofl&ces,
etc., are at Forest Gate, E., an eastern suburb of
London, some twenty minutes' railway journey
from the City.
The examinations are based on a system of
graded certificates, arranged so as to test the
progress of pupils from the earliest stage. From
the elementary certificate upwards the power to
sing at sight is demanded. The higher certificates
are granted upon a paper examination combined
with vocal tests, on the rendering of which the
local examiner has to report to the College. The
official report gives the number of certificates
granted in the year 1879-80 at 15,755, which
was 964 more than in the previous year. The
number of persons entered in correspondence
classes was 4729. The subjects of these were
Harmony-Analysis, Musical Composition (four
stage:'), Staff Notation, Musical Form, Musical
and Verbal Expression, Counterpoint, English
Composition, Organ-fingering and Chord-naming.
Students from all parts of the world enter these
con'espondence classes. The College further or-
ganises a summer term of study, lasting for six
weeks in vacation time, which is attended by
young teachers and students from Great Britain,
the Colonies, etc. A great point is made of the
art of presenting facts to the learner, and of
cultivating the intelligence as well as the ear and
voice. The students give model lessons, which
their teachers criticise. The total number of
certificates issued by the College up to the
present time (September 1 884) is stated to be as
follows: — ^junior, 51,500; elementary, 163,850;
intermediate, 44,073; matriculation, 3,367; ad-
vanced, 525. The receipts for the year 1883-84
were £1398, the payments £904. Tiie total
payments for the new buildings were £3635.
Altogether the published reports of the College
give an impression of a vast amount of useful
work carried on with thoroughness and spirit.
The College has 1465 shareholders, and is
governed by a council, in the election of which
every holder of a ' Matriculation ' certificate has
a vote. The constitution of the council is some-
what curious. It is composed of 48 members
elected in eight classes of six members each, and
drawn from the following classes of society : —
(a) handworkers, (&) clerks and employes, (c)
masters in commercial or professional occupations,
(cf) schoolmasters, (e) professional musicians, (/)
clergymen and ministers, (g) persons of literary
and other qualifications, and {h) honorary mem-
bers. The object of this arrangement is to prevent
the Colleoe getting into the hands of any one
interest or party. The present president is Mr.
J. Spencer Curwen, A.Il.A.M., who succeeded
his father, the founder, in 1880. [Il.B.L.]
TONKtJNSTLERVEREIN. A society
founded in Dresden in 1854 ^^r the popularisa-
tion of good chamber music. It took its rise from
Bichard Pohl's evenings for the practice of
chamber-music, and its first and present presi-
TORELLI.
dent is Herr Fiirstenau. The following mu-
sicians are, or have been, honorary members :—
VonBiilow, Chrysander, Hauptmann, Otto Jahn,
Joachim, Lauterbach, Julius Kietz, Clara Schu-
mann, and Ferdinand David. By degrees orches-
tral works were introduced into the practices
and performances. Out of 992 works played
between 1S54 and 1879, Il6 were in MS., 95
being by members and 21 by non-members.
These figures show the liberality of the society
in producing the work of modem artists. Fur-
thermore, it possesses a considerable library, has
provided lectures on the science of music by such
men as Fiirstenau, F. Heine, Riihlmann, and
Schneider (author of the * History of the Lied'),
and in all respects amply fulfilled its professed
object, the promotion of the art of music. After
an existence of 25 years, it musters 195 ordinary
members (practical musicians) and 164 extra-
ordinary ones. For further details see the Fes-
tival prospectus of 1879. L^-^-]
TONNERRE, GUOSSE CAISSE EN, i.e.
bass drum as thunder. This direction occurs in
Harold's overture to ' Zanipa,' and a few other
works, and means a roll. But as the bass druni
is played with one stick only, the roll is
best executed with a two-headed stick
(Tampon or Mailloche double), as made
in Paris, by Tournier, Boulevard
St, Martin. It is held in the middle,
where it is i/^inch in diameter, so that
the roll is easily made by an alternate
motion of the wrist. The stick, ending in
a round knob at each end, is turned out
of a piece of ash ; the knobs are thickly
covered with tow and a cap of chamois
leather, and are both of the same size. When
finished the heads are about 2| inches in diameter,
and the same in length. The length of the whole
stick is 1 2^ inches. [V. de P.]
TONOMETER. [See Sciieiblee, vol. iii.
p. 2436. Also TUNING-FOKK.]
TORCULUS, or Cephalicus. A Neume,
indicating a group of three notes, of which the
second was the highest ; as C, D, C, [See vol.
ii. pp. 467 6, 468 a]. [W.S.R.]
TORELLI, Giuseppe, violinist and composer^
was borti about the middle of the 1 7th century'.
He lived for many years in Bologna as leader of
a church orchestra, but in 1701 accepted the
post of leader of the band of the Markgraf of
Brandenburg-Anspach at Anspach in Germany,
where he died in 1708. To him is generally as-
cribed the invention of the ' Concerto * — or, more
correctly speaking, the application of the sonata-
form to concerted music. His most important
work, the Concerti grossi, op. 8, were published
at Bologna, 1709, three years earlier than Co-
relli's Concerti grossi. They are written for 2
obligate violins and stringed orchestra, and are
said clearly to present the main features of the
concerto-form, as used by Corelli, Handel, and
others. According to F^tis, eight works of his
have been published — all in concerted style, for
2, 3, or 4 stringed instruments. L^*-^*]
TOKQUATO TASSO.
TORQUATO TASSO. Lyric drama in 4
acts ; libretto by Ferretti, music by Donizetti.
Produced at the Teatro Valle, Rome, in the
autumn of 1833 > ^-t H. M. Theatre, London, Mar.
3. 1840. [G.]
TORRANCE, Rev. Geoege William, M.A.,
Mus.D. University of Dublin, born at Rathmines,
Dublin, in 1835. Educated as a chorister in
Christ Church Cathedral, he afterwards became
successively organist of Blackrock, Dublin, and
of the city churches of St. Andrew and St. Anne.
Among his earlier compositions was a *Te Deum'
and 'Jubilate,' sung in Christ Church Cathedral.
At 19 he composed his first oratorio, 'Abra-
ham,' which was performed in 1855 at the An-
cient Concert Rooms, Dublin, by all the leading
musicians of the city. Sir Robert Stewart pre-
siding at the oi'gan and the composer conducting.
* Abraham' was performed four times in two years.
It was rightly deemed a wonderful work for a
mere lad to produce ; the airs were written after
the manner of Beethoven, the choruses followed
that of Handel: of plagiarism there was none, and
if the work was lacking in experience, it was yet
a bold and successful effort for a boy in his teens.
In 1856 Mr. Torr.ance visited Leipsic, and during
his studies in that city became acquainted with
Moscheles and other eminent musicians. Upon
his return he produced an opera 'William of
Normandy,' and several minor works, some of
which have since been published. In 1859 Mr.
Torrance entered the University of Dublin, with
a view to studying for the ministry of the Church
of England; here he graduated in Arts in 1864,
and produced the same year a second oratorio,
' The Captivity,' to Goldsmith's words. He took
the degree of M.A. at the University in 1867, was
ordained deacon in 1865, and priest in 1866.
In 1869 he emigrated to Melbourne, Victoria.
In 1879 he obtained the degrees of Mus. B. and
Mus. D. from Dublin University, on the recom-
mendation of Sir Robert Stewart, Professor of
Music in the University, the 'Acts' publicly
performed for tlie degree being, for Mus.B. a Te
Deum and Jubilate (composed 1S78), for Mus.D.
a selection from his oratorio ' The Captivity.'
He received an honorary degree of Mus. D. ad
eundem from the Melbourne University, the first
and only degree yet conferred in Music by that
University.
Ini882 Dr. Torrance produced a third oratorio,
'The Revelation'; this was performed with great
success in Melbourne, the composer conducting.
He was elected president of the Fine Arts section
of the • Social Science Congress ' held in Mel-
bourne in 1880, when he delivered the opening
address on Music, since published. In 1883 he
was appointed by the Governor of Victoria to
be one of the Examiners for the 'Clarke Scholar-
ship' in the Royal College of Music.
He is also the author of a paper on 'Cathedrals,
their constitution and functions,' and is at present
Incumbent of Holy Trinity Church, Balaclava,
near Melbourne, a handsome new church recently
built, with a fine 3-manual organ constructed
specially to be played by liimself during service.
TOSTI.
151
We believe Dr. Torrance to be the only Doctor
of Music in the southern hemisphere — although
many able musicians are settled in the principal
cities. [R.P.S.]
TORVALDO E DORLISKA. Opera in 2
acts ; libretto by Sterbini, music by Rossini. Pro-
duced at the Teatro Valle, Rome, Dec. 26, 1815;
and reproduced at Paris, Nov. 21, 1820. The
piece was a failure. [G.]
_ TOSI, Pier Francesco, the son of a musi-
cian of Bologna, must have been born about 1650,
since we learn from the translator of his book
that he died soon after the beginning of George
II's reign (1730) above eighty years old.^ In
the early part of his life he travelled a great deal,
but in 1693 we find him in London, giving regu-
lar concerts,^ and from that time forward he
resided there almost entirely till his death, in
great consideration as a singing-master and a
composer. A volume in the Harleian Collection
of the British Museum (no. 1272) contains seven
songs or cantatas for voice and harpsichord, with
his name to them. . Galliard praises his music
for its exquisite taste, and especially mentions
tl)e pathos and expression of the recitatives.
When more than seventy Tosi published the work
by which his name is still known, under the
modest title of 'Opinioni de' cantori antichi e
moderni, o sieno osservazioni sopra il canto figu-
rato, . . .* (Bologna 1723), Avhich was translated
after his death into English by Galliard —
' Observations on the Florid Song, or sentiments
of the ancient and modern singers,' London, 1742
— second edition, 1743; and into German by
Agricol.v — 'Anleitung zur Singkimst,' Berlin,
1757. It is a practical treat'se on singing, in
which the aged teacher embodies his ovvn ex-
perience and that of his contemporaries, at a
time when the art was probably more thoroughly
taught than it has ever been since. Many of its
remarks would still be highly useful. [G.M.]
TOSTI, Francesco Paolo, an Italian com-
poser, born April 7, 1847, at Ortona sul mare, in
the Abruzzi. In 1 858 his parents sent him to the
Royal College of St. Pietro a Majella at Naples,
where he studied the violin under Pinto, and
composition under Conti and the venerable Mer-
cadante. The young pupil made wonderful pro-
gress, and was by Mercadante appointed maestrino
or pupil teacher, with the not too liberal salary
of 60 francs a month. He remained in Naples
until the end of 1869, when, feeling that his
health had been much impaired by overwork,
he went back to Ortona with the hope of regain-
ing strength. However, as soon as he got home
he was taken seriously ill with bronchitis, and
only after seven months recovered sufficiently to
go to Rome and resume work. During his illness
he wrote ' Non m'ama piti ' and ' Lamento d'a-
niore'; but it was with difficulty that the young
composer could induce a publisher to print these
songs, which have since become so popular, and
it was not till a considerable time after they
1 Galliard's Prefatory Discourse, p. Till.
> Hawkins, 'History,' v.S.
152
TOSTT.
sold well that he disposed of the copyright for the
insigniticant sum of £20 each. Sigr. Sgambati,
the well-known composer, and leader of the new
musical school in Rome, was among the first to
recognise Tosti's talent, and in order to give his
friend a fair start in the fashionable and artistic
world, he assisted him to give a concert at the ' Sala
Dante/ the St. James's Hall of Rome, where he
achieved a great success, singing several of his
own compositions, and a ballad purposely written
for him by Sgambati, * Eravi un vecchio sene.'
The Queen of Italy, then Princess Margherita di
Savoja, honoured the concert with her presence,
and showed her appreciation by immediately ap-
pointing him as her teacher of singing. Shortly
afterwards he was entrusted with the care of the
Musical Archives of the Italian Court. It was
in 1875 that M. Tosti first visited London, where
he was well received in the best circles, both as
an artist and as a man. Since then he has paid
a yearly visit to the English capital, and in 1880
was called in as teacher of singing to the Royal
Family of England.
M. Tosti has written Italian, French, and
English songs : and though the Italian outnumber
by far both the English and French, his popularity
rests mainly on his English ballads. The wind
and tide of fashion are fully in his favour, yet it
would be unsafe to determine what place he will
ultimately hold amongst song composers. "What
can even now be said of him is that he has an
elegajit, simple and facile inspiration, a style of
his own, a genuine Italian flow of melody, and
great skill in finding tlie most appropriate and
never-failing efiects for drawing-room songs. He
is still in the full strength of intellectual power
and life, and each new composition shows a
higher artistic aim and a nobler and more vigor-
ous expression of thought than the last. There
is therefore good ground to hope that his future
works may win for him from critics of all nations
the high estimation in which he is now held by
English and Italian amateurs.
He has published, up to the end of 1883, 35
songs, in addition to 4 Vocal Albums, and 15
duets, * Canti Popolari Abruzzesi.' Of his songs
the most popular in London are * For ever,' 'Good-
bye,' 'Mother,' 'At Vespers,' • Amore,' * Aprile,'
* Vorrei morire,' and ' That Day.' [G.M.]
TOSTO. Piu TOSTO ^ (plutet) is an expression
occasionally used by Beethoven, as in the second
of the Sonatas for PF. and cello (op. 5) —
* Allegro molto, piti tosto presto ' ; or the second
of the three Sonatas for PF. and violin (op. 1 2) —
* Andante, p'lb. tosto Allegretto.' The meaning
in these cases is • Allegro molto, or rather presto,'
and * Andante, or rather Allegretto.' It has the
same force with 'quasi' — 'Andante quasi Alle-
gretto' (op. 9, no. 2.) i.e. 'Andante, as if Alle-
gretto.' [G.]
TOUCH (Ger. AnscJdag). This term is used
to express the manner in which the keys of the
> 'Sather than the Madonna del Granduca shall leave Florence,'
said Cavour,'i'ti<<o«<o mifaccio/are la guerra.' [Tim** of June 12, 188i,
p. 8a.)
TOUCH.
pianoforte or organ are struck or pressed by the
fingers. It is a subject of the greatest importance,
since it is only by means of a good touch that a
satisfactory musical effect can be produced. Touch
on a keyed instrument is therefore analogous to
a good production of the voice on the part of a
singer, or to good bowing on that of a violinist.
I. Pianoforte. To the student of the pianoforte,
cultivation of touch is not less necessary than
the acquirement of rapidity of finger, since the
manner in which the keys are struck exercises
a very considerable influence on the quality of
the sounds produced, and therefore on the effect
of the whole passage. A re.ally good touch
implies absolute equality of the fingers and a
perfect control over all possible gradations of tone,
together with the power of producing different
qualities of sound at the same time, as in the
playing of fugues, and polyphonic music generally.
In fact all the higher qualities of pianoforte
technique, such as crispness, delicacy, expression,
sonority, etc., depend entirely upon touch.
Generally speaking, pianoforte music demands
two distinct kinds of touch, the one adapted for
the performance of brilliant passages, the other
for sustained melodies. These two kinds are in
many respects opposed to each other, the first
requiring the fingers to be considerably raised
above the keys, which are then struck with
firmness and rapidity, while in the other the keys
are closely pressed, not struck, with more or less
of weight according to the amount of tone desired.
This quality oi percussion in brilliant passages is
to some extent a characteristic of modem piano-
forte-playing, the great players of former times
having certainly used it far more sparingly than
at present. Thus Hummel (Pianoforte School)
says that the fingers must not be lifted too high
from the keys ; and going back to the time of
Bach, we read that he moved only the end joint
of the fingers, drawing them gently inwards 'as if
taking up coin from a table.' [See vol. ii. p. 736 6.]
But the action of the clavichords, and after them
of the Viennese pianos, was extremely light, the
slightest pressure producing a sound, and there
is no doubt that the increase of percussion has
become necessary in order to overcome the greater
resistance offered by the modern keyboard, a
resistance caused by the greater size of the instru-
ments, and consequent weight of the hammers,
which had increased in the lowest octave of
Broad wood pianos from 2^ oz. in 181 7 to 4 oz. in
1874, ^^^ which, although now somewhat less,
being in 1884, 3 oz., is still considerably in excess
of the key-weights of the earliest pianos.
It seems possible that the great improvement
manifested by modern pianofortes in the direction
of sonority and sustaining power may have given
rise to a certain danger that the cultivation of the
second kind of touch, that which has for its object
the production of beautiful tone in cantabile, may
be neglected. This, if it were so, would be very
much to be regretted. The very .fact that the
pianoforte is at its best unable to sustain tone
equably, renders the acquirement of a 'singing*
touch at once the more arduous and the mora
TOUCH.
necessary, and this was recognised and insisted
upon by Emanuel Each. For an expressive
melody to be hammered out with unsympathetic
fingers of steel is far worse than for a passage to
lose somewhat of its sparkle through lack of per-
cussion. Beethoven is reported to have said
that in adagio the fingers should feel ' as if glued
to the keys,' and Thalberg, who himself possessed
an extraordinarily rich and full tone, writes ^ that
a melody should be played 'without forcibly
striking the keys, but attacking them closely, and
nervously, and pressing them with energy and
vigour.' * When,' he adds, * the melody is of a
tender and graceful character the notes should be
Jcneaded, the keys being pressed as though with
a boneless hand {main desossde) and fingers of
velvet; the keys should be felt rather than
struck.' In an interesting paper on ' Beauty of
touch and tone,' communicated to the Musical
Association by Mr. Orlando Steed, the opinion
is maintained that it is impossible to produce any
difference of quality, apart from greater or less
intensity of sound, in a single note, no matter
how the blow may be struck (though the author
admits that the excessive blow will produce a
disagreeable sound). But it is shown by Helm-
holtz ^ that the linibre or sound-quality of piano-
forte strings, variation in which is caused by
greater or less intensity of the upper partial tones,
depends upon two conditions among others,
namely, upon the length of time the hammer
remains in contact with the string, and upon the
hardness of the hammer itself, and it is a ques-
tion whether the nature of the blow may not be
slightly affected in both these respects by dif-
ferences of touch. It would seem possible that
the greater rebound of the hammer which would
be the consequence of a sharp blow upon the key
might render the actual contact with the string
shorter, while the greater force of the blow might
compress and so slightly harden the soft surface
of the felt with which the hammer is covered ;
and the natural result of both these supposed
changes would be to increase the intensity of the
partial tones, and thus render the sound thinner
and harder. Moreover when the key is struck
from any considerable distance a certain amount
of noise is always occasioned by the impact of
the finger upon the surface of the key, and this
gives a certain attack to the commencement of
the sound, like a hard consonant before a vowel,
which conduces to brilliancy of efi'ect rather than
smoothness. The fact is, that Touch depends on
so many and such various conditions, that though
its diversities can be felt and recognised by any
ordinarily attentive listener, they are by no means
easy to analyse satisfactorily.
In relation to phrasing, touch is of two kinds,
legato and staccato : in the first kind each finger
is kept upon its key until the moment of striking
the next ; in the second the notes are made short
and detached, the hand being rapidly raised from
the wrist, or the fingers snatched inwards from
the keys. Both kinds of touch are fully described
1 L'art du chant appllqu6 au piano.
2 The Sensations ut Tone, translated by A. J. £UU, p. 121.
TOUCH.
153
in the articles on Legato, Staccato, Dash, and
Phrasing.
Sometimes two different kinds of touch are
required at the same time from one hand. Ex. i,
from Thalberg's Don Giovanni Fantasia, op. 42,
is an instance of the combination of legato and
staccato touch, and Ex. 2. is an exercise recom-
mended by Thalberg for the cultivation of dif-
ferent degrees of cantabile tone, in which the
large notes have to be played with full tone, the
others piano, without in the least spreading the
chords.
Ex.1.
Ex. 2.
i
-l-J !-
=f=:r-
^^m
An excellent study on the same subject has been
published by Saint-Saens, op. 52, no. 2. [F.T.]
II. Organ. Until recent times Touch was
an impossibility upon large organs. Burney, in
his Tour, in 1772, speaks of a touch so heavy
that ' each key requires a foot instead of a
finger to press it down ; again of a perfoimance
by a M. Binder, at Dresden, who at the con-
clusion was in as violent a heat with fatigue
and exertion as if he had run eight or ten
miles full speed over ploughed fields in the
dog days ! Of an organ in Amsterdam he
reports that each key required almost a two
pound weight to put it down ! The mechanism
of English organs was probably never so bad as
this, but it is said that Mendelssohn, after playing
at Christ Church, Newgate Street, was covered
with perspiration. The pneumatic actionhas solved
this difiiculty. Still the question of organ touch
is complicated by the peculiarities of the instru-
ment and the varieties of mechanism. Many
organs exist with four keyboards (even five
may be met with), and the necessarily differ-
ent levels of these make it almost impossible
to keep the hand in a uniform position for all
of them. It is rare to find any two of these
manuals with a similar touch, and the amount
of force required to press down the key varies
within wide limits. Even on the same key-
board the touch is appreciably heavier in the
bass, and inequalities occur between adjacent
notes. A recently regulated mechanism is
sometime in a state of adjustment so nice, that
the slightest pressure upon the key produces a
squeak or wail. This same mechanism after a
time will be so changed by use and variations
of temperature as to allow of the key being
pressed almost to its limit without producing
any sound.
These considerations will show that the deli-
cate differences which are characteristic of the
pianoforte touch are impossible with the organ.
Fortunately they are not needed, but it must
164
TOUCH.
TOURJlfiE.
not be supposed that touch on the organ is of
no importance. The keys must be pressed
rather than struck, but still with such decision
that their inequalities may be neutralised,
otherwise the player will find that some notes
do not speak at all. Perhaps the most impor-
tant part of organ touch is the release of the
key, which can hardly be too decided. The
organ punishes laxity in this direction more
severely than any instrument. Shakes on the
organ should not be too quick ; with the pneu-
matic action they are sometimes almost impos-
sible. Care should be taken in playing staccato
passages on slow speaking stops of the Gamba
kind, especially in the lower part of the key-
board. The crispness should be not in the
stroke but in the release of the key. It is
generally said that the hand should be held
rather higher above the keys than in the case
of the piano, but as has been before pointed out,
it is difficult to keep the same position towards
keys so differently placed in relation to the
performer as the upper and lower of four or even
three manuals.
Modem key makers have invented a new
danger by lessening the space between the black
keys, so that in a chord where the
white keys must be played between
the black, it is impossible for some
fingers to avoid depressing the adjacent notes.
Pedal touch has within recent times become
a possibility, and passages for the feet .ire now
as carefully phrased as those for the fingers.
Mendelssohn's organ sonatas afford the earliest
important examples. Freedom in the ancle joint
is the chief condition of success in this. The
player must be warned that large pipes will not
speak quickly, and that a staccato must be pro-
duced by allowing the pedal key to rise quickly
rather than by a sharp stroke. [W.Pa.]
TOUCH in bell-ringing denotes any number
of changes less than a peal, the latter term being
properly used only for ' the performance of the
full number of changes wliich may be rung on a
given number of bells.' By old writers the word
touch is used as equivalent to sound, in which
sense it occurs in Massinger's 'Guardian' (Act ii.
Sc. 4), where Severino says 'I'll touch my horn
— (blows his horn).' An earlier example will be
found in the Romance of Sir Gawayne and the
Green Knight (c. 1320) line 120, p. 4 of the
edition of 1864. The word appears also to have
been used in English music during two centuries
for a Toccata. *A touche b}' Mr. Byrd ' is found
in the MS. of a virginall piece in the British
Museum ; and * Mr. Kelway's touches,' as a
heading to several passages of a florid character,
appears in a MS., probably in the handwriting
of Dr. B. Cooke, in the Library of the Royal
CoUege of Music. [W.B.S.J
TOURDION, or TORDION. * A turning, or
winding about ; also, a trick e, or pranke ; also,
the daunce tearmed a Round.' (Cotgrave.) The
early French dances were divided into two classes,
'Danses Basses' or 'Danses Nobles,' and *Danses
par haut.' The former of these included all regular
dances, the latter were mere improvised romps
or • baladinages.' The regular Basse Dance con-
sisted of two parts, the first was twice repeated,
and the last, or • Tourdion,' was probably some-
thing like our modern round dances. The Tour-
dion was therefore the French equivalent for the
German Nachtanz, Proportio, or Hoppeltanz, and
the Italian Saltarello. [See vol. iii. p. 221 6.]
Tabourot says that the 'Tourdion was nearly the
same as the Galliard, but the former was more
rapid and smooth than the latter. [See vol. i.
p. 578 a.] Hence he defines it as a * Gaillarde par
terre,' i.e. a galliard deprived of its chai-acteristio
jumps and springs. Both dances were in 3-time.
The following is the tune of the Tourdion given
in the ' Orch^sographie ' :
Further particulars as to these dances may be
found in the * Provinciales ' of Antonio de Arena
(1537)- [See Trihoris.] [W.B.S.]
TOURJfiE, Eben, Mus. Doc, father of the
Conservatory or class system of musical instruc-
tion in America, was bora at Warwick, Rhode
Island, June i, 1834. His family being in humble
circumstances it became necessary to put him to
work at the early age of eight; but his thirst for
knowledge was so great, that he soon became a
laborious student at the East Greenwich seminary.
Having a good alto voice he sang in the choir
of the Methodist Church, learning his part by
rote. But it chanced that the oiganist was
about to withdraw, and young Tourjee was in-
vited to fill her place. He was at that time
but thirteen, and knew absolutely nothing of the
instrument ; but he managed to pick out the
tunes required for the following Sunday, and
played them with such success that he was ap-
pointed to the position. He at once began to
study with a teacher in Providence, often walking
thirteen miles each way. At the age of fifteen he
became clerk in a music store in Providence, and
thus had opportunities for study which he did not
fail to improve. At the age of seventeen he
opened a music store in Fall River, where he also
taught music in the public schools and formed
classes in piano, voice, and organ, charging the
moderate sum of one dollar to each pupil for
twenty lessons. This was in 1851, and was
really the beginning of the class system, which
he has since so largely developed. He also edited
and published a musical paper with much ability.
He afterwards removed to Newport, and con-
tinued his work as organist and choirmaster of
Old Trinity Church there, and as Director of
the local Choral Society. In 1859 ^® founded
a Musical Institute at East Greenwich, where
TOURJJfcE.
he had an opportunity of carrying out his ideas
regarding class-teaching, under more favourable
auspices than before. In 1863 he visited Europe,
in order to gain information regarding the
methods employed in France, Germany, and Italy
in conservatory teaching. He took this oppor-
tunity of studying virith many eminent masters,
amongst others August Haupt, of Berlin. On his
return to America he removed to Providence,
and established the 'Providence Conservatory
of Music,' which had great success. In 1867
he extended his work by founding 'The New
England Conservatory of Music,' in Boston, and
continued for a time to keep both schools in oper-
ation. He drew round him the most eminent
teachers in Boston, and placed a good musical
education within the reach of the poorest students.
In 1869 his executive and organising abilities
were made use of by the projectors of the great
•Peace Jubilee,' and there is no doubt that the
success of that enterprise was largely due to his
efforts. During the same year the degree of
Doctor of Music was conferred upon him by
Middletown University. Since the foundation of
Boston University he has been the highly hon-
oured Dean of the College of Music attached
thereto. But his greatest work has been the
establishment of the great Conservatory just
mentioned, from which have graduated thousands
of pupils, filling honourable positions as teachers,
pianists, organists, and vocalists, and proving
themselves able musicians.
Dr. Tourjee has not accumulated wealth, for
the needs of others have always been more promi-
nent with him than his own. Many are the
charitable enterprises in which he has been active,
and the persons who have been aided by his bounty.
Among the positions which he has filled may be
named that of President of the ' Boston Young
Men's Christian Association,' 'City Missionary-
Society,' and ' National Music Teachers' Associ-
ation.' He is ever genial in manner, and untiring
in work. He is at present in robust health, and
it is to be hoped that his useful life may be spared
for long. [G.]
TOURS, Berthold, bom Dec. 17, 1838, at
Rotterdam. His early instruction was derived
from his father, who was organist of the St.
Laurence church, and from Verhulst. He after-
wards studied at the Conservatoires of Brussels
and Leipzig, and then accqmpanied Prince
George Galitzin to Russia, and remained there
for two years. Since 1861 he has resided in
London, writing, teaching, and playing in the
band of the Royal Italian Opera, and other good
orchestras. In 1878 he became musical adviser
and editor to Messrs. Novello, Ewer, & Co.,
and in that capacity has arranged several im-
portant works from the orchestral scores, such
as Beethoven's Mass in C, four of Schubert's
Masses, 'Elijah,' Gounod's 'Redemption,' etc.
etc., besides writing the * Primer of the Violin '
in the series of that firm. Mr. Tours's composi-
tions are numerous. He has written for the piano
and other instruments, and a large number of
songs, some of which have been very popular.
TOURTE.
155
But his best work is to be found in his Hymn-
tunes, Anthems, and Services, for the Anglican
Church, particularly a Service in F and an
Easter Anthem, 'God hath appointed a day,*
which are greatly in demand. [G.]
TOURTE, FRAN901S, the most famous of vio-
lin-bow-makers, born in Paris 1747, died there
1835. His father and elder brother were bow-
makers also ; and the reputation which attaches
to the family name is not due to Fran9ois alone.
Xavier Touite, the elder brother, known in France
as 'Tourte I'aine, ' was also an excellent workman:
tradition says that the brothers commenced busi-
ness in partnership, Fran9ois making the sticks,
and Xavier the nuts and fittings. They quarrelled
and dissolved partnership, and each then set up
for himself, Xavier reproducing as well as he could
the improvements in the stick which had been
introduced by Fran9ois. The latter has been
denominated the Stradivari of the bow: and
there is some truth in this; for as Stradivari
finally settled the model and fittings of the
violin, so Tourte finally settled the model and
fittings of the bow. But he had more to do
for the bow than Stradivari for the fiddle. The
Cremona makers before Stradivari had nearly
perfected the model of the violin : it only re-
mained for him to give it certain finishing
touches. But Tourte, properly speaking, had no
predecessors. He found bow-making in a state
of chaos, and he reduced it to a science ; and he
may be said to have invented the modern bow.
Perhaps the best idea of the bows which were in
use in Tourte's youth may be gained from the
accompanying illustration, which is copied from
the first edition of Leopold Mozart's 'Violin
School,' 1756. (Fig. I.) For this fearful imple-
Fig. I.
Fig.
ment Tourte substituted the bow now in use.
(Fig. 2.) The service which he thus rendered to
music appears greater the more we think of it :
for the Tourte bow greatly facilitated the new-
development of violin music which began with
Viotti, Rode, and Kreutzer. Before his time
156
TOURTE.
all the modern forms of staccato must have been
impossible, and the nuances of piano and forte
extremely limited ; a rawness, especially on the
treble strings, and a monotony which to our
ears would be intolerable, must have deformed
the performances of the best of violinists. The
violin, under Tourte's bow, became a different
instrument : and subsequent bow-makers have
«xclusively copied him, the value of their pro-
ductions depending on the success with which
they have applied his principles.
Setting aside for the moment the actual model-
ling of the Tourte stick, an examination of
Tourte's own bows proves that his first care was
to select wood of fine but strong texture, and
perfectly straight grain, and his second to give
it a permanent and regular bend. This was
effected by subjecting it in a state of flexion to
a moderate heat for a considerable time. To
apply a sufficient degree of heat to the very
marrow of the stick without rendering the ex-
terior brittle, is the most difficult part of the
bow-maker's art : cheap and bad bows have
never been thoroughly heated, and their curva-
ture is therefore not permanent. Tourte's first
experiments are said to have been made on the
staves of old sugar hogsheads from Brazil.
This is not unlikely : probably the bent slabs of
Brazil wood employed for this purpose had ac-
quired a certain additional elasticity from the
combined effect of exposure to tropical heat and
the absorption of the saccharine juices : and in
connection with the latter it has been suggested
that the dark colour of the Tourte sticks is not
wholly attributable to age, but partly to some
preparation applied to them in the process of
heating. The writer cannot agree with this
suggestion, especially as some of Tourte's finest
bows are extremely pale in colour. Be this as
it may, it is certain that the greater elasticity
■which he secured in the stick by the choice
and preparation of the wood enabled him to
carry out to the fullest extent the method of
bending the stick of tlie bow the reverse way,
that is, inwards, and thus to realise what had
long been the desideratum of violinists, a bow
which should be strong and elastic without
being heavy. By thus increasing and econo-
mising the resistance of the stick he liberated
the player's thumb and fingers from much use-
less weight. By a series, no doubt, of patient
experiments, he determined the right curvature
for the stick, and the rule for tapering it
graduall^'^ towards the point,* so as to have the
centre of gravity in the right place, or in other
words to 'balance' properly over the string in
the hand of the player. He determined the
true length of the stick, and the height of the
point and the nut, in all which particulars the
bow-makers of his time seem to have erred on
the side of excess. Lastly, he invented the
method of spreading the hairs and fixing them
on the face of the nut by means of a moveable
1 Mathematically Investigated, Tourte's bow, when unstrung, is
fuund 10 form a logarithmic curve, the ordlnates of which increase
In arithmetical proportion, and the abtciuM io geometrical pro-
portion.
TOWER DRUMS.
band of metal fitting on a slide of mother-of-
pearl. The bow, as we have it, is therefore the
creation of the genius of Tourte.
Tourte's improvements in the bow were
effected after 1775. Tradition says that he
was materially assisted in his work by the
advice of Viotti, who arrived in Paris in 1782.
Nothing is more likely; for only an accom-
plished violinist could have formulated the de-
mands which the Tourte bow was constructed
to satisfy. Viotti no doubt contributed to
bring the Tourte bow into general use, and it
is certain that it quickly drove the old bar-
barous bows completely from the field, and
that in Paris there at once arose a school of
bow-makers which has never been excelled.
For the excellent bows which thus became for
the first time obtainable, violinists were willing
to pay considerable sums. Tourte charged 12
louis d'or for his best bows mounted in gold.
As the makers increased in number the prices
fell ; but the extreme rarity of fine Pernambuco
wood perfectly straight in grain has always
contributed to keep up the price of the vei-y best
bows. Tourte's bows, of which during a long
life he made an immense number, are common
enough ; but owing to the great number of al-
most equally good ones which were made by his
successors, only extraordinary specimens fetch
very high prices. A very fine Tourte has been
recently sold for £30: common ones vary in
price from £5 to £10. It is a singular fact that
there is no difference of opinion among violinists
as to Tourte's merits. His bows are universally
preferred to all others: and they show no signs of
wearing out. Tourte never stamped his bows.
Genuine ones are sometimes found stamped with
the name, but this is the work of some other
hand. His original nuts are usually of tortoise
shell, finely mounted in gold, but wanting the
metallic slide on the stick, which was introduced
by Lupot.
Like Stradivari and Nicholas Amati, Tourte
continued to work to within a very few years
of his death, at an advanced age. His atelier
was on the fourth floor of No, 10, Quai de
I'Ecole : after making bows all day he would
descend in the evening, and recreate himself by
angling for gudgeon in the Seine. His peaceful
career came to an end in April 1835, in his 88th
year — nearly the same age as that attained by
the two famous violin-makers of Cremona above
mentioned. [E.J.P.]
TOWER DRUMS, THE. Handel frequently
borrowed a pair of kettledrums from the Master-
General of the Ordnance for his own perform-
ances of his oratorios ; and as they were kept
in the Tower of London, they were usually
called 'the Tower Drums.' They were in fre-
quent request after his death, including the
Commemoration Festival in Westminster Abbey
in 1784. Dr. Burney, in his account of this
Festival, says they were taken by Marlborough
at the battle of Malplaquet in 1 709.
A much larger pair, 39 and 35 inches in
diameter, were made expressly for that Festival
TOWER DRUMS.
from the design of a Mr. Asbridge, of Drury
Lane orchestra, and have since obtained the
name of 'Tower Drums,' from a notion that
the head of one of them was made from the
skin of a b'on in the Tower menagerie. These
drums came into the possession of the late
T. P. Chipp, the well-known kettledrummer,
and on the sale of his instruments were bought
by H. Potter & Co., military musical instrument
makers. They added a brass T-shaped key to
each tuning-screw, and presented them (1884)
to the Crystal Palace Company, who have placed
them in their large orchestra.
Larger drums were made for the Sacred Har-
monic Society (47 and 43 inches in diameter),
but no tone cau be got from such overgrown
instruments. [V. deTP.]
TOWERS, John, bom at Salford Feb. 18,
1836, was for six years choir-boy in Manchester
Cathedral, in 1856 entered the Royal Academy
of Music, London, and in the following year
became pupil of A. B. Marx in Berlin, where he
remained for more than two years, at the same
time with J. K. Paine and A. W. Thayer. He
then returned to England, and after a residence
of two years in Brighton, settled at Manchester,
where he has since remained as choirmaster,
conductor, and organist. He conducts the Al-
derley Edge, Fallowfield, and Rochdale Orpheus
Glee Societies, the last-named being one of the
most successful choirs in Lancashire, and is now
organist to St. Stephen's, Chorlton in Medlock.
Besides a few musical trifles, Mr. Towers has
published a chronological list of Beethoven's
works (Musical Directory, 1871), an interesting
pamphlet on the 'Mortality of Musicians,* a
'List of Eminent Musicians,' etc., etc. He is
also a more or less regular contributor to the
press. [G.]
TRACKER. A thin flat strip of wood used
in the mechanism of an organ for the purpose of
conveying leverage from one portion of the instru-
ment to another. A tracker difiers from a sticker
in the fact that a tracker pulls, while a sticker
pushes ; while therefore a tracker can be flat
and thin, a sticker is round and rigid. For
example, if, when one end of a key is pressed
down it raises a sticker at its other end, it is
clear that the sticker will push up a lever at a
higher level ; but the other end of the lever at
the higher level will df course descend, and to
this therefore must be attached a tracker. It
will be evident also that a sticker, having only
to remain in an upright position, can be kept in
its place simply by means of a bit of wire inserted
at each end and passing loosely through holes in
the ends of the levers. But a tracker having to
pull and be pulled is provided at each end with
a tap-wire (or wire like a screw) which when
passed through the hole in the lever is secured
by a leather button. In all cases noisy action is
prevented by the insertion of a layer of cloth or
some other soft material. Trackers are generally
made of pine-wood about one eighth of an inch
in thickness and fiom one third to a half of an
inch in width. The length of trackers varies of
TRAETTA.
167
course according to circumstances; in long
* actions ' or extended * movements ' (as for
example, when mechanism is taken under a floor
or up a wall) they are sometimes twelve or more
feet in length ; in such cases they are formed of
two or more parts joined together by wire. In
order to prevent long trackers from swinging
about laterally when in use they are often made
to pass through a register or thin board containing
holes of suitable size lined with cloth. A tracker
may convey leverage from any part of an instru-
ment to another, but its final function is to lower
the pull-down and let air pass through the pallet
into the pipe. [J.S.]
TRAETTA, Tommaso Michele Francesco
Saverio, an Italian composer of the i8th cen-
tury. Until recently it was believed that his
name was Trajetta, and the date of his birth
May 19, 1727; but the certificate of birth pub-
lished by the ' Gazetta Musicale di Milano ' of
1879, No. 30, settles beyond question that he was
the legitimate son of Filippo Traetta and Anna
Teresa Piasanti, and was born in the year 1727,
on March 30, *ad hore 16* in the morning,
at Bitonto (Terra di Bari). At eleven years
of age he became pupil of Durante at the
* Conservatorio di Santa Maria di Loreto' at
Naples, to which institution he belonged until
the autumn of 1748, when we find him teaching
singing, and occasionally writing some sacred
music for several churches of Naples. Two years
afterwards he tried his hand at the stage, and his
first opera, ' Farnace,' produced at the San
Carlo at Naples in 1750, met with such success
that he was forthwith commissioned to compose
six more operas for the same house. Of these
nothing is known, except the title of one, ' I pas-
tori felici,' 1753; yet they were probably not
less successful than 'Farnace,' since his name
spread rapidly, and he received engagements
at Florence, Venice, Rome, Turin, Verona,
Parma, etc. Goldoni and Metastasio did not
disdain to write librettos for him ; Goldoni
a comic opera 'Buovo d'Antona' (Florence,
1756); and Metastasio ' L'Olimpiade ' (Ve-
rona, 1758). Towards the end of 1759 Traetta
accepted the appointment of Maestro di Cap-
pella and teacher of singing to the Princesses,
off'ered to him by Don Filippo, Infanta of Spain,
and Duke of Parma. The first opera he com-
posed for the Ducal Theatre of Parma was
'Solimano' (Carnival, 1759), followed in the
spring by * Ippolito ed Aricia.' This appears to
have been a masterpiece, as both the Duke and
the audience were exceedingly pleased with it ;
and on its reproduction six years later for the
wedding of the Princess Maria Luisa with
Charles III. King of Spain, a life pension was
granted to the composer. In 1759 and 1760
Traetta went twice to Vienna to witness the per-
formance of two operas purposely written for the
Austrian capital, 'Ifigenia in Aulide ' (1759).
and * Armida' (1760).
In 1765, after the death of the Duke, Traetta
left Parma and settled in Venice, as principal of
the ' Conservatorio dell' Ospedaletto.' He held
158
TRAETTA.
tlie appointment for nearly three years, and re-
signed it on the invitation of Catherine II. of
Russia, to succeed Galuppi as ' Maestro di Corte.'
The severe climate of Russia however did not
agree with the Italian maestro ; in 1775 he gave
up his position, and in 1776 accepted an engage-
ment in London, where however he was not
very successful, owincf chiefly to the firm hold
which Sacchini had taken of the English public.
He accordingly returned to Naples, but the
climate of Russia and the anxieties of London
had impaired both his health and his genius,
and the few operas he wrote before his death
show that the spring pf his imagination was dried
up. He died in Venice on April 6, 1779, and
was buried in the church of Santa Maria Assunta,
where the following epitaph is engraved on his
tomb:
THOMAE TRAJETTA
BITUNTI NATO
SUBLIMIORIS MUSICES PERITISSIMO
HUJUS CHORI
AD AMPLITUDINEM ARTIS SUAE
INSTAURATORI MODERATORl
OPTIME MERITO
ANNO SALUTIS MDCCLXXIX
AETATIS SUAE LII
VITA FUNCTO
MONUMENTUM POSITUM.
Though Traetta was gifted with great intel-
ligence, and his music is full of vigour and not
wanting in a certain dramatic power, yet his
works are now entirely forgotten.^ Burney, Gal-
vani, Grossi, Florimo, and Clt^ment all praise him,
and Florimo even finds in him a tendency towards
the same dramatic expression and dignity in the
musical treatment of the libretto that a few years
afterwards made the name of Gluck immortal.
However this may be, nobody can deny that
Traetta had, as a man, a very peculiar character,
an extraordinary estimation of his own talent,
and an unusual readiness in making it clear to
everybody : ' Traetta,' says Florimo, ' at the first
performance of his operas, when presiding at the
clavicembalo, as was customary at that time,
convinced of the worth of his works, and per-
suaded of the special importance of some pieces,
— was Jn the habit of turning towards the audi-
ence and saying: Ladies and gentlemen, look
sharp, and pay attention to this piece.'
Subjoined is a catalogue of his works.
Opebas.
Famace. Napoli, 1751.
I pastorl fellci. Do. 1758.
Ezlo. Rome, HM.
Lenozzecontiastate. Do. 1751.
L'liicredulo. Napoli, 1755.
La faiite furba. Do. 1756.
Buovo d' Aiitona. Flrenze, 17iJ6.
>'lttetl. Keggio, 1757.
DIdone abbaudoaata. Venezia,
1757.
Ollmplade. Verona, 1758.
Sollmano. Parma, 1759.
Ippolito ad Aricia. Do. 1759.
Ifigenla in Aulide. Vienna, 1759.
Armida. Do. 1760.
Sofonlsba. Parma. 1760.
Enea nel Lazio. Torina, 1700.
I TIndaridi. Parma, ]7(0.
EneaeLavinla. Do. 1761.
Antlgono. I'adova, 17(Vi.
La francese a Malghera. Ven-
ezia, 1764.
La buona figliuola maritata.
Parma, 1765.
Semiramide. Venezia, 1765.
Le Serve rivall. Do. 1766.
Amor in trappola. Do. 176S.
Ifigenla in Taurlde. Mllano.1768.
L'Isola dlsabitata. Bologna,
1768.
* His name does not occur once in tiie programmes of the Piiil-
harmonlc Society, and only once in all the three indexes of tta« Allg.
JJu&xkallsche Zeitung.
TRAINING SCHOOL, NATIONAL.
I Oermondo. London. 1776. !a 'divertimento for four orches-
) Merope. Mllano. 1776. Itras* with the title • Le quattro
I La dUIatta di Dario. Venezia, «tagionl el dodicimesldeir anno"
1778. |(t)ie four seasons, and tl«e twelve
II c waller? errante. Do. 1778. months of the year). <!
Artenlce. Do. 177S. A Stabat Mater of hl« for four
GU Erol dei CampI Ellsi. Do. [voices and accompauimtnt of
1779. Written on the composer's several instruments is Icnown,
deatlibed, and finished by Gen- land the Archives of the ' Real
naro Astaritta. |ColIeglo dl Napoli.' contain the
Le feste d" Imeneo, a prologue following c impositions:—
and trilogy, viz. 1". trlonfo d'Amore, I Lezione terza for soprano.
Triole.Saffo. and Egle, for the we<l- 1 39 Arle (some with accompanl-
ding of the Archdulte Joseph of ment of violin and basso, and
Austria with the Infanta Dona some with accompaniment of
Isabella di Borbone, at Parma, several Instruments).
Sept. 1761. I TDuetti.
II Tributo Campestre. 'com-] Aria -TerroremMnspIrava,' with
panlmento pastorale,' on the occa- pianoforte accompaniment,
slon ofMaria Carolina of Austria.] Aria' Ah! consolall tuodolore.*
wife to Ferdinand IV. King of arranged for two violins, viola.
Sicily, passing through Mantua in and ba.sso. '
1768. j A Canon 'Sogno, ma te non
In the sJime year he wrote an miro ' for two sopranos and
OratdUo Salomone. for the ' Con- basso.
servatorio dell" Ospedaletto' Inj A Solfeggio, with pianoforte
Venice ; and about 1770 he wrote accompaniment. I G. AI 1
TRAINING SCHOOL FOR MUSIC, THE
NATIONAL, was founded by the Society of
Arts. The subject had been in the air since
the year 1866, a Musical Committee had been
appointed, and in 1873 a meeting was held at
Clarence House, the Duke of Edinburgh in
the chair, at which it was resolved that it is
desirable to erect a building at a cost not ex-
ceeding £20,000 for the purposes of a Training
School for Music at Kensington, in connexion
with the Society of Arts. A site on the imme-
diate west side of the Albert Hall was granted
by the Commissioners of 1851, the construction
of the building, on the design of Captain F. Cole,
R.E., was undertaken by Mr. (now Sir) Charles
J. Freake, at his own cost ; the first stone was
laid on Dec. 18, 1873, and the School was opened
at Easter 1876, with 82 free scholarships, of
which 4 were founded by the Society of Arts, 2
by members of the Society, 5 by Mr, Freake, 10
by the Corporation of London, 14 by City Guilds,
33 by provincial towns, and the remainder by
private donors. The scholarships were of the
value of £40 a year each, and were founded for
five years, by subscription renewable at the end
of that term ; they carried free instruction for
the same period, and were obtainable * by com-
petitive examination alone.' The Duke of Edin-
burgh was chairman of the Council, Mr. (now
Sir Arthur) Sullivan was appointed Principal,
with a staff of Teachers; in 1881 he was suc-
ceeded by Dr. Stainer as Principal, and the
School continued to flourish till Easter 1882,
when it came to an end owing to the determin-
ation arrived at to establish the Royal College
of Music on a wider and more permanent basis.
The College, on its formation, took over the
building, furniture and fittings, organ and music,
and a balance at the banker's of £1100. The
instruction in the Training School was system-
atic and thorough, and in proof of its efficiency
during the short period of its existence it is
sufficient to name Eugene D'Albert, Frederic
Cliffe, Annie Marriott, and Frederic King, as
having received their education there.
2 This composition is only mentioned In a letter bearing the dat«
2—13 Dec. 1770, written by Catheriae II. of Bussia to Voltaire.
TRAINING SCHOOL, NATIONAL.
The Eotal College of Music, which thus
became the successor of the Training School,
was founded by the Prince of Wales at a
meeting held at St. James's Palace Feb. 28,
1882, and was opened by H.R.H. on May 7 of
the following year. Negotiations took place
with the Royal Academy of Music with the
object of a union with the two bodies; but these
have hitherto unfortunately come to nothing.
Like its predecessor, the College rests on the
basis of endowed scholarships lasting not less
than three years ; but the funds for these are in
this case provided by the interest of money sub-
scribed throughout the country and permanently
invested. The College opened with 50 Scholars
elected by competition, of whom 15 receive
maintenance in addition, and 42 Paying Stu-
flents. It was incorporated by Royal Charter on
May 23, 1883, and is governed by a Council,
presided over by the Prince of Wales, and
divided into a Finance Committee, and an Exe-
cutive Committee. The staff are as follows : —
Director, Sir George Grove, D.C.L. ; Principal
Teachers, forming tlie Board of Professors, J. F.
Bridge, M us. D.; H.C. Deacon; Henry Holmes ;
Mad. Lind-Goldschmidt ; Walter Parratt ; C.
Hubert H. Pari-y, Mus.D. ; Ernst Pauer ; C. V.
Stanford, Mus.D. ; Franklin Taylor ; A. Visetti.
Other principal teachers : — Mme. A. Goddard ;
JohnF. Barnett; G. C. Martin, Mus.D.; R. Gom-
pertz; C. H. Howell; F. E. Gladstone, Mus.D.;
J. Higgs, Mus.B. ; G. Garcia, etc. Registrar,
G. Watson, jun. The College possesses the ex-
tensive, rare, and valuable library of the late
Sacred Harmonic Society, presented through the
exertions of Sir P. Cunlitfe Owen, and that of the
Concerts of Antient Music, given by the Queen.
The Examiners at the end of the first year were
Dr. Joachim, Manuel Garcia, Otto Goldschmidt,
Jos, Barn by, Dr.Stainer, andSirF. Ouseley. [G.]
TRAMIDAMENTE. This strange direction,
with dngstlich below it as its German equivalent,
is found at the Recitative with the Trumpets in
the 'Agnus' of Beethoven's Mass in D, in the
old score (Schotts). In the new edition of Breit-
kopf & Hartel it appears as 'timidamente,'
which is correct Italian, and is the translation
of ' angstlich ' — with distress. [G.]
TRANQUILLO, an Italian term, meaning
'calmly,' 'quietly.' Thenotturno in Mendelssohn's
Midsummer Night's Dream music is marked
* Con moto tranquillo.* [G.]
TRANSITION is a word which has several
different senses. It is most commonly used in
a vague way as synonymous with modulation.
Some writers, wishing to limit it more strictly,
use it for the actual moment of passage from one
key to another ; and again it is sometimes used
to distinguish those short subordinate flights out
of one key into another, which are so often met
with in modern music, from the more prominent
and deliberate changes of key which form an im-
portant feature in the structure of a movement.
The following example from Beethoven's Sonata
in Bb, op. 106, is an illustration of the process
TRANSPOSING INSTRUMENTS. 15S
defined by this latter meaning of the term ; the
transition being from Fff minor to G major and
back : — I w ,
[See Modulation.] [C.H.H.P.]
TRANSPOSING INSTRUMENTS. Before
pianoforte accompaniments were set in full no-
tation, the practice of which, as Mr. W. H. Cum-
mings has shown,^ was first due, about 1780-90,
to Domenico Corri of Edinburgh, the entire
accompaniment, at that time the most important
study in keyboard playing, was from the figured
bass stave, known as ' Figured,' * Through ' or
'Thorough' bass. From the varying natural
pitch of voices, transposition was a necessary
and much cultivated resource, and if the chro-
matic keyboard had been originally contrived
to restore the chromatic genus of the Greeks,
it was certainly very soon after permanently
adopted to facilitate the practice of transposition.
But the difficulties of the process seem to have
very early prompted the alternative of a shifting
keyboard, applied in the first instance to the
diatonic arrangement of the keys, which in the
1 6th century was still to be met with in old
organs : in other words, whatever the key might
be, to play apparently in C. The oldest authority
on the organ extant is the blind organist of
Heidelberg, Arnold Schlick, who in 15 11 pub-
lished the ' Spiegel der Orgelmacher und Organ-
isten,' of which only one copy is now known to
exist.'^ Schlick is quoted by Sebastian Virdung,
who also published his book in 15 ii, and (2nd
cap. p. 19, Berlin reprint p. 87) has an interest-
ing passage on transposing organs, which we
will freely translate.
When an organ in itself tuned to the right pitch can
be shifted a tone higher or lower, it is a great advantage
to both organist and singers. I have lieard years ago of
a Positive so made, but I only know of one complete
organ, and that one I use daily, which together vyith its
positive, two back manuals, pedals, and all its many and
rare registers, may be shifted higher and back again as
often as necessity requires. For some chapels and singers
ad Ganlum Mensurahilem such a contrivance is specially
useful. Two masses or Magnificats may be in the same
tone, and set in the same notation of line and space, and
yet it may be desirable to sing the one a note higher
than the other. Say both masses are in the Sixth
Tone, with Clef C ; the counter bass going an octave
lower 3 — in the other the counter bass goes a note or
more lower, to B or A4, which are too low for bass
singers, and their voices heard against others would be
1 vide rroceedings of the Musical Association 1880—81, pp. 19—28.
2 neprinted in the Monatshefte fUr Muslk-geschichte, BerUn 1869 ;
edited with eiplanatory notes by Herr Eobert Eitner.
s To the 0, second space of the bass clef, but evidently, as will b*
obvious, sounding the F lower.
* In our pitch the double E and D.
160 TRANSPOSING INSTRUMENTS.
too weak, if it were not possible to sing the part a note
higher. Now in the first mass the counter bass in C can
be played on an organ as set, but the other demands
transposition to D, with the semitones F 5 and C J, which
to those who have not practised it, is hard and imjws-
sible. So therefore, with an organ, as described, the
organist may go on playing in C ( E-sol-fa-ut) on the key-
board, although the pipes are in D (D-la-sol-re).
We may assume that in course of time the
increasing skill of organists rendered mechanical
transpositions unnecessary, since for the organ
we hear no more about them ; but for the harpsi-
chord they were to be met with in the 1 6th and
following centuries. Praetorius (A.D. 1619) speaks
of transposing clavicymbals (harpsichords) which
by shifting the keyboard could be set two notes
higher or lower, and describes a *Universal-
Clavicymbal' capable of gradual transposition
by semitones to the extent of a fifth. Bumey
in his musical tour met with two transposing
harpsichords; one a German one, made under
the direction of Frederick the Great, at Venice ;
the other (a Spanish one, also with moveable
keys) at Bologna, belonging to Farinelli.
Considering the musical knowledge and skill
required to transpose with facility beyond a sup-
posititious change of signature and corresponding
alteration in reading the accidentals, as from C
to Cj or Cb ; it might appear strange that me-
chanical contrivances for transposition have not
been permanently adopted, but it finds its ex-
planation in the disturbance of the co-ordination
of hand and ear. Those who have the gift of
absolute pitch are at once upset by it, while
those who have not that gift and are the more
mimerous, find a latent cause of irritation which,
somehow or other, is a stumblingblock to the
player. In the present day it is not a question
of Temperament, equal or imequal, so much as
of position in tlie scale of pitch, of which, if the
ear is not absolutely conscious, it is yet conscious
• to a certain extent.
The transposing harpsichord mentioned by
Burney, as belonging to Count Torre Taxis of
Venice, had also a Pianoforte stop, a combina-
tion in vogue at the time it was made, 1760.
A German pianoforte with moveable keyboard
was made for the Prince of Prussia in 1786, and
about the same period Sebastien Erard con-
structed an organised pianoforte, another favoured
combination of the latter half of the i8th cen-
tury, which transposed a semitone, whole tone,
or minor third each way, to suit the limited
voice of Marie Antoinette. Roller of Paris is
also said to have made transposing pianos.
The most prominent instances of transposing
pianofortes made in England in the present
century are the following: — (i) The square
piano of Edward Ryley, patented in 1801, and
acting by a false keyboard, which was placed
above the true one, and could be shifted to any
semitone in the octave. Ryley's idea as stated
in his specification went back to the original
one of playing everything in the so-called natural
scale of C. The patent for this complete trans-
1 Tills very difficult passage In the quaint original has been ren-
dered from an elucidatory footnote bjr the Editor, Herr Eituer.
TRANSPOSITION.
poser wag bought by John and James Broad-
wood, and an instrument so made is in the
possession of the present firm. (2) The Royal
Albert Transposing piano, brought out by Messrs.
Addison & Co. soon after the marriage of Her
iNIajesty the Queen, a piccolo or cottage instru-
ment, is described by Rimbault in his History,
as having the keys divided at half their length,
the front and back ends being capable of moving
independently of each other. (3) Messrs. Broad-
woods' transposing Boudoir Cottage pianos, made
about 1845, displayed the novel feature of the
instrument itself moving while the keyboard and
action were stationary. In some of theii pianos
made in this way, the instrument was suspended
between two pivoted metal supporters which
allowed the gradual movement, semitone by
semitone, effected by turning a pin at the side
with an ordinary tuning-hammer. Subsequently
the instrument was moved in a groove at the
top and on two wheels at the bottom of the
outer fixed case, but neither contrivance was
patented, nor was long continued to be made.
(4) The latest attempt at transposing by the
keyboard has been brought forward in the
present year (1884) by Hermann Wagner of
Stuttgart. He names his invention * Transponir-
Pianino,' We gather from the description and
drawings in the 'Zeitschrift fiir Instrumenten-
bau,* Band 4, No. 12 (Leipzig, Jan. 12, 1884)
that the keyboard moves bodily, there being a
preliminary movement for protecting the action
cranks or rockers by raising them together while
the keyboard is being shifted. (5) The last
transposing contrivance to be mentioned is the
' Transpositeur ' of Messrs. Pleyel, Wolfi; & C*.
of Paris, invented by M. Auguste Wolff in 1873.
The Transpositeur being an independent false
keyboard can be applied to any pianoforte by
any maker. It has therefore the great merits
of adaptability and convenience. It can be
placed upon the proper keyboard of an instru-
ment, and by touching a spring to the right
hand of the player and a button which per-
mits the keyboard to be shifted through all
the semitones of an octave, the transposition de-
sired is effected. The Transpositeur is patented
and is sold by the Pleyel firm in Paris, or their
agent, Mr. Berrow, in London, at a moderate
price. It is of course open to the same natural
objection which we have already noticed in
speaking of the transposing clavicymbals of Prae-
torius. [A.J.H.]
TRANSPOSITION, change of key, the nota-
tion or performance of a musical composition in
a different key from that in which it is written.
When it is said that a piece of music is in a cer-
tain key, it is understood that it consists of the
notes of a certain scale, and that, except chro-
matic passing-notes and suchlike melodic changes,
no note can be employed which is not a part of
that scale. Each note of the composition there-
fore occupies a definite position as a degree of the
scale in which it is written, and in order to trans-
pose a phrase, each note must be written, sung,
or played a certain fixed distance higher or lower,
TEANSPOSITION".
that it may occupy the same position in the new
scale that it held at first in the original one. Thus
Exs. 2 and 3 are transpositions of Ex. i, one being
a major second higher, and the other a major
second lower ; and the notes of the original phrase
being numbered, to show their position as degrees
of the scale, it will be seen that this position re-
mains unchanged in the transpositions.
^ Original Key C,
Ita7i23343ai
Transposed into Bb.
TX9 7 IS 33 ^4 32 I
It is, however, not necessary that a transposition
should be fully written out, as above. By suffi-
cient knowledge and practice a performer is
enabled to transpose a piece of music into any
required key, while still reading from the original
notation. To the singer such a proceeding offers
no particular difficulty, since the relation of the
various notes to the key-note being understood,
the absolute pitch of the latter, which is all that
has to be kept in mind, does not matter. But to
the instrumental performer the task is by no
means an easy one, since the transposition fre-
quently requires a totally different position of the
fingers. This arises from the fact that in trans-
position it often happens that a natural has to be
represented by a sharp or flat, and vice versa, as
may be seen in the above examples, where the
BB of Ex. 1, bar 2, being the 7th degree of the
scale, becomes CJJ, which is the 7th degree of the
scale of D, in Ex. 2 ; and again in bar 3, where
EB, the 4th degree, becomes E b in Ex. 3. The
change of a flat to a sharp, though possible, is
scarcely practical. It could only occur in an
extreme key, and even then could always be
avoided by making an enharmonic change, so that
the transposed key should be more nearly related
to the original, for example —
In D. In Cb. In B|J (enharmonic change).
-I 4_„ ,_,_j.
Hence it will not suffice to read each note of a
phrase so many degrees higher or lower on the
stave ; in addition to this, the relation which
every note bears to the scale must be thoroughly
understood, and reproduced in the transposition
by means of the necessary sharps, flats, or naturals ;
while the pianist or organist, who has to deal with
many sounds at once, must be able also instantly
to recognise the various harmonies and modula-
tions, and to construct the same in the new key.
The faculty of transposition is extremely valu-
able to the practical musician. To the conductor,
or to any one desiring to play from orchestral
VOL. IV. PT. 2.
TEANSPOSITION OF MODES. 161
score, it is essential, as the parts for the so-called
'transposing instruments' — horns, trumpets, clari-
net, drums — being written in a different key
from that in which they are to sound, have to be
transposed back into the key of the piece, so as
to agree with the strings and other non-transpos-
ing instruments. [See Score, platino from,
vol. iii. p. 436.] Orchestral players and accom-
panists are frequently called upon to transpose, in
order to accommodate the singer, for whose voice
the written pitch of the song may be too high or
too low, but it is probably extremely seldom that
transposition takes place on so grand a scale as
when Beethoven, having to play his Concerto in
C major, and finding the piano half a tone too
flat, transposed the whole into C J major !
Transposed editions of songs are frequently
published, that the same compositions may be
made available for voices of different compass,
but transpositions of instrumental music more
rarely. In Kroll's edition of Bach's Preludes and
Fugues, however, the Fugue in C jj major in vol. i.
appears transposed into Db. Tliis is merely an
enharmonic change, of questionable practical
value, the sounds remaining the same though the
notation is altered, and is only made to facilitate
reading, but the change into G of Schubert's Im-
promptu, op. 90, no. 3, which was written in Gb,
and altered by the publisher, was doubtless de-
signed to render it easier of execution. [F.T,]
TRANSPOSITION OF THE ECCLESIAS-
TICAL MODES. Composers of the Polyphonic
School permitted the transposition of the Eccle-
siastical Modes to the Fourth above or Fifth below
their true pitch ; effecting the process by means
of a Bb placed at the Signature, and thereby
substituting for the absolute pitch of a Plagal
Mode that of its Authentic original. Trans-
position to other Intervals than these was utterly
forbidden, in writing: but Singers were permitted
to change the pitch, at the moment of perform-
ance, to any extent convenient to themselves.
During the transitional period — but very rarely
earlier than that — a double Transposition was
effected, in a few exceptional cases, by means of
two Flats ; Bb raising the pitch a Fourth, and Eb
lowering it, from thence, by a Fifth — thus really
depressing the original pitch by a Tone. As
usual in all cases of progressive innovation, this
practice was well known in England long before
it found favour on the continent. A beautiful
example wiU be found in Wilbye's ' Flora gave me
faiiest flowers,* composed in 1 598 ; yet Morley,
writing in 1597, severely condemns the practice.
It will be seen, from these remarks, that, in
Compositions of the Polyphonic aera, the absence
of a Bb at the Signature proves the Mode to stand
at its true pitch ; while the presence of a Bb
proves the Composition to be quite certainly
written in a Transposed Mode.^ In modem
reprints, the presence at the Signature of one or
more Sharps, or of more than two Flats, shows
that the pitch of the piece has heen changed, or
its Mode reduced to a modern Scale, by an editor
of the present century. [W.S.R.]
> See rol. IL p. 474 a.
^
162
TKASUNTINO.
TEA VERS.
TRASUNTINO, Vito, a Venetian harpsi-
chord-maker, who made an enharmonic (quarter-
tone) archicembalo or large harpsichord for
Camillo Gonzaga, Conte di Novellara, in 1606,
now preserved in the Museum of the Liceo
Communale at Bologna. It was made after the
invention of Don Nicola Vicentino, an enthusiast
who tried to restore Greek music according to
its three genera, the diatonic, chromatic and
enharmonic, and published the results of his
attempt at Rome in 1555, under the title of
'L'Antica Musica ridotta alia Moderna Prat-
tica.' From engravings in this work illus-
trating a keyboard invented to include the
three systems, Trasuntino contrived his instru-
ment. A photograph of it is in the South
Kensington Museum. It had one keyboard of
four octaves C — C, with white naturals ; the
upper or usual sharps and flats being divided
into four alternately black and white, each
division being an independent key. There
are short upper keys also between the natural
pemitones, once divided, which makes thirty-
two keys in the octave; 125 in all. Tra-
puntino made a Tetracorda, also preserved at
Jjologna, with intervals marked off to tune
the archicembalo by — an old pitch -measurer or
quadruple monochord. When F^tis noticed Tra-
suntino (Biographic Universelle, 1865, p. 250),
the archicembalo was in the possession of Baini.
It was not the first keyboard instrument with
enharmonic intervals ; Vicentino had an organ
built, about 1 561, by Messer Vicenzo Colombo
of Venice. There is a broadsheet describing it
quoted by Fdtis as obtained by him from Signer
Gaspari of Bologna : 'Descrizione dell' arciorgano,
nel quale si possono eseguire i tri generi della
musica, diatonica, cromatica, ed enannonica,
in Venetia, appresso Niccolo Bevil' acqua, 1561,
a di 25 ottobrio.'
A harpsichord dated 1559, made by a Tra-
Buntini, is cited by Giordano Riccati ('Delle corde
ovvero fibre elastiche'), and was probably by
Vito's father, perhaps the Messer Giulio Tra-
suntino referred to by Thomas Garzoni (' Piazza
universale di tutte le professioni del mondo,'
Discorso 136) as excellent in all 'instrumenti
da penna' — quilled instruments, such as harpsi-
chords, manichords, clavicembalos and cithers.
Of Vito, Fioravanti says (Specchio di Scientia
Universale, fol.273), 'Guide [or Vito] Trasuntino
was a man of much an4 learned experience in
the art of making hai^teichords, clavicembalos,
organs and regals, so tfia^his instruments were
admired by every one before all others, and
Other instruments he improved, as might be
Been in many places in Venice.' These cita-
tions are rendered from F^tis. 'Manicordo,' as
in the original, is the clavichord. It is doubtful
whether 'arpicordi' and 'clavicembali' here dis-
tinguish upright and horizontal harpsichords,
or harpsichords and spinets. [A. J.H.]
TRAUER-WALTZER, i.e. Mouming-walta,
a composition of Schubert's (op. 9, no. 2), dating
from the year 1816,
which would not be noticed here but for the
fact tliat it is often attributed to Beethoven,
under whose name a * Sehnsuchts-waltzer ' (or
Longing waltz), best known as 'Le D^sir' (first
of a set of 10 all with romantic titles), com-
pounded from Schubert's waltz and Himmel'a
' Favoritwaltzer,* was published by Schotts in
1826. Schubert's op. 9 was issued by Cappi
and Diabelli, Nov. 29, 182 1, so that there is no
doubt to whom it belongs. The waltz was much
played before publication, and got its title in-
dependently of Schubert. In fact, on one occa-
sion, hearing it so spoken of, he said, ' Who could
be such an ass as to write a mourning- waltzy
(Spaun's Memoir, MS.) Except for its extraor-
dinary beauty Schubert's Waltz is a perfect type
of a German ' Deutsch.' [See Teutsch.] [G.]
TRAVENOL, Louis, a violin-player, bom
in Paris in 1698, might be allowed to go down
to oblivion in his native obscurity but for his
accidental connection with Voltaire. He entered
the opera band in April 1739, and remained
there till 1759, when he retired on a pension of
300 francs a year. In 1 783 he died. The title
of one of his numerous pamphlets (all more or
less of the same querulous ill-natured bilious
tone), * Complainte d'un musicien opprim^ par ses
camarades' — complaint of an ill-used musician —
throws much light on his temper, and justifies
Voltaire in suspecting him of having had a hand
in circulating some of the lampoons in which his
election to the Academic Francaise (May 9,
1746) was attacked. Voltaire, however, seems
to have made the double mistake of having
Travenol arrested without being able to prove
anything against him, and of causing his father,
an old man of 80, to be imprisoned with him.
The affair was brought before the Parlement,
and after a year's delay, Voltaire was fined 500
francs. A shower of bitter pamphlets against
him followed this result. (See Fdtis; and
Carlyle's ' Friedrich,' Bk. xvi. chap. 2.) [G.]
TRAVERS, John, commenced his musical
education as a chorister of St. George's Chapel,
Windsor, where he attracted the attention of
Dr. Godolphin, Dean of St. Paul's Cathedral and
Provost of Eton College, by whom he was placed
with Maurice Greene as an articled pupil. He
soon afterwards made the acquaintance of Dr.
Pepusch, who assisted him in his studies to his
TRAVERS.
TREATMENT OF THE ORGAN. 1C3
great advantage. About 1725 he was appointed
organist of St. Paul's, Covent Garden, and sub-
sequently organist of Fulhara Church. On May
10, 1737, he was sworn in organist of the Chapel
Royal in the room of Jonathan Martin, deceased,
upon which he relinquished his place at Fulham.
He composed much church music : his well-
known Service in F, a Te Deum in D, and two
anthems were printed by Arnold, and another
anthem by Page ; others are in MS. in the books
of the Chapel Royal. He published ' The Whole
Book of Psalms for one, two, three, four and five
voices, with a thorough bass for the harpsichord,"
2 vols. fol. But the work by which he is best
known is his ' Eighteen Canzonets for two and
three voices, the words chiefly by Matthew Prior,'
which enjoyed a long career of popularity, and
two of which — 'Haste, my Nanette,' and *I,
my dear, was born to-day ' — are still occasionally
heard. An autograph MS. by him, containing 4
melodies in some of the ancient Greek modes, for
4 voices with instrumental accompaniments, the
fruit, doubtless, of his association with Pepusch,
is amongst Dr. Cooke's MS. collections now in
the library of the Royal College of Music.
Upon the death of Dr. Pepusch he became the
possessor, by bequest, of one half of the Doctor's
valuable library. He died 1 758. [W. H. H.]
TRA VERSO (Ger. Querflote), the present
form of flute, held square or across (d travers)
the performer, in distinction to the flute k bee,
or fl;igeolet with a beak or mouthpiece, which was
held straight out, as the clarinet and oboe are.
It came in early in the i8th century, and was
called the * German flute ' by Handel and others
in this country. In Bach's scores it is called
Flauto traverse, Traverse, and Traversiere. [See
Flute.] [G.]
TRAVIATA, LA ('The misguided one').
Opera in 3 acts; libretto by Piave, music by
Verdi. Produced at Teatro Fenice, Venice,
March 6, 1853; ^* ^^'^ Theatre Italien, Paris,
Dec. 6, 1856 ; at Her Majesty's Theatre, London
<d^b(it of Mile. Piccolomini), May 24, 1856 ; in
English at Surrey Theatre, June 8, 1857. The
opera was written in a single month, as is proved
by the autograph in possession of Ricordi. [G.]
TREATMENT OF THE ORGAN. The
organ, as the most powerful, complicated, and
artificial instrument, is naturally the most diSi-
eult to manage. The pleasure of producing large
volumes of sound is a snare to almost all players ;
the ability to use the pedals with freedom tempts
many to their excessive employment ; the bitter
brilliance of the compound stops has a surprising
fascination for some. Draw all the stops of a
iarge organ and play the three notes in the bass
«tave (a). At least one pipe ^ :•:
speaks each note of the bunch
of sounds placed over the
chord. If this cacophony is the
result of the simplest chord,
some i dea,though faint, may be
formed of the eff'ect produced
by the complex combinations
-S?
^
mi
(a)
of modern music. Of course no sound-pioducing
instrument is free from these overtones, but their
intensity does not approach that of their at-tificial
imitations. We have all grown up with these
noises in our ears, and it would be impossible to
catch a first-rate musician and make him listen
for the first time to an elaborate fugue played
through upon a full organ ; if we could, his opi-
nions would probably surprise us.
The reserve with which great musicians speak
of the organ, and the unwillingness to write
music for it (the latter, no doubt, to be accounted
for partly on other grounds) are noticeable ; but
we meet occasionally with expressions of opi-
nion which probably represent the unspoken
judgment of many and the half-conscious feeling
of more.
The mechanical soulless material of the organ.
(Spitta, Life of Bach, vol. 1. p. 284.)
Another day he (Mendelssohn) played on the organ at
St. Catherine's Church, but I confess that even Mendels-
sohn's famous talentj like that of many other eminent
organists, left me quite cold, though I am far from at-
tributing this to any want in their playing. I find it
immensely interesting to stand by an organist and watch
the motions of his hands and feet whilst I follow on the
music, but the excessive resonance in churches makes it
more pain than pleasure to me to listen from below to
any of those wonderful creations with their manifold in-
tricacies and brilliant passages. (F. Hiller, ' Mendels-
sohn,' Transl. p. 185.)
With reference to compound stops, Berlioz
says (Traite d'Instrumentation, p. 16S) : —
Les facteurs d'orgue et les organistes s'accordent a trou-
ver excellent I'effet produit par cette r^sonnance multi-
ple . . . En tout cas ce singulier procede tendi-ait ton-
jours h donner h I'orgue la r^sonnance harmonique qu'on
cherche inutilement a 6viter sur les grands pianos a
queue.
In the same connexion Helmholtz (Sensations
of Tone, Ellis's translation) writes : —
The latter (compound stops) are artificial imitations
of tlie natural composition of all musical tones, each
key bringing a series of pipes into action which cor-
respond to the first three or six partial tones of the
corresponding note. Ihey can be used onl// to accompamj
congregational singing. When employed alone they pro-
duce insupportable noise and horrible confusion. But
when the singing of the congregation gives overpower-
ing force to the prime tones in the notes of the melody,
the proper relation of quality of tone is restored, and the
result is a powerful well-proportioned mass of sound.
It may be well then, without writing an organ
tutor, which is beyond the scope of such a work
as this, to give a few hints on the management
of the organ.
The selection and combination of stops is a
matter of considerable difficulty, partly because
stops of the same name do not produce the same
effect. Undoubtedly much larger use should be
made of single stops. The most important stop
of all — the open Diapason — is very seldom heard
alone, being nearly always muffled by a stopped
Diapason, and yet when used by itself it has a
clear distinctive tone very pleasant to listen to.
Reeds too, when good, are much brighter when
unclouded by Diapason tone, and this is espe-
cially the case with a Clarinet or Cremona, though
both are coupled almost always with a stopped
Diapason. Organ-builders seem to have a craze
on this point. The writer has often noticed that
thev ask for the two to be drawn together. The
M2
164 TREATMENT OF THE ORGAN.
employment of single stops has this further ad-
vantage in an instrument of such sustained
sound, and which it is almost impossible to keep
quite in tune, that the unison beats are then not
heard. Families of stops should be oftener heard
alone. These are chiefly (i) stops with open
pipes, such as the open Diapason, Principal,
Fifteenth ; (3) stops with closed pipes, such as
the stopped Diapason, Flute and Piccolo; (3)
Harmonic stops ; (4) Reeds. Stops of the Gamba
type nearly always spoil Dia])ason tone. 16-
feet stops on the manuals should be used spar-
ingly, and never when giving out the subject of a
fugue, unless the bass begins. The proper place
for the mixture work has already been indicated
in the extract from Helmholtz. It would be
well if organs possessed composition pedals,
drawing classes of stops, rather than, or in addi-
tion to, those which pile up the tone from soft to
loud.
Couplers are kept drawn much more than they
ought to be, with the effect of half depriving
the player of the contrast between the different
manuals. The writer knew a cathedral organist
who commenced his service by coupling Swell to
Great, and Swell to Choir, often leaving them to
the end in this condition. Another evil result
of much coupling is that the pipes of different
manuals are scarcely ever affected equally by
variations of temperature, and the Swell of
course being enclosed in a box is often scarcely
moved, so that at the end of an evening the heat
of gas and of a crowd will cause a difference of
almost a quarter of a tone between the pitch of
the Great and Swell Organs. On this account
every important instrument ought to have a
balanced Great Organ which does not need sup-
plementing by the Swell Reeds for full effect.
The Pedal Organ is now used far too fre-
quently. The boom of a pedal Open, or the in-
distinct murmur of the Bourdon, become very
irritating when heard for long. There is no
finer effect than the entrance of a weighty pedal
at important points in an organ-piece, but there
are players who scarcely take their feet from the
pedal-board, and so discount the impression.
Care should be taken to keep the pedal part
fairly near the hands. The upper part of the
pedal-board is still too much neglected, and it is
common to hear a player extemporising with
a humming Bourdon some two octaves away
from the hand parts.
The old habit of pumping the Swell Pedal
with the right foot, and hopping on the pedals
with the left, has now probably retired to remote
country churches, but the Swell Pedal is still
treated too convulsively, and it should be remem-
bei:i9& in putting it down that the first inch makes
more difference than all the rest put together.
In changing stops it is important to choose
the moment between the phrases, or when few
keys are down. One finds still a lingering belief
that repeated notes should never be struck on
the organ. Nothing can be further from the
truth. These repercussions are a great relief
from the otherwise constant grind of sound.
(a)
2=
TREATMENT OF THE ORGAN.
Again, the great aim of the old organist was to
put down as many notes as pos-
sible, not merely those belong-
ing to the chord, but as many
semitones as could conveniently
be held below each. This at
all events does not suit the
modern organ, and now one oc-
casionally detects with pleasure
even an incomplete chord. Few
organists have the courage to
leave in its thin state the chord
X which is to be found on the
last page of J. S. Bach's * Passacaglia' (a), and yet
the effect is obviously intentional. In Wesley's
^^
lin
(P)
rr
^
Anthem 'All go to ono
place,' at the end of the
phrase * eternal in the hea-
vens,' we find a beautiful
chord which would be ruined
by filling up, or byapedal(6).
Here, as in management of
stops, contrast and variety
are the things to be aimed at. Thus trio-
playing, such as we see in the 6 Sonatas of
J. S. Bach, gives some of the keenest enjoyment
the instrument can afford. The article Phras-
ing should be read by the student. [Vol. ii.
p. 706.] Much of it applies with almost greater
force to the organ than to the piano. Extem-
porising on the organ will frequently become an
aimless, barless, rhythniless wandering among
the keys to which no change of stops can give
any interest.
So much oratorio music is now sung in churches
and in other places, where on account of the
expense or from other reasons, an orchestra is
unattainable, that the organ is often called upon
to supply the place of a full band. It cannot be
said that the artistic outcome of this treatment
of the instrument is good. The string tone, in
spite of stops named Violin-Diapason, Gamba-
Violoncello, and others, has no equivalent in the
organ. The wind is susceptible of closer imita-
tion, but the attempt to produce with two hands
and feet the independent life and movement of
so many instruments is obviously absurd. The
organist does his best by giving the background
of the picture, so to speak, upon one manual and
picking out the important features upon another.
Doubtless clever feats may be performed with a
thumb upon a third keyboard, but in this case
phrasing is usually sacrificed. The string tone
is best given by stops of the Gamba type, but of
these no organ possesses enough to furnish the
proper amount, and Diapasons coupled even to
Swell Reeds have to be called into requisition.
Some stops of the small open kind fairly give
the horn-tone. Flutes, oboes, clarinets, bas-
soons, and trumpets have all been copied by the
organ builder, with more or less success, but
their hard unvarying tone contrasts unfavourably
with that of their orchestral prototypes. More-
over the instrument itself varies the quality
with the intensity ; the Swell-box, though regu-
lating the intensity, leaves the quality untouched.
TREATMENT OF THE ORGAN.
On tliis point an almost complete analogy may
be found in the case of painting, engraving, and
chromo-lithographs. The piano may be said to
give the engraving of an orchestral work, the
organ the chromo-lithograph with all its defects
of hard outline and want of delicate shading.
There can be no doubt that this treatment of
the organ has had a mischievous effect upon
organ building, organ music, and organ playing.
The employment of the organ with the orchestra
is not without its dangers, but the main principles
are clear. Never use imitation stops or mixtures
and hardly ever 4-ft. or 2 -ft. work. The Diapasons
and the pedal stops are the only effects which
can be used without clash and harshness. A
pedal alone has often a wonderfully fine effect.
Instances in Mendelssohn's organ parts (which
are models) will readily occur. There is a long D
at the end of the first chorus of Sullivan's
•Martyr of Antioch,' again another in Brahms's
Requiem, at the end of No. 3, where the pedal may
be introduced with the happiest results, [See
Registration, vol. iii. p. 94.] [W.Pa.]
TREBELLI, Zelia, an operatic singer who
took the public by storm, and stepped into the high
position which she maintains to the present day.
Zelia Gilbert* was born in Paris in 1838. So
early was her talent recognised that she was taught
the piano at the age of six. Guided by her Ger-
man teacher, she learnt to reverence and enjoy
the works of Bach and Beethoven. After ten
years her wish for instruction in singing was
encouraged by her parents, who only thought
thereby to add one other graceful accomplish-
ment to those which were to render their
daughter useful and acceptable in society. The
services of Herr Wartel were secured, and so
delighted was he with his clever pupil that he
never rested until he had persuaded her parents
to allow of his training her for the lyric stage.
Five years of close study prepared for her debut,
which was made at Madrid as Mile. Trebelli,
under the most favourable circumstances and
with complete success, Mario playing Almaviva
to her Rosina, in *I1 JBarbiere.'
Trebelli's appearances in the opera-houses
of Germany were a series of brilliant triumphs.
Public and critics were alike carried away by
enthusiasm when they heard her rendering of
the parts of Rosina, Arsace, Orsini, Urbano,
Azucena and others. No member of Merelli's
Italian troupe was gifted with so brilliant a
voice and so much executive power. Nor could
the audiences fail to be impressed by the ac-
tress's varied powers so rarely at the command
of one individual, Trebelli expressing at one
time the fire of an almost manly vigour, and
at another the charm of womanly tenderness
and delicacy. The German criticisms which
declared the voice a contralto, comparing it
with Alboni's in quality and with Schechner's
in power, were not supported by English
opinions. As a mezzo-soprano, its brilliancy,
power and flexibility were appreciatively no-
ticed ; the artist's control over voice and action
1 • Trebelli ' is obviously intended as the reverse of Gillebert.
TREBLE.
165
enthusiastically praised. Trebelli appeared first
in London at her Majesty's Theatre, May 9th,
1862, as Orsini in 'Lucrezia.' 'A more encour-
aging reception has seldom been awarded to
a debutante.' Since then, she has been a recog-
nised favourite with our opera and concert
audiences. Those who have long been familiar
with her appearances in frequent co-operation
with Mdlle. Titiens in the chief Italian operas,
will not easily forget the performances of Oberon,
where Trebelli's impersonation of the captive,
Fatima, was invested with peculiar charm.
More recent and more widely known is her
rendering of the very opposite character of
the heroine in * Carmen.'
At the present time (1884) Madame Trebelli
is making a tour through the United States
with Mr. Abbey's troupe.
Madame Trebelli's marriage to Signor Bet-
tini, about 1863, was, in a few years, followed
by a separation. [L.M.M.]
TREBLE {Canto; BisJcant; Dessus). A
general term applied to the highest voices in
a chorus or other concerted vocal piece, and
to the upper parts in concerted instrumental
music; also to soprano voices generally. The
treble clef is the G clef on the second line of
the upper (our treble) stave ; the eighth line of
the great stave of eleven lines {Chiave di sol,
chiave di violino ; Clef de Sol).
Its etymology does not refer it to any special
class of voice. It has been said to be a corrup-
tion of Triplum, a third part superadded to the
Altus and Bassus (high and low). In this case
it will have been sung by boys, who till then
will have joined instinctively in congregational
singing in unison with, or an octave above, the
tenor. Another derivation is Thurible, the vessel
in which incense is burnt in the services of the
Roman Catholic Church, from the Latin Thuri-
hulum. The portable thurible or censer was
carried and swung by boys. But there is very
strong doubt whether the thurible boys ever had
any share in the vocal part of tlie church services ;
and if they did not, this theory is overturned. The
thurible-bearers would surely be called, in de-
scribing a religious procession, • the thurifers.'
The derivation from Triplum seems therefore
the more probable. At wiiat time ' treble ' may
have found its way into English it is difficult to
say. ' Childish treble,' as the voice of old age,
appears in Shakspeare, and 'faint treble' used
to be applied to what is commonly known as
falsetto. English amateur pianists frequently
call the right hand the treble hand. The word
Triplum as a third part was of course introduced
at a very early date, and marks a most import-
ant step in the progress of part-music.
The treble clef is a modification of the' letter
^ . [Clef.] It is used for the violin, flute,
hautboy, clarinet, horn, and trumpet ; also in
very high passages on the viola, violon-
cello, and bassoon. The double G clef has
been used for tenor parts in choruses, the
music being sung an octave lower than written ;
also for the horn in low keys. [Tenoe.] [H.C.D.]
166
TREITSCHKE.
TREITSCHKE, Georg Friedrich, author and
entomologist, deserves a place in a Dictionary of
Music, as the adapter of Joseph Sonnleithner's
libretto for Beethoven's 'Fidelio,' for its revival
in 1814. He was bom at Leipzig, Aug. 29, 1776,
died at Vienna. June 4, 1842. In 1793 his
father sent him for further education to Switzer-
land, and there he became acquainted with
Gessner of Zurich, who inspired him with a love
of literature. In 1802 he went to Vienna, and
fell in with Baron Braun who made him manager
and librettist of the Court theatre, of which he
himself was director. In 1 809 he became vice-
director of the theatre an-der-Wien, but in 1814
returned to his former post. In 1822 the whole
of the financial arrangements of the Court theatre
were placed in his hands, and remained there
till his death. He adapted a host of French
librettos (Cherubini's ' Deux Joum^es,' ' M^d^e,'
' Aline,' etc.) for the German stage, not always ,
it must be owned, with the skill shown in ' Fi-
delio.' His connexion with Beethoven was con-
siderable. Besides the revision of * Fidelio' in
1 81 3-14, a letter of Beethoven to him, dated
June 6, 181 1, seems to speak of a ^proposed
opera book ; another, of July 3, of a melodrama.
Beethoven supplied music to a chorus of his,
♦ Germania,' h propos to the Fall of Paris (March
31, 1814), and to another chorus, ' Es ist voll-
bracht,' celebrating the entry of the Allies into
Paris, July 15, 18 15. Treitschke made a col-
lection of 2,582 species of butterflies, now in the
National Museum in Pesth, and was the author
of several books on entomology. His first wife,
Magdalene, nde de Caro, a celebrated dancer
— born at Civita Vecchia, April 25, 1788, died
at Vienna, Aug. 24, 1816 — was brought up in
London and Dublin, and became thoroughly
English. Introduced on the stage by Noverre, her
grace and charm created a perfect furore. She
afterwards studied under Duport, made several
tours, and on her return to London appeared with
Vestris in the * Caliph of Bagdad.* There in 1 815
she closed her artistic career, went back to her
husband in Vienna, died, and was buried near
Haydn's grave. [^-Gr-]
TREMOLO. A figure consisting, in the case
of bowed instruments, of reiterated notes played
as rapidly as possible with up and
down bow, expressed thus with the
word tremolo or tremolando added
(without which the passage would
be played according to the rhythmical value of
the notes), producing a very fine effect, if ju-
diciously used, both in fortissimo and pianissimo
passages. On the pianoforte it is a rapid alter-
nation of the parts of divided chords, repro-
ducing to a great extent the above-mentioned
eflfect. Good examples of Tremolo are to be
found in various branches of music — for the
Piano in the Introduction to Weber's Solo Sonata
in Ab, and in the Finale to Schubert's Rhapsodic
Hongroise, where it gives the effect of the cym-
balum or zither in the Hungarian bands; for
I Unless this refers to Fidelio.
TREMOLO.
the Piano and Violin, in the Introduction to
Schubert's Phantasie in C (op. 159); for the
Orchestra, in Weber's Overtures, and Schubert's
Overture to Fierabras. For the PF. and Voice a
good example is Schubert's song ' Am Meer.' Bee-
thoven uses it in the Funeral March of the Solo
Sonata, op. 26 ; in the Sonata Appassionata, and
that in C minor, op. iii. The strictly classical
PF. writers evidently did not consider tremolo
without rhythm legitimate in original piano
words — another example (if such were needed)
of the purity with which they wrote. The tj'e-
molo on the PF. is therefore a reproduction of
the effect of other instruments, as in Beethoven's
Funeral March just mentioned. This, though
written rhythmically, is, by common consent,
played as a real tremolo, being clearly a repre-
sentation of the roll of muffled drums. Some of
the best of the Romantic school, as Weber and
Schumann, have used the real Tremolo. Bee-
thoven ends a droll note to Steiner'' on the
dedication of the Sonata, op. 106, as follows : —
amicus
ad aniiciim
de amico.
P
Ad - ju - tantl
1. In vocal music the term is applied totheabuse
of a means of expression or effect, legitimate if
used only at the right time and place, and in the
right way. It assumed the character of a vocal
vice about forty years ago, and is supposed to have
had its origin in the vibrato of Rubini, first
assuming formidable proportions in France, and
thence quickly spreading throughout the musical
world.
The Vibrato and the Tremolo are almost equally
reprehensible as mannerisms. Mannerisms ex-
press nothing but carelessness or self-sufficiency,
and the constant tremolo and vibrato are there-
fore nauseous in the extreme. Their constant
use as a means of expression is simply false, for
if they are to represent a moral or physical state,
it is that of extreme weakness or of a nervous
agitation which must soon wear out the un-
fortunate victim of its influence. The tremolo
is said to be frequently the result of forcing the
voice. It may be so in some cases, but it is
almost exclusively an acquired habit in this age
of 'intensity.' It is a great mistake to say that
it is never to be used, but it must only be so
when the dramatic situation actually warrants
or requires it. If its use is to be banished en-
tirely from vocal music, then it should equally
disappear from instrumental music, though, by
the way, the instrumental tremolo is more nearly
allied to the vocal vibrato. Indeed, what is called
'vibrato' on bowed instruments is what would
be ' tremolo ' in vocal music. [Vibrato.] What
is it that produces its fine effect in instrumental
music ? In loud passages it expresses sometimes
joy and exultation ; in others, agitation or ter-
ror; in all cases, tension or emotion of some
» See Thayer, ill. 601.
TREMOLO.
TRENTO.
167
kind. In soft passages it has a beautifully weird
and ethereal effect of half-light when not spun
out. In vocal music it is to be used in the first-
named situations. The human voice loses its
steadiness in every-day life under the influence
of joy, sorrow, eagerness, fear, rage, or despair,
and as subjects for vocal treatment usually have
their fair share of these emotions, we must ex-
pect to hear both the vibrato and the tremolo
in their places, and are very much disappointed
if we do not. Reason, judgment, and taste must
be brought to bear with the same kind of philo-
sophical and critical study by means of which an
actor arrives at the full significance of his part,
and it will be found that a big vocal piece like
'Ah perfido,* 'Infelice,' or *Non piti di fiori,'
requires more psychological research than is
generally supposed. Singers, and those of this
country especially, are very little (in too many
oases not at all) alive to the fact, that the mo-
ment singing is touched, we enter upon the re-
gion of the dramatic. In speaking generally of
dramatic singing, the operatic or theatrical is
understood. But the smallest ballad has its
share of the dramatic, and if this were more
widely felt, we should have better singing and a
better use of the tremolo and vibrato, which
can hardly fail to place themselves rightly if the
inlport of the piece to be sung be rightly felt
and understood. By tremolo is usually under-
stood an undulation of the notes, that is to say,
more or less quickly reiterated departure from
true intonation. In some cases this has been
cultivated (evidently) to such an extent as to be
utterly ludicrous. Ferri, a baritone, who flour-
ished about thirty-five years ago, gave four or five
beats in the second, of a good quarter-tone, and
this incessantly, and yet he possessed a strong
voice and sustaining power to carry him well
through his operas. But there is a thrill heard
at times upon the voice which amounts to neither
tremolo nor vibrato. If it is the result of pure
emotion, occurring consequently only in the right
place, its effect is very great.
The vibrato is an alternate partial extinction
and re-enforcement of the note. This seems to
have been a legitimate figure, used rhythmically,
of the fioritura of the Farinelli and Caffarelli
period, and it was introduced in modern times
with wonderful effect by Jenny Lind in ' La
Figlia del Reggimento.' In the midst of a flood
of vocalisation these groups of notes occurred —
executed with the same biilliancy and precision
as they would be on the pianoforte, thus —
[See Singing, iii. 496 ; also Vibbato.] [H.C.D.]
TREMULANT. A contrivance in an organ
producing the same effect as tremolando in singing.
Its action practically amounts to this: — the air
before reaching the pipes is admitted into a box
containing a pallet to the end of which is attached
a thin arm of metal with a weight on the end
of it ; when the air on its admission raises the
pallet the metal arm begins to swing up and
down, thus producing alternately an increase
and diminution of wind-pressure. Its use is
generally limited to such stops as the Vox Jiumana
andafew otherstopschiefly of the reed family. The
tremulant is happily much less in vogue in this
country than on the continent, where its abuse
is simply offensive. It is difiicult to conceive how
good taste can tolerate these rhythmical pulsations
of a purely mechanical pathos. [J.S.]
TRENCHMORE, an old English country
dance, frequently mentioned by writers of the
1 6th and 17th century. According to Mr. Chap-
pell ('Popular Music') the earliest mention of
it is in a Morality by William Eulleyn, published
in 1564. The chai-acter of the dance may be
gathered from the following amusing quotation
from Selden's 'Table Talk ' (1689) : ' The Court
of England is mvich altered. At a solemn Danc-
ing, first you had the grave Measures, then the
Corrantoes and the Galliards, and this is kept up
with Ceremony ; at length to Trenchmore, and
the Cushion-Dance, and then all the Company
dance. Lord and Groom, Lady and Kitchen-Maid,
no distinction. So in our Court, in Queen Eliza-
beth's time, Gravity and State were kept up. In
King Jameses time things were pretty well. But
in King Charles's time, there has been nothing
but Trenchmore, and the Cushion-Dance, omnium
gatherum tolly -poUy, hoite come toite.' Trench-
more appears first in the Dancing Master in the
fifth edition (1675), where it is directed to be
danced 'longways for as many as will.' The
tune there given (which we reprint) occurs in
' Deuteromelia ' (1609), where it is called 'To-
morrow the fox will come to town.'
^^g
^^
1 1st time.
2nd time. f
.n g >
— P — Q— P-
-^" S N-
— h - — m-\
^"M^-NH
:* •■■*? J •
• C L-
-^—*-*-H
J ^
[W.B.S.]
TRENTO, ViTTORio, composer, born in
Venice, 1761 (or 1765), date of death unknown,
pupil of Bertoni, and composer of ballets. His
first, ' Mastino della Scala' (1785), was successful
enough to procure him commissions from various
towns. He was induced by Dragonetti to come
to London, and there he composed the immensely
popular 'Triumph of Love' (Drury Lane, 1797).
His first opera buffa, * Teresa Vedova,' succeeded,
and was followed by many others. In 1804 he
composed 'Ifigenia in Aulide.' In 1806 he be-
came impresario in Amsterdam, and there pro-
duced with great success an oratorio 'The
Deluge' (1808). Soon afterwards he went to
Lisbon, also as impresario. In 1824 he returned
to Venice, and alter that his name disappears.
He composed about 10 ballets, 20 oi)eras, and a
168
TEEN TO.
TRIAL.
few oratorios, one being the • Maccabees.* His
scores are in the collection of Messrs. Ricordi
of Milan. [F.G.]
TR]&SOR DE^ PIANISTES, LE. A remark-
able collection of ancient and modem pianoforte
music, made and edited by Madame Farrenc, and
published part by part by Leduc of Paris, from
June 1861 to 1872. M. Farrenc contributed
some of the biographical notices to the work, but
his death in 1865 prevented his having any large
shaie in it ; the rest of the biographies were
written by Fetis jun. The collection has been
since superseded by separate publications and
more thorough editing, but it will always remain
a remarkable work. Its contents are as follows.
The reduction that has taken place in the price
of music during the last twenty years may be
realised when we recollect that this edition,
which boasts of being the cheapest then pub-
lished, was issued at 25 francs or £1 per part.
Pakt I. I Part X.
History of the Piano ; and treatise Albreclitsberger. 12 Fugues,
on Ornament.
C. P. £. Bach. C Sonatas.
Do. 6 do.
3. P. Rameau. 1st Book of Pieces
Do. 2nd do.
Durante. 6 Sonatas.
Porpora. C Fugues.
J. L. Dussek. S Sonatas, Op. 35 ;
Sonata, Op. 64.
Frescobaldi. Pieces.
J. L. Krebs. 3 Fugues.
PART xvin.
J. Christian Bach. 7 Sonatas.
Beethoven. 6 Airs with variations.
J. Christ. Smith. 9 Suites de
pieces.
Clementl. 3 Sonatas, Op. 8 ; 4 So-
natas and 1 Toccata.
Part XIX.
H. d'Anglebert. Pieces for Clave-
cin.
W. A. Mozart. 3 Sonatas.
D. Scarlatti. Pieces 331 to 1S2.
Hummel. Fantasia, Op. 18.
Part II.
C. P. E. Bach. 6 Sonatas.
Kuhnau. 7 Sonatas.
11. 1'urcell. Collection of Pieces.
I>. Scarlatti. Pieces 1 to 20.
Hummel. Ops. 8, 9, 10, 15,
Lindemann. Pieces.
Schvranenberg. 2 minuets.
Part III.
Pad. Martini. 12 Sonatas.
K. Couperin. 1st Boole of I'ieces.
Hummel. Ops. 21, 40, 57, 70.
Part IV.
C. P. E. Bach. 6 Sonatas,
Do. C do.
Handel. Suites de Pieces, Book 1 .
Do. Do. Book 11.
Do. Do. Book 111.
Do. 6 Fugues.
Part V.
Chambonni^res. Ist Bk. of Pieces.
Do. 2nd do.
D. Scarlatti. Pieces 27 to 49.
Beethoven. Sonatas, Ops. 2, 7, 10.
Part VI.
Parthenia. Byrd, Bull. Oibbons.
Pieces by English writers of ituii
and 17th centuries. First
Collection.
Friedemann Bach. 12 Polonaises
and Sonata.
<\ P. E. Bach. 6 Sonatas.
Beethoven. Ops. 13, 14, 22. 2G, 27.
28.
Part VII.
Th. Muflfat. Pieces.
G. Benda. 6 Sonatas.
C. P. E. Bach. 6 Sonatas.
Beethoven. Sonatas, Ops. 31, 49.
Part VIII.
Couperin. 2ud Book of Pieces.
D.Scarlatti. Pieces 50 to 77.
C. P. E. Bach. 6 Sonatas.
Do. 6 do.
Part IX.
Fried. Bach. 8 Fugues.
J. W. Haessler. 2 Fantasies, 6
Sonatas, 4 Solos.
G. Ifufbt. 12 Toccatas.
Beethoven. Sonatas, Ops. 53, 54,
OT, li, 79, 81. 90.
Kuhnau. Exercises, Parts 1 and 2.
W. A. Mozart. 6 Sonatas.
M. Clementl. 3 Sonatas, Op. 2.
2 do. Op. 7.
J. P. Kimberger. 6 Fugues.
Do. Collection of Pieces.
Part XI.
C. P. E. Bach. 5 Sonatas. 4 Kon-
deaux.
Ch. Nichelmann. 5 Sonatas; C
Sonatas, Op. 2.
D. Scarlatti. Pieces 78 to 94.
Froberger. 5 Caprices, 6 Suites.
J.S.Bach. 6 Suites.
Part XII.
Couperin. 3rd Book of Pieces.
Kuhnau. Toccata.
llummel. Introduction and Ron-
deau, Op. 19.
Kimberger. Collection of Pieces,
No. 2,
Do. Do. No. 3.
F. V. Buttstedt. 2 Sonatas.
J. E. Ebeilin. 6 Preludes and
Fugues.
Beethoven. Sonatas, Ops. 101, IOC.
Part XIII.
Frescobaldi. 3 Fugues, 6 Canzone.
Fried. Bach. 1 Suite, 4 Fantasies.
W. A. Mozart. 3 Sonatas.
[). Scarlatti. Pieces 9:> to 110.
los. Haydn. 5 Sonatas.
C. P. E.Bach. 6 Sonatas.
Part XIV.
Mattheson. Pieces.
Beethoven. Sonatas. Ops. 109, 110,
111.
I'roberger. 8 Toccatas, 6 Suites.
Albrechtsberger. 18 Fugues.
Hummel. Rondeau brillant, Op.
109 ; Sonata, Op. 13.
Fasch. 2 Sonatas, 1 Piece.
Goldberg. Prelude and Fugue.
Part XV.
Touperin. 4th Book of Pieces.
W.A.Mozart. 4 Sonatas.
J.S.Bach. 6 English Suites.
Hummel. Sonata, Op. 20.
D. Zipoli. Pieces for Organ and
tor Clavecin.
Part XVI.
C. M. von Weber. 4 Sonatas, Ops.
24, 89, 49, 70.
D. Scarlatti. Pieces Ul to 130.
L. Claude Daquin. Pieces for
Clavecin.
J. W. Haessler. 3 Sonatas.
F.Chopin. 9 Nocturnes.
Part XVII.
P. D. Paradies. 10 Sonatas.
Hummel. Adagio ; Sonata, Op. 18.
J. 0. F. Bach. Sonatas aad Pieces.
Duphly. Piece for Clavecla.
F. Ries. Sonata, Op. 26.
Haydn. 5 Sonatas.
Part XX.
Varions authors, 17th century.
Pieces for Clavecin.
Do. 18th century. Do.
Claudio Merulo. Toccata for oi^
gan.
J. B. Cramer. 3 Sonatas.
W. A. Mozart. Romance.
D. Steibelt. Sonata. Op. 64.
Cbr. Schaffratb. 2 Sonatas, Op. 2.
J.G.Wernicke. 6 Pieces.
F. Mendelssohn. Rondo capric-
cioso. Op. 14 s 8 Fantasias.
Op. 16. j-Q-j
TRIAD is a chord of three notes standing in
the relation to one another of bottom note, third,
and fifth. It is of no consequence what the
quality of the combination is, whether consonant
or dissonant, major or minor. The following are
specimens : —
^^^^^
[C.H.H.P.]
TRIAL, Jean Claude, French composer, bom
at Avignon, Dec. 13, 1732, was educated at the
Maitrise, and early studied the violin, for which
his first compositions were intended. Settling
in Paris he became intimate with Rameau, and
was taken up by the Prince de Conti, who made
him conductor of his own music, and procured
him the joint-directorship with Berton of the
Op^ra (1767). He composed ' Esope k Cythfere'
(1766), and • La Fete de Flore' (1771), each in
one act, and with Berton 'Sylvie,' 3 acts (1766),
and 'Thdonis,' i act (1767); also short over-
tures, orchestral divertissements, cantatas, and
the music for ' La Chercheuse d'esprit.' He died
of apoplexy June 23, 1771. His brother,
Antoine, his junior by four j'ears, was also
bom at Avignon, and educated at the Maitrise,
but forsook ecclesiastical plainsong for stage
ariettas. Having appeared with success as a
comedy-tenor in several provincial towns, he
went to Paris in 1764, and there quickly rose
into favour as a singer of considerable musical
attainments, and an actor possessing real wit
and originality. For 30 years composers eagerly
vied with each other in writing parts for him,
and he left permanent traces at the Op^ra
Comique, where the comedy-tenor part is still
called by his name. Like Dugazon, Antoine
Trial embraced with fervour the doctrines of the
Revolution, and on the fall of Robespierre was
constrained by the mob to atone for his previous
exploits by singing the * Rdveil du Peuple ' on
his knees. Forced to give up his post in the
municipality, and subjected to many cruel
humiliations, his mind gave way, and he poisoned
himself Feb. 5, 1795. His wife, Marie Jeanne
Milon, sang under the name of Mme. Mande-
ville, and having a voice of remarkable compass
and flexibility, brought into fashion airs full of
roulades and vocalises. Their son,
Abmand Emmanuel, born in Paris, March i,
1 771, began early to compose, and produced at
the Comedie Italienne 'Julien et Colette' (1788),
'Adelaide et Mirval' (1791); *Les deux petits
TRIAL.
TRILL.
169
Aveugles,* and ' Le Si^ge de Lille' (1792) ; 'La
Cause et les Effets, ou le Reveil du Peuple en
1789' (•1793), besides taking part in the cele-
brated revolutionary piece ' Le Congrfes des Rois.'
A first-rate accompanyist, Armand Trial might
have made both name and money, but though
he married Jeanne M^on, a charming artist at the
Theatre Favart, he plunged into dissipation, and
died in Paris, from its effects, Sept. 9, 1 803. [G.C.]
TRIAL BY JURY. A very extravagant ex-
travaganza ; words by W. S. Gilbert, music by
Arthur Sullivan. Produced at the Royalty
Theatre, London, March 25, 1875. It owes its
great success to the remarkable drollery of
woi'ds and music, the English character of the
institution caricatured, and the great humour
thrown into the part of the Judge by the
composer's brother, Frederick, who died with a
great career before him. [G.]
TRIANGLE. This is a steel rod bent in a
triangular form, but open at one angle. The
boater is of the same metal, and
should be somewhat of a spindle
shape, so as to give a heavier
or lighter stroke at the per-
former's discretion. It is hung
by a string at the upper angle,
held in the performer's hand,
or more frequently attached to his desk or to
one of his drums, as it is seldom that a man has
nothing else to play besides this little instrument,
except in military bands. It suits all keys, as
besides the fundamental tone there are many
subordinate ones, not harmonics. The woodcut is
from an instru ment of the pattern used at the Grand
Opdra in Paris. It is an isosceles triangle, the
longest side 7| inches, and the short side or base
7 inches. Thickness -^ of an inch. Rossini and
his followers make frequent use of it, and Brahms
has introduced it in the Finale of his Variations
on a theme of Haydn's. Beethoven has a few
strokes of it in his 9th Symphony. [V. de P.]
TRIBUT DE ZAMORA, LE. A grand opera
in 4 acts; words by MM. d'Ennery and Brdsil,
music by Gounod. Produced at the Grand Opera,
Paris, April i, 1881. The story is a Moorish
one, the scene is laid in Spain, and the action
includes a ballet on the largest scale. The
principal parts were taken by Mad. Krauss and
M. Lassalle. [G.]
TRIl&BERT, Charles Louis, French 'oboist,
eon of a wind-instrument maker, born in Paris
Oct. 31, 1 8 10. He was well educated at the
Conservatoire, and took the first oboe prize in
Vogt's class in 1829. He had an excellent tone,
great execution, and good style, and is still re-
membered at the Theatre des Italiens, and the
Soci^td des Concerts. Although much occupied
with instrument-making, he carried on his artistic
cultivation with earnestness, and composed much
for the oboe — original pieces, arrangements of
operatic airs, and (in conjunction with M. Jan-
court) fantaisies-concertantesfor oboe and bassoon.
At the Paris Exhibition of 1855 Tridbert obtained
a medal for his adaptation of Boehm's contriv-
ances to the oboe, and for improved bassoons.
This skilled manufacturer and eminent artist
succeeded Verroust as professor of the oboe at
the Conservatoire in April 1863, and retained
the post till his death, July 18, 1867. His
brother Fk:6derio (died in Paris March 1878,
aged 65) was his partner, and showed consider-
able inventive genius. He constructed bassoons
after Boehm's system, a specimen of which may
be seen in the Museum of the Conservatoire.
Frdddric Triebert was devoted to his art, and
conversed on it with much learning and intelli-
gence. He left a son, also named Fredj^rio,
who is one of the best oboists of the French
school. [G.C]
TRIHORIS, TRIORI, TRIHORY, TRIORY,
an old Breton dance, long obsolete. Cotgrave
describes it as * a kind of British and peasantly
daunce, consisting of three steps, and performed,
by three hobling youths, commonly in a round.*
It is mentioned by Rabelais ('Pantagruel,* bk.
iv. ch. xxxviii.) and by his imitator, Noel du
Fail, Seigneur de la Herrisaye, in chapter xix.
of his 'Contes et Discours d'Eutrapel' (1585).
From this passage it would seem that it was a
' Basse Danse,' and was followed by a * Carole ' —
a low Breton name for a dance in a round, or ac-
cording to Cotgrave * a kind of daunce wherein
many daunce together.' [See Tourdion.] (Com-
pare the Italian ' Carola,' described in Symonds*
* Renaissance in Italy,' vol. iv. p. 261, note.) Du
Fail says the dance was ' trois fois plus magistrale
et gaillarde que nulle autre.' It was the special
dance of Basse Bretagne, as the Passepied (vol. ii.
p. 662) was of Haute Bretagne. JehanTabourot,in
his 'Orch^sographie' [see vol. ii. p. 560a], says the
Trihoris was a kind of Branle, and that he learnt
it at Poitiers from one of his scholars. He gives
the following as the air to which it was danced :
^H^-^=d:^:^=^-3:3:;a=J^^I
According to Littr^, the name is allied to the
Burgundian ' Trigori,' a joyful tumult. [W.B.S.]
TRILL (Ital. Trillo; Fr. Trille; Germ.
Triller). An ornament consisting of the rapid
alternation of a note with its major or minor
second, generally known in English by the
name of Shake, under which head it is fully
described. [See vol. iii. p. 479.] The ornament
itself dates from about the end of the i6th cen-
tury, but it received the name of Trill at a some-
what later date, not to be exactly ascertained. It
is described in the • Nuove Musiche ' of Caccini,
published in Florence in 1601, under the name
of Gruppo, a name which is now used to express
a turn-like group of four notes, also called
Grojppo, thus : —
Caccini also makes use of the term tnllo, but
as indicating a pulsation or rapid repetition
of a single sound sung upon a single vowel, an
effect expressed in modem terminology by
vibrato. [Vibrato.] [F.T.]
170 TRILLO DEL DIAVOLO, IL.
TRTLLO DEL DLA.VOLO, IL. A famous
sonata by Tartini, for violin solo with bass ac-
companiment, which is so called from its being
an attempt to recollect the playing of the devil
in a dream. [See Tartini ; vol. iv. p. 62 a.]
The Sonata consists of Larghetto affettuoso,
Allegro, and Finale — Andante and Allegro inter-
mixed. All the movements are in G minor. It
is in the Allegro of the Finale that the Trill
occurs, a long shake with a second syncopated
part going on at the same time.
tr tr,
IT
'^^^ » » ' » [
[G.]
TRINITY COLLEGE, DUBLIN. An Uni-
versity wa3 founded in Dublin by Alexander
de Bicknor, Archbishop of Dublin, in 1320,
but died out in the early part of the 16th cen-
tury. After a lapse of 60 or 70 years the
present University of Dublin was founded in
1 59 1 by Queen Elizabeth, and with it the
•College of the Holy and Undivided Trinity,
near Dublin.' The College alone was incor-
porated by charter, and its governing body or
Board was entrusted with the management of
the University. On this account, as well as
from a mistaken interpretation of the original
charter, an idea obtained currency that the
University of Dublin did not acquire an inde-
pendent existence, and that Trinity was a Col-
lege endowed with the powers of an University.
This is, however, quite erroneous. The Uni-
versity and the College were both founded at
the same time, but as the former possessed no
distinct property, and had no share in directing
the education of the students, its sole function
consisted in conferring degrees. (See the Rev.
Dr. Todd's preface to the Catalogue of Graduates
of the University of Dublin, 1869, ^^^ Sir Joseph
Napier's ' Opinion,' prefixed to vol. ii. of the same
work, 1884, where the whole question is fully
elucidated.) Any possible doubt was removed by
the revised charter granted in 1857, by which
the Senate of the University was formally in-
corporated.'
In the 1 7th century two or three minor Col-
leges or Halls were founded, but without success,
and Trinity still remains the single College in
the University of Dublin.*
To obtain a regular degree at the University
of Dublin, the candidate must matriculate at
Trinity College, and complete the prescribed
course of study, when a Grace is passed by
the Board of the College and submitted for
ratification to the Senate of the University,
> According to precedent this was not necessary. The University
of Paris never had a charter, nor was one granted to Oxford until the
15th century, and then for special reasons. Sir Joseph Napier shows
that a recognised University is In Its own nature a distinct corporation.
2 A similar Instance Is afforded in the United States of America,
where Harvard U the only College In Cambridge University.
TRINITY COLLEGE, DUBLIN.
but the degree may be withheld either by the
veto of any member of the University Caput,
or, subsequently, by a majority of the Senate.
A few degrees in Music seem to have been con-
ferred in the 17th century, and Thomas Bateson*
and Randolph, or Randal, Jewitt* are said to
have received the degree of Mus.B. [See vol. i.
p. 155.]
In the latter part of the 1 8th century several
musical degrees were given, and we find the
names of * Garret Wesley, Earl of Momington\
Mus.D. (1764); *the Rt. Hon. Charles Gar-
diner, Mus.D. causa honoris (1764); * Richard
Woodward (organist of Christ Church, 1765-
1777), Mus.B. 1768, Mus.D. 1771; Sampson
Carter (elder brother ofThomas Carter) ".Mus.D.;
Samuel Murphy (organist of St. Patrick's, 1773,
and Christ Church, 1777), Mus.D.; Langrishe
Doyle (organist of Armagh 1776, and then
of Christ Church, Dublin, 1780), Mus.D.;
Philip Cogan (organist of St. Patrick's, 1780),
Mus.D. ; Sir John Stevenson', Mus.D. (1791, per
diploma) ; and John Clarke^ (afterwards Clarke-
Whitfeld), Mus.D. (1795). From 1800 to 1861
the degree of Doctor was conferred on John
Spray ; William Warren (organist of Christ
Church, 1814, and of St. Patrick's, 1827), 1827 ;
John Smith, 1827"; * Sir Robert P. Stewart'®
(organist of Christ Church, 1844, and of St. Pa-
trick's, 1852-1861), 1851, and* Francis Robinson,
honoris causa, 1852. The degree of Bachelor
was also taken by Nicholas H. Stack, 1845, and
William Murphy.
The names marked with an asterisk appear
in the Catalogue of Graduates, and in these cases
the degrees were taken regularly ; but most of the
other musical degrees seem to have been merely
honorary, and, conferring no University privileges,
are not found in the University registers.
The Professorship of Music was founded in
1764, when Lord Mornington was appointed the
first professor; but on his retirement ini774 the
chair remained vacant until 1847, when it was
filled by Dr. John Smith, and on his death in
1S61, Dr., afterwards Sir Robert, Stewart wa»
appointed to the office, which he still holds.
Since his appointment, and, as it is understood,
mainly through his exertions, the conditions on
* The date, 1611, ordinarily given as that of Bateson's removal from
Chester to Dublin, Is Incorrect. From the Chapter books of Christ
Church it appears that he was appointed a Vicar Choral of that
Cathedral on March 24, 1608-9, and Organist soon afterwards.
< Hawkins's account of this musician Is confused. Jewitt, who
became organist of both Christ Church and St. Patrick's Cathedrals
In 1631, and was succeeded in the former post by Dr. Rogers In 1639,
held at the same time a choral vicarage in St. Patrick's, of which ha
was deprived by the Archbishop (also In 16S9) for not being in priest's
orders, but was restored in 1641. He became a Vicar Choral of Christ
Church in 1646, and probably returned to England on the suppression
of the Cathedral establishments under the Commonwealth. Jewitt
seems to have afterwards taken Holy Orders, was admitted a Minor
Canon of St. Paul's In 1661, and finally became Organist of Win-
chester, where he died July 4« 1675, and was succeeded by John
Beading. s See vol. 11. p. 368.
« See vol. 1. p. 317. 7 See vol. 111. p. 712.
8 Organist of Armagh 1794— 17OT ; Master of the choristers of Christ
Church and St. Patrick's, 1798. He was never organist of either of
the Dublin Cathedra's, as is sometimes stated. He graduated Mus. B.
at Oxlbrd in 1793, but his Cambridge degree of Doctor In 1799 was
granted ad eundem from Dublin. See vol. i. p. 365.
9 See vol. Hi. p. 540. The Grace passed by the Board for conferring
the degree of Doctor on Warren and Smith is dated July 7, 1S27.
i« See vol. ill. p. 718.
TRINITY COLLEGE, DUBLIN.
which a degree in music is conferred by the Uni-
versity of Dublin have been considerably remodel-
led, by the addition of an examination in Arts to
that in Music only. The existing regulations re-
quire the candidate for the degree of Bachelor to
pass the ordinary examination for entrance into
Trinity College, except that any modern foreign
language may be substituted for Greek. He
must have studied or practised music for seven
years, and must pass such examination and per-
form such exercises as may be prescribed. A
Doctor in Music must have taken the Degree of
Bachelor and have studied music for twelve years.
He also must pass such further examinations
and perform such acts as may be prescribed.
Trinity College was opened for the reception
of students on the 9th January, 159I. On the
centenary of that day a solemn commemoration
was held within the College, for which an Ode,
' Great Parent, hail I ' was written by Tate,^
then poet laureate, and set to music by Henry
Purcell. [See vol. iii. p. 49.]
The edition of this Ode, published by Good-
ison, states that it was performed in Christ
Church Cathedral on the 9th Jan. 169I, but
this is certainly an error, and the registers of
Christ Church make no reference to the subject.
The General Register of Trinity College, however,
does contain a full account of the proceedings
within the College walls. After morning prayers
in the Chapel came 'Musicus instrumentorum
concentus.' Then followed sundry orations, after
which we read 'Ode Eucharistica vocum et in-
strumentorum Symphonia decantatur,' which
no doubt is * Great Parent, hail ! ' The College
Register states that the several exercises were
laid up in the manuscript library, but a recent
search for these papers has proved fruitless.
In 1837 ^^^ ' University Choral Society' was
founded for the cultivation of vocal music in
Trinity College. Membership is restricted to
students of the College and Graduates of the
Universities of Oxford, Cambridge, and Dublin.
The Society meets weekly for practice from
November to June, and usually gives three
concerts during the season. At these concerts
many important works have been performed
for the first time in Dublin. Mr. Joseph Robin-
son'* held the oflBce of Conductor from the found-
ation of the Society until 1847, when he resigned,
and was succeeded by the present Conductor, Sir
Robert Stewart.
To encourage the study and practice of sacred
music in Trinity College, musical exhibitions have
been lately founded. The exhibitioners are elected
by examination held annually, and retain their
places for two years with a power of re-election.
They assist in the Choral Service of the College
Chapel. [G.A.C.]
TRINITY COLLEGE, LONDON. This in-
stitution is the development of a Musical Society
founded in 1872, under the title of the Church
' See ' The Gentleman's Journal ' or * The Monthly Miscellany,' Jan.
and Feb. 1694, p. 25. Tate was educated at Trinity College, where
he obtained a Scholarship in 1672. ' See vol. ill. p. 140.
TRIO.
171
Choral Society, with the object of promoting the
improvement of church music and church sing-
ing. In the following year examinations of a
practical and theoretical character were esta-
blished for admission to the position of Fellow of
the Society, and in 1874 *o *^^^ of Associate,
diplomas or certificates being granted to the suc-
cessful candidates, who were subsequently classed
as 'Licentiates,* 'Associates,' and 'Students.'
In 1875 the Society was incorporated under
the Companies' Act, and in 1881 reincorporated
on a wider basis, under the name of Trinity Col-
lege, London ; lectures and classes were organised
for musical and general instruction ; examina-
tions for diplomas and prizes were held ; and a
library was opened. In 1876 women were ad-
mitted to the classes then instituted, and soon
afterwards the local examinations throughout
the United Kingdom, which had been for some
years held by the Society of Arts, but had lately
been discontinued, were resumed and carried on
by Trinity College.
As at present constituted the College is under
the direction of a Council, an Academical Board,
and a Senate, and the studies, musical and lite-
rary, are conducted by a Warden and a staff of
professors.
The first Warden of the College was the Rev.
H. G. Bonavia Hunt, who still holds the office,
and to whose exertions the present position of
the College is due. Among the professors and
lecturers are Sir Julius Benedict; Mr. Carrodus;
Mr. Dubrucq ; Mr. James Higgs, Mus.B. ; Mr.
W. S. Hoyte; Mr. Lazarus ; Mr. George Mount ;
Dr. W. H. Stone ; Mr. E. H. Turpin ; Mr. Brad-
bury Turner, Mus.B. ; Mr. A. Visetti ; and Mr.
C. E. Willing.
The College has about 300 students at present
on its books, and holds examinations at nearly
200 local centres. A scholarship and two exhi-
bitions, open to all comers, have been instituted,
and prizes are awarded amongst the students of
the College. A class for the practice of orchestral
music meets weekly during Term, and instruction,
is given in French, German, and Italian.
The College publishes a Calendar annually,
from which, or from the Secretary at the Col-
lege, 13 Mandeville Place, Manchester Square,
London, all information respecting examina-
tions, courses of study, and fees, can be
obtained. [G.A.C.]
TRIO. A composition for three voices or
instruments. [See Terzetto.] The term is also
applied to the secondary movement of a march,
minuet, and many other kinds of dance music.
I. The Trio proper was originally called
Sonata a tre, being in fact a sonata for three
instruments, such as Bach affords us specimens
of in a sonata for flute, violin and figured bass,
and another for 2 violins and ditto (Bachge-
sellschaft, vol. ix. 1859). Handel also left several
trios for strings, besides one for oboe, violin,
and viola. These compositions are all for two
more or less florid parts in contrapuntal style
upon a ground bass, and gradually paved the
way for the string quartet. When the pianoforte
172
TRIO.
came to form a part of the combination, Pianoforte
trios, as they are called, caused all others to re-
tire into the background, instances of modern
string trios being rare. Trios for three stringed
instiuments are felt to labour under the disad-
vantage of producing an insufficient body of tone,
and a free use of double stops is necessary if
complete chords are desired. The string trio
therefore demands music of a florid, polyphonic,
Bachish character (if we may use such an ex-
pression), rather than matter built on a harmonic
basis, and Beethoven has turned his appreciation
of this fact to the best account in the three trios
op. 9, while on the other hand the greater num-
ber of Haydn's string trios are very thin and
poor. Mozart's only composition of this kind is
the interesting Divertimento in Eb, which is in
six movements. Beethoven also composed a little-
known Trio for 2 oboes and cor anglais, which
he afterwards rewrote for 2 violins and viola
(op. 87). Other unusual combinations of instru-
ments are shown in the trios of Reicha for 3
cellos and for 3 horns, of Haydn for 2 flutes and
cello, of Kuhlau and Quantz for 3 flutes. One
especial kind of trio demands mention here,
the Organ trio, a composition in which the three
parts are furnished by the two hands on separate
manuals and the pedals. Such are the 6 well-
known Organ sonatas of J. S. Bach, and in more
modern times those of J. G. Schneider, Henry
Smart, and Rheinberger.
As regards the large and important class of
trios into which the pianoforte enters, it should
be noticed that that instrument takes sometimes
too prominent and sometimes too unworthy a
part. Some of the earl}' Hnydn trios, for in-
stance, are entitled Sonatas for Piano with ac-
companiments of Violin and Cello, and that in C,
which stands first in the collections (probably a
very early work) is purely a solo sonata, the two
stringed instruments scarcely ever doing more
than double the melody or bass. The cello in-
deed constantly performs this ignoble office in
the Haydn trios, which are therefore scarcely
more worthy of the name than the mass of so-
natas and divertissements for piano 'with ad
libitum accompaniment for flute or violin and
cello ' which continued to be written up to the
end of the first half of the present century.^
Mozart, whose genius inclined more towards
polyphony than Haydn's, naturally succeeded
better. His Trio in Eb for piano, clarinet, and
viola is the best, those with violin being unpre-
tentious. Of Beetboven's six well-known piano-
forte trios that in Bb (op. 97), being the latest
in date (18 10), is also the finest. Here we see
the most perfect union of the three instruments
possible. There is also a trio of his for piano,
clarinet, and cello, a not over effective com-
bination, for which he also arranged his Septet.
Schubert characteristically" contented himself
with the ordinary means at hand, and his two great
works in Bb and Eb (both 1827) are well known.
The modem trio, which begins with Mendels-
1 See for example the list of Dussek'i works in the article on his
4ianit, vol. I. p. 447. 2 See vol. ill. p. S63a.
TRIO.
sohn's two in D minor and C minor, is scarcely a
legitimate development of the old. The resources
and technique of the pianoforte have greatly in-
creased with the improvement of the instrument,
but the violin remains where it was. Thus the
balance is destroyed, the piano becomes almost
equal to an orchestra, and the strings are its
humble servants. To compensate them for their
want of power it becomes necessary to confine
them to the principal melodies, while the
piano adds an ever-increasing exuberance in the
way of arpeggio accompaniments. In spite of
the great beauty of Mendelssohn's two primal
types the precedent was a dangerous one, as the
too-brilliant trios of Rubinstein, Raff", and others
amply demonstrate. On the other hand, Schu-
mann, in his two fine trios in D minor and
F major (ops. 63 and 80), in steering clear of
this bravura style for the piano — as indeed he
always did — has sometimes given the string parts
rather the air of orchestral accompaniments; but
against this slight defect must be set a wealth of
new treatment and many beauties, as in the
slow movement of the 33 minor, a long-drawn
melody treated in canon, with an indescribably
original effect. There is also the set of four
pieces (Mahrchenerzahlungen, op. 132) for piano-
forte, clarinet, and viola; a late work, and less
striking than the trios. It would be unfair to
omit mention of Spohr as a trio writer, though
in this department, as in most others, he left the
art as he found it: and of his five trios the
melodious op. 119, in E minor, is the only one
now played. Mention should also be made of
Sterndale Bennett's solitary specimen in A major,
were it only for the original * Serenade,' in
which a melody on the piano is accompanied
pizzicato by the strings. Of Raff's four trios, the
second (op. 112), in G, is most attractive from the
melodious character of its subjects, otherwise it
is open to the objection hinted above. Brahms
has written three PF. trios, of which the latest
(op. 87 in C) one of his most recent works, has
heew highly admired ; the second also (for horn or
cello, op. 40) is a fine and most individual work.
He at least cannot be accused of treating either
of the instruments with undue favouritism.
II. In the Minuet the short extent of the piece
and the necessity of its constant repetition, be-
sides perhaps an unconscious feeling of formal re-
quirements, gave rise to the custom of writing
a second minuet to be played alternately with
the first. This was usually of a broader,
quieter character, for the sake of contrast, and
though it was at first in. the same key, in ac-
cordance with the custom of the Suite, there is an
example in one of Bach's Clavier Suites where
the second minuet is in the tonic minor, and
in at least two other cases is in the relative
minor, both practices which afterwards, under
Haydn and Mozart, became established rules.
How the second minuet acquired the name of
Trio is not quite clear. Bach only calls it so in
the few instances in which it is written in three
parts — as opposed to the minuet in two — such
as that in the third French Suite. This parti-
TRIO.
cular case, by the way, is perhaps the earliest
instance of the occurrence of the always-misun-
derstood direction, * Minuetto Da Capo.' By
the time of Haydn the term Trio is firmly
established, and even in his earliest works (such
as the first quartets) there are two minuets,
each with a trio. Haydn also experimented in
using keys for the trio a little more remote
from the tonic than those already mentioned,
even anticipating Beethoven's favourite use of
the major key a third below. These innovations
become almost necessary in the modern striving
for new forms of contrast. Beethoven affords
perhaps the only instances (in Symphonies Nos.
4 and 7) of a scherzo and trio twice repeated,
but Schumann was fond of writing two trios
to his, having adopted the device in three of his
symphonies, besides his Pianoforte Quintet and
Quartet. Not that he was the first to write
a second trio — a plan which haai since found
many followers ; there is at least one instance in
Bach (Concerto in F for strings and wind) where
the minuet has three trios, and another in Mo-
zart (Divertimento in D for ditto) of two minuets,
one with three trios and another with two.
Schumann was so given to dividing his pieces
up and enclosing the several sections in double
bars, that he seems occasionally in the pianoforte
works to lose himself in a chain of trios, as for
instance, in the * Blumenstiick,' * Humoreske,*
and * Novelletten.' In his six Intermezzi (op.
4), he adopted the more rational term ' Alter-
nativo ' for his subordinate sections, while in
the FJ minor Sonata the middle part of the
Scherzo is itself called an Intermezzo, this title
signifying its entire want of relationship to the
rest of the movement, which is no small part
of its charm. A trio, as well as a subor-
dinate section in a rondo, etc., which presents
a change from tonic major to minor or the
reverse, is sometimes simply headed ' Minore ' or
* Maggiore ' as the case may be. This is common
in Haydn and not infrequent in Beethoven
(PF. Sonata in Eb, op. 7 ; in E major, op. 15, etc).
Schumann, Raff^, and other modern composers,
have also occasionally given this heading. In
modern music, though the trio exists, it is often
taken as an understood thing and not specially
so entitled. (Chopin, Sonata in B minor, Grieg in
E minor, etc , artd see Beethoven, 9th Symphony.)
Speaking generally we may say that the most
obvious key for the trio of a minuet, scherzo,
march, etc., written in a major key, is the sub-
dominant, as it stands in place of a third subject,
the main movement having appropriated the tonic
and dominant keys. But where, as in modern
marches, there are more trios than one, and still
another key has to be sought, the relationship
of the key a third above or below — distant but
still real — is turned to account. Military marches
and most dances intended to be danced to are
written with a separate trio, or trios, so that they
can be repeated as often as necessary, but in con-
cert pieces (such as Weber's Invitation k la
Valse, the marches by Mendelssohn and others)
the sections answering to trio are not often
TRIPLET.
173
so designated, the piece being written out
in extenso. [¥.C\
TRIPLET (Fr. Triolet; Ital. Terzina; Ger.
Triole). In modern notation each note is equal
to two of the next lower denomination, and the
division of a note into three is not provided for,
although in the ancient • measured music ' it wa»
the rule. [See Dot, vol. i. p. 45 5.] On this account
notes worth one third of the next longer kind
have to be written as halves, and are then grouped
in threes by means of curved lines, with the figure
3 usually placed over the middle note as an
additional distinction. Such a group is called a
Triplet, and is executed at a slightly increased
speed, so that the three triplet-notes are equal to
two ordinary notes of the same species : for ex-
ample—
Beethoven. Sonata, op. 2. no. i.
y?*
E^
^^^^^^^^"^^tg
fe-—
5-«-
:z :t t:
^^^■^^^^
l^^»t=p
Triplets may be formed of notes of any kind,
and also of rests, or of notes and rests together.
Beethoven'. Sonata, op. 23.
So also a group of two notes, one twice the length
of the other, is read as the equivalent of a triplet,
provided it is marked with the distinctive figure 3,
Schumann. Trio, op. 63.
^^m
In instrumental music, when the fingering is
marked, there is some risk of the figure 3 of
a triplet being confounded with the indication
for the third finger. To obviate this, the two
figures are always printed in diff'erent type, or,
better still, the triplet figure is enclosed in
brackets, thus (3). This plan, which has recently
been rather extensively adopted, appears to have
been first introduced by Moscheles, in his edition
of Beethoven, published by Cramer & Co.
Groups of a similar nature to triplets, but
consisting of an arbitrary number of notes, are
also frequently met with in instrumental music.
These groups, which are sometimes called quin-
tolets, sextolets, etc., according to the number of
notes they contain, always have their number
written above them, as an indication that they
are played at a different (usually a quicker)
rate from ordinary notes of the same form. Their
proper speed is found by referring them to or-
dinary groups of the same kind of notes j thus,
174
TRIPLET.
if the general rhythm of the bax indicates four
semiquavers to a beat, as in common time, a
group of 5, 6, or 7 semiquavers would be made
equal to 4 semiquavers, while a group of 8 notes
of the value of one beat would of course be
written as demisemiquavers ; if however the
natural grouping of the bar were in threes, as
in 9-16 time, a group of 4 or 5 (or sometimes 2)
semiquavers would be equal to 3, while a group
of 6 would require to be written as demisemi-
quavers. [F.T.]
TRIPLE TIME (Fr. Misure d trois temps;
Ger. Tnpeltakt). The rhythm of three beats in
a bar, the accent falling on the first beat. In
quick tempo this single accent is sufficient, but
in slow and expressive movements a second
weaker accent is generally required to avoid
monotony. This second accent is variously placed
by different writers, some assigning it to the
second beat (see Hauptmann 'Harmonik und
Metrik,' p. 226) while others place it on the
third. [Accent, vol. i. p. 1 2.] The truth appears
to be that it may occupy either position according
to the requirements of the phrasing. A com-
parison of the following examples will serve as a
proof of this.
liEETHOVBW. Trio, op. >]o, no. 2.
Besthovkn. Quartet, op. 130 {Alia danza tedesca).
*5 t5Z
fc«^
t=---
^
:?5=qz
When a bar of triple time consists of two
notes only the accent is always on the longer
note. Compare the first and last bars of the
following example : —
Schumann. Estrella (Carneval, op. g).
:«it
SO:
4=i
2^
bf Y T ^
The kinds of triple time in general use are
marked with the figures 3-8, 3-4, and 3-2, in-
dicating respectively three quavers, crotchets, or
minims in a bar. A time of three semiquavers,
marked 3-16, is also occasionally met with (Schu-
mann, 'Versteckens,' op. 85) ; and in old music
a time of three semibreves, called tripla major,
and indicated bj' a large figure 3. [For an ex-
ample of this see vol. iii. p. 766.] When three
bars of triple time are united in one, as in q-8,
etc., the time is called 'compound triple.' [See
Compound Time.] [F.T.]
TRISTAN UND ISOLDE. An opera ; words
and music by R. Wagner; completed in 1859,
i. e. after the completion of the • Rheingold ' and
♦ Walkiire,' but before that of the other two
pieces of the Niblungen Ring. It was produced
at Munich, June 10, 1865 ; in London, at Drury
Lane (Franke & PoUini's German Opera), June
TROMBA MARINA.
20, 1882. Wagner's title for it is 'Tristan und
Isolde. Eine Handlung ' — an action. [G.]
TROCHEE (Lat. Trochceus Chorim). A me-
trical foot, consisting of a long syllable followed by
a short one — the exact opposite of the Iambus :—
' Trochee trips from long to short.'
Trochaic Metres are very common, both in
Hymnody and Lyric Poetry ; and, in both, a
pleasing variety is sometimes produced by the
occasional substitution of a Trochee for a Spondee,
an Iambus, or even a Pyrrhic foot. A charm-
ing instance of the employment of Trochaic
Rhythm, both in Music and Poetry, will be found
in the Melody and Verses of Dowland's air,
'Now, oh, now, I needs must part,' the rhythmic
Ictus of the Poetry being, of course, dependent
upon Accent, and not upon Quantity.
- - I - - I - - I -
needs must part, etc.
[W.S.R.]
TROMBA. The Italian word for Trumpet,
by which the instrument is usually designated
in orchestral scores — Trombe in F, Trombe in
D, etc. The part is usually written in C, and
transposed accordingly by the player. In the
scores of Bach, the term Trombe da tirarsi, i. e.
' Slide Trumpets,' is found. [See Tirarsi.] [G.]
TROMBA MARINA (Trummscheidt,
Brummscheidt, Tympanischiza, Nonnen-geige,
Marine Trumpet). A portable monochord
played with the bow, probably the oldest bowed
instrument known, and the archetype of all
others. [See Violin.] The country of its origin
is uncertain, but is probably Germany. Once
extensively employed in Germany and France
as a popular instrument, and even used in the ser-
vice of the church, it was almost disused early in
the last century : but it figured in the * Musique
des Escuries ' of the French monarchs> down to the
year 1 767 : and L. Mozart, in his Violin-school
(1 756), describes it as then in use. It was in use
later still in German nunneries, and is still
played in at least two, those of Marienstern,
near Camenz, and Marienthal near Ostritz, both
in Ober Lausitz (kingdom of Saxony). ^
Most existing specimens date»from the latter
half of the 17th century. In its latest form
the instrument has a fiddle head fitted with
an iron screw. Some heads have rack-wheels
to facilitate tuning : others have iron screw
button tops, a double iron ring working on the
screw, into the outer ring of which the string
is knotted. It has a round neck or handle about
the size of a broomstick, dove-tailed into a top
block or shoulder which forms the end of the
body. The latter is a resonant box or drum
(whence the name Trummscheidt) broadening
towards the bottom, where it rests on the
ground, and having a thin pine belly, quite flat.
The back or shell of the drum is polygonal, being
built up of very thin straight staves of maple.
» EOhlmann, Geschlchte der Bogenlnstrumente. pp. 29, 31.
TROMBA MARINA.
The number of staves in the shell is usually
either five or seven : the joints are fortified in-
ternally, and sometimes externally also, with
slips of cartridge paper or vellum. ' Three pine
bars are glued transversely aoross the belly
before it is glued
to the outer edges
of the shell. The
belly is sometimes
pierced with a
rose. In some spe-
cimens the drum
is constructed in
two separate por-
tions. In others,
of later date, the
bottom of the
drum spreads out
at the edges like
the bell of a
trumpet. The
total length is
usually somewhat
less than six feet ;
some specimens
are a few inches
over that length.
The string is
a very thick vio-
loncello string,
stretched over a
peculiar bridge.
This is of hard
and close-grained
wood, and rests
firmly on the belly
with the right foot
only, upon which
eide the string bears with its whole weight. Pro-
perly, the bridge should be shaped something like
a shoe, the heel being the right foot, the toe, the
left. The left foot touches the belly lightly :
and when the string is put in vibration this foot
rattles rapidly on the belly, like an organ reed.
To increase the tone, a thin mertallic plate is some-
times attached to the foot, and some bridges have
a mechanical apparatus for adjusting its tension.
The marine trumpet is played with a heavy
violoncello bow, plentifully rosined. The open
string is ordinarily tuned to CC: and when
sounded with the bow, it yields a powerful note,
of harsh and nasal character, something like an
S ft. wooden organ reed-pipe. Played by stopping
in the ordinary way, the marine trumpet pro-
duces tones far less melodious than the bray of
an ass. But this is not its legitimate use. It
is properly played wholly in natural harmonics,
and by reference to the article Harmonics, it
•will be seen how the following scale arises.
1 In Mersenne's time, and doubtless in the original Instrument, the
drum was merely a shallow triangular wooden box, tapering like a
-sword-sheath, and open at the lower end : hence the name Kheidt
■(tbeatb).
TROMBA MARINA.
175
Riihlmann omits the three last notes from the
scale : but the writer has seen them marked on
several specimens. The facility with which the
marine trumpet yields the natural harmonics is
due to its single string and its lopsided bridge.
Paganini's extraordinary efiects in harmonics on
a single string, were in fact produced by tem-
porarily converting his violin into a small marine
trumpet. As is well known, that clever player
placed his single fourth string on the treble side
of the bridge, screwing it up to a very high
pitch, and leaving the bass foot of the bridge
comparatively loose. He thus produced a power-
ful reedy tone, and obtained unlimited command
over the harmonics.^ According to information
procured by Riihlmann from Marienthal, the
Trummscheidt will bear lowering to Bb and rais-
ing to Eb, but no more. According to him, it
can also be made to yield the notes D and F in
the lower octave, though less distinctly. The nuns
use the instrument in their choral singing. On
the festivals of the church, and sometimes as
a special compliment to a new-comer on her
matriculation they jubilate upon four marine
trumpets accompanied by drums ; one takes
a principal part, the others are seconds.^
An inspection of the scale will explain how
the marine trumpet became par excellence the
Nonnen-geige : its scale corresponds with the
female voice, with which its tone, resembling
that of a clarinet, but more piercing and nasal,
has something in common. Added to this it is
extremely easy to play: the neck being rested on
the breast or shoulder, and the string lightly
touched with the thumb where the letters are
marked on the neck, it yields its few notes with
absolute accuracy. It was anciently used as a
street instrument by mendicant musicians : and
those who have heard it will agree with an an-
cient author that it sounds best at a distance.
M. Jourdain, in a well-known passage in the
comedy of the 'Bourgeois Gentilhomme ' (1670),
expresses a preference for it, thereby proclaim-
ing his uncultivated taste.* About the end of
the 1 7th century the acoustical peculiarities of
the Trummscheidt were the object of much
investigation by the learned societies of England
and France : the reader who desires to pursue
the subject will find the necessary clues in
Vidal and Hawkins. The name * marine trum-
pet ' (tromba marina) was probably given to the
Trummscheidt on its introduction into Italy,
on account of its external resemblance to the
» The Interesting experiments of Dr. Hugglns, printed in a recent
number of the Transactions of the Royal Society, tend to show that
theprincipleof the violin bridge is radically Identical with that of
the marine trumpet bridge, one foot serving as a point d'appui, the
other as the conductor of vibration.
3 The quartet of marine trumpets appears to be of ancient date.
Hawkins (ch. 158) quotes from the London Gazette, Feb. 4, 1674, aa
advertisement of ' A rare Concert of four Trumpets Marine, never
heard of before In Sngland,' to be beard daily at the Fleece Tavern
near St. James's.
* The music-master recommends the citizen to have a concert at
his hous' every Wednesday or Thursday, and thus describes the
requirements: 'II vous faudra trois voix, un dessus, une haute-
contre, et une basse, qui seront accompagn^es d'une basse de viole,
d'un th^orbe, et d'un clavecin pour les basses continues, avec deux
dessus de violon pour jouer les rltornelles.' M. Jourdain : ' II y
faudra mettre auasl une trompette marine. La trompette marine
«st un instrument qui me plait, et qui est harmouieuz.'
176
TROMBA MARINA.
lai^e speaking-trumpet used on board Italian
vessels, which is of the same length and tapering
shape. Little doubt on this point can remain
in the mind of any one who compares the figures
of the two objects in old pictures and engrav-
ings, or the objects themselves as they stand side
by side in the Munich museum. The name was
perhaps confirmed by the character of the tone,
and by the circumstance that both instruments
have the same harmonic scale.
Specimens are not uncommon : several will be
found in the museums of Bologna, Munich, Salz-
burg, Nuremberg, etc., and there are two good
ones in the collection of the Conservatoire in
Paris, one of which has sympathetic strings at-
tached to the belly internally. The South Ken-
sington Museum possesses a handsome but rather
undersized French specimen (oddly described in
the Catalogue as * probably Dutch ') also having
sympathetic strings inside. A specimen was
some years since exposed for sale in the window
of Cramer's music shop in Regent Street, but
the writer cannot learn what has become of it.
The Trummscheidt, in the middle ages, was
sometimes fitted with two, three, and even four
strings, one or more of which were Bourdons or
drones. In this form it undoubtedly became the
parent of the German ' Geige,' whence the viol
and violin are derived. [See Violin.] [E.J.P.]
TROMBONCINO, Bartholom.eus, a fertile
composer of Fbottole — the popular songs of
that day — belonged to Verona, and was probably
bom in the latter half of the 15th century, since
his works are contained in publications dating
from 1504 to 1 510. The lists given in Eitner's
• Bibliographic,' pp. 879-882, contain 107 of these
compositions to secular, and 2 to sacred words,
all for 4 voices, as well as 9 Lamentations and
one Benedictus for 3 voices. [G.]
TROMBONE (Eng., Fr., Ital. ; Germ. Po-
saune). The name, originally Italian, given
to the graver forms of the Tromba or Trumpet,
exactly corresponding with that of Violone as
the bass of the Viola. Its other name, Sacbut
or Sackbut, though English in sound, seems
really to come from a Spanish or Moorish root
Sacabuche, which is the name of a pump. In
the Spanish dictionary of Velasquez de la
Cadena this word has three meanings assigned
to it ; two as above, and the third a term of
reproach for a contemptible person. The Ita-
lians also name this instrument the Tromba
Spezzata or Broken Trumpet, under which title
it is figured in Bonanni. The Trumpet in its
many forms is one of the oldest of existing instru-
ments ; certainly the least changed, as will be
shown under that heading. But the special in-
dividuality of the two instruments, and the pe-
culiar character of the Trombone in particular,
is derived from the method by which a com-
plete chromatic scale has been evolved from the
open notes of a simple tube ; namely, by means
of what is termed the slide. There is much
reason to believe that this contrivance is also
very ancient, having far greater antiquity than
TROMBONE.
crooks, stoppers, or valves. In the preface to
Neumann's Tutor for the Trombone its in-
vention is claimed for Tyrtaeus, 685 B.C. Others
award the merit of its discovery to Osiris. In
paintings and sculptures it is difficult to iden-
tify the distinguishing slide. But the writer
has from several sources a circumstantial ac-
count of the finding of one or even two such
instruments at Pompeii in the year 1738. Neu-
mann states that the mouthpieces were of gold,
and the other parts of bronze. 'The king of
Naples,' he continues, * gave this instrument to
king George III. of England,* who was present
at the digging. Mr. William Chappell, in a note
made by him more than fifty years ago, confirms
this statement, and adds that the instrument so
found is in the collection at Windsor. The pre-
sent librarian, however, denies all knowledge of
it. Nor is it in the British Museum. Dr. C. T.
Newton has, however, furnished the writer with
an unexpected reference, which is singularly to
the point. It occurs in a work on Greek Accents,
by a writer named Arcadius, who, according to
Dr. Scott, may be attributed to about A.D. 200,
when the familiar use of spoken Greek was dying
out, and prosodiacal rules, like the accents, be-
came necessary. It is as a prosodiacal simile
that the reference occurs : ' Just as those who on
flutes (avkois) feeling for the holes, to stop and
open them when they may wish, have contrived
subsidiary projections and bombyxes (ycpopKiois
lege v(po\Kiois), moving them up and down (avoi
Kal KCLTco), as well as backwards and forwards.*
It is difficult to refuse a belief that the framer
of this figure, which is meant to explain the use
of accents as aids to modulation, had not seen
some sort of Trombone in use.
Mersenne gives a passage, which he attributes
to Apuleius, to the effisct that * dexter^ exten-
dente vel retrahente tubse canales, musicales
soni ab e^ edebantur.*
It is certain that in A.D. 1520 there was a
well-known Posaunenmacher named Hans Men-
schel, who made slide Trombones as good as, or
perhaps better, than those of the present time.
More than 200 years later. Dr. Bumey says of
the Sackbut that neither instruments nor players
of it could be found for the Handel commemo-
ration I There is an excellent representation of
an angel playing a slide Trombone in a cieling-
picture given in the appendix to Lacroix (Arts
de la Renaissance), and in one replica of Paolo
Veronese's great Marriage of Cana in Galilee (not
that in the Salon Carrd in the Louvre) a negro is
performing on the same instrument. Michael
Prsetorius, in the 'Theatrum sen Sciagraphia
instrumentorum,' dated 1620, gives excellent
figures of the Octav-Posaun, the Quart-Posaun,
the Rechtgemeine Posaun, and the Alt-posaun.
It is not therefore surprising to find the
instrument freely used in Bach's cantatas ;
though it is probably less known that the
familiar air of the Messiah, * The Trumpet shall
sound,* was formerly played on a small Alto
Trombone, and that its German title was 8ie
tout die Posaune.
TROMBONE.
The Trombone is a very simple but perfect
instrument. It consists of a tube bent twice
upon itself, ending in a bell, and in the middle
section double, so that the two outer portions
can slide upon the inner ones.
TEOMBONE.
177
Extended so as to produce
The mouthpiece is held steadily to the player's
lips by the left hand, while the right controls the
lower segment by more or less extension of the
arm. As the usual length of a man's arm is not
sufficient for the intervals required by the larger
bass instruments, it is, in their case, increased by
means of a jointed handle. The same result has
also been obtained by doubling the slides, but at
a great loss of simplicity in construction. It is
therefore obvious that the Trombone alone of all
the wind-family has the accuracy and modulative
power of stringed instruments. Its notes are
not fixed, but made by ear and judgment. It
is competent to produce at will a major or minor
tone, or any one of the three diflferent semitones.
The three Trombones, therefore, with the Trumpet,
their natural treble, form the only complete
enharmonic wind quartet in the orchestra. A.nd
yet no instrument has been so misused and neg-
lected by modern composers and conductors.
The parallel between the Trombone and the
Violin family may be carried even farther without
loss of correctness ; for whereas they have seven
' shifts,' the Trombone has seven ' positions.'
These may be easily described as successive
elongations of the sounding tube, each of which
produces its own harmonic series. The seven
positions may be said in a general way to be
each a semitone lower than the last. The first
is with the slide entirely undrawn. But in the
hands of a good player, the length of slide used
for each successive position is not the same.
By means of a proportional scale, the writer has
found that the 2nd, 5th, and 6th shifts are repre-
sented by twice 26, or 52 ; the 3rd and 7th by
twice 15, or 30 ; and the 4th shift by twice 20,
or 40. The reason for thus doubling the indi-
cations of the scale is the duplicity of the sliding
tube, and the doubled length of vibration. The
reasons for the variable length of the positions
lie too deep in the theory of the scale for our
present purpose. They are also, to a certain
extent, due to unavoidable imperfections of
manufacture, which cause it, for constructive
reasons, to vary considerably from a true mathe-
matical figure. But a judicious player, with a
sensitive ear, has the remedy in his own power ;
and the mechanism as well as the mental sensa-
VOL. IV. PT. 2.
tion of Trombone-playing, when thoroughly
learned, more nearly approaches that of good
voice production than does that of any other
instrument. Unfortunately, the quiet smooth
legato method of using it is almost a lost art ;
having been nearly discarded for the coarse
blare of the military player. For his use also
modem instruments are made of too large a bore.
Like so many other instruments, the Trombone
has been made in every key, from A to Bi] ; and
in every octave, from the two-foot to the sixteen-
foot. But whereas the former kind has been
very properly distanced by the brighter tone of
the long small-bored Trumpet, playing in its
higher registers ; the latter has also been much
encroached on by Tubas, Euphoniums, and Ophi-
cleides, which often, though really in the eight-
foot octave, are made to produce a spurious
effect of depth by largeness of bore and looseness
of embouchure.
The three which chiefly survive are the Alto,
Tenor, and Bass ; usually in the keys of F or Eb,
Bb, and G respectively. A bass in F is far more
suited to the two upper members of the group,
and has been used without break in Germany,
notably by Weber in ' Der Freischiitz.' It will
be sufficient to work out these in detail in a
table.
Table op
Trombone positions
First position
Alto.
Tenor.
GBass.
FBasB.
Eb
Bb
G
F
Second position
D
A
n
E
Third position
Db
Ab
F
Eb
Fourth position
c
G
E
D
Fifth position
B
Ffl
Eb
Db
Sixth position
Bb
F
D
c
Seventh position
A
E
Off
B
It is here seen that the player has in use
the equivalent of seven different instruments,
either of which can be converted into any
other by a single movement of the right arm ;
though some sequences involve more change,
and are consequently of greater difficulty than
others.
The harmonic series is the same as that of the
Horn and other cupped instruments. The lowest
tones or fundamentals are somewhat difficult to
produce, and, owing to the long distance of an
octave which separates them from the first upper
partial tone, are usually termed pedal notes.
The available scale therefore commences with
the first upper partial, runs without break to the
sixth, omits the dissonant seventh harmonic,
and may be considered to end with the eighth,
though some higher notes are possible, especially
on the longer positions.
There is one case, however, where even the
harmonic seventh may be employed with won-
derful effect, and that is in an unaccompanied
quartet of Trombones (reinforced if neces-
sary in the bass or in the octave below by
an instrument of fixed pitch, such as a Bass
Tuba or Bombardon). Tliis combination, how-
ever, is so rare that the writer knows of no
178
TROMBONE.
instance of it, although itis the only way in which
wind instruments can produce perfect harmony
free from the errors of temperament. It is
obvious from theory that the planting of a fixed
or pedal bass, and the building up on it flexible
chords, is far more consistent with the harmonic
law than the ordinary method. The writer of
this article was requested to lead the singing of
hymns and chants in the open air some years
ago, at the laying of the foundation-stone of a
new church ; he used a quartet consisting of
Slide Trumpet, Alto and Tenor Trombones, with
Euphonium and Contrafagotto in octaves for the
positive bass. With good players the result was
striking, and is perhaps deserving of imitation.
In the older music the Trombones were often
thus used; and indeed did much of the work
more recently assigned to the French Horn.
The eifect survives in Mozart's Requiem, and
the solemn, peculiar tone-colour of that great
work is usually spoiled by transposing the Comi
di bassetto parts, and by employing Tenor Trom-
bones to the exclusion of the Alto and Eass.
Even the fine and characteristic Trombone Solo
of the * Tuba Mirum ' is often handed over to
the Bassoon, Of the three Trombones, the Tenor,
though the most noisy and self-assertive, is de-
cidedly the least musical, and its present pre-
dominance is much to be regretted.
It is to be noted that the Trombone is not
usually played from transposed parts, as the
Clarinet, Horn, and other instruments are, the
real notes being written. The Alto clef is
generally used for the Trombone of that name,
and the Tenor clef for the corresponding instru-
ment : but the practice of different w^riters
varies somewhat in this respect.
A band composed exclusively of Trombones
has indeed been formed, and is stated to have
been extremely fine. It was attached to the
elder Wombwell's show of wild beasts.
As regards the musical use of this instrument,
there is little more to be added. It flourished un-
der Bach and Handel — whose trombone parts to
' Israel in Egypt,' not contained in the autograph
score at Buckingham Palace, escaped Mendels-
sohn's attention and were first printed by Chry-
sander in the German Handel-G esellschaf t edition.
It then became forgotten, as Dr. Bumey records.
Perhaps it was pushed aside by the improved
French Horn. Gluck however uses it in 'Al-
ceste,' and Mozart, who seems to have known
the capabilities of every instrument better than
any musician that ever lived, fully appreciated
it, as the great chords which occur in the over-
ture and the opera (between the Priests' March
and Sarastro's solo) and form the only direct
link between the two, amply show. In 'Don
Giovanni ' he reserved them for the statue scene ;
l)ut so little is this reticence understood that a
favourite modem conductor introduced them even
into the overture. In the Requiem he has em-
ployed it to represent the Trump of Doom (in
"•Tuba Mirum '), and it is a proof of the disuse
of the Trombone just mentioned that until re-
bently the passage was given to the Bassoon. The
TROMBONE.
passionate and dramatic genius of Weber did full
j ustice to the instrument.
Beethoven has employed Trombones to per-
fection. When at Linz in 1812, he wrote three
Equali for four Trombones, two of which were
adapted to words from the Miserere by Seyfried,
and performed at Beethoven's funeral. The
third (still in MS.) was replaced by a com-
position of Seyfried's own. As a later instance
we may quote the Benedictus in the Mass in
D, where the effect of the trombone chords
pianissimo is astonishingly beautiful, and so ori-
ginal that the eminent modern conductor jiist
mentioned, in the performances by the Sacred
Harmonic Society, is said to have indignantly
erased them from the score. Another instance
of its use by Beethoven is the high D given by
the Bass Trombone ff, at the beginning of the
Trio in the 9th Symphony. In an interesting
letter signed 2,^ in the *Harmonicon' for Jan.
1834, Beethoven is described as having seized on
a Trombone-player who visited him, and eagerly
enquired as to the upward compass of the instru-
ment. The day in question was Sept. 23, 1823.
At that time he was finishing the 9th Symphony,
in the Finale of which Trombones are much used.
In vol. ii, p. 331 6 of this Dictionary we have
quoted a droll note for Trombones from a letter
of the great composer's.
Schubert was attached to the instrument at a
very early period. In his j u venile overture to the
'TeufelsLustschloss ' (May 1814) the three Trom-
bones are used in a very remarkable way. His
early Symphonies all afford interesting examples
of their use, and in his great Symphony in C
(No. 10) there is not a movement which does not
contain some immortal passage for them. His
Masses are full of instances of their masterly
use.^ But on the other hand, in the Fugues,
they accompany the three lower voices in unison
with an efiect which is often very monotonous.
Mendelssohn gives the instrument one of the
grandest phrases he ever wrote, the opening and
closing sentences of the • Hymn of Praise.' [See
QuEissER, vol. iii. p. 60 &]. Its effect in the over-
ture to * Ruy Bias,* contrasted with the delicate
tracery of the strings, lingers in every musician's
memory. He had very distinct ideas as to its
use. It is too solemn an instrument, he said
once, to be used except on very special occasions ;
and in a letter written ' during the composition
of ' St. Paul ' he says * if I proceed slowly it is at
least without Trombones.'
Schumann produces a noble effect with the
three Trombones in the Finale to his first
Symphony, probably suggested by the Intro-
duction to Schubert's Symphony in C — and an-
other, entirely different, in the overture to
'Manfred.' [W.H.S.]
TROMPETTE, LA. A musical institution
in Paris, for the performance of chamber music,
1 By the late Edward Sehalz.
« We gladly refer our readers for these to Mr. Prout's admirable
analyses of the Masses in the ' Monthly Musical Becord ' for 1870.
The wind parts are shamefully inaccurate In the score of the Maw
InAb.
* To Mr. Horsley, ' Goethe and Mendelssohn,' Letter 6.
TROMPETTE, LA.
founded by M. Emile Lemoine in Jan. 1861,
and now (1884) holding its meetings at 84 Rue
de Grenelle-St. Germain. In some respects it
differs from all other institutions of similar ob-
ject. Having sprung from the strictly private
meetings of its founder and a handful of friends,
then students of the £cole Polytechnique, it
retains the traces of its original domestic cha-
racter. M. Lemoine is careful to announce that
he is not a manager or director, but a host ; by
a pleasant but transparent fiction the audience
are not subscribers (though the amount they
pay is fixed, and they are constantly reminded
of it) ; they are the friends of the host, and are
invited to reunions at his house. The com-
munications between M. Lemoine and his friends,
in the programmes, are all couched in the tone,
often almost a brusque one, of personal in-
timacy.— As Mr. Ella adopted for the motto
of the late ' Musical Union ' the words * H piu
gran ommaggio alia musica sta nel silenzio,' so
M. Lemoine's most frequent and earnest in-
junctions are directed towards silence during the
performances. The name of * Trompette ' arose
from a phrase of the ificole Polytechnique, and
the flavour of that famous school is maintained
in the * heure militaire ' — ^military time — which
is observed in the hotir of commencement.
The meetings began, as already said, in a room
at the ifccole. As the number of invitations
increased, the locale was changed, until it arrived
at its present one, where the audience often
reaches 1000. The number of concerts appears
to vary from fifteen to twenty, on alternate
Fridays and Saturdays, from the beginning of
the year onwards. The hour of meeting is 8.30
p.m. The amount of annual contribution invited
from each guest is 35 francs. The • Quatuor de
la Trompette ' consists of MM. Marsick, Rdmy,
Van Waefelghem, and Delsart, with solo singers
and players. We give one of the programmes
of 1882 as a specimen:—
Quartet, No. 5 (A major) Beethoven.
Air and Gtavotte for Cello Bach.
a. Polonaise in B Chopin.
b. Gavotte in G minor Handel.
Trio, No. 2, in P Schumann.
•A la hien aim^e,' op. 98 Beethoven.
Piano, M. Baoul Pngno. Vocalist, M. Lauwers.
But they are not always so severely classical,
and extra concerts are given for the works of
living composers. [G.]
TROPPO, i.e. ' too much ' ; a term of the same
force as Tanto ; as in the finale of Beethoven's
Symphony no. 4, or the first movement of his
"Violin Concerto— * Allegro ma non troppo' —
* Allegro ; but not too much so.' Tn the second
movement of Mendelssohn's Scotch Symphony
the direction at the head of the movement in
the printed score is * Vivace non troppo,' which
looks like a caution inserted after trying the
speed named in the preface on tile opening
fly-leaf of the same score — * Vivace assai.' It is
as if he were saying * Quick : but mind you don't
go too quick, as you will inevitably be tempted
to do.' [G.]
TROVATORE, IL.
179
TROUPENAS, Eugene, French music-pub-
lisher, born in Paris, 1799, died there April 11,
1850. As a child he showed decided taste for
music, but his family intended him for an en-
gineer, and put him to study mathematics with
Wronsky, a Polish professor, who however dis-
suaded him from entering the l^cole Polytechnique
and indoctrinated him with his own misty tran-
scendentalism. The results of this early training
came out when, left in easy circumstances by the
death of his parents, he became a music-publisher,
for to the last it was the metaphysical side of the
art which interested him. He never gave his
ideas in full to the world, but a couple of letters
which originally came out in the * Revue Musi-
cale,* were published in pamphlet form with the
title *Essai sur la thdorie de la Musique, deduite
du principe Mdtaphysique sur lequel se fonde la
reality de cette science* (1832). Troupenas took
up the brothers Escudier when they came to
seek their fortune in Paris, and it was with his
assistance that they founded their journal 'La
France Musicale.* A man of the world, a good
musician, and a fascinating talker, his friendship
was sought by many artists of eminence. Ros-
sini, Auber, and de Beriot were sincerely attached
to him, and found him always devoted to their
interests. He also published HaMvy's operas,
Donizetti's *La Favorita,' and all Henri Herz's
pianoforte pieces at the time of his greatest
popularity ; indeed it is not too much to say that
from 1825 to 1850 his stock was one of the largest
and best selected of all the publishing houses in
Paris. At his death it was purchased entire by
MM. Brandus, and the larger part still remains
in their hands. [G.C.]
TROUTBECK, the Rev. John, a well-known
translator of librettos into English, was born
Nov. 12, 1832, at Blencowe, Cumberland, and
educated at Rugby and Oxford, where he gra-
duated B.A. 1856, and M.A. 1858. He took
orders in 1855, and has risen through various
dignities to be Precentor of Manchester 1865-9,
and minor canon of Westminster 1869. He has
translated the following for Novello, Ewer, & Co.'s
8vo series : —
Bach. St. John Fasslon ; Ohrlit-
mas Oratorio.
Beethoven. Mount of Olives.
Brahms. Song of Destiny.
David. Le Desert.
Gade. Crusaders ; Comala ; Psyche
Gluclc. Iphigenia In Aulis; Iphl-
genla In Taiftis ; Orph^e.
Goetz. Taming of the Shrew.
Gounod. Bedemptton.
Graun. Der Tod Jesu.
Hiller. Song of Victory.
Jensen. Feast of Adonis.
Mozart Seraglio.
Belnecke. Little Snowdrop.
Komberg. Lay of the Bell.
Schumann. Advent Song;
King's Son.
Wagner. Flying Dutchman.
Weber. Jubilee Cantata.
besides many minor works. Mr. Troutbeck has
also published *A Music Primer for Schools,* and
' A Primer for Church Choir Training,' and has
compiled the ' H3nnnbook in use at Westminster
Abbey.' [G.]
TROVATORE, IL (the Troubadour). Opera
in 4 acts ; libretto by Cammarano, music by Verdi.
Produced at the Teatro Apollo, Rome, Jan. 19,
1853 ; at the Theatre des Italiens, Paris, Dec. 23,
1854 ; at the Grand Opera, Paris, as * Le Trou-
vfere,* Jan. la, 1857 ; at Covent Garden, London^
N 2
180
TROVATORE, IL.
May 17, 1855 ; in English, 'The Gipsy's Ven-
geance,' Drury Lane, March 34, 1856. [G.]
TROYENS, LES. A 'lyric poem,* words
and music by Berlioz ; originally forming one
long opeYa, but afterwards divided into two —
(i) *La prise de Troie '; (2) 'Les Troyens k
Carthage.' No. i was never performed, and is
still in MS. No. 2 was produced at the Theatre
Lyrique, Nov. 4, 1863, and published in PF.
score by Choudens. See Berlioz's ' Memoires,'
Postface (Transl. vol. ii. Supplement). [G.]
TROYERS, Ferdinand, Count von. Imperial
councillor, and chief officer of the household to
the Cardinal Archduke Rudolph (Beethoven's
pupil), was an amateur clarinet player, and dis-
tinguished pupil of Friedlowsky (Professor at the
Conservatorium from 1821 to 47). He is men-
tioned as one of the executants at a Gesellschaft
concert in 1 8 1 6. Troyers is stated, on the autho-
rity of Doppler (manager for Diabelli & Co.) to
have given Schubert the commission for his well-
known Octet, op. 166, composed in 1824. [See
vol. iii. p. 339&.^] [C.F.P.]
TROYTE, Abthub Henry Dyke, second son
of Sir Thomas Dyke Acland, Bart., of Killerton,
Devon, bom May 3, 181 1, graduated at Christ-
church, Oxford, 1832, assumed the name of Troy te
in 1852, and died June 19, 1857,^* was the author
of two favourite Chants, known as Troyte No. i
and Troyte No. 2, much used as hymn tunes.
The latter however is a mere modification of a
chant by Dr. W. Hayes. [G.]
TRUHN, Friedrich Hieronymus, born at
Elbing, Oct. 14, 18 11, became scholar of Klein
and Dehn, and also had a few lessons from
Mendelssohn. Has lived chiefly in Berlin and
Dantzig, but with many intervals of travelling.
One of his tours was made with Billow. His
opera * Trilby' was produced in Berlin, 1835;
but he is chiefly known by his songs — amongst
them *The Three Chafers.' He also contributes
to the 'Neue Zeitschrift fiir Musik,' and the
• Neue Berliner Musikzeitung.' [G.]
TRUMPET (Fr. Trompette; Ger. Trompete,
Truramet, Tarantara ; Ital. Tromha, Tr. doppia,
Clin-ino). It is unnecessary to seek for the
origin of an instrument which was already fa-
miliar when the Mosaic books were written;
at Jericho performed one of the earliest miracles ;
figured in the Hebrew ritual; preluded to the
battles around Troy; is carved on the stone
chronicles of Nineveh and Egypt ; and for
which China claims, in the form of the * Golden
Horn ' a far greater antiquity than these.
If, instead of following the vertical ordinate
history, we move along the horizontal line
of ethnology, we find its gradual development
from the shell, the cow, bufialo or ram's horn
through the root' hoUowed by fire, to the
1 Where the name Is Trrongly spelt as Troyer.
« From the excellent ' Biographical Index ' to the ' Ohnrch Hymnal *
(Dublin. 1878) by Major Crawford.
3 A good example of this, vith a cupped mouthpiece scooped In
the wood, which could be played on, was shown at the Loan
Kxhlbitiou of Scientific Instruments by Mr. Bassett, from Africa.
TRUMPET.
wooden Alpenhorn bound with birch bark ;
thence to the Zinckes and Comets of ancient
Germany, up to the Tuba and Lituus of Rome.
Both of these, which were real Trumpets, Rome
borrowed, inherited, or stole; the former from
Etruscan, the latter from Oscan, originals. One
of the Etruscan Tubas in the British Museum has
a mouthpiece perfectly characteristic, and capable
of being played on ; two spare mouthpieces stand-
ing beside it as perfect as though just turned.
In the typical shapes above named we have
evidence of an early subdivision into two forms
of the sounding tube which has now become
fruitful of musical results. For whereas the
large-bored conical Tuba still keeps its name,
and is the mother of Bugles, Serpents, Horns,
Comets h. piston, Euphoniums, Bombardons
and the like ; the Lituus, which Forcellini
derives from the Greek Kirds, tenuis, is the
small -bored cylindrical Trumpet, and the
father of all Trombones. It was early seen that
two distinct varieties of tone quality could thus
be obtained ; the large cone and bell favouring
the production of the fundamental note and the
lower partial tones ; whereas the long contracted
pipe broke easily into harmonics, and spoke
freely in its upper octaves. Hence the Orches-
tral Trumpet, as now used, is really an 8-foot
pipe overblown, like a Harmonic stop on the
Organ ; to this it owes its keenness, pungency,
power of travelling, and its marvellous superiority
in timbre over the 4-foot Cornet.
That the distinction between the Roman Tuba
and Lituus is real, needs for proof no more
scholarship than is contained in Horace's First
Ode to Maecenas :
Multos castra juvant, et lituo tubse
Permixtus somtus.
On this passage ForceUini comments, ' Sunt
qui lituum a tuba distinguunt, ex eo quod ille
equitum sit, hsec vero peditum.' The distinction
is good to-day. The Tuba was the 'Infantry
Bugle*; the Lituus the 'Cavalry Trumpet.'
The derivation of lituus may indeed be
originally Greek ; certainly it is proximately from
the hooked augur's staff of the Oscans, which
had been Mercury's wand, and has become the
bishop's crozier. Cicero sets the etymology hind*
side foremost. *Bacillum,* he says of the staflF,
'quod ab ejus litui quo canitur similitudine
nomen invenit.* It might as well be said that
the horse was made with four legs and a round
body to fit the forked shafts of the cart.
Both Tuba and Lituus figure on Trajan's
column, in the triumphal procession. Vegetius
defines the former: 'Tuba— quae directa est,
appellatur.' This straight form reappears even
in more recent times, as in a fine picture by
Baltazarini ; by comparing it with the average
height of the players, it may be estimated at
about seven feet long. The Lituus is figured by
Bartolini from a marble Roman tombstone with
the inscription
M. Julius Victor
ex collegio
Liticinum Cornicinnm.
TRUMPET.
which is perhaps the first mention of a society of
professional musicians.
A farther development of the two types above
named involved the means of bridging over the
harmonic gaps. For this purpose the slide was
obviously the first in date. [See Trombone.] Its
application to the Trumpet itself came later,
from the reason named above, that in its upper
part the harmonic series closes in upon itself so
that at a certain point the open notes become
all but consecutive and form a natural scale.
This can be accomplished by a good lip, un-
assisted by mechanism, and is probably one of
the reasons why Bach, Handel, and the older
musicians write such extremely high parts for
the instrument.^ The Bugle type, on the other
hand, developed early into hand-stopped side
holes, as in the Serpent, followed by the same,
key-stopped in the Key-Bugle, keyed Serpent, and
the identical instrument with the mongrel Greek
appellation of Ophicleide. Considerably later the
prodigious brood of Valve or 'Ventil' con-
trivances allied itself to the Bugles with fair
success. On the Trumpet ^ and Trombones they
are a complete failure, as they obscure the upper
harmonics, the main source of the characteristic
tone.
In the following description of the modern
Trumpet the writer has been materially assisted
by an excellent monograph published by Breifc-
kopf & Hartel of Leipzig in 1881, and named
•Die Trompete in Alter und neuer Zeit, von
Hermann Eichborn.' In acknowledging his
obligations to the work he can heartily advise
its study by those who wish for more detail than
can be given in a dictionary.
The simple or Field Trumpet is merely a tube
twice bent on itself, ending in a bell. Hence its
Italian name Tromba doppia. The modern
orchestral or slide Trumpet, according to the
description of our greatest living player,^ is
made of brass, mixed metal, or silver, the two
latter materials being generally preferred. It
consists of a tube sixty-six inches and three
quarters in length, and three eighths of an inch in
TRUMPET.
181
diameter. It is twice turned or curved, thus
forming three lengths ; the first and third lying
close together, and the second about two inches
apart. The last fifteen inches form a bell. The
slide is connected with the second curve. It is
a double tube five inches in length on each side,
1 A Trumpet capable of producing the high notes In Bach's Trampet-
parts has been made in Berlin, and vias used in the performance of
the B minor Mass under Joachim at the unveiling of the statue at
Eisenach in Sept. 1884.
2 In the Monatshefte far Musilc-Gesch. for 1881, No. III. Is a long
and Interesting article by Eitner, investigating the facts as to the
Inventor of the ' Ventil trompete,' which is said to date from 1802 or
380o. The writer seems however to confuse entirely the Icey-system
or • Klappen T'-ompete ' wuh the ventil or valve. Valves render the
harmonic system of the Trumpet entirely false, besides deadening
its tone Eitner's error is exposed in the preface to Eichborn's 'Die
Trompete.'
a Harper's School for the Trumpet. Budall, Carte k Co.
by which the length of the whole instrument
can be extended. It is worked from the centre
by the second and third fingers of the right hand,
and after being "pulled back is drawn forward to
its original position by a spring fixed in a small
tube occupying the centre of the instrument.
There are five additional pieces called crooks, a
tuning bit, and the mouthpiece.
The first crook and mouthpiece increase the
length of the whole tube to 72 inches, and
give the key of F. The second gives E, the
third, Eb, the fourth, D. The fifth or largest
crook in general use is 25I inches long, making
the total length of the instrument 96 inches, and
giving the key of C. A Db, BQ, and Bb crook
may be used, but are not often required. The
mouthpiece is turned ft-om solid brass or silver,
and its exact shape is of greater importance than
is generally supposed. The cup is hemispherical,
the rim not less than an eighth of an inch in
breadth, level in surface, with slightly rounded
edges. The diameter of the cup differs with the
individual player and the pitch of the notes
required. It should be somewhat less for the
high parts of the older scores.
The natural notes begin with 8-foot C, which
is not used, and follow the harmonic series, up to
-p- the C above the soprano
1 • clef. Pedal notes seem
to be unknown on the
Trumpet.*
Practically the useful compass begins with the
Clarinet E and ends with the G in alt.
The Natural notes of the Trumpet.
■4=-^-
^^
Scale of the Slide Trumpet. (Harper).
^=^^
:^.-27-j;s?-
The slide is used— (i) To bring the F and A
of the fourth octave into tune. (2) To produce a
semitone below the natural note. (3) To lower
the pitch a whole tone. (4) To correct the
seventh or natural harmonic, at all times too
flat for tempered harmony. For the first
purpose it is drawn back about an inch and a
half. For the second about halfway, or 2^
inches in keys above D; and two-thirds, or
rather over 3 inches, in keys lower than D. For
4 Eichborn names ' Das kontra Eeglster ' or ' Posaunen Eegister,*
but says ' es spricht sehr schwer an.'
182
TRUMPET.
the third it is drawn to its full extent or 5
inches. In the upper part of the scale above
treble G all the natural harmonics are con-
secutive, and the slide is not required for pro-
ducing intervals of a whole tone. It is in
constant use in this part of the register for
the production of chromatic intervals involving
the notes
The semitones do not become consecutive as
open notes until above C in alt ;
but such a compass is practically
unattainable. It will be seen from
the table that this consecutive series
really begins a tone lower, with Bb. But
as this is the well-known harmonic seventh not
used in music, it is commonly replaced
by the C depressed a tone with the
whole length of the slide drawn out.
A number of alternative notes are g^ven in
good instruction books, such as that already
quoted, by which, on the same principle, other
notes may be tempered to suit the harmony, and
Mr. Harper very judiciously sums up his direc-
tions by saying : ' It will therefore be seen that
the required length of slide for certain notes
varies with each change of crook, consequently
when it is necessaiy to extend the slide, the ear
must assist the fingers.' This fact has already
been noted in regard to the Trombone, and
exists to a certain extent in the Bassoon and
Opbicleide. It is quite impossible on the Valve
Trumpet.
The mediaeval use of the Trumpet is well
given in Eichbom's book already named; but
somewhat exceeds our present limits. He states
however that Henry VIII of England had 14
Trmnpeters, one 'Dudelsack* (or bagpipe), and
10 Trombones in his band, and Elizabeth, in
1587, 10 Trumpets and 6 Trombones. Indeed,
it is in the i6th century, according to him, that
the • building up of the art of sound ' made a
great advance. He divides the band of that day,
* the day of Palestrina and of Giovanni Gabrieli '
into seven groups, of which group 3, Zinken or
Cornets, Quart-Zinken, Krumm-homs, Quint-
Zinken, Bass-Zinken and Serpents of the Bugle
type, group 6, Trumpets, 'BLlarinen,' and * Prin-
cipal or Field-Trumpets,' with group 7, the
Trombones, from soprano to bass, most con-
cern us.
At this period falls in Baltazarini's picture,
named before, of the marriage of Margaret of
Lorraine with the Duke of Joyeuse, of which we
have the music as well as the pictorial re-
presentation. Claudio Monteverde, about 1610,
has I Clarino, 3 Trombe and 4 Tromboni, in his
orchestra ; and Benevoli in a mass at Salzburg
Cathedral in 1628 has 'Klarinen, Trompeten,
Posaunen'; Praetorius in 1620, already quoted
under Tbombonb (p. 1 76) waxes enthusiastic, and
says • Trummet ist ein herrlich Instrument, wenn
ein gute Meister, der es wohl und ktinstlich
zwingen kann, dariiber kommt.'
TRUMPET.
About this time began the curious distinction
into Clarini and Principale which is found in
Handel's scores, and especially in the Dettingen
Te Deum. The Principale was obviously a large-
bored bold-toned instrument resembling our
modem Trumpet. It was apparently of 8-foot
tone as now used. To the Clarino I and II of
the score were allotted florid, but less funda-
mental passages, chiefly in the octave above
those of the Principale. They were probably
of smaller bore, and entirely subordinate to the
'herrlich' Principale, both in subject and in
dominance of tone. A like arrangement for three
Trumpets occurs in J. S. Bach's Choralgesang
' Lobe den Herm,' though the Principale is not
definitely named. The mode of scoring is an
exact parallel to that for the three Trombones.
A good example of it also occurs in Haydn's
Imperial Mass, where, besides the ist and 2nd
Trumpets, there is a completely independent
3rd part of Principale character.
Beethoven's use of the Trumpet is in strong con-
trast to his use of the Horn. The Horn he delights
to honour (and tease), the Trumpet he seldom
employs except as a tutli instrument, for rein-
forcing, or marking rhythms. He takes it so high
as to produce an effect not always agreeable ;
see the forte in the A lleqretto of Symphony No.
7 (bar 75) and in the Allegro assai of the Choral
Symphony (Theme of the Finale, bar 73). In
the Finale of the 8th Symphony however there
is an Fn prolonged through 1 7 bars, with mas-^
terly ingenuity and very striking effect. An
instance of more individual treatment will be
found in the Recitative passage in thfe Agnus of
the Mass in D; and the long flourish in the
overtures to Leonora, nos. 2 and 3, (in the
no. 2 an Eb Trumpet and in triplets, in the no.
3 a Bb one and duple figures,) can never be for-
gotten. But on the whole the Trumpet was not
a J3e< of Beethoven's.
Schubert uses it beautifully in the slow move-
ment of the great Symphony in C as an accom-
paniment pianissimo to the principal theme.
Mendelssohn wrote a ' Trumpet overture,' but
the instrument has no special prominence, and it
is probable *that the name is merely used as a
general term for the Brass.
The only successful attempt to apply valves to
this instrument is the ' Univalve Trumpet ' of
Mr. Bassett, who brought it under the notice of
the Musical Association in 1876. It is the ordi-
nary Slide Trumpet, with the addition of a single
valve tuned in unison with the open D, or har-
monic ninth — in other words, lowering the pitch
a minor tone. This valve— ^worked by the first
finger of the left hand, the instrument being held
exactly in the usual manner — does not injure in
the slightest degree the pure tone of the old
Trumpet, the bore of the main tube remaining
perfectly straight. By the use of this single
valve and the slide, it is possible to produce a
complete scale, major or minor, with a perfection
of intonation only limited by the skill of the
player, as it is essentially a slide instrument.
The valve not only supplies those notes which
TEUMPET.
are false or entirely wanting in the ordinary
Slide Trumpet (including even the low Ab and
Eb when playing on the higher crooks), but
greatly facilitates transposition and rapid passages,
while comparatively little practice is required to
become familiar with its use. [W.H.S.]
TSCHAIKOWSKY, Petbb Iltitsoh, one of
the most remarkable Kussian composers of the
day, was born April 25, 1840, at Wotkinsk in the
government of Wiatka (Ural District), where his
father was engineer to the Imperial mines. In
1850 the father was appointed Director of the
Technological Institute at 8t. Petersburgh, and
there the boy entered the School of Jurisprudence,
into which only the sons of high-class government
ofl&cials are admitted. Having completed the
prescribed course in 1859, ^^ ^^^ appointed to
a post in the ministry of Justice. In 1862,
however, when the Conservatoire of Music was
founded at St. Petersburg, he left the service of
the state, and entered the new school as a student
of music. He remained there till 1865, studying
harmony and counterpoint under Prof. Zaremba,
and composition under Anton Rubinstein. In
1865 he took his diploma as a musician, together
with a prize medal for the composition of a can-
tata on Schiller's ode, * An die Freude.' In 1866
Nicholas Rubinstein invited him to take the post
of Professor of Harmony, Composition, and the
History of Music at the new Conservatoire of
Moscow ; he held this post, doing good service as
a teacher, for twelve years. Since 1878 he has
devoted himself entirely to composition, and has
been living in St. Petersburg, Italy, Switzerland,
and Kiew. M. Tschaikowsky makes frequent
use of the rhythm and tunes of Russian People's-
songs and dances, occasionally also of certain quaint
harmonic sequences peculiar to Russian church
music. His compositions, more or less, bear the
impress of the Slavonic temperament — fiery ex-
altation on a basis of languid melancholy. He is
fond of huge and fantastic outlines, of bold modu-
lations and strongly marked rhythms, of subtle
melodic turns and exuberant figuration, and he
delights in gorgeous effects of orchestration. His
music everywhere makes the impression of genu-
ine spontaneous originality. [E.D.]
The following is a list ^ of his works : —
TUBA.
183
Op.l.
2.
s.
4.
5.
6,
T.
8.
9.
10.
U.
12.
13.
Scherzo Busse &nd Im-
promptu, for PF. solo.
Souvenir de Hapsal. Smor-
ceaux. PF. solo.
Overture and Ballet airs
from Opera 'Voievode.'
Valse Caprice in D. PF.
solo.
Bomance, F minor. PF.
solo.
6 Lieder for one voice with
PF. accompaniment.
Valse Scherzo in A. PF.
Solo.
Capricclo. Gb. PF. solo.
3 Morceaux, Reverie, Polka,
Mazurka. PF. solo.
Nocturne in F, and Hu-
moreske in G. PF. solo.
String-Quartet in D.
Symphony for Orchestra,
No. 1.
14.
16. Ouverture Triomphale (sur
I'hymne national Danois).
16. 6 Lieder (with Russian text).
17.
18. Fantasia for Orchestra,
' The Tempest.'
19. 6 Morceaux. PF. solo.
20.
21. 6 Clavierstdcke tlber ein
Thema.
22. String-Quartet In F.
23. Concerto Pianoforte and
Orchestra, in Bb minor.
24.
25. 6 Lieder.
26. Serenade m^lancolique for
Violin and Orchestra.
Z7. 6 Lieder.
28. 6 Lieder.
29. Symphony for Orchestra.
No. 3 in D.
SO. String-Quartet in Eb minor.
» The vacant Nos. are reserved for the Operas.
Op.81. Marche Slave for Orchestra.
32. Symphonic Poem, 'Fran-
cesca von Rimini.'
33. Variations on a Th^me ro-
coco for Violoncello and
Orchestra.
34. Scherzo, Violin and Or-
chestra.
9S. Concerto for Violin and
Orchestra in D.
86. Symphony for Orchestra,
No. 4, in F minor.
37. Sonata for PF. In 0.
38. 6 Lieder.
39. Album d'enfants, 24 little
pieces for PF. solo.
40. 12 Stacke. PF. solo.
41. Russian Liturgy for four
42. 3 Pieces for Violin, vrith
PF. accompaniment.
43. Suite for Orchestra, No. 1.
44. Concerto for PF. and Or-
chestra, No. 2, in G.
45. Caprice Italien for Or-
chestra.
46. 6 Vocal Duets.
47. 7 Lieder.
48. Serenade for Stringf-Or-
chestra.
49. '1812,' Ouverture solennelle
for Orchestra.
flO. Trio for PF., Violin, and
Violoncello in A minor.
61. 6 Morceaux. PF. solo.
62. Vesper service, 4 voices.
53. Suite for Orchestra, No. 2.
54. 16 Kinderlieder.
55. Suite for Orchestra No. 3.
56. Fantaisie, PF. and Orch.
Operas and Ballets :—
1. Voievode. Represented 1869.
2. Opritschnik. Represented 1874.
3. Wakula the Smith. 1876.
4. Schwanensee. Ballet.
5. Snegourotska. Drama with In-
cidental Music.
Eugeny Onegin.
7. The Maid of Orleans, 1881.
. Mazeppa. 1884.
Works vrithont opus number :—
Overture to Romeo and Juliet.
50 Russian Volksmelodien, ar-
ranged for PF. 4 hands.
Die Jahreszeiten,' 12 PF. pieces.
Weber's Perpetuum mobile, for
left hand only.
Coronation march for Orch.
Coronation Cantata, soli, chorus
and Orch.
Literary work! s—
Harmonie-Lehre.
Do. for Schools.
Gevaert's Instrumentatlons-Lehre,
translated and edited.
Lobe's Catechism, etc., translated
Into Russian.
[J.R.M.]
TSCHUDI, BURKHARDT, founder of the house
of Broadwood. [See Shudi.]
TUA, Maria Felicita, known as Teresina,
was born May 22, 1867, at Turin. She com-
pleted her musical education at the Paris * Con-
servatoire,' where she received instruction on the
violin from M. Massart, and obtained in 1880 a
* premium ' or first prize. She afterwards played
with brilliant success in concert tours over
the greater part of the continent. On May 5,
1883, she made her first appearance in England
at the Crystal Palace, and played with so much
success that she was re-engaged for the concert
of the following week. She played at the
Philharmonic on May 9 and 30 ; at the Floral
Hall Concerts June 9 ; at Mr. Cusins's concert,
with whom she was heard in Beethoven's
'Kreutzer' Sonata; and at other concerts. She
returned to the continent, and did not re-appear
for the season of 1884 as was expected. Apropos
to her first appearance in London, May 9, the critic
of the 'Daily Telegraph' mentioned that 'she was
heard under more favourable circumstances. Yet
even St. James's Hall is too large for an artist
whose delicacy of style and small volume of tone
suit the narrow limits of a "chamber." Her
playing was marked by very high qualities,
such as exquisite phrasing, refinement, with
power of expression and executive skill equal
to almost every call upon it.' It was also
marked by an obvious tendency to caricature
the style of a great living artist, which though
amusing, hardly added to the artistic qualities
of Signora Tua's performances. [A.C.]
TUBA. A generic and somewhat vague title
given to the Bass instruments of the Saxhorn
family, also termed Bombardons. All of them
are furnished with valves, and are liable to the
usual defects inherent in this mode of construction.
184
TUBA.
But as they have a large mouthpiece, and require
a very loose embouchure, more can be done
towards correcting harmonic imperfections of
the scale by the player than in acuter instru-
ments of the same character. Tubas are made
in many keys, in F in Grermany, in Eb and Bb
in this country : as however they usually read
from the real notes, their parts require no
special transposition. Their introduction into
the stringed orchestra is entirely due to later
composers, and pre-eminently to Wagner, who
often obtains fine effects through their instru-
mentality. [W.H.S.]
TUBA, TUBA MIRABILTS, or TUBA
MAJOR, TROMBA, OPHICLEIDE, are names
given to a high-pressure reed-stop of 8 ft. pitch
on an organ. In some instruments, especially if
there are only three manuals, such high-pressure
reeds are connected with the Great Organ
manual ; but inasmuch as the pipes are of ne-
cessity placed on a separate soundboard supplied
by a different bellows to that which supplies the
ordinary flue-work, high-pressure reeds are more
often found on the fourth or Solo Organ. The
pipes of the Tuba are sometimes arranged in a
horizontal position, but whether arranged hori-
zontally or vertically, they are, as a rule, placed
high up in the framework of the instrument,
Tlie wind-pressure of a Tuba, as measured by
an ordinary wind-gauge, varies considerably ; in
some cases it does not exceed 7 inches, but in St.
Paul's Cathedral the pressure reaches 1 7| inches,
and in the Albert Hall 23 inches or more. The
pipes are of * large scale,' and the tongues of the
reeds are, of course, thicker than in the common
Trumpet-stop. The Tuba is not solely used as a
Solo stop ; on large instruments, when coupled to
the full Great Organ, it produces a most brilliant
effect. [J. S.]
TUBBS, James, a violin-bow maker, residing
in Wardour Street, London. His father and
grandfather followed the same occupation, their
style being founded on that of Dodd, whose
work that of the present Mr. Tubbs also re-
sembles. The Tubbs bows, though not equal to
those of the best French makers, are esteemed
by many players for their lightness and handi-
ness. [E.J.P.]
TUCKER, Rev. William, was admitted priest
and gentleman of the Chapel Royal and minor
canon and precentor of Westminster Abbey in
1660. He composed some excellent church music,
some of which is still extant. An anthem, *0
give thanks,' is printed in Page's 'Harmonia
Sacra,' and is also included (with another) in
the Tudway Collection (Harl. MS. 7339). A
* Benedicite ' is in MS. in the library of the
Royal College of Music, and a service and
6 anthems at Ely Cathedral. He appears also
to have been copyist at the Chapel Royal. He
died Feb. 28, 1678-9, and was buried March i,
in Westminster Abbey cloisters. [W.H.H.]
TUCKERMAN, Samuel Pabkman, Mus.D.,
bom at Boston, Mass., U.S., Feb. 17, 1819.
TUCKET.
' At an early age he received instruction in
I church music and organ-playing from Charles
Zeuner. From 1840, and for some years after, he
was organist and director of the choir in St.
Paul's Church, Boston, and during that time pub-
lished two collections of Hymn Tunes and An-
thems, ' The Episcopal Harp ' (chiefly original
compositions) and 'The National Lyre,' the latter
with S. A. Bancroft, and Henry K. Oliver. In
1849 he went to England, to make himself
thoroughly acquainted with the English cathe-
dral school of church music, both ancient and
modem. For the first two years he pursued his
studies in London, and afterwards resided in
Canterbury, York, Durham, Winchester and Salis-
bury, in each of them devoting himself to his
favourite study. For about two years Dr. Tuck-
erman lived at Windsor, and enjoyed the ad-
vantage of daily attendance at the services in
St. George's Chapel. In 1853 he took the
Lambeth degree of Doctor of Music, and then
returned to the United States, and resumed his
connection with St. Paul's Church in his native
city. He lectured upon 'Church Music in the
Old World and the New,' and gave several
public performances of cathedral and church
music fi:om the 4th to the 19th century. In
1856 he returned to England, and remained
four years. During this interval he made large
additions to his musical library, which at present
contains about 2000 volumes, many of them rare
and valuable works. It includes many full scores
and a large and valuable collection of motets,
anthems, and services, both ancient and modem,
of the Italian and English schools.
Dr. Tuckerman's compositions will be found
in Novello's catalogues. They comprise several
services, a festival anthem, *I was glad,' six
short anthems, and the anthem (or cantata) *I
looked and behold a door was opened in heaven,'
the latter written (though not required) as an
exercise for his Doctor's degree. He also com-
piled and edited ' Cathedral Chants ' for use in
the choirs of the Episcopal Church, in the United
States. This work, published in 1858, has had
a large circulation. In 1864 he edited the
'Trinity Collection of Church Music,' consisting
of hymn tunes, selected, arranged, and composed
for the choir of Trinity Church, New York, by
Edward Hodges, Mus. Doc, formerly of Bristol,
adding to it many of his own compositions. His
MS. works contain a Burial Service, two anthems,
' Hear my prayer,' and ' Blow ye the trumpet in
Zion,' carols, chants and part-songs. In 1852 he
received a diploma from The Academy of St.
Cecilia, Rome. [G.]
TUCKET, TUCK. Tucket is the name of
a tmmpet ^ sound, of frequent occurrence in the
works of the Elizabethan dramatists. Shake-
spere (Henry V, Act iv, Sc. 2) has, 'Then let the
trumpets soimd The tucket-sonance, and the note
to mount ' ; and in ' The Devil's Law Case' (1623)
is a stage direction, 'Two tuckets by several
trumpets.' The word is clearly derived from the
1 Johnson says 'a musical Instrument', but this Is Inaoennte.
TUCKET.
Italian Toccata, which Florio (*A Worlde of
Wordes,' 1 598) translates ' a touch, a touching.'
Like most early musical signals, the tucket
came to England from Italy, and though it is
always mentioned by English writers as a trumpet
sound, the derivation of the word shows that in
all probability it was originally applied to a drum
signal. [See vol. iii. p. 642, etc.] Francis Mark-
ham (* Five Decades of Epistles of WaiTe,' 1622)
says that a ' Tucquet ' was a signal for marching
used by cavalry troops. The word still survives
in the French 'Doquet' or 'Toquet,' which La-
rousse explains as * nom que Ton donne k la
quatri^me partie de Trompette d'une fanfare de
cavallerie.' There are no musical examples extant
of the notes which were played.
Closely allied with the word Tucket is the
Scotch term * Tuck ' or ' Touk,' usually applied
to the beating of a drum, but by early writers
used as the equivalent of a stroke or blow. Thus
Gawin Douglas's 'Virgil' has (line 249) 'Her-
cules it smytis with ane mychty touTc.' The word
is also occasionally used as a verb, both active
and neuter. In Spalding's ' History of the
Troubles in Scotland ' (vol. ii. p. 166) is the fol-
lowing : ' Aberdeen caused tuck drums through
the town,' and in Battle Harlaw, Evergreen
(i. 85) the word is used thus : * The dandring
drums alloud did touk.^ * Tuck of Drum ' is of
frequent occurrence in Scotch writers of the
present century (see Scott's ' Rokeby,' canto iii.
stanza 17); Carlyle's Life of Schiller ; Steven-
son's 'Inland Voyage,' etc.; also Jamieson's
Dictionary of the Scottish Language, s.v. *Tuck'
and 'Touk'). [Tusch.] [W.B.S.]
TUCZEK, a Bohemian family of artists — the
same name as Duschek or Dussek. The com-
pilers of dictionaries have fallen into much con-
fusion between the different members, of whom
the first,
(i) Fbanz, was choirmaster of S. Peter's at
Prague in 1771, and died about 1780. His son
and pupil,
(2) ViNCENZ Franz, a singer in Count Sweert's
theatre, became accompanyist to the theatre at
Prague in 1796, Capellmeister at Sagan to the
Duke of Courland in 1798, conductor of the
theatre at Breslau in 1800, of the Leopoldstadt
theatre in Vienna in 1801, and died about 1820
at Pesth. He was a versatile composer, writing
masses, cantatas (one was performed at Sagan in
1798, on the recovery of the King of Prussia),
oratorios (' Moses in Egypt,' and ' Samson '),
operettas (second-rate), in German and Czech,
and music for a tragedy, ' Lanasse,' his best work.
His only printed work is the PF. score of ' Da-
mona,' a fairy opera in 3 acts. Another,
(3) Fbanz, born at Koniggratz, Jan. 29, 1782,
died at Charlottenburg near Berlin, Aug. 4, 1 850,
A musician first in Vienna, and afterwards in
Berlin, had two daughters, of whom one married
Rott the well-known actor, and the other,
(4) Leopoldine, a pupil of Fraulein Frohlich's
at the Vienna Conservatorium from 1829-34,
played little parts at the Court theatre with
Unger, Garcia, and Moriani, from the time she
TUDWAY.
185
was 13, and thus formed lierself as an actress.
She was also thoroughly trained as a singer by
Mozatti, Gentiluomo, and Curzi, and made her
first appearance in Weigl's 'Nachtigall und
Rabi.' In 1841, on the recommendation of Franz
Wild, Count Redern offered her a star-engage-
ment in Berlin, as successor to Sophie Lowe in
inginue parts. Her Susanna, Zerlina, Sonnam-
bula, Madeleine, etc., pleased so much as to lead
to an offer of engagement on liberal terms,
which she accepted on her release from the Court
theatre at Vienna. She sang at the unveiling
of the Beethoven memorial in Bonn (1845). She
made her farewell appearance in Berlin, Dec. 6,
1 86 1, when the king himself threw her a laurel-
wreath, and sent her a miniature laurel-tree in
silver, bearing 65 leaves, on which were written
the names of her parts, including Mrs. Ford in
'The Merry Wives of Windsor.' Her voice had
a compass of 2§ octaves, and her refined and
piquant acting made her a model souhrette. She
married an official of some position at Herr-
enburg. She was afflicted with partial par-
alysis during her later years, and frequently
resorted to Baden near Vienna, where she died
Sept. 1883. [E.G.]
TUDWAY, Thomas, Mus. Doc, was admitted
a chorister of the Chapel Royal in or soon after
1660. On April 23, 1664, he was elected a lay
vicar (tenor) of St. George's Chapel, Windsor.
About Michaelmas, 1670, he became organist of
King's College, Cambridge, in succession to
Henry Loosemore (whose name disappears from
the College accounts after Midsummer, 1670),
and received the quarter's pay at Christmas,
and an allowance for seven weeks' commons. He
obtained the post of instructor of the choristers
at King's College at Christmas, 1679, ^^^ ^^-
tained it until Midsummer, 1680. He was also
organist at Pembroke College. In 168 1 he gra-
duated as Mus. Bac. at Cambridge. On Jan. 30,
1 704-5, he was chosen as Professor of Music in
the University on the death of Dr. Staggins.
Shortly afterwards he proceeded Mus, Doc, his
exercise for which — an anthem, ' Thou, O God,
hast heard our desire ' — was performed in King's
College Chapel on April 16, in the presence of
Queen Anne, who bestowed upon the composer
the honorary title of Composer and Organist ex-
traordinary to her. On July 22, 1706, he was
suspended from his offices for, it is said, in
the exercise of his inveterate habit of punning,
having given utterance to a pun which was
considered to be a libel on the University
authorities.^ His suspension continued until
March 10, 1707. He resigned his organ istship
at King's Colle<,'e at Christmas, 1726, when he
was i)aid £10 in addition to his stipend. He
then repaired to London, where he passed the
remainder of his life. He was employed by
Edward, Lord Harley, afterwards Earl of Oxford,
1 Burney, Hist, of Music, 111. 459 n., relates the following anecdote,
which may possibly Include the obnoxious pun. ' In the time of the
Duke of Somerset's Chancellorship at Cambridge, during the dis-
contents of several members of the University at the rigours of his
government and paucity of his patronaue, Tudway, himself a mal-
content, and joining in the clamour, said, " The Chancellor rides ut
all, mlhoui a bit in our mOuUu," '
186
TUDWAY.
to collect musical compositions for him, and,
amongst others, transcribed, between 171 5 and
1720, an important collection of Cathedral
Music in 6 thick 4to. vols., now in the British
Museum (Harl. MSS. 7337-7342), an Evening
Service, 18 anthems, and a Latin motet by
Tudway himself being included in it. Another
Service by him is in a MS. at Ely Cathedral,
and some songs and catches were printed in the
collections of the period. He died in 1 730. His
portrait is in the Music School at Oxford. For his
Collection see p. 198 of this volume. [W.H.H.]
TURK, Daniel Theophil, writer on theory,
bom at Clausswitz near Chemnitz in Saxony, son
of a musician in the service of Count Schonburg,
learned first from his father, and afterwards from
Homilius at the Kreuzschule in Dresden. In
1772 he went to the University of Leipzig, where
he became the pupil and friend of J. A. Hiller,
who procured his admittance to the opera, and
the 'Grosses Concert.* About this period he
produced two symphonies and a cantata. In
1776, owing to Killer's influence, he became
Cantor of S. Ulrich at Halle, and Musikdirector
of the University. In 1 779 he was made organist
of the Frauenkirche. Tiirk was the author of
several books on the theory of music which have
become recognised text-books : * The chief duties
of an Organist' (1787); * Clavierschule ' (1789),
and a Method for beginners compiled from it
(1792); and * Short Instructions for playing from
figured basses ' ( 1 79 1 ) ; all of which passed though
several editions. In 1808 he was made Doctor
and Professor of Musical Theory by the Univer-
sity. He died after a long illness, Aug. 26, 181 3.
His compositions — PF. sonatas and pieces, and
a cantata ' The Shepherds of Bethlehem,' — once
popular, have wholly disappeared. [F.G.]
TULOU, Jean Louis, eminent French flute-
player and composer, bom in Paris, Sept. 12,
1786, son of a good bassoon-player named Jean
Pierre Tulou (bom in Paris 1749, died 1799);
entered the Conservatoire very young, studied
the flute with Wunderlich, and took the first
prize in 1801. He first made his mark at the
Thdittre Italien, and in 18 13 succeeded his master
at the Opdra. In 18 16 the production of 'Le
Rossignol,' an insignificant opera by Lebrun,
gave him an opportunity of showing his powers
in a series of passages cl deux with the singer
Mme. Albert, and proving himself the &^t
flute-player in the world. Drouet himself ac-
knowledged the superiority of a rival whose
style was so pure, whose intonation was so per-
fect, and who drew so excellent a tone from his
4-keyed wooden flute. Very popular in society,
both on account of his talent, and for his in-
exhaustible spirits, Tulou was prompt at repartee,
and had a fund of sarcastic humour which he
uttered freely on anything he disliked. His
droll comments on the regime of the Restoration
were resented by the Ministry in a practical form,
for he was passed over in the appointment of
flute-player to the Chapelle du Roi, and also in
the professorship at the Conservatoire on Wun-
derlich's death. In consequence of this slight he
TUNE.
left the Op^ra in 1822, but returned in 1826
with the title of first flute solo. On Jan, i,
1829, he became professor at the Conservatoire,
where his class was well attended. Among his
pupils may be mentioned V. Coche, R^musat,
Forestier, Donjon, Brunot, Altfes, and Demersse-
man. Tulou frequently played at the Soci^t^ des
Concerts, and wrote much for his instrument,
especially during the time he was teaching. His
works include iimumerable airs with variations,
fantasias on operatic airs, concertos, and grand
solos with orchestra, a few duets for two flutes,
a grand trio for three flutes, solos for the Con-
servatoire examinations, etc. This music is all
well-written for the instrument, and the accom-
paniments show the conscientious artist. Several
pieces are still standard works. In 1856 Tulou
retired from the Conservatoire and the flute-
making business. His trade-maik was a night-
ingale, doubtless in allusion to the opera in which
he made his first success. Both as performer
and manufacturer he opposed Boehm's system,
and would neither make nor play on any other
flute than the wooden one with 5 keys. Never-
theless he took medals at the Exhibitions of
1834, 39, 44, and 49, was honourably mentioned
at that of 1 85 1 in London, and gained a medal
of the first class at the Paris Exhibition of 1855.
After his retirement he lived at Nantes, where
he died July 23, 1 865. [G.C.]
TUM A, Franz, distinguished church-composer,
and player on the viol da gamba, born Oct. 2,
1704, at Kosteletz in Bohemia, was a pupil of
Czemohorsky (Regenschori at Prague, with whom
he also fulfilled an engagement as tenor-singer),
and of J. J. Fux in Vienna. In 1 741 he became
Capellmeister to the Dowager Empress Elisabeth,
on whose death in 1750 he devoted himself en-
tirely to his muse. In 1760 he retired to the
monastery of Geras, but after some years returned
to Vienna, where he died, Feb. 4, 1774, in the
convent of the Barmherzigen Briider. Tuma was
greatly respected by connoisseurs of music amongst
the court and nobility, and received many proofs
of esteem from Maria Theresa. His numerous
church-compositions, still, unfortunately, in MS.,
are distinguished by a complete mastery of con-
struction, and a singular appropriateness between
the harmony and the words, besides striking the
hearer as the emanations of a sincerely devout
mind. Especially celebrated are his grand masses
in D minor and E minor, which are masterpieces
in the line of Bach. As a chorister in the cathe-
dral of Vienna, Haydn had the opportunity of
becoming practically acquainted with the works
of this solid master. [C. F. P.}
TUNE appears to be really the same word as
Tone, but in course of a long period of familiar
usage it has come to have a conventional mean-
ing which is quite difierent. The meaning of
both forms was at first no more than * sound,*
but Tune has come to mean not only a series of
sounds, but a series which appears to have a de-
finite form of some kind, either through the
balance of phrases or periods, or the regular dis-
tribution of groups of bars or cadences. It may
TUNE.
TUNING
187
be fairly defined as formalised melody : for
whereas melody is a general term which is ap-
plicable to any fragment of music consisting of
single notes which has a contour — whether it is
found in inner parts or outer, in a motet of
Palestrina or a fugue of Bach, — tune is more
specially restricted to a strongly outlined part
which predominates over its accompaniment or
other parts sounding with it, and has a certain
completeness of its own. Tune is most familiarly
illustrated in settings of short and simple verses
of poetry, or in dances, where the outlines of
structure are always exceptionally obvious. In
modern music of higher artistic value it is
less fiequently met with than a freer kind of
melody, as the improvement in quickness of
musical perception which results from the
great cultivation of the art in the past cen-
tury or so, frequently makes the old and
familiar methods of defining ideas and subjects
superfluous. For fuller discussion of the subject
see Melody. [C.H.H.P.]
TUNE. ACT-TUNE (Fr. Entr'acte, Germ.
ZwischcTispiel), sometimes also called Curtain
Tune. A piece of instrumental music per-
formed while the curtain or act-drop is down
between the acts of a play. In the latter
half of the 17th century and first quarter of
the i8th century act -tunes were composed
specially for every play. The compositions so
called comprised, besides the act-tunes proper,
the 'first and second music,' tunes played at in-
tervals to beguile the tedium of waiting for the
commencement of the play, — for it must be re-
membered that the doors of the theatre were
then opened an hour and a half, or two hours
before the play commenced — and the over-
ture. The act-tunes and previous music were
principally in dance measures. Examples may
be seen in Matthew Lock's * Instrumental Mu-
sick used in The Tempest,' appended to his
• Psyche,' 1675 ; in Henry Purcell's ' Dioclesian,'
1691 ; and his ' Collection of Ayres composed
for the Theatre,' 1697; and in two collections
of 'Theatre Music,' published early in the
1 8th century ; as well as in several MS. collec-
tions. During the greater part of the last century
movements from the sonatas of Corelli, Handel,
Boyce, and others were used as act-tunes, and at
present the popular dance music of the day is so
employed. But act-tunes, now styled ' Entr'actes,*
have been occasionally composed in modern times;
the finest specimens are those composed by Bee-
thoven for Goethe's ' Egmont,' by Schubert for
* Rosamunde,' by Weber for * Preciosa,' by Schu- ,
mann for * Manfred,' and by Mendelssohn for
Shakspere's 'Midsummer Night's Dream,' in-
cluding the Scherzo, the Allegro appassionato,
the Andante tranquillo and the world-renowned
Wedding March, which serves the double purpose
of act-tune and accompaniment to the wedding
procession of Theseus and Hippolita, the act-drop
rising during its progress. Sir A. Sullivan has
also written Entr'actes for * The Tempest,' ' The
Merchant of Venice,' and 'Henry VIII' — some
of which will be remembered when his operettas
have necessarily yielded to the changes of
fashion. [W.H.H.]
TUNING (To tune; Fr. accorder; Ital. ac-
cordare; Germ, stimmen). The adjustment to
a recognised scale of any musical instrument
capable of alteration in the pitch of the notes
composing it. The violin family, the harp,,
piano, organ, and harmonium, are examples of
instruments capable of being tuned. The ac-
cordance of the violin, viola, and violoncello,^
as is well known, is in fifths which are tuned
by the player.^ The harpist also tunes his
harp. But the tuning of the piano, organ, and
harmonium, is eflFected by tuners who acquire
their art, in the piano especially, by long prac-
tice, and adopt tuning, particularly in this
country, as an independent calling, having little
to do with the mechanical processes of making
the instrument. At Antwerp, as early as the
first half of the 1 7th century, there were harpsi-
chord-tuners who were employed in that vocation
only ; for instance, in De Liggeren der Antwerp-
sche Sint Lucasgilde, p. 24, edited by Kombouts
and Van Lerius (the Hague) we find named as a
master Michiel Colyns, Claversingelstelder Wyn-
meester, i.e. harpsichord-tuner and son of a master
(in modern Flemish Clavecimbel-steller).
In all keyboard instruments the chief dif-
ficulty has been found in what is known as
'laying the scale, bearings, or groundwork,' of
the tuning; an adjustment of a portion of the
compass, at most equal in extent to the stave
ith the Alto clef
from which the
remainder can be tuned by means of simple
octaves and unisons. We have records of these
groundworks by which we are enabled to trace
the progress of tuning for nearly four hundred
years. The earliest are by Schlick (1511),
Ammerbach (1571), and Mersenne (1636). It
is not however by the first of these in order
of time that we discover the earliest method of
laying the scale or groundwork, but the second.
Ammerbach published at Leipzig in 15 71 an
' Orgel oder Instrument Tabulatur,' in which he
gives the following directions for the ground-
work. We will render this and the examples
which follow into modem notation, each pair
of notes being tuned together.
For the Naturals {das gelbe Clavier).
For the Sharps (Obertasten).
S
are Minor Thirds (tiefer erklingen).
There is not a word about temperament !
1 The accordances of the guitar, lute, theorbo, and similar instru-
ments tuned by fifths, fourths, and thirds will be found in th»-
descriptions of them.
188
TUNING
By the stave for the naturals we may restore
the tuning of the Guido scale of the earliest
organs and clavichords which had only the Bb
as an upper key in two octaves. These would
be provided for either by tuning up from the G
(a. minor third) or down from the F (a fifth), all
the intervals employed being approximately just.
We may also suppose that from the introduction
of the full chromatic scale in organs before 1426,
to the date of Schlick's publication 151 1, and
indeed afterwards, such a groundwork as Am-
merbach's may have sufficed. There was a
difference in clavichords arising from the fretting,
to which we will refer later. Now, in 151 1,
Amolt Schlick, a blind organist alluded to by
Virdung.inhis ' Spiegel derOrgelmacher' (Mirror
of Oiganbuilders) — a work which the present
writer, aided by its republication in Berlin in
1869, has brought under the notice of writers
on music— came out as a reformer of tuning.
He had combatted the utter subordination of
the sharps or upper keys to the natural notes,
and by the invention of a system of tuning of
£fths and octaves had introduced a groundwork
which aflForded a kind of rough-and-ready un-
equal temperament and gave the sharps a quasi
independence. This is his scale which he gives
out for organs, clavicymbal.s, clavichords, lutes,
harps, intending it for wherever it could be
applied.
He gives directions that ascending fifths
should be made flat to accommodate the major
thirds, particularly F— A, G— BQ, and C— E,—
excepting Gff, which should be so tuned to Eb, as
to get a tolerable cadence or dominant chord,
the common chord of E, to A. The Gj to the Eb,
he calls the * wolf,' and says it is not used as
a dominant chord to cadence Cj. Indeed, from
the dissonance attending the use of CJJ and Ab,
they being also out of tune with each other, he
lecommends the player to avoid using them as
keynotes, by the artifice of transposition.
The fact of Ammerbach's publication of the
older groundwork 60 years later proves that
Schlick's was slow to commend itself to practice.
However, we find Schlick's principle adopted and
published by Mersenne (Harmonie Universelle,
Paris, 1636) and it was doubtless by that time
established to the exclusion of the earlier sys-
tem. With this groundwork Mersenne adopted,
at least in theory. Equal Temperament [see
Temperament], of which in Liv. 2, Prop. xi.
p. 132, of the before-named work, he gives the
correct figures, and in the next volume. Prop,
xii, goes on to say that equal temperament
is the most used and the most convenient, and
that all practical musicians allow that the di-
vision of the octave into twelve half-tones is the
TUNING.
easiest for performance. Mr. Ellis, in his ex-
haustive Lecture on the History of Musical
Pitch (Journal of the Society of Arts, Appendix
of April 2, 1880), considers corroboration of
this statement necessary. We certainly do not
find it in Mersenne's notation of the tuning
scale which we here transpose from the bari-
tone clef.
La FeinUt.
The Sharps and Flats.
For the tuner's guidance the ascending fifths
are marked as flat, the descending as sharp, but
the last fifth, Gj — Eb, is excepted as being the
' defect of the accord. ' With this recognition of
the *wolf' it is clear that Mersenne was not
thinking of equal temperament. But Schlick's
principle of fifths and octaves had become para-
mount.
We will now go back to the interesting
'gebunden'orfretted clavichord. [SeeCLAViCHORD
and Tangent.] The octave open scale of this
instrument is F G A Bb C D Eb F, or C D
Eb FGABbC, according to the note which
may be accepted as the starting-point. Both of
these are analogous to church modes, but may
be taken as favourite popular scales, before
harmony had fixed the present major and minor,
and the feelinq; had arisen for the leading note.
We derive the fretted clavichord tuning from
Ammerbach thus:
pfe
m^
Later on, no doubt, four fifths up, F C G D A
and two fifths down F Bb Eb, would be used
with octaves inserted to keep the tuning for the
groundwork, in the best part of the keyboard for
hearing. We have found the fretted or stopped
semitones which included the natural B and E,
adjusted by a kind of rough temperament, in-
tended to give equal semi mean-tones and re-
sembling the lute and guitar semitones.
When J. Sebastian Bach had under his hands
the ' bundfrei ' or fret-free clavichord, each key
having its own strings, he could adopt the
tuning by which he might compose in all the
twenty-four keys, from which we have the 48
Preludes and Fugues.'
Emanuel Bach ('Versuch,' etc., Berlin 1753)
gives, p. 10, very clear testimony as to his own
preference for equal temperament tuning. He says
we can go farther with this new kind of tuning
1 He did not get this tuning on the organ. It would appesw. although
his preference for It Is shown In Mr. Ellis s ' History of Musical Pitch '
already referred to. (Seethe 'Journal of the Society of Arts.'March 5,
1800).
TUNING.
although the old kind had chords better than
could be found in musical instruments generally.
He does not allude to his father, but brings in
a hitherto unused interval in keyboard instru-
ment tuning — the Fourth. Not, it is true, in
place of the Fifth ; but as one of the trials to
test the accuracy of the tuning. At the present
time beginners in tuning find the Fourth a
difficult interval when struck simultaneously
with the note to which it makes the interval :
there is a feeling of dissonance not at all per-
ceptible in the Fifth. It is therefore not strange
that for centuries we do not find it used for
instruments capable of more or less sustained
harmony. The introduction of a short ground-
work for the piano, confined to the simple
chromatic scale between
TUNING.
18^
^
i
is traditionally attributed to Robert Wornum,
early in the present century. In this now
universally adopted system for the piano, the
Fourth is regarded and treated as the inversion
of the Fifth; and for the intentional 'Mean-
tone' system [see Temperament] employed al-
most universally up to about 1840-50, the follow-
ing groundwork came into use : —
»
^ P-
-^^Sj &. »^
— the wolf being, as of old, at the meeting of Gj
and Eb. The advantages of the short system
were in the greater resemblance of vibration
between notes so near, and the facilities offered
for using common chords as trials. It will be
observed that the pitch-note has changed from
F to the treble C ; possibly from the intro-
duction of the Tuning-fork in 171 1. In Great
Britain and Italy a C-fork has been nearly
always adhered to since that date for keyboard
instruments ; but for the violins, A (on account
of the violin open string), which in France and
Germany has been also adopted as the keyboard
tuning-note. But the pitchpipe may have
also had to do with the change of pitch-note.
The long timing scale did not at once go out
of use; it was adhered to for organs, and for
pianos by tuners of the old school. It went
out in Messrs. Broadwood's establishment with
the last tuner who used it, about the year 1869.
The change to intentional equal temperament
in pianos in 1846, in England, which pre-
ceded by some years the change in the organ,
was ushered in by an inclination to sharper
major thirds : examples differing as different
tuners were inclined to more or less 'sweet'
common chords of C, G, and F. The wolf ceasing
to howl so loudly, another short groundwork,
which went through the chain of fourths and
fifths without break, became by degrees more
general with the piano until it prevailed en-
tirely. It is as follows : —
^
mmm
•"^ ^ «S: W
jjte- n^ ^ ^
and is also the groundwork for tuning the har-
monium.
The organ no longer remains with the ground-
work of fifths and octaves ; the modern tuners
use fourths and fifths in the treble C — C, of
the Principal; entirely disregarding the thirds.
Like the harmonium the organ is tuned entirely
by beats. Organ pipes are tuned by cutting them
down shorter, or piecing them out longer, when
much alteration has to be made. When they
are nearly of the right pitch, (i) metal pipes are
' coned in ' by putting on and pressing down the
' tuning horn,' to turn the edges in for flattening,
or * coned out ' by inserting and pressing down
the tuning horn to turn the edges out for sharp-
ening; (2) stopped pipes, wooden or metal, are
sharpened by screwing or pushing the stopper
down, or flattened by pulling it up ; (3) reed
pipes by a tuning wire which lengthens or
shortens the vibrating portion of the tongue.
Harmoniums are tuned by scraping the metal
tongue of the reed near the free end to sharpen
the tone, and near the attached end to flatten it.
The old way of tuning pianos by the Tuning
Hammer (or a Tuning Lever) remains in vogue,
notwithstanding the ever-recurring attempts tO'
introduce mechanical contrivances of screws etc.,
which profess to make tuning easy and to bring
it more or less within the immediate control of
the player. Feasible as such an improvement
appears to be, it has not yet come into the domain
of the practical. The co-ordination of hand and
ear, possessed by a skilled tuner, still prevails,
and the difficulty of getting the wire to pass over
the bridge, continuously and equally without the
governed strain of the tuner's hand, is still to be
overcome before a mechanical system can rival
a tuner's dexterity.
In considering practical tuning we must at
once dismiss the idea that the ear of a musician
is capable of distinguishing small fractions of a
complete vibration in a second. Professor Preyer
of Jena limits the power of perception of the
difference of pitch of two notes heard in succes-
sion by the best ears to about one third of a double
vibration in a second in any part of the scale.
By the phenomena of beats between two notes
heard at the same time we can make much
finer distinctions, which are of great use in
tuning the organ and harmonium ; but with the
piano we may not entirely depend upon them,
and a good musical ear for melodic succession
has the advantage. In fact the rapid beats of the
upper partial tones frequently prevent the recog-
nition of the slower beats of the fundamental tones
of the notes themselves until they become too
190
TUNING.
TURK.
faint to count by. The tuner also finds difficulty
in tuning the treble of a piano by beats only.
Still, to tune the groundwork of a piano to a
carefully measured set of chromatic tuning-
forks, such as Scheibler formerly provided,
would ensure a nearer approach to a perfect
equal temperament than the existing system of
fourths and fifths, with the slight flattening
upwcards of fifths and downwards of fourths,
to bring all within the perfect octave. But to
achieve this, a normal pitch admitting of no
variation is a sine qud non, because no tuner
would or could give the time to work by a set of
forks making beats with the pitch wanted.
The wind and fretted stringed instruments,
although seemingly of fixed tones, are yet capa-
ble of modification by the player, and their
exact scale relation cannot be defined without
him. In Asiatic countries, as India, Persia, and
Arabia, and sometimes in European, this play
of interval is used as a melodic grace, and from
the ancient Greeks to the present day, the
quarter-tone has been a recognised means of
expression. Georges Sand, writing in her de-
lightful novel *La Mare au Diable' about the
Musette (a kind of Bagpipe) of her country
people, says — ' La note finale de chaque phrase,
tenue et tremblde avec une longueur et une
puissance d'haleine incroyable, monte d'un
quart de ton en faussant systdmatiquement.*
Whitley Stokes (Life of Dr. Petrie, p. 339)
has noticed such a licence in his native Irish
music. But we are led away here from Har-
monic Scales. [A.J.H.]
TUNING-FORK (Fr. Diapason ; Ital. Corista;
Germ. Slimmgahel). This familiar and valuable
pitch-carrier was invented by John Shore,
Handel's famous Trumpeter. From a musical
instrument it has become a philosophical one,
chiefly from its great permanence in retaining a
pitch ; since it is flattened by heat and sharpened
by cold to an amount which is determinable for
any particular observations. A fork is tuned by
filing the ends of the prongs to sharpen, and
between them at the base, to flatten ; and after
this it should stand for some weeks and be tested
again, owing to the fact that tiling disturbs the
molecular structure. Rust affects a fork but
very little : the effect being to slightly flatten it.
Tuning-forks have been used to construct a key-
board instrument, but the paucity of harmonic
upper partial tones causes a monotonous quality
of tone. An account of the combination of
tuning-forks into a Tonometer for the accurate
measurement of pitch will be found under
ScHEiBLEB, the inventor. [A.J.H.]
TURANDOT is a 5-act play of SchiUer's,
founded on a Chinese subject, orchestral music
to which was composed by Weber in 1809. His
music consists of an Overture and 6 numbers,
3 of them marches, all more or less founded on
a Chinese melody, which Weber took from
Rousseau's Dictionary of Music (vol. ii. plate N),
and which opens the overture exactly as Rous-
seau gives it.
The Overture was originally composed as an
* Overtura Chinesa ' in 1 806, and afterwards re-
vised. The first performance of the Overture in
its present shape was at Strassburg, Dec. 31,
1 8 14. It is doubtful if the rest has ever been
performed. The play has been also treated by
Blumenroeder, Reissiger, and Hoven. It has
been • freely translated' into English by Sabilla
Novello (1872). [G.]
TURCA, ALLA, i. e. in Turkish style; the
accepted meaning of which is a spirited simple
melody, with a lively accentuated accompaniment.
The two best examples of this are the finale to
Mozart's PF. Sonata in A (Kochel, 331), which
is inscribed by the composer * Alia Turca,' and
the theme of Beethoven's variations in D (op. 76),
which he afterwards took for the ' Marcia alia
Turca,' which follows the Dervish chorus in the
* Ruins of Athens.' [G.]
TURCO IN ITALIA, IL. Opera by Rossini.
Produced at the Scala at Milan, Aug. 14, 1814 ;
in London at His Majesty's, May 19, 1820. [G.]
TURINI, Fbancesco, learned contrapuntist,
bom at Prague, 1590, died at Brescia, 1656, son
of Gregorio Turini, comet-player to the Emperor
Rudolph II, and author of 'Teutsche Lieder'
a 4, in imitation of the Italian Villanelli (Frank-
fort, 1610). His father dying early, the Emperor
took up the young Francesco, had him trained
in Venice and Rome, and made him his chamber-
organist. Later he became organist of the ca-
thedral at Brescia. He published ' Misse a 4 e 5
voci a Capella,' op. i (Gardano) ; ' Mottetti a
voce sola,' for all four kinds of voices ; * Madri-
gali a I, 2, 6 3, con senate a 2 03'; and * Motetti
commodi.' A canon of his is quoted by Bumey,
the theme of which —
was a favourite with Handel, who employs it in
his Organ Fugue in Bb, and in his Oboe Con-
certo, No. 2, in the same key. It had been
previously borrowed by Thomas Morley, who
begins his canzonet, • Cruel, you pull away too
soon your dainty lips,* with the same theme. It
is probably founded on the old ecclesiastical
phrase with which Palestrina begins his *Tu
es Petrus,* and which was employed by Bach in
his well-known Pedal Fugue in Eb, and by Dr.
Croft in his Psalm-tune, ' St. Anne's.' [F.Cr ]
TURK, a dog, who by his connexion with
a great singer and a still greater composer, has
attained nearly the rank of a person. He be-
TURK.
longed to Signor Kauzzini, and after his death
his master put up a memorial to him in his
garden at Bath, in which he was spoken of as
his master's 'best friend.' Haydn and Burney
TURN.
191
visited Rauzzini at Bath in 1794, and Haydn
was so much struck by the memorial as to set
a part of the inscription — apparently the con-
cluding words — as a canon or round for 4 voices.
Canon a quattro.
The house was then known as ' Perrymead '
(not 'The Pyramids,' as Pohl ^ gives it), but now
as * Warner's,' and is situated in the south-east
part of Bath. All trace of the memorial seems
to have disappeared.^ [G.]
TURKISH MUSIC {TurUsche, or Uanit-
scharen musik ; Ital. Banda turca). The accepted
term for the noisy percussion instruments —
big-drum, cymbals, triangle — in the orchestra.
The most classical instance of its use is in the
brilliant second number of the Finale to the
Choral Symphony, alia marcia. There, and in
the last chorus of all, Beethoven has added
* Triangolo,' ' Cinelli,' and ' Gran Tamburo,' to
the score ; and these noisy additions were
evidently part of his original conception, since they
are mentioned in an early memorandum, long
before the vocal part of the sjonphony had
assumed at all its present shape. In the auto-
graph of the Dervish Chorus in the Ruins of
Athens, which is scored for horns, trumpets, and
alto and bass trombone, in addition to the usual
strings, he has made a memorandum that 'all
possible noisy instruments, such as castanets,
bells, etc.,' should be added. [G.]
TURLE, James, bom at Taunton, March
5, 1802, was a chorister at Wells Cathedral,
under Dodd Perkins, from July 18 10 to Dec.
1 8 1 3. He was organist of Christ Church, Surrey,
from 1 81 9 to 1829, and from the latter date to
1 831 organist of St. James, Bermondsey. From
1 8 19 to 183 1 he was assistant to Thomas Grea-
torex as organist and master of the choristers of
Westminster Abbey, and upon Greatorex's death
in 1 831 was appointed his successor. In 1875
he was released from active duty by the
appointment of Dr. J. F. Bridge as his assistant.
From 1829 to 1856 he was music master at the
School for the Indigent Blind. He composed and
edited many services, anthems, and chants, and
1 * Haydn In London,* p. 275.
3 I am much indebted to Mr. 0. T. Pajne and Mr. Jerom Murch
for their kindness in ascertaining that nothing fiirther is to be
found.
3 ^hat Is, ' Jannisary/
edited, with Professor E. Taylor, • The People's
Music Book.* He also composed many glees,
which yet remain in MS. His remarkable skill
and ability as a teacher were strikingly manifested
by the number of those who received their early
training from him, and rose to eminence in theii
profession. He died June 28, 1882.
Robert Tuble, his brother, born March 19,
1804, was a chorister at Westminster Abbey
from 1 8 14 to Aug. 1821, was organist of Armagh
Cathedral from 1823 to 1872, and died March
26, 1877.
William Turle, first cousin of the preceding
two, born at Taunton in 1795, a chorister of
Wells Cathedral from 1804 ^^ 18 10. After
quitting the choir he paid a short visit to America,
and on his return to England in 181 2 became
organist of St. James's, Taunton, which he quitted
upon being appointed organist of St. Mary
Magdalen's in the same town. [W.H.H.]
TURN (Fr. Brisde; Germ. Doppelscklag ;
Ital. Grupetio). An ornament much used in
both ancient and modern music, instrumental as
well as vocal. Its sign is a curve '^ placed
above or below the note, and it is rendered by
four notes — namely, the note next above the
written note, the written note itself, the note
below, and the written note again (Ex. i). It
is thus identical with a figure frequently em-
ployed in composition, and known as the half-
drcle {Halbzirkel, Circolo mezzo). The written
note is called the principal note of the turn, and
the others are termed respectively the upper and
lower auxiliary notes.
1, Written. Played.
On account of its gracefulness, and also no
doubt in consequence of its presenting little dif-
ficulty of execution, the turn has always been a
very favourite ornament, so much so that Em-
manuel Bach says of it, 'This beautiful grace ia
102
TUEN.
aii it were too complaisant, it suits well every-
where, and on this account is often abused, for
many players imagine that the whole grace and
beauty of pianoforte-playing consist in making a
turn every moment.' Properly introduced, how-
ever, it is of the greatest value, both in slow
movements, in which it serves to connect and
fill up long notes in a melody, and also in rapid
tempo and on short notes, where it lends bright-
ness and accent to the phrase.
When the sign stands directly above a note,
the four notes of the turn are played rapidly,
and, if the written note is a long one, the last of
the four is sustained until its duration is com-
pleted (Ex. a) ; if, however, the written note is
too short to admit of this difference, the fournotes
are made equal (Ex. 3).
2. Mozart, Violin Sonata In G major.
When the sign is placed a little to the right of
the note, the written note is played first, and the
four notes of the turn follow it, all four being of
equal length. The exact moment for the com-
mencement of the turn is not fixed ; it may be
soon after the written note, the four turn-notes
being then rather slow (Ex. 4), or later, in which
case the turn will be more rapid (Ex. 5). The
former rendering is best suited to a slow move-
ment, the latter to one of a livelier character.
Bbkthovbn, Sonata, Op. 10, No. x.
4. Played.
Adagio ^
Bbbthov
'Pratittimo. ^
itJt, Sonata, Op. a, No. i
•p-. Played.^ ^
[^
Ml" <P. ^^
1— Ih
?w
I-
=f=
•)
LLmJiI
Both the turn upon the written note and that
which follows it may be expressed in small
grace-notes, instead of by the sign. For this
purpose the turn upon the note will require three
small notes, which are placed before the principal
note though played within its value, and the turn
after the note will require four (Ex. 6). This
TURN.
method of writing the turn is usually employed
in modern music in preference to the sign.
Mozart, Sonata in F. Turn on the note.
6. fe Played.
Mozart, Tema con Variazioni.
Played.
The upper auxiliary note of a turn is always
the next degree of the scale above the principal
note, and is therefore either a tone or a semitone
distant from it, according to the position in the
scale held by the written note. Thus, in a turn
on the first degree, the upper note is a tone
above (Ex. 7), while a turn on the third degree
is made with the semitone (Ex. 8). The lower
auxiliary note may likewise follow the scale,
and may therefore be also either a tone or a
semitone from its principal note ; but the effect of
the smaller distance is as a rule the more agree-
able, and it is therefore customary to raise the
lower note chromatically, in those cases in which
it would naturally be a tone distant from its
principal note (Ex. 9).
7. 8. 9. „
Played.
This alteration of the lower note is in accord-
ance with a rule which governs the use of auxi-
liary notes in general, but in the construction
of both the ordinary turn and the turn of the
shake [Shake, vol.iii. p. 483, Ex. 40] the rule is
not invariably followed. The case in which it is
most strictly observed is when the principal note
of the turn is the fifth degree of the scale, yet
even here, when it is accompanied by the tonic
harmony, an exception is occasionally met with,
as in Ex. 10. That Bach did not object to the
use of a lower auxiliary note a tone below the
principal note is proved by the four semiquavers
in the subject of the CjJ major fugue in the
Well-tempered Clavier, and by other similar in-
stances. Another and more frequent exception
occurs when the upper note is only a semitone
above the principal note, in which case the lower
note is generally made a tone below (Ex. 11).
In the case of a turn on the fifth degree of the
minor scale the rule is always observed, and both
notes are a semitone distant (Ex. 12). A turn
of this kind is termed a chromatic turn, because
its notes form part of a chromatic scale.
Mozart, Sonata in A.
10.
$
11.
I—
TURN.
Mozart, Violin Sonata in O.
-m-
Mozart, Clarinet Trio in Eb.
T r ^
All chromatic alterations in a turn can be in-
dicated by means of accidentals placed above or
below the sign, although they frequently have to
be made without any such indication. An ac-
cidental above the sign refers to the upper auxi-
liary note, and one underneath it to the lower,
as in the following examples from Haydn : —
Sonata in Eb.
When the note which bears a turn is dotted,
and is followed by a note of half its own length,
the last note of the turn falls in the place of the
dot, the other three notes being either quick or
slow, according to the character of the movement
(Ex. 14). When however the dotted note is
followed by two short notes (Ex. 15), or when it
represents a full bar of 3-4 or a half-bar of 6-8 or
6-4 time (Ex. 16), the rule does not apply, and
the note is treated simply as a long note. A
turn on a note followed by two dots is played so
that the last note falls in the place of the first
dot (Ex. 17).
Mozart, Sonata in D,
Bbbthovev, Sonata, Op. 13, Adagio.
15. °
TURN.
16. Bkkthovbn, Sonata, Op. lo, No. i.
193
The turn on the dotted note was frequently
written by Mozart in a somewhat ambiguous
fashion, by means of four small notes (Ex. 18),
the fourth of which has in performance to be
made longer than the other three, although
written of the same length, in order that it may
represent the dot, according to rule.
Mozart, Sonata
A dagio.
An apparent exception to the rule that a turn
is played during some portion of the value of its
written note occurs when the sign is placed over
the second of two notes of the same name,
whether connected by a tie or not (Ex. 19).
Haydn, Trio in G.
VOL. IV PT 2.
In this case the turn is played before the note
over which the sign stands, so that the written
note forms the last note of the turn. This ap-
parently exceptional rendering may be explained-
by the assumption that the second of the two
notes stands in the place of a dot to the first, and
this is supported by the fact that any such ex-
ample might be written without the second note,
but with a dot in its stead, as in Ex. 20, when
the rendering would be precisely the same. If,
however, the first of two notes of the same name
is abeady dotted, the second cannot be said to
bear to it the relation of a dot, and accordingly
a turn in such a case would be treated simply
as a turn over the note (Ex. 21").
194
TURN.
"When the order of the notes of a turn is re-
versed, so as to begin with the lower note instead
of the upper, the turn is said to be inverted, and
its sign is either placed on end thus, J, or drawn
down in the contrary direction to the ordinary
sign, thus, s-»» (Ex. 22). The earlier writers
generally employed the latter form, but Hum-
mel and others prefer the vertical sign. The
inverted turn is however more frequently written
in small notes than indicated by a sign (Ex. 23).
22. C. P. R Bach, Sonata in fib. Largo.
Mozart, Rondo in A minor.
23.
In certain cases, particularly at the commence-
ment of a phrase, the effect of the ordinary turn
beginning with the upper note is unsatisfactory
and deficient in accent. The perception of this
fact led to the invention of a particular form of
turn (called by Emmanuel Bach the Geschnellte
Doppelschlag), in which the four notes of the
ordinary turn were preceded by a short principal
note, written as a small grace-note (Ex. 24).
This kind of turn, consisting of five equal notes,
is better adapted to modern music and to modem
taste than the simple turn of four notes, and it is
therefore frequently introduced in older music,
even when not specially indicated. The cases in
which it is most suitable are precisely those in
which Emmanuel Bach allowed the use of the
♦ geschnellte Doppelschlag,' namely, after a stac-
cato note (Ex. 25), or a rest (Ex. 26), or when
preceded by a note one degree lower (Ex. 27).
24.
C. P. R Bach, Sonata.
TURN.
28. Havdn, Tiio in Eb, Andante.
27.
Mozart, Sonata in P.
Played.
A similar turn of five notes (instead of four),
also frequently met with, is indicated by the
compound sign jlt;, and called the Prallende
Doppelschlag. The difference of name is unim-
portant, since it merely means the same orna-
ment introduced under different circumstances;
but the sign has remained longer in use than the
older mode of writing shown in Ex. 24, and is
still occasionally met with. (Ex. 28.)
Bbkthovbn, Violin Sonata, Op. la, No. i.
When a note bearing a turn of either four or
five notes is preceded by an appoggiatura (Ex.
29), or by a slurred note one degree higher than
itself (Ex. 30), the entrance of the turn is
slightly delayed, the preceding note being pro-
longed, precisely as the commencement of the
♦bound trill ' is delayed. [See Shake, vol. iii.
p. 481, Ex. II.]
W. F. Bach, Sonata in D.
f T^
TURN.
C. p. E. Bach, Rondo in C,
TUSCH.
195
Like the shake, the turn can occur in two
parts at once, and Hummel indicates this by
a double sign, '^ ; this is however rarely if ever
met with in the works of other composers, the
usual method being to write out the ornament in
full, in ordinary notes. A strikingly effective
instance of the employment of the double turn
occurs in the first movement of Beethoven's Con-
certo in Eb,^ and Schumann, in No. 4 of the
* Kreisleriana,' has a three-part turn, written in
small notes. [F.T.]
TURNER, Austin T., born at Bristol, 1823,
was a chorister at the Cathedral there, and at
the age of 20 was appointed vicar choral at Lin-
coln. He went to Australia in 1854, and was
selected as singing master to the Government
School at Ballarat, where he now resides. He
was the pioneer of music in that place, being the
first conductor of the Philharmonic Society, which
among other oratorios has performed Mendels-
sohn's * St. Paul ' and Spohr's * Last Judgment,'
and, for the first time in Australia, Sullivan's
' Prodigal Son.' His sacred cantata 'Adoration/
for solos, chorus, and full orchestra, was produced
by the Melbourne Philharmonic Society on Nov.
24, 1874. He is also the author of a choral
song ; two masses, sung with full orchestral ac-
companiments at St. Francis' Church, Melbourne ;
several glees, madrigals, and minor works. He
has been organist of Christ Church, Ballarat,
for many years. [G.]
TURNER, William, Mus. Doc, bom 1651,
gon of Charles Turner, cook of Pembroke College,
Oxfoi'd, commenced his musical education as a
chorister of Christ Church, Oxford, under Edward
Lowe, and was afterwards admitted a chorister
of the Chapel Royal under Captain Henry Cooke.
Whilst in the latter capacity he joined his fellow
choristers, John Blow and Pelham Humfrey in
the composition of the * Club Anthem.' After
quitting the choir his voice settled into a fine
countertenor, and he became a member of the
choir of Lincoln Cathedral. On Oct. 11, 1669,
he was sworn in as a gentleman of the Chapel
Royal, and soon afterwards became a vicar
choral of St. Paul's, and a lay vicar of West-
minster Abbey. He graduated as Mus. Doc. at
Cambridge in 1696. He composed much church
music; 2 services and 6 anthems (including ' The
king shall rejoice,' composed for St. Cecilia's
Day, 1697, and 'The queen shall rejoice,' for
1 In the «ubject which Is accompanied by descending cbromatic
triplets iu tlie bass.
the coronation of Queen Anne) are contained in
the Tudway collection (Harl. MSS. 7339 and
7341). Eight more anthems are at Ely Cathe-
dral, and others in the choir books of the Chapel
Royal and Westminster Abbey. Boyce printed
the anthem 'Losd, Thou hast been our refuge'
in his Cathedral Music. Many of Turner's songs
were printed in the collections of the period.
He died at his house in Duke Street, West-
nainster, Jan. 13, 1739-40, aged 88, having sur-
vived his wife, with whom he had lived nearly
70 years, only 4 days, she dying on Jan. 9, aged
85. They were buried Jan. 16, in one grave in
the west cloister of Westminster Abbey. Their
youngest daughter, Anne, was the wife of John
Robinson, organist of Westminster Abbey. [See
Robinson, John.] [W.H.H.]
TURPIN, Edmund Hart, distinguished or-
ganist, was born at Nottingham May 4, 1835;
was local organist at the age of thirteen ; also
studied composition and piano, and became prac-
tically acquainted with the instruments of the
orchestra and military band. In 1857 he came
to London, and since 1869 has been fixed at
St. George's, Bloomsbury, and is one of the most
prominent of the London organists. In 1875110
became Hon. Secretary of the College of Or-
ganists, to which excellent institution he has
devoted much attention, especially in developing
the examinations. Mr. Turpin has been for long
connected with the musical press of London, and
since 1880 has edited the 'Musical Standard.'
He conducts various societies, and in 1883 was
conductor of the London orchestra at the Car-
diff Eisteddfod. His published works embrace
'A Song of Faith,' produced in London, 1867;
'Jerusalem,' a cantata; anthems and services;
pianoforte pieces; songs, hymn-tunes, and mueli
organ music. He has also edited the * Student's
Edition ' of classical pianoforte music (Weekes
and Co.), with marginal analyses and directions.
In MS. he has several masses, a Stabat Mater,
etc., etc. [G.]
TUSCH, probably a form of Touche, that is.
Toccata, and that again related to Tuck, Tucket.
The German term for a flourish or ensemble-
piece for trumpets, on state or convivial occa-
sions. Weber has left one of 4 bars long for 20
trumpets, given in Jahns's Verzeichniss, 47 a.
[See Fanfabe.]
In Germany the term is also used for a thing
unknown in this country, namely, for the sort of
impromptu, spontaneous, acclamations of the wind
instruments in the orchestra after some very great
or successful performance. After the audience
and the players have gone on for some time with
ordinary applause, cries of ' Tusch, Tusch, ' are
gradually heard tlirough the hall, and then the
Trumpets, Horns, and Trombones begin a wild
kind of greeting as if they could not help it, and
were doing it independent of the players. To
an Englishman on a special occasion, such as
the Beethovenfest or Schumannfest at Bonn in
1870 and 1873, it is a very new and interesting
experience. [G.J
02
196
TUTTI.
TUTTI (Ital.), all. This word is used to desig-
nate those parts of a vocal or instrumental com-
position which are performed by the whole of the
forces at once. In the scores, and more fre-
quently in the chorus parts of masses, cantatas,
etc., the parts for the solo quartet (where such is
employed) are often written on the same set of
staves as the chorus parts, in which case the
words Solo and Tutti are used to distinguish the
one from the other. The same thing is done in
the solo part of a pianoforte concerto, and also in
the baud parts of concertos generally, so that the
orchestra may know where to avoid overpowering
the solo instrument. It is a frequent custom in
large orchestras to allow only a portion of the
strings (three desks or so) to accompany solos,
though if the conductor understands how to keep
the players well down this is not necessary. The
term Ripieno was formerly applied to those vio-
lins which only play in the tnttis. For this end
in some modern scores (Killer's cantata 'Die
Nacht,' Liszt's 'Graner Messe,' etc.), the string
parts are marked S and T or S and E. where
requisite.
The term Tutti hns thence been applied to
those portions of a concerto in which the orches-
tra— not necessarily the whole orchestra — plays
while the solo instrument is silent. In the Mo-
zartian form of the concerto the first movement
has in particular two long tuttis, one at the
beginning, to present the whole of the subject-
matter, and the second (rather shorter) in the
middle to work it out. This arrangement is still
in use, though the modern tendency is to bring
the solo instrument and the orchestra into closer
rapport and consequently to shorten the pure
solos and tuttis. Beethoven introduced (PF.
Concerto in G, No. 4) the innovation of allowing
the soloist to open the proceedings, but though
the doing so with a flourish, as in his Eb Con-
certo, has been frequently imitated since, no one
has followed the extremely original and simple
precedent afforded by the former work. Ex-
amples of unusually long tuttis may be noticed
in Beethoven's Eb and Violin Concertos, LitolfTs
•Dutch' Concerto -symphonic, and Tschaikow-
sky's immense work in Bb minor. Mendelssohn,
in his G minor, set the fashion of short tuttis,
which is followed by Hiller, Grieg, and others.
Schumann's A minor Concerto has one of 32
short bars, another of 20, and none besides of
more than 8. Brahms in D minor and Dvorak
in Bb, however, return to the old fashion of
a lengthy exordium.
In pure orchestral music, especially tip to
Beethoven's time, we speak of the forte passages
as ' the tuttis,' from the fact of their being the
places where the full orchestra is used in a mass,
but in modem music the tendency is to use
nearly the whole orchestra everywhere, in soft or
loud places, a custom which tends to render the
general tone-colour dull and monotonous.
In military bands, where little diflference of
tone- colour is attainable, and volume of sound
the prime consideration, the music is nearly all
Tutti. [F.C.]
TYLMAN SUSATO.
TYE, Christopher, Mus. Doc, bom in West-
minster in the early part of the 16th century,
was a chorister and afterwards a gentleman o£
the Chapel Royal. He graduated as Mus. Bac.
at Cambridge in 1536. From 1541 to 1562 he
was organist of Ely Cathedral. In 1545 he pro-
ceeded Mus. Doc. at Cambridge, and in 1548
was admitted ad eundem at Oxford. He trans-
lated the first 14 chapters of the Acts of the
Apostles into metre, set them to music, and
published them in 1553, with the curious title
of ' The Actes of the Apostles, translated into
Englyshe metre, and dedicated to the kynges
moste excellent maiestye, by Christofer Tye,
Doctor in musyke, and one of the gentylmen of
hys graces most honourable Chappell, wyth notes
to eche Chapter, to synge and also to play upon
the Lute, very necessary e for studentes after
theyr study e to fyle thyr wyttes, and alsoe for
all Christians that cannot synge to reade the good
and Godlye storyes of the lives of Christ hy»
Apostles.' Tye's verses are of the Sternhold
and Hopkins order : his music for them most
excellent. Hawkins printed the music for the
beginning of the 14th chapter (a masterly canon),
in his History, chap, xxv, the first stanza af
which is a fair sample of Tye's versification : —
It chanced inlconium
As they oft times dyd use,
Topetlier they into dyd cum
The Sinagoge of Jues.
Some of the music of the Acts of the Apostles
has been adapted by Oliphant and others to
passages from the Psalms. Three anthems by
Tye were printed in Barnard's Church Music,
one of which was also printed in Boyee's Cathe-
dral Music; another anthem was printed in
Page's Harmonia Sacra, and his Evening Service
in G minor in Rimbault's Cathedral Music.
An anthem is in the Tudway collection (Harl.
MS. 7341), and motets and anthems by him
exist in MS. in the Music School and at Christ
Church, Oxford. The Gloria of his mass ' Euge
bone' is printed by Burney (Hist. ii. 589) and
reprinted in Hullah's * Vocal Scores.' It was
sung by Hullah's Upper Schools at St. Martin's
Hall, and proved both melodious and interesting,
Tye taught Edward VI. music. He died about
1 580. He was introduced as one of the characters
of Samuel Rowley's play, *When you see me
you know me, or. The Famous Chronicle Historie
of King Henry VIII. with the Birth and Virtuous
Life of Edward, Prince of Wales,' 1605. In
this play occurs the following curious antici-
pation of a phrase well known in reference to
i^arinelli : —
England one God, one truth, one doctor hath
For Musicke's art, and that is Doctor Tye,
Admired for skill in musicke's harmony.
Antony Wood attributes to him the recovery of
English church music after it had been almost
ruined by the dissolution of the monasteries. [See
Schools or Composition, iii. 2726.] [W.H.H.]
TYLMAN SUSATO, printer and composer
of music, was bora at or near Cologne probably
towards the end of the fifteenth century. His
name is regularly written by himself in the
TYLMAN SUSATO.
full form given above, although the spelling of
the first part of it is extremely irregular.^ A
Uocument referred to by Fetis^ describes Susato
as * son of Tylman.' It is therefore only through
an inexplicable forgetf ulness of diplomatic usage
that Fdtis and others^ have taken Tylman for a
surname.* These writers have also accepted a
conjecture of Dehn^ that * Susato * indicated the
place of the composer's birth, namely the tovsrn of
Soest (Susatum) : in one of his books, however,
he expressly describes himself as 'Agrippinensis,'*
which can only refer to Cologne,' Consequently
we have to coiisider * Susato ' (or *de Susato ' — as
it once occurs, in a document^ of 1543) as a
family-name, 'van (or 'von') Soest,' doubtless
originally derived from the Westphalian town.
By the year 1529 Tylman is found settled at
Antwerp, where he maintained himself by
transcribing music for the chapel of the Virgin
in the cathedral; in 1531 he is mentioned as
taking part, as trumpeter, in the performance of
certain masses there. He was also one of the
five musicians supported by the city ('stads-
speellieden '), and as such possessed, according to
a list of 1532, two trumpets, a ' velt-trompet,'
and a *teneur-pipe.' Losing his post on the
arrival of Philip II in 1549, ^® appears, for some
unexplained reason, never to have been again
employed by the city. Before this date however
he had found another occupation as a printer of
music. For a short time^ he worked in company
with some friends; but from 1543 onwards he
published on his own account, bringing out
between that year and 1561 more than fifty
volumes of music, nearly every one of which
contains some compositions of his own. He
died before 1564.''*
Susato's first publication is entitled 'Premier
Livre de Chansons k quatre Parties, au quel sont
contenues trente et une nouvelles Chansons
convenables tant k la Voix comme aux Instru-
mentz.' Eight of these pieces are by himself.
The rest of his publications, so far as they are
now extant, include (i) in French, sixteen books
of 'Chansons' in 3-8 parts; (2) Madrigali e
Canzoni francesi a 5 voci' (1558) ; (3) in Latin
3 books of 'Carmina,' 3 of Masses, one of
'Evangelia Dominicarum,' 15 of ' Ecclesiasticae
Cantiones' or motets (1553-1560), 'Motecta
quinis vocibus, auctore Clemente non Papa'
1 In works with Latin titles Susato writes himself In a great ma-
jority of cases Tilemannua ; Tielmannus, Tilmannus, Tylemannus, and
Tilmannut, occurring but rarely. In Flemish his favourite form seems
to have been Tielman. In French Tylman, the spelling adapted by
F6tis and Mendel Is found most frequently ; Thielman, vfhich is pre-
ferred by M. Goovaerts is less usual; while TUman, the spelling
which is adopted by M. vander Straeten and is now practically the
accepted one in the Netherlands, is met with only twice.
2 Biogr. univ. des Music, viii. 276 ; 2nd ed.
3 Thus Mendel and Beissmaun, Musikal. ConTers.-Lex., z. 355 ;
Berlin. 1881.
* Cp. Alphonse Goovaerts, Histolre et Blbllographle do la Typogra-
pbie musicale dans les Fays-bas, pp. 26. 27 ; Antwerp, 1880.
s See his letter in Fetis, 1. c.
6 Goovaerts, p. 191.
7 At the same time, M. Goovaerts notes (pp. 26, 27), we are not to
confound Susato, as F^tis and Mendel have done, with a contem-
porary Thielman van Ceulen, who was a brewer, and whoss father's
name was Adolf.
8 Edmond vander Straeten, La Musique aux Pays-bas avant le
Kixme Sifecle. v. 258 ; Brussels. 1880.
« Goovaerts. pp, 18—26.
w Ibid. p. 31.
TYROLIENNE.
197
(1546), and 5 books of 'Cantiones sacrae quae
vulgo Moteta vocant' Isic] (1546). Finally (4)
in l)utch there are his three books of songs, etc.,
entitled 'Musyck boexken,' and one book (1561),
apparently the second of a series of 'Sauter-
Liedekens' (Psalter-ditties), which are of pecu-
liar interest. The third of the Musyck boexken
contains some dancer by Susato himself, which
are described ^^ as 'full of character* and ex-
cellently written. The souteiliedekens, which
Ambros further^^ states to be found in four
more Musyck-boexken, are pieces from the Psalms
according to the rhymed Flemish version, set
without change to the popular song-tunes of the
day ('gemeyne bekende liedekens.' ^^) The charm
however of these compositions lies less in tlie
airs adapted in them than in the independ-
ence and originality of the part-writing, an art
in which Susato was so proficient that some
of his three-part songs are composed in such
a manner as to be suitable, he states, equally for
three and for two voices with omission of the
bass. Susato appears also to have co-operated
with Clemens non Papa in some of his work, and
not to have been merely his publisher. Still it is
as a publisher '* that Susato has hitherto been
almost exclusively known, the masters whose
works he printed being very numerous, and
including such names as Crequillon, Gombert,
Goudimel, 0. de Lassus, P. de Manchicourt, J.
Mouton, C. de Rore, A. Willaert, etc. [R.L.P.]
TYNDALL, John, LL.D., F.R.S. It is
unnecessary in this Dictionary to say more about
this eminent natural philosopher and lecturer
than that he was born about 1820 at Leighlin
Bridge, near Carlow, Ireland, that to a very
varied education and experience in his native
country and in England he added a course of
study under Bunsen at Marburg and Magnus at
Berlin; that he succeeded Faraday as Superin-
tendent of the Royal Institution, London, and was
President of the British Association at Belfast in
1874. His investigations into subjects connected
with music are contained in a book entitled
* Sound,' published in 1867, and now in its 4th
edition (1884). (See Times, Oct. 23, 1884 ;
p. IOC.) [G.]
TYROLIENNE, a modified form of Landler.
[See vol. ii. p. 83.] The ' Tyrolienne ' never had
any distinctive existence as a dance ; the name
was first applied to Ballet music, supposed more
or less accurately to represent the naive dances
of the Austrian or Bavarian peasants. In a
similar manner it was adopted by the compilers
of trivial school-room pieces, with whom it is as
much a rule to print their title-pages in French
as their marks of time and expression in Italian.
The fashion for Tyrolean music in England was
first set by the visit of the Rainer family, in
11 Vander Straeten, y. 261, who says that these dances have been
reprinted by Eitner in the Monatshefte lUr Muslkgeschichte, Jahrg.
vii. No. 6.
12 Geschichte der Musik. lli. 813 (Breslau, 1868). These however are
not mentioned by M. Goovaerts, whose general accuracy may lead one
to suspect a mistake on Ambros' part.
13 Ambros, iii. 313.
14 His publications are rarely found in England, the British Museum
only possessing cue volume of masses.
198
TYROLIENNE.
TUDWAY.
May 1827, since when several similar perform-
ances have been heard from time to time. Most
of these companies of peasant musicians come
from the Ziller Thai, where the peculiar forms of
Tyrolean music may still be heard better than
anywhere else. The best -known example of
an artificial * Tyrolienne ' is the well-known
* Choeur Ty rolien * in Act iii. of Rossini's * Guil-
laume Tell,* the first strain of which is given
below. For examples of the genuine Landler
we must refer the reader to Ritter v. Spaun's
' Oesterreichischen Volksweisen' (Vienna, 1845),
M. V. Siiss's 'Salzbnrger Volkslieder* (Salz-
burg. 1865), or Von Kobell's * Schnadahiipfeln '
(Muuicl), 1845).
A characteristic feature of the original form of
Liindler as sung in Austrian and Bavarian Tyrol
is the Jodel. This term is applied to the abrupt
but not inharmonious changes from the chest
voice to the falsetto, which are such a well-known
feature in the performances of Tyrolese singers.
The practice is not easy to acquire, unless the
voice has been accustomed to it from early j'outh :
it also requires a powerful organ and considerable
compass. Jodels form an impromptu adornment
to the simple country melodies sung by the
peasants; they are also used as ritornels or re-
frains at the end of each verse of the song. They
are not sung to words, but merely vocalised,
altliough passages resembling them in form are
of frequent occurrence in Tyrolean melodies.
Examples of these will be found below in a dance
song from von Spaun's collection. Moscheles
(Tyrolese Melodies, 1827) tried to note down
some of the Jodels sung by the Rainer family,
but the result was neither accurate nor suc-
cessful.
druht >i meia Hu&t.
[W.B.8.]
I
THOMASSCHULE. Since the notice under
Leipsic, vol. ii. p. 114 &, was compiled, the fol-
lowing changes are to be mentioned. In 1877
the school was removed from its old building
in the Thoniaskirchhof to a new one near the
Plagwitzerstrasse in the western suburb of Leip-
sic. In 1879 Wilhelm Rust succeeded to the
post of Cantor, which he still holds. A minute
account of the history of the school and of its
condition in the time of Kuhnau and Bach will
be found in Spitta's ' Bach,' vol. ii,, especially
pp. 1 1-35 and 483-494 : compare the documents
printed in Anhang B, I-IX and XI. [R.L.P.]
TUDWAY. [See ante, p. 186 a.] * A coUec-
tion^ of the most celebrated Services and An-
thems used in the Church of England from the
Reformation to the Restauration of K. CharlesII.,
composed by the best masters and collected by
Thomas Tudway, D.M., Musick Professor in the
University of Cambridge.' In 6 volumes 4to
(171 5-1 720), Copied for Lord Harley, (British
Museum, Harleian MSS. 7337-7342.)
Tall Is.
VOL, I.
Whole Service, D mluor Anthem. O Lord make. 4 5.
with BQCBened ictus).
Anthem, 1 call and cry. & ."5.
Do, wipe away my sins, k 5.
Do, With all our hearts, i. 5.
Do, O Lord give Thy Holy, k 4,
Bird. Whole Service, D minor
with B p (Benedictus).
Anthem, Sing joy tully. a R.
Do. O Lord luru Thy wrath.
Do, Bow thine ear, k 6. I
Do. f ave me. 0 God. k 5.
Do, Prevent us, O Lord, a 4.
TallU. Anthem. Discumflt them,
it 5.
Tye, Even. Serr,, G minor, LMri,
BuU, Anthem, 2 trebles. Al-
mighty God, 1592, (Organ
pt.)
Morley. Bren. Serv., D min. k 5.
Barcroft. Morning Service, G
minor, 1532 (Benedlctusj.
1 N.B. For an alphabetical list of them, under composers, see 011-
pbaut's Catalogue of itIS. Music iu the B. M. p. 31, etc.
Stonard. Evening Service In C.
4 5. 1558,
Amner. Whole Service, D mIn,
a 4 (Benedictus).
Anthem, Christ rising again.
4 4.
Mundy. Do, O Lord I bow. k 5.
O, Gibbons. Service, 1635 (Bene-
dictus).
Anthem, O Lord, Increase, k 4.
Do. Why art thou so heavy.
ii4.
Do. Behold Thou hast made,
kl.
H. Molle, Ev. Serv. Dm. with Bl].
Portman. Whole Service, G (Be-
nedictus).
H. Molle. Evening Service, F.
Patrick. ^\Tjo!e Service, G minor
(Benedictus).
Farrant. Whole Service, called
' Farrant's High,' A minor
(Benedictus).
VOL
Child. \Vhole Service, D, k 4.
(Jubilate.)
Anthem, Sing we merrily, kZ.
Do. O Lord God. k .5.
Do. O praise the Lord, k 6.
Whole Service, F, (Jubilate
and Cantate.)
Evening Service, A,
Do. C minor (given In D).
Humphrey. Even, Serv,, E mIn.
Verse.
Anthem, Thou art my king. ki.
Do, Haste Thee, O God. ki.
Do. O Lord my God, a 4.
Do. Like as the hart, k 8.
Do. By the waters, k 3.
Do. O give thanks, k 4.
Do. Have mercy, k 3.
Farrant, Kyrie and Credo from
High Service.
Child. Whole Service. E minor.
Verse (Jubilate).
Anthem, Ptaise the Lord, a 4.
Do. O Lord grant the King.
46.
Morley, Funeral Anthem, I am
the resurrection.
Do. Man that is born.
Do. I heard a voice.
Giles. Anthem, Ogive thanks. it.'V
Tomkins. Do, Almighty dod.
kb.
Hooper. Do. Behold this is Christ.
k5.
Batten. Do. Hear my prayer, a 4.
Loosemore. Put me not to re-
buke, ki.
Lawes [W.]. Anthem, The Lord
is my light, ki.
Canon, Non nobis, Morley,
(Byrd).
Do. I am so weary, i 3 (Ford).
Do. O that men would, k 3.
Do. Haste thee, O Lord, a 3.
(Kamsej.)
Do. Music Divine, k 3.
Do. She wee peth sore, ki.
Do. Miserere, k 3,
,11.
Evening Service In G, k 4.
Humphrey, Anthem, O praise thA
Lord. 4 3.
Funeral Anthem, Lord teach ui.
4 3.
Do, O be Joyful, 4 3. Orch.
Do. The King shall rejoice.
4 4. Orch,
1)0, Hear, O heavens. 4 3.
Rogers. Whole Serv., In D (Jub.).
Loosemore, Whole Service, in O
minor. 4 4, 6, 6.
Wise. Whole8erv.,DmIn.(Jub.>.
Anthem, Awake, put on, 4 3.
Do, The ways ot Zion. 4 2.
Holder. Evening Service, C,
Anthem, Thou O God.
Creyghton, Whole Serv., C (Jub.).
Anthem, I will arise.
Aldrlch. Anthem (from Latin),
We have heard. 4 4.
Do. (do.) Why art thou .00. 44.
Do. (do.) My heart is fixed, a 4.
Do, (do.) The eye of the Lord,
a4.
TUDWAY.
TUDWAY.
199
Anthem (do.) O God the King.
Do. (do.) Hold not Thy tongue.
Do. (do.) Give ear OLord. ki.
Do. (do.) Behold now praise.
Do. (do.) Hide not Thou, h 5.
Do. (do.) I looked for the Lord.
4 5.
Do. (do.) O Lord rebuke me
not. i5. (?M. White.)
Do. (do.) O how amiable, k 2.
Do. (do.) Haste Thee 0 Lord.
Do. (do.) For Slon's sake, k 2
and S.
Do. (do.) 0 pray for the peace. I
Do. (do.) I am well pleased. I
Biyan. Whole Service, in G. a 4. 1
Bryan. Morning Service.
Ferabosco. Evening Service.
Jackson, Anthem, The Lord said.
kl.
Blow. Ev. Serv., In E. Verse.
Anthem, O Lord I have sinned.
ki.
Do. I said in the cutting off.
kS. (Orch.)
Do. The Lord Is my Shepherd.
k 4: Orch.
Purcell. Anthem, My beloved
spake, k 4. Orch.
Do. They that go down, k 2.
Orch.
Do. My song shall be alway.
^1. Orch.
Tudway. Anthem, The Lord hear
thee. Orch.
Do. Quare fremuerunt. Orch.
VOL. m.
Henry vm.i Anthem, 0 Lord the
Maker. i
Bevin. Whole Service, D minor'
wlthBl].
Tomkins. Anthem, 0 praise the
Lord. kV2.
Do. Glory be to God. k 10.
D». O God the proud, k 8.
Do. Turn Thou us. k 8.
Matth. White. Anthem, 0 praise
God. kS.
Do. The Lord bless us. k 5.
Parsons. Anth., Deliver me. k 6.
Weelkes. Do. O Lord grant the
king, a 6.
Loosemore. Do. Glory be to God.
ki.
Holden. Do. 0 praise our God.
k*.
Lowe. Do. 0 give thanks, k 4.
Tucker. Do. O give thanks, k 4.
Do. I will magnify, k 4.
Jewett. Do. 1 heard a voice, k 4.
Org.
Creyghton. Whole Service in Eb.
Anthem. Praise the Lord, k 3.
Aldrich. Whole Service in G.
Anthem, Out of the deep.
Do. 0 praise the Lord, k 4.
Do. Sing unto the Lord, a 4.
Amner. Whole Service in G
('C»sar'). k6.
Wise. Evening Service in E b.
Anthem, How are the mighty.
Do. I will sing a new song. ki.
Do. O praise God. k 3.
Do. Behold how good, k 3.
Turner. Whole Service, in A.
Anthem, O praise the Lord.
Do. The King shall rejoice.
O. Gibbons. Do. Hosanna. k 6.
Aldrich. Do. O Lord grant the
King, k 5.
Giles. Do. I will magnify, k 5.
Lugg. Do. Behold how good. 45.
Blow. Whole Service, in G.
Anthem, Save me, O God.
Do. O Lord God. k 8.
Do. O God, my heart, k 4.
Do. And I heard a great voice.
ki.
Do. The kings of Tharsis. ki.
Do. Praise the Lord, a 5.
Aldrich. Ev. Serv., in F. Verse.
Purcell. Whole Service, in Bb.
Do. Rejoice in the Lord.
Do. Praise the Lord, a 2.
Do. I was glad,
Do. O God Thou art.
Do. Lord, how long, k 5.
Do. O God, Thou hast cast, k 6.
Do. Save me, O God. a r>.
Humphrey, Blow, Turner. Anth.
i I will alway give thanks.
VOL. IV.
Amner. Whole Service, in Dmin. Mudd
('CsBsar's')-
Anthem, O sing unto the Lord
Do. Lord I am not.
Do. Bemember not.
Tye. Do. O God be merciful
Do. 0 God that hast pre-
pared, k 4.
Wilkinson. Do. O Lord God. a i.
Lugg. Whole Service, in D.
Hooper. Anthem, Almighty God.
k5.
Barcroft. Anthem, O Almighty Tye. Do. O Lord deliver me. a 5.
God. I Amner. Do. Sing, O heavens, a 7.
O. Gibbons. Do. Lift up your Hutchinson. Do. Behold how
heads. k6. \ good. ki.
Farrant. Do, O Lord God Al- Eamsey. Whole Service, in F.
mighty, k i.
Wilkinson. Do. I am the resur-
rection, a 6.
Laud. Do. Praise the Lord.
Shepherd. Do. Haste Thee, 0 God.
ki.
Fox. Do. Teach me Thy way. ki.
Gibbs. Do. Have mercy upon me.
ki.
Hilton. Do. Lord for Thy.tender.
ki.
Locke. Anthem, When the Son
of man.
Do. Sing unto the Lord.
Chr. Gibbons. Anthem, How long
wilt thou ?
Blow. Whole Service, in A.
Anthem, I beheld and lo a
great.
Do. O sing unto God.
Do. Why do the heathen ?
Do. We will rejoice.
1 This Anthem, after having been often attributed to William
Mundy, seems now, from evidence discovered at Durham Cathedral
by Dr. Philip Armes, the Organist there, to be by John Shepherd.
Anthem, 0 Lord Thou hast
searched.
Do. Thy righteousness, O
Lord.
Do. God is our hope, k 8.
Do. O God wherefore, k 5.
Purcell. Whole Service, in B b.
Anthem, O give thanks.
Do. Behold I bring you.
Do. Be merciful.
Aldrich. Whole Service, in A.
Anthem, I will love Thee.
Do. The Lord is King.
Do. Give the king thy judg-
ment.
Do. If the Lord Himself.
Do. O Lord I have heard.
Locke. Anthem, Lord let me
know mine end.
Do. Not unto us.
E. Gibbons. Anthem, How hath
the city sat desolate.
Hall. Whole Service, in E b.
Anthem, Let God arise, k 2.
Do. O clap your hands, k 3.
Do. By the waters, a 3.
Norris. Morn. Service, in G min.
Anthem, Blessed are those.
Do. I will give thanks.
Wildbore. Anthem, Almighty and
everlasting.
Clark. Anthem, The earth is the
Lords, k 4.
Do. I will love Thee.
Do. Praise the Lord. Full.
Do, Bow down Thine ear. a 3.
Tudway. Anthem, The Lord hath
declared.
Purcell. Do. Blessed is the man.
Do. Thou knowest, Lord.
Purcell. Te Deum, in D.
Jubilate, in D.
Tudway. Anthem, Is it true?
Do. Sing we merrily.
Do. My God, my God.
Do. Man that is born.
Do. I am the resurrection.
Do. I heard a voice.
Do. I will lift up.
Do. I cry 0 heavens.
Do. I will sing (Blenheim).
Do. Thou O God.
Evening Service, in Bb.
Turner. Whole Service, in E.
Anthem, The Queen shall re-
joice.
Do. Behold now, praise.
Do. Lord, Thou hast been.
Do. The Lord is righteous.
Hawkins. Whole Service, in A.
Anthem, O Lord grant the
Queen.
Do. My God, my God.
Do. Lord, Thou art become.
Do. Lord who shall dwell.
Do. Bow down Thine ear.
Holmes. Anthem, Arise, sliine !
Cooper. Do. I waited patiently.
Wanless. Do. Awake up my glory.
Richardson. Do. O Lord God of
my salvation.
Bishop. Morning Service, in D.
Anthem, 0 Lord our Governor.
VOL. V.
Wilson. Evening Service, in G.
Hart. Anthem, I will give thanks.
Do. Praise the Lord.
Lamb. Even. Service, in E min.
Anthem, Unto Thee have I cried,
Do. 0 worship the Lord.
Goldwin. Whole Service in F.
Anthem, O Lord God of hosts.
Do. Hear me, O God.
Croft. Anthem, We will rejoice.
Do. I will sing.
King. Whole Service, in F.
Anthem, Hear, O Lord.
Do. Hear my crying.
Do. Sing unto God.
Holmes. Anthem, I will love Thee,
0 Lord.
Williams. Even. Serv., in A min.
Woolcot. Morning Service in G.
Anthem, O Lord Thou hast cast.
Bowman. Anthem, Shew your-
selves joyful.
Croft. Anthem, Praise the Lord,
0 my soul.
Do. I will always give thanks.
Church. Whole Service, in F.
Anthem, 0 Lord grant the
Queen.
Do. Righteous art Thou.
Do. Praise the Lord.
Do. Lord Thou art become.
Weldon. Do. Hear my crying.
Croft. Morn. Serv., in D.
Tudway. Anthem. My heart re-
joiceth. Orcli.
Do. Behold how good.
Do. 0 praise the Lord.
Do. Arise shine.
Do. Plead Thou.
Do. Give the Lord the honour.
Eoseingrave. Anthem, Arise,
shine. Orch.
Nalson. Morning Service, in G.
Lamb. Anthem, If the Lord Him-
self.
Do. 1 will give thanks, k 3.
Goldwin. Anthem, Ascribe unto
the Lord.
Do. Thy way, 0 God.
Hall. Do. Comfort ye my people.
Do. The souls of the righteous.
Finch. Te Deum in G minor.
Anthem, Grant we beseech Thee.
Hawkins. Whole Service, in G.
Anthem, Blessed be Thou.
Do. O Lord my God.
Do. Blessed is he.
Hawkins, jun. Anthem, 0 praise
the Lord.
VOL. VI.
Orch. Richardson. Even. Service, in C.
nui.
Goldwin. Anthem, O praise God.
a 2.
Do. I will sing, a 4.
Do. 0 be joyful.
Broderip. Whole Service, in D.
Anthem, God is our hope.
Jones. Evening Service, in F.
Greene. Anthem, O sing unto the
Lord, k 5.
Do. Bow down Thine ear. k 0.
C. King. Evening Service, in Bn.
Greene. Anthem, O God, Thou
art my God. Solo.
Do. 0 give thanks.
Walkly. Morning Service, in E b.
Church. Whole Serv., in E min.
Anthem, Turn Thy face from
my sins.
Do. Blessed are those.
Hawkins. Anthem, Merciful Lord.
Croft. Anthem, Offer the sacriticc.
ki.
Do. I cried unto the Lord.
Hendale (Handel). Te Deum and
Jubilate, in D. (Orch.) 1713.
u.
UBERTI, GiULio, poet, patriot, and teacher
of declamation, bom 1805. Together with
his friends, Modena and Mazzini, by the
power of the pen he succeeded in raising the
youth of Italy to action against the tyranny of a
foreign domination, and to the establishment of
the national independence. His poems are noticed
at length by Cesare Cantu in his History of
Italian Literature. Born at Milan, he lived there
the greater portion of his life engaged as a teacher
of declamation. He numbered Malibran and
Grisi amongst his pupils, and was the last of
the masters of declamation who still preserved
the old traditions of classical tragic acting. He
died by his own hand in 1876, a patriot, but a
republican to the end. [J.C.G.]
U. C. (Ital. una corda ; Fr. petite pedale ;
Germ, mit Verwhiebung). An indication of the
use of the left pedal of the pianoforte, by means
of which the action is shifted a little to the
right, and the hammers made to strike a single
string (in modern instruments generally two
strings), instead of the three which are ordinarily
struck. The return to the use of three strings is
indicated by the letters t. c, tre corde, tulte le
corde, or sometimes twtto il cembalo. The shift-
ing pedal, the invention of which dates from
about the end of the i8th century, is an im-
provement on the earlier Celeste pedal (also
called Sourdine) in which the sound was dead-
ened by the interposition of a strip of leather, or
other material, between the hammers and the
strings. This arrangement, which is now used
only in upright pianos, where from lack of
space or from the oblique direction of the strings
the shifting action would not be available, gives
a dull, muflfled sound, which in small instruments
is often so weak as to be practically useless ; the
shifting pedal, on the contrary, produces a beau-
tiful and delicate quality of tone, arising from
the sympathetic vibrations of the unused strings,
which is by no means the same thing as the
ordinary pianissimo, but is of the greatest ser-
vice in producing certain special effects. Bee-
thoven uses it frequently, in the later Sonatas
(from op. 1 01), and in the Andante of the G
major Concerto, op. 58, the whole of which
movement is to be played a una corda, except
the long shake in the middle, in which Beethoven
requires the gradual addition of the other strings,
and afterwards the gradual return from three
strings to one. His directions are ' due, e poi
tre corde,'* and afterwards ' due, poi una corda,'
but it is not possible to carry them out strictly
on the modem pianoforte, as the shifting action
now only reduces to two strings instead of one.
In music for string instruments, the direction
o una corda is occasionally given, to denote that
the passage is to be played upon a single string,
instead of passing from one string to the next,
in order to avoid any break in the quality of tone
produced. [See also Pedals, Sordini, Veb-
SCHIEBDNG.] [F.T.]
UGALDE, Delphine, n6e Beauce, was bom
on Dec. 3, 1829, at Paris or at Larne. She
received instruction in singing from Madame
Moreau-Sainti, and in 1848 made her d^hut as
Angela in ' Le Domino Noir ' at the Opdra Com-
ique where she became a great favourite. Her
repertoire included Henriette in Auber's *L'Am-
bassadrice,' and characters in many new operas by
A. Thomas, Hal«ivy, Massd, etc. On June 12,
1 85 1, she made her debut at Her Majesty's
Theatre, London, as Nefte on the production,
in England, of Auber's * L'Enfant Prodigue,* and
during the season also played Gorilla in Gnecco's
* La Prova,' but though favourably received,
did not appear to her usual advantage. Accord-
ing to the 'Musical World,' June 14, 1851, she
could ' execute passages with a facility rarely ever
heard equalled or surpassed — she sings like a
musician and a thorough artist, and in her
acting betokens singular espn'i and fine comic
powers.' Chorley considered that ' with all her
vocal cleverness and audacity, and a dash of true
dramatic instinct here and there, she was always
an unattractive singer. A want of refinement
as distinct from accuracy or finish ran through
all her performances ; she was too conscious, too
emphatic and too audacious; she came with
great ambitions to make her first appearance as
Semiramide with not one solitary requisite, save
command over any given number of notes in a
roulade.' In 1853 she retired for a time from
the Opdra Comique, through loss of voice, and
played at the Vari^t^s, but returned Jan. 26,
1857, as Eros on the production of Psyche
(Thomas). In 1859-60 she sang at the Lyrique
as Suzanne (' Le Nozze'), and in 'La Fe'e Cara-
bosse' (Massd) and 'Gil Bias' (Semet) on their
production. She afterwards sang in opera bouffe,
and, with her second husband Varcollier, for a
short time undertook the management of the
Bouffes Parisiens.' She is now living in retire-
ment. She also devoted herself to teaching,
among her pupils being Madame Marie Sass;
also her daughter,
Marguerite, who made a successful dibut in
1880 at the Op^ra Comique, in ' La Fille du
Raiment,' and played Nicklausse on the pro-
duction of * Contes d'Hoffman ' (Offenbach), and
was recently singing at the Nouveautds. [A.C.]
ULIBISCHE W. The German mode of spelling
the name which the author himself spells OuLl-
BioHEP. [Vol. ii. p. 6x6.] [G.]
ULRICH, Hugo, a composer of great ability,
whose life was wasted owing to adverse circum-
stances, and probably also to want of strength of
character. He was bom Nov. 26, 1827, **
Oppeln in Silesia, where his father was school-
master. By twelve he had lost both his
parents, and was thrown helpless on the world.
He then got into the Gymnasium or Convict at
Breslau; in 1846 went to Glogau, and lastly to
Berlin. From Mosewius, the excellent director
of the University of Breslau, he had an introduc-
ULRICH.
tion to A. B. Marx ; but poor Ulrich had no
money to pay the fees. With Meyerbeer's help,
however, he became a pupil of Dehn's for two
years, and then produced his op. i, a PF. trio,
ibllowed by two symphonies, all of which excited
much attention. The B minor Symphony (1852)
went the round of Germany, and the Sinfonie
Triomphale obtained the prize of 1500 francs from
the Royal Academy of Brussels in 1853, and was
very much performed and applauded. In 1855
he went off to Italy and lived for long in the
various great towns, but was driven back by
want of means to Berlin. He brought with him
an opera, ' Bertrand de Born ' (still in MS.)- He
taught for a short time in the Conservatoire,
but teaching was distasteful to him ; he had
not the strength to struggle against fate, and
after attempting a third symphony (in G), he
appears to have broken down, or at least to have
relinquished his old high standard, and to have
betaken himself to pot-boilers of various kinds.
Amongst these his arrangements of symphonies
and other orchestral works are prominent, and of
first-rate merit. His wretched life brought on a
most painful nervous illness, which carried him
off on March 23, 1872, and thus ended a life
which in happier circumstances might have pro-
duced great results. He left a quartet, two over-
tures, a cello sonata, and various PF. works. [G.]
UMLAUF, Ignaz, popular dramatic com-
poser in his day, born 1756, in Vienna, where he
died June 8, 1796. In 1772 he entered the
orchestra of the Court Theatre as violin-player,
in 1778 became Capellmeister of the German
Singspiel, in 1789 deputy Capellmeister (with
Salieri as chief) at the Court Theatre, and later
was associated with Weigl in a similar manner
at the Opera. His first opera, * I Rovinati,' was
composed to Italian words by Boccherini (Court
Theatre, 1772). When the Emperor Joseph
instituted the national Singspiel (for which
Mozart composed the ' Entfiihrung') he pitched
upon Umlauf to start it, and his 'Bergknap-
pen' was the first German Singspiel produced
at the Burgtheater (Feb. 17, 1778). This
was succeeded by 'Die Apotheke'; 'Die puce-
farbenen Schuhe,' or 'Die schone Schusterin'
(long a favourite with the charming singer
Mine. Weiss in the principal part) (1779) ; ' Das
Irrlicht,' comic opera in 3 acts, with Mme.
Lange; and 'Der Oberamtmann und die Sol-
daten ' (after Calderon), a 5-act play with airs
and serenade (1782); *Die gliicklichen Jager,'
and ' Der Ring der Liebe,' both Singspiele (i 786).
These operas are all distinguished by a pleasing
style, a fine flow of melody, and plenty of strik-
ing tunes. Umlauf never left Vienna but once,
and that was in 1 790, when he went with Salieri
and a part of the Court band to the Coronation
of the Emperor Leopold II. at Frankfort.^ A
set of variations on the favourite air from ' Das
Irrlicht,' 'Zu Steffan sprach in Traume,* com-
posed for the celebrated bass-singer Fischer, was
long attributed to Mozart, but they were really
1 Mozart was there too, but In a private capacity, and at his own
expense ; he gave a concert, at which he played himself.
UNGER.
201
written by Eberl (see Kochel's 'Mozart Cata-
logue,' Appendix V. No. 288). Pianoforte scores
appeared of 'Die schone Schusterin' and 'Das
Irrlicht,' while several of the airs from the other
Singspiele were published singly or in arrange-
ments. Umlauf's son
Michael, bom 1781 in Vienna, died June 20,
1842, at Baden, near Vienna, was violinist at the
opera, in 1804 began to compose ballets, was
Capellmeister of the two Court Theatres from
1810 to 1825, and engaged again in 1840. He
is said to have been a clever musician, published
PF. sonatas, etc., and composed a Singspiel, * Der
Grenadier' (Karnthnerthor Theatre, 1812). His
chief interest however is the important part he
took in the performance of Beethoven's works.
On these occasions they both acted as conductors,
Umlauf standing by the side of, or behind, Bee-
thoven ; but it was his beat only which the
orchestra followed, as Beethoven, either carried
away by his impetuosity went too fast, as at the
performance of Fidelio in 1814, or, owing to his
deafness, lost the time altogether, as at concerts
in 1814, 1819, and 1824. At the first two per-
formances of the 9th Symphony in May 1824,
Beethoven merely gave the tempo at the com-
mencement of each movement, an arrangement
which the programme announced in the following
diplomatic terms, * Herr Schuppanzigh will lead
the orchestra, and Herr Capellmeister Umlauf
conducts the whole performance. Herr L. v.
Beethoven will take part in conducting the whole
performance.' [C.F.P.]
UN ANNO ED UN GIORNO {i.e. 'A year
and a day'). An opera buffa in one act, by
Sir Julius Benedict. Produced at the Teatro
Fondo, Naples, in 1836, for the debut of F. La-
blache and Mile. Bordogni. It was repeated at
Stuttgart in 1837. [G.]
UNDA MARIS (The sea-wave), a name for
the undulating organ stop more generally known
as Voix Celeste. [G.]
UNDINE. A cantata for solos, chorus, and
orchestra ; words by John Oxenford, music by
Sir Julius Benedict, composed for and produced
at the Norwich Festival, Sept. 1 860. [G.]
UNEQUAL. ' Equal voices ' is the term to
denote that the voices in a composition are of one
class — female voices, as sopranos and contraltos ;
or male voices, as altos, tenors, and basses. When
the two classes are combined, as in an ordinary
chorus, the term ' Unequal Voices ' is used. [G.]
UNGER, Caroline, a great singer of the
last generation, was born Oct. 28, 1805, at
Stuhlweissenburg, near Pesth, where her father
was master of the household ( Wirthschaftsrath)
to Baron Hakelberg. Unger was one of Schu-
bert's friends, and recommended him to Count
Johann Esterhazy in 1 818, so that his daughter
must have been brought up in the midst of mu-
sic. She was trained by no meaner singers than
Aloysia Lange, Mozart's sister-in-law, and Vogl,
Schubert's friend and best interpreter,^ and is
t Her own lUtement, in Nohl's 'Beethoven.' ill. 486.
202
UMGER.
said to have made her debut at Vienna, Feb. 24,
1 82 1, in *Cosi fan tutte.' Early in 1824 Sontag
and she came into contact with Beethoven in
studying the soprano and contralto parts of his
Mass in D and Choral Symphony. No efforts or
representations could induce the master to alter
the extreme range of their parts. ' I remember
once saying to him,' writes Unger, ' that he did
not know how to write for voices, since my part
in the Symphony had one note too high for my
voice.' His answer was, ' Learn away, and the
note will soon come.' On the day of performance,
May 7, the note did come; the excitement of
the audience was enormous, and it was then, at
the close of the Symphony, that the happy idea
occurred to Unger of turning the deaf Beethoven
round to the room, in order that he might see
the applause which he could not hear, and of
which he was therefore unaware. After this she
took an engagement from Barbaja in Italy, and
sung there for many years, during which Doni-
zetti wrote for her 'Parisina,' 'Belisario,' and
* Maria di Rudenz ' ; Bellini, * La Straniera ' ;
Mercadante, * Le due illustre Rivali ' ; Pacini,
*Niobe,' etc., etc. In October 183.7 she sang in
Paris at the Theatre Italien for one season only.
It was perhaps on this occasion that Rossini is
said to have spoken of her as possessing ' the
ardour of the South, the energy of the North,
brazen lungs, a silver voice, and a golden talent.'
She then returned to Italy, but in 1840 married
M. Sabatier, a Florentine gentleman, and re-
tired from the stage. In 1869 she was in
London, and at one of the Saturday Concerts
at the Crystal Palace confirmed to the writer of
this article the anecdote above related of her
turning Beethoven round. Her dramatic ability
and intelligence, says Ft^tis, were great ; she was
large, good-looking, and attractive; the lower
and middle parts of her voice were broad and
fine, but in her upper notes there was much
harshness, especially when they were at all
forced. She died at her villa of ' La Concezione,'
near Florence, March 23, 1877. Mad. Regan
Schimon was one of her principal pupils. [G.]
UNISON. Simultaneous occurrence of two
sounds of the same pitch. Passages in octaves
are sometimes marked Unis., but this is not
strictly correct. [C.H.H.P.]
UNITED STATES. The means and oppor-
tunities presented in the United States for musical
study and improvement have been, within the
past two decades, largely amplified and greatly
strengthened. It is now possible for students
to find institutions where nothing necessary for
a thorough musical education is omitted from
the curriculum. It is the purpose of this article
to indicate the extent and importance of these
means, without, however, attempting to name
all of the establishments in the Union where the
instruction is in the hands of competent pro-
fessors, or which have been recognised as worthy
of patronage.
I. At Harvard University, Cambridge, Massa-
chusetts, music is an * elective * study. The in-
UNITED STATES.
struction, which is purely theoretical, embraces
a course of three years. The degrees of Master
of Arts and Doctor of Philosophy are conferred on
worthy graduates. John K, Paine [vol. ii, p. 632]
has been in charge of this department since 1862
— at first instructor, raised to a full professorship
in 1876. The Boston University, Boston, Massa-
chusetts, includes a College of Music, estab-
lished 1872, with a faculty of thirteen professors
and instructors, Eben Tourj^e, dean [see p. 154].
Instruction is both theoretical and practical, and
is carried to the point that admits of the be-
stowal of the degree of Bachelor of Music, after
a three years' course. Both sexes are admitted
to the College. At Boston are several private
schools, liberally patronised, with pupils from
all parts of the Union. The largest, the New
England Conservatory of Music, established in
1867, is under the direction of Eben Tourj<5e.
This school has a staff of instructors in every
branch, numbering 90, and had in the year
1883-4, 197 1 pupils, with a valuable library
and other resources in full. The establishment
also includes dormitories and dining-rooms for
400 girl pupils. Over 33,000 pupils have been
registered here since the opening of the institu-
tion. The Boston Conservatory of Music, also
established in 1867, is under the care of Julius
Eichberg. It has for several years enjoyed »
high reputation for the thoroughness of its violin
school. At each establishment the class system
is rigidly adhered to, and instruction, beginning
at the rudiments, is carried to a high point in
both theory and practice.
In the public schools of the city of Boston
instruction in music forms a part of each day's
exercises. The schools are divided into three
grades, Primary, Grammar, and High. In the
lowest grade the pupils, five to eight years of
age, are taught the major scales as far as four
sharps and four flats, to fill measures in rhythm,
and the signs and characters in common use;
the vocal exercises consist of songs in unison,
taught by rote. This work is reviewed in the
lower classes of the next grade, which include
children from eight to eleven years, and in-
struction is continued by written exercises in
transposition and vocal exercises in three- and
four-part harmony. In the higher classes of the
grammar schools — pupils of from eleven to four-
teen years — the triads and their inversions are
learned ; the written exercises include transposi-
tions of themes ; and the vocal exercises consist
of songs and chorales in four-part harmony, all of
greater difficulty than those set before the lower
classes. With very few exceptions the sexes are
separated. When, as has sometimes happened,
there have been found boys with tenor and bass
voices, a wider range in the selection of exercises
for practice and songs has been possible. Diplo-
mas are awarded, on graduation, to all who reach
a given standard at a written examination. Still
greater advance is made in the High Schools, the
graduates being from eighteen to nineteen years
old. The exercises are increased in difficulty,
and the lessons include some of the principles of
UNITED STATES.
harmony. All of the instruction in the primary
and grammar schools is given by the regular
teachers, who visit the schools in rotation,
under the supervision of the special instructor
in music. The lessons are mostly oral, writh the
aid of blackboard and charts. Four grades of
text-books, especially prepared for the schools,
are used, named first, second, third and fourth
readers, respectively ; the first being used in the
primary schools, and so on. There is also an
advanced reader — a collection of three-part songs
— used in the girls' high school. The system is
the outgrowth of seventeen years' study and
experience. The department is (1880) in the
charge of a musical director, Julius Eichberg,
who has also the special care of the high schools;
and three special instructors, Joseph B. Shad-
and, Henry E, Holt and J. Munroe Mason, who
divide the care of the grammar and primary
schools. Director and Instructors are under the
control of a committee on music, consisting of
five members of the school committee, appointed
annually. The entire school committee serve
without pay. There is an annual election to
fill vacancies occurring by the expiration of the
three years' term of a third of the number.
Since 1879 women have been allowed to vote
at this election, and women have served on the
school committee since 1875. Both of these
privileges have been secured to women through-
out the state, by general statutes. From the
official returns for 1884, it appears that the
number of public schools in the city of Boston
was 171; of teachers, male and female, nearly
I400; of pupils 58,788; and that the annual
cost of musical instruction was about 11,000
dollars for the special instructors employed.
The system herein set forth has been adopted,
with modifications according to governing cir-
cumstances, in many of the cities and large
towns throughout the Union.
II. The Peabody Institute, Baltimore, Mary-
land, was founded in 1857, ^J George Peabody.
In pursuance of the design of the founder * to fur-
nish that sort of instruction, under able teachers,
in the theory and higher branches of music, for
which there has heretofore been no provision,
and which students have been obliged to seek
abroad,' a Conservatory of Music was organised,
in 1868, substantially on the plan of the Euro-
pean conservatories? Mr. Lucian H. Southard,
an American musician, was its first principal.
In 1 8 71, Mr. Asger Hamerik, a young Danish
composer, was invited to become its head, a posi-
tion still retained by him (1884). The Conserva-
tory has had an average of 120 students, both
sexes being represented. The requisites for ad-
mission are a knowledge of the rudiments of
musical theory, to which must be allied, in the
case of singers a voice, susceptible of cultiva-
tion ; and the ability to play certain studies of
Plaidy and Czemy and the easier sonatas of
Haydn and Mozart, in the case of piano-stu-
dents. The course of instruction is adapted to
a high degree of musical culture, both theoretical
and practical. Diplomas are granted to students
UNITED STATES.
203
who, after a three years' course, pass a satisfac-
tory examination before the government of the
Conservatory. The staff of instructors numbers
six, including the director. The library of the
Institute contains 65,000 volumes, about 1000
of which are scores belonging to the musical
department. About 50 lectures, on literary,
scientific and art topics, by the best lecturers
whose services can be procured, are given yearly.
The Institute is situated in a fine marble build-
ing, occupying an entire square in the centre
of the city. The Peabody Concerts are givea
under the auspices of the Institute.
III. The College of Music, Cincinnati, Ohio,
was incorporated in 1878. The business affairs
of the college are administered by a directory,
composed as follows in 1880 : — George Ward
Nichols, president ; P. R. Neff, treasurer ;
J. Burnet, jun., secretary ; J. Shillito and R. R.
Springer. It is to Mr. Springer's munificent
generosity that the city is largely indebted for
the great Music Hall in which the college is
held. Thirty-four professors of music and modern
languages made up the faculty, and at their
head was Theodore Thomas. The terms for in-
struction are very low, and students enjoy many
advantages. Class instruction is pursued in
theory, vocalisation, chorus-singing, and en-
semble-playing, but not, as a rule, in the orches-
tral branches. There is a college choir of
200 voices and an orchestra of 65 musicians.
During its first season the college gave, under
Mr. Thomas's direction, twelve Symphony con-
certs and twelve Chamber concerts, the pro-
grammes being invariably of the highest order.
The Music Hall contains one of the largest organs
in the world (96 registers, 6,237 pipes ; built by
Hook & Hastings, Boston), and on this there
were given two recitals in each week. The
college doors were first opened for pupils Oct. 14,
1878. The enterprise has met with a success
far beyond the anticipations of its projectors.
During the first season (1878-79) over 500 pupils
were enrolled, both sexes and nearly every por-
tion of North America being represented. Mr.
Thomas resigned his position in 1880.
IV. At Farmington, Connecticut, is found Miss
Sarah Porter's school for girls, established about
thirty years ago, which for a quarter of a cen-
tury has been noted for the good training of its
musical students. These, numbering 50 to 70,
have been in the charge of Karl Klauser,
who has edited over a thousand classical piano
compositions in a manner which has won for
him a high reputation among teachers for the
critical care displayed by him. Pupils here
are permitted frequent opportunities of hearing
the best musicians in classical chamber-concerts.
V. Vassar College, Poughkeepsie, New York,
for girls, was established in 1865. There are
generally from 125 to 150 pupils enrolled. The
musical department has been, since 1867, under
the charge of Frederic Louis Ritter. Eight to
ten concerts of classic music are given yearly.
Wells College, Aurora, New York, for girls, was
incorporated in 1868. During the academia
204
UNITED STATES.
year 1878-79, the classes in music included 45
pupils, under the charge of Max Piutti. The
Syracuse University, Syracuse, New York, for
both sexes, was established in 1871 ; the musical
department was formed in 1877. William
Schultze is in charge of this department. The
pupils numbered 127 in 1879, about five-sixths
of whom were girls. The tiegree of Bachelor
of Music is conferred on deserving graduates.
Oberlin College, Oberlin, Ohio, has a Conserva-
tory of Music. The College was established in
1834, the Conservatory was opened in 1865.
Fenelon B. Rice is its musical director. The
Conservatory is modelled, as nearly as practicable,
on that at Leipzig. The average number of
students at the College during the decade 1871-
80, has been 1 20, some two-thirds of whom have
entered the Conservatory, about 30 per cent of
the latter being boys.
VI. As already intimated, it is not possible to
name all of the reputable institutions, public or
private, in the United States, where music is taught
by trained and competent instructors. Neither has
it been possible to do more than suggest the ful-
ness of the means which, in each instance cited,
are at the command of students, such as libraries,
lectures and concerts. In addition to the collec-
tions of treatises and scores which are found at
each of the institutions named, there exist seve-
ral large and carefully made up libraries, which,
being generally of a public or g-wa^i-public cha-
racter, present another means of education. At
Boston there is the Public Library, open to every
inhabitant of the city, without distinction, in
which is a collection of rare text-books and
ecores. The library of the Harvard Musical
Association is ako of great value. At the li-
brary of Harvard University, and at the Astor
Library, New York, collections of musical litera-
ture and works have been begun. The private
library of Joseph W. Drexel, of New York,
noted as the richest in the Union in old and
rare musical works, will eventually form a part
of the Lenox Library of that city.
A feature peculiar to the United States should
also be noted — * Normal Musical Institutes,'
held in the summer, at some seaside or mountain
watering-place, by leading professors, for the
purpose of giving advanced instruction to stu-
dents who intend to fit themselves for teaching.
Once a year, also in the summer, there is held at
a place previously agreed upon, a meeting of
music teachers from all parts of the Union, under
the name * The National Music Teachers' Asso-
ciation,* whereat matters of interest to the pro-
fession are discussed, and lectures delivered.
From this has sprung (1884) an institution, The
American College of Musicians, the purpose of
which is to examine musicians who desire to be-
come teachers, and to grant graded certificates of
ability. The hope of the projectors is that by
this means the standard of capacity among music
teachers will be raised and maintained. [F.H.J.]
UNIVERSITY MUSICAL SOCIETIES.
Of these there are four in the British Isles re-
quiring notice.
UNIVERSITY SOCIETIES.
I. Cambridge. The Cambridge LTniversity
Musical Society (C.U.M.S.) was founded as the
'Peterhouse Musical Society,* in Peterhouse (now
modernised into ' St. Peter's College ') by a little
body of amateurs in Michaelmas Term 1843. The
earliest record which it possesses is the programuie
of a concert given at the Red Lion in Petty Cury
on Friday, Dec. 8 : —
Part I.
Symphony . . . No. 1 Haydn.
Glee . . * Ye breezes softlv blowing'. . Mozart.
Solo Fluto Portuguese air with Variations. Nicholson.
Song . . 'In native worth' (Creation). . Haydn.
Uverture . . . Masauiello. . . . Auber.
Part n.
Overture . . . Semiramide. . . . Rossini.
Ballad ' As down in the sunless retreats.' . Dikes.
Walzer . . . Elisabethen. . . . Strauss,
Song . . . ' Fra poco a me.' . Donizetti.
Quadrille . . . Royal Irish. . . . J allien.
In its early days the Society was mainly de-
voted to the practice of instrumental music, the
few glees and songs introduced being of secondary
interest. The Peterhouse Society had been in
existence for about eighteen months, and had held
eleven 'Public Performance Meetings,' when the
name was changed to that of the Cambridge Uni-
versity Musical Society. The first concert given
by the newly-named Society was held on May i,
1844 ; it included Haydn's ' Surprise * Symphony,
and 'Mr. Dykes of St. Catharine's College' sang
John Parry's * Nice young man ' and (for an en-
core) the same composer's ' Berlin wool.' The Mr.
Dykes who thus distinguished himself was after-
wards well known as the Rev. J. B. Dykes, the
composer of some of the best of modern hymn-
tunes. There is not much variation in the pro-
grammes during the early years of the Society's
existence. Two or three overtures, an occasional
symphony or PF. trio, with songs and glees,
formed the staple, but very little attention was
given to choral works. The conductors were
usually the Presidents of the Society. In 1846
Dr. Walmisley's name frequently appears, as in
his charming trio for three trebles, 'The Mer-
maids,' and a duet concertante for piano and oboe.
In 1850 the Dublin University Musical Society,
having passed a resolution admitting the mem-
bers of the C.U.M.S. as honorary members, the
compliment was returned in a similar way, and
the Cambridge Society subsequently entered into
negotiations with the Oxford and Edinburgh
University Musical Societies, by which the mem-
bers of the different bodies received mutual re-
cognition. In Dec. 1852 professional conductors
began to be engaged. One of the earliest of
these (Mr. Amps) turned his attention to the
practice of choral works. The result was shown
in the performance of a short selection from Men-
delssohn's 'Elijah' (on March 15, 1853), 'An-
tigone' music (May 28, 1855), and 'CEdipus'
(May 26, 1857), when Dr. Donaldson read his
translation of the play. On the election of
Sterndale Bennett to the professorial chair of
Music, he undertook whenever time would allow
to conduct one concert a year. In fulfilment of
this promise, on Nov. 17, 1856, he conducted a
concert and played his own Quintet for piano
TTNIVERSITY SOCIETIES.
and wind, the quartet being all professionals.
In the next few years the Society made steady
progress, the most notable performances being
Mozart's Requiem ; Bach's Concerto for 3 PF.s ;
Beethoven's ' Ruins of Athens ; ' the 'Antigone '
again ; a selection from Gluck's 'Iphigenia in Au-
lis' ; Beethoven's Mass in C and Choral Fantasia ;
and a concert in memory of Spohr (Dec. 7, 1859).
In i860 the Society gave its first chamber con-
cert (Feb. 21). In the following year the Society
gave a performance of the * (Edipus ' in the Hall
of King's College, the dialogue being read by
the Public Orator, the Rev. W. G. Clark. At
a subsequent performance of the * Antigone ' in
the Hall of Caius College (May 20, 1861) the
verses were read by the Rev. Charles Kingsley.
On March 9, 1862, the name of Schumann occurs
for the first time to the beautiful Andante and
"Variations for two pianofortes (op. 46). In the
following year the Society produced for the first
time in England the same composer's Pianoforte
Concerto (op. 54), played by Mr. J. R. Lunn.
Other achievements worth mentioning were the
performance in 1 863 of the Finale to Act I. of
♦Tannhauser,' of Schumann's Adagio and Allegro
(op. 70) for PF. and horn, his Fest-overture (op.
123, first time in England), and of the march
and chorus from ' Tannhauser.'
The concerts of the next nine years continued
to keep up the previous reputation of the Society,
and many standard works were during this period
added to the repertory.
In 1870 Mr. Charles Villiers Stanford (then an
undergraduate at Queen's) made his first appear-
ance at a concert on Nov. 30, when he played
a Nachtstiick of Schumann's, and a Waltz of
Heller's. In 1873 he succeeded Dr. Hopkins as
conductor, and one of his first steps was to admit
ladies to the chorus as associates. This was
effected by amalgamating the C.U.M.S. with the
Fitzwilliam Musical Society, a body which had
existed since 1858. The first concert in which
the newly-formed chorus took part was given
on May 27, 1873, when Sterndale Bennett con-
ducted ' The May Queen,' and the ' Tannhauser '
march and chorus was repeated. In the follow-
ing year the Society performed Schumann's
'Paradise and the Peri' (June 3, 1874), and on
May 2, 1875, ^^8 music to 'Faust' (Part III)
for the first time in England. The custom of
engaging an orchestra, consisting mainly of Lon-
don professionals, now began, and enabled the
C.U.M.S. to perform larger works than before.
The number of concerts had gradually been
diminished, and the whole efforts of the chorus
were devoted to the practice of important com-
positions. By this means the Society has acquired
a reputation as a pioneer amongst English musical
societies, and within the last few years has pro-
duced many new and important compositions,
besides reviving works which, like Handel's *Se-
mele ' and ' Hercules,' or Purcell's * Yorkshire
Feast Song,' had fallen into undeserved oblivion.
A glance at the summary of compositions per-
formed, at the end of this article, will show the good
■work which it is doing for music in England.
UNIVERSITY SOCIETIES.
205
In 1876 a series of Wednesday Popular Con-
certs was started, and has been continued without
intermission in every Michaelmas and Lent Term
to the present time. These are given in the
small room of the Guildhall, and generally consist
of one or two instrumental quartets or trios, one
instrumental solo, and two or three songs. The
performers consist of both amateur and profes-
sional instrumentalists. More important chamber
concerts are also given in the Lent and Easter
Terms ; and to these, Professor Joachim — an
honorary member of the Society — has often given
his services. The Society, as at present (Nov.
1 884) constituted, consists of a patron (the Duke
of Devonshire), 16 vice-patrons, a president (the
Rev. A. Austen Leigh), three vice-presidents,
secretary, treasurer, librarian, committee of eight
members, ladies' committee of six associates, con-
ductor (Dr. C. V. Stanford), 280 performing, 130
non-performing members and associates, and 20
honorary members. The subscription is 21s. a
year, or los. a term. Besides the popular con-
certs once a week in Michaelmas and Lent Terms,
there is usually a choral concert every Term, and
in Lent and Easter Terms a chamber concert of
importance, and choral and instrumental prac-
tices once a week.
The following is a list of the most important
works produced and performed by the C.U.M.S.
Numerous overtures and symphonies and much
chamber music, by Haydn, Mozart, Beethoven,
Schubert, Brahms, Bennett, etc., have been
omitted for want of space. The works marked
with an asterisk were performed by the Society
for the first time in England.
Astorga. Stabat Mater.
Bach, C. P. E. Symphony, No. I.
Bach, J. S. Concerto for 3 Pianos ;
Concerto for 2 Pianos ; Suite
for Orchestra, B minor ; ' My
spirit was in heaviness'; Vio-
lin Concerto ; ' Now shall the
Grace ' ; »Halt im Gedftchtniss.
Beethoven. Buins of Athens ;
Mass In C ; Choral Fantasia ;
Meeresstille und gluclillche
Fahrt ; Choral Symphony.
Bennett. Exhibition Ode; The
May Queen ; The Woman of
Samaria.
Brahms. Kequlem ; Song of Des-
tiny ; »Symphony, No. I ; Lie-
beslieder; •Rhapsodie, op. 53 ;
Es ist das Heil ; Concerto, Vio-
lin, op. 77 ; Tragic Overture,
op. 81.
Cherubinl. •Marche Religieuse.
Garrett. •The Triumph of Love ;
•The Shunammite.
Gluck. Selection from Iphigenia
in Aulis.
Goetz. •Sonata for Piano (4
hands) ; 'N^nla'; •PF. Sonata,
4 hands.
Handel. Selection from The Mes-
siah ; Ode on St. Cecilia's Day;
Dettingen Te Deum; Selection
from Samson ; Funeral An-
them ; Coronation Do. ; Selec-
tion from Alexander's Feast
Acis and Galatea ; Semele ;
Israel in Egypt ; Hercules ;
Concerto G minor.
Haydn. Mass. No. I.
Joachim. •Elegiac Overture
Theme and Variations for Vio-
lin and Orchestra.
Kiel. •Requiem.
Leo. •Dixit Duminus.
Mendelssohn. Selection from Ell
Jab ; Music to Antigone ;
Music to Oedipus ; Psalm
XLII, I'salm CXV ; 'To the
Sons of Art ' ; Lauda Sion ;
Violin Concerto ; Walpurgis
Night ; St. Paul.
Mozart. Jupiter Symphony ; Re-
quiem ; Mass, No. I ; Mass,
No. XII ; »Minuets for 2 Vio-
lins and Violoncello.
Palestrina. Hodie Christus; Se-
lection, Missa Papae Marceili.
Parry, C. H. H. Scenes from Pro-
metheus Unbound ; •Sym-
phony in F; PF. Trio in E mi.;
PF. Quartet in A minor.
Purcell. Yorkshire Feast Song.
Romberg. Lay of the Bell.
Schumann. Andante and Varia-
tions, op. 46; •PP. Concerto,
op. 54; Adagio and Allegro,
op. 70; •Fest Ouverture. op.
123; Paradise and the Peri;
•Faust (Part III); The Pil-
grimage of the Rose.
Spohr. Selection from The Last
Judgment ; Selection from
Calvary; ' God Thou art great.'
Stanford. •Pianoforte Concerto ;
•Trio, Piano and Strings ; •Re-
surrection Hymn ; •Sonata,
Piano and Violin ; •Psalm
xlvi ; •Elegiac Symphony;
' Awake, my heart.'
Steggail. •Festival Anthem.
Stewart. •Echo and the Lovem.
Volkmann. •Serenade for Strings,
op. 63.
Wagner. Finale, Act I of Tann-
hauser ; March and Chorus,
Do.; Kaiser-Marsch ; Prelude
to Die Meistersinger ; Sieg-
fried-Idyll.
Walmisley. •Trio, 'The Mer-
maids'; •Duet-Concertante,
Oboe and Flute.
[W.B.S.3
206 UNIVERSITY SOCIETIES.
II. Oxford. — At the close of the last and the
beginning of the present century, Oxford concerts
were probably superior to any in England outside
London. A performance was given once a week
in Term-time, and the programmes in the Bod-
leian show that at least one symphony or concerto
was played at each. But the old Oxford Musical
Society disappeared, and the societies now existing
are of comparatively recent date. There has been
HO Choral Society on a large scale confined to
members of the University since the disappear-
ance of the ' Mannergesangverein ' some seven
years ago ; but there are two important societies
largely attended by members of the University,
the Oxford Choral Society and the Oxford Phil-
harmonic Society. The former was founded in
1 819, but in its present shape may be said to date
from 1869, when the late Mr. Allchin, Mua. B.,
St. John's, became conductor, a post which he
held till the end of 1881. Under his direction
the Society became exceedingly prosperous, and
the following works, besides the usual repertoire
of Choral Societies, were performed : — ' Israel in
Egypt,' the ' Reformation Symphony,' Schu-
mann's • Pilgrimage of the Rose,' and Wagner's
* Siegfried -Idyll,' The following English com-
positions were performed by it in Oxford almost
as soon as they were brought out : — Burnett's
'Ancient Mariner,' Macfarren's 'St. John the
Baptist' and 'Joseph,' Stainer's 'Daughter of
Jairus,' and Sullivan's 'Martyr of Antioch.'
Mr. Allchin was succeeded as conductor by Mr.
Walter Parratt, Mus. B., organist of Magdalen,
and on his departure from Oxford in 1882, Mr.
C, H. Lloyd, M.A., Mus. B., organist of Christ
Church, assumed the baton. Amongst the most
notable works given under their direction may
be mentioned Schubert's B minor Symphony,
Gounod's 'Redemption,' and Parry's 'Prometheus
Unbound.' The president of the Society is Dr.
Stainer, who was also the founder of the Phil-
harmonic Society in 1865. He, however, con-
ducted only one concert, and in October 1866
Mr. James Taylor, organist of New College,
Mus. B. (1873), and organist of the University
(^1872), accepted the post of conductor, which he
has held ever since. The compositions performed
under his direction include the following : — Bach's
•God's time is the best,' Beethoven's Eb Con-
certo and Choral Fantasia, Cherubini's Requiem
in C minor, Schubert's ' Song of Miriam,' Spohr's
'Fall of Babylon,' Schumann's 'Paradise and the
Peri,' Bennett's 'Woman of Samaria,' Benedict's
• St. Peter,' and Ouseley's ' Hagar.*
The attempt to establish Symphony Concerts
in Oxford has so far proved a failure, but the
Orchestral Association, which meets weekly under
Mr. C. H. Lloj'd's direction, boasts about fifty
members, many of them belonging to the Univer-
sity. Chamber music owns two strictly academic
associations. The older of these, the University
Musical Club, originated in the gatherings of
some musical friends in the rooms of the present
Choragus of the University, Dr. Hubert Parry,
during his undergraduate days. After him, Mr.
C H. Lloyd, then a Scholar of what is now
UNIVERSITY SOCIETIES.
Hertford College, took up the meetings, and in
1871 they developed into a public institution.
The number of members rose rapidly, reaching
as high as 138 in 1880. In the follov\nng year
the Club, then under the presidency of Mr.
Franklin Harvey, M.A., of Magdalen, celebrated
its tenth year by a great reunion of past and
present members. During the last few years the
tendency of the Club has been to give good per-
formances of chamber music by jirofessional players,
and it occurred to some, including the writer
of this notice, that it would be desirable to esta-
blish an association for the development of ama-
teur playing. The scheme was floated in the
summer of 1884, and the 'University Musical
Union ' met with a success far exceeding its pro-
moters' hopes. Over a hundred members were
speedily enrolled, and regular professional instruc-
tion in quartet-playing, etc., has been provided
every week, so that any amateur player who will
work may, during residence, make himself conver-
sant with a large amount of chamber music.
No account of Univeri:ity music in Oxford can
be considered complete without some notice of the
College concerts. The first college that ventured
on the experiment of replacing a miscellaneous
programme of part-songs, etc., with a complete
cantata was Queen's. In 1873 Bennett's 'May
Queen' was given in the College Hall, with a
band, and since then the following works have
been performed with orchestra : — Barnett's ' An-
cient Mariner,' Bennett's ' Ajax ' music ; Mac-
farren's 'May Day,' and 'Outward Bound,' Gade's
' Crusaders,' Mendelssohn's ' Walpurgis Nacht,'
Handel's ' Acis and Galatea,' Gadsby's ' Lord of
the Isles,' Schumann's 'Luck of Edenhall,' Alice
Mary Smith's 'Ode to the North-East Wind,'
and * Song of the Little Baltung,' Haydn's Sur-
prise Symphony, Mozart's Eb Symphony, and
Bennett's F minor Concerto. For its 1885 con-
cert the Society has commissioned its conductor.
Dr. Iliffie, organist of St. John's College, to com-
pose a new work, which will be called ' Lara.*
For some years Queen's College stood alone in
the high standard of its programmes, but of late
its example has been extensively followed, and
the following complete works were given in the
Summer Term of 1884. Gade's 'Comala* at Wor-
cester, and his 'Psyche' (with small band) at
Keble ; Barnett's 'Ancient Mariner' at New, and
his • Paradise and the Peri ' (with band) at Mor-
ton; and Macfarren's 'May Day' at Exeter.
To sum up, we have in Oxford every year four
concerts of the highest class, two given by the
Philharmonic, and two by the Choral ; we have
two concerts of chamber music every week in
each Term; any instrumental player has a weekly
chance of practising both orchestral and chamber
music, and at least six colleges nmy be depended
on to perform a cantata of considerable dimensions
every year. The following works will be heard
in Oxford with orchestra during the eailypart of
1885: — Beethoven's 'Mount of Olives,' Stainer's
'St. Mary Magdalen,' Mozart's* Twelfth Mass' (so
called), Mendelssohn's 114th Psalm and Refor-
mation Symphony, Spohr's * Christian's Prayer,*
UNIVERSITY SOCIETIES.
Lloyd's ' Hero and Leander,' Handel's • Alex-
ander's Feast' and *Acis and Galatea,' Goring
Thomas's 'Sun Worshippers,' Mackenzie's 'Bride,'
Gade's ' Erl King's Daughter,' and Iliffe's *Lara.'
There will also be performances of three other
works, but the details are not yet (Nov. 1884)
settled. [J.H.M.]
III. Edinbubgh.— The germ of the first stu-
dents' musical society established in Scotland is
traceable to a ' University Amateur Concert ' of
February 1867, 'given by the Committee of Edin-
burgh University Athletic Club, the performers
consisting of members of the University, assisted
by the Professor of Music, by amateurs of the
Senatus Academicus, and by members of St. Ce-
cilia Instrumental Society.* The following winter
the Association was organised, and in 1S68,
1869, and 1870 concerts were held. An arrange-
ment having been made for elementary instruc-
tion to members deficient in previous training,
the society was recognised as a University insti-
tution by an annual grant of £10 from the
Senatus. But its numerical strength was weak,
and at a committee meeting in Nov. 1870 it was
resolved ' to let the society, so far as active work
was concerned, fall into abeyance for the session
of 1870-71, in consideration of the difficulty in
carrying on the work from want of encourage-
ment from the students.* In the winter of 1S71
the present Professor of Music, warmly supported
by some of his colleagues, was able to get the
matter more under his control, and he was elected
president and honorary conductor. Amongst
reforms introduced were the use of his class-
room and of a pianoforte for the practisings, and
the drawing up and printing of a code of rules
and list of office-bearers. The latter consists of
a president, vice-presidents, including the prin-
cipal and some half dozen professors, honorary
vice-presidents, a committee of some ten stu-
dents, with honorary secretary and treasurer,
and with choirmaster. Subsequently the Duke
of Edinburgh complied with the request of the
president that His Royal Highness should be-
come patron. — The main object of the Society, as
stated in the rules, *is the encouragement and
promotion amongst students of the practical
study of choral music' After the reorganisation
of 1 871 considerable impetus was given to the
matter, and the annual concert of 1872 evinced
marked advance and higher aim. Besides a
stronger chorus, a very fair orchestra of pro-
fessors and amateurs, with A. C. Mackenzie
as leader, played Mozart's G minor Symphony,
some overtures, and the accompaniments; and
the president and conductor was presented by
his society with a silver-mounted bdton. Recent
years have brought increased success, both as to
annual concerts and as to numbers, which in
five years rose from 64 to 236, the average
number being some 200. The twelve concerts
annually given since 1872 have been very popu-
lar, and on the whole well supported. Although
the annual subscription is only 5«., and expenses
are considerable, in 1883 the balance in hand
was about £200, enabling the society not only to
UNIVERSITY SOCIETIES.
207
present to the Senatus a portrait of the presi-
dent, but also to subscribe £50 towards the
expenses of an extra concert given during the
tercentenary of the University in 1884, and a
large collection of music for men's voices, with
orchestral accompaniment specially scored, for
much of it has been acquired out of the yearly
balances in hand. A gratifying outcome of this
new feature in Scottish student-life is that each
of the other Universities of Scotland have fol-
lowed the example of Edinburgh — Aberdeen, St.
Andrew's, and Glasgow, each possessing a musical
society giving a very creditable annual concert.
The formation of such a student -chorus. East
and West, North and South, cannot fail to raise
choral taste amongst the most educated portion
of the male population of Scotland, and to afford,
as in the days of Queen Elizabeth, opportunity of
taking part in most enjoyable artistic recreation.
And by no means the least part of the value of
University musical societies is that their associa-
tions tend through life to foster and cement stu-
dents' regard for their 'Alma Mater.' [H.S.O.]
IV. Dublin, — TheUniversity of Dublin Choral
Society, like many other similar Societies, origin-
ated with a few lovers of music among the students
of the College, who met weekly in the chambers
of one of their number^ for the practice of part-
singing. They then obtained permission to meet
in the evening in the College Dining Hall, where
an audience of their friends was occasionally
assembled. These proceedings excited consider-
able interest, and in November 1S37 ^^^ Society
was formally founded as the ' University Choral
Society,' a title to which the words ' of Dublin '
were afterwards added, when the rights of mem-
bership were extended to graduates of Oxford and
Cambridge. [See Trinity College, Dublin.]
In 1837 the amount of printed music available
for the use of a vocal association was small. The
cheap editions of Oratorios, Masses, and Cantatas
were not commenced until nine years later, and
it was not until 1S42 that the publication of
Mr. HuUah's Part Music supplied choral socie-
ties with compositions by the best masters.
The Society therefore for some time confined its
studies to some of Handel's best-known works,
such as * Messiah,' * Israel in Egypt,' ' Judas
Maccabseus,' 'Jephthah,' 'Samson,' *Acis and
Galatea,* and * Alexander's Feast,' Haydn's
* Creation' and 'Seasons,' Romberg's 'Lay of the
Bell,* and the music to ' Macbeth ' and the
'Tempest.' In 1845, however, an important
advance was made by the performance, on May 23,
of Mendelssohn's music to 'Antigone,' which
had been produced at Coven t Garden Theatre in
the preceding January, and from that time for-
ward the Society has been remarkable for bring-
ing before its members and friends every work
of merit within its powers of performance.
The following list shows the larger works
(many of them frequently repeated) which, in
addition to those mentioned above, have been
performed at the Society's concerts : —
I Mr. Hercules H. G. Mac DonuelU
208
UNIVERSITY SOCIETIES.
URHAN.
Bach. Fasslon (St. John) ; Mag-
niflcat.
Balfe. Uazeppa.
Beethoyen. Mass In 0 ; Monnt of
Oliyes ; Ruins of Athens ; King
Stephen.
Carlssiml. Jonah.
Cherubinl. Requiem Mass.
GosU. Eli.
Cowen. The Corsair.
Gade. The Erl-King's Daughter ;
Spring's Message j Psyche ;
The Crusaders.
Gadsby. The Lord of the Isles ;
Alice Brand.
Gollmick. The Heir of Linne.
Handel. Saul ; Joshua ; Esther ;
Theodora; The Dettingeu Te
Deum.
Hnier. Lorelei.
Macfarren. The Sleeper Awak-
ened ; John the Baptist.
Mendelssohn. St. Paul ; Lauda
Sion ; Athalie ; Christus ; The
First Walpurgis-Nlght ; Lore-
ley.
Monk. The Bard.
Mozart. Requiem.
Rossini. Stabat Mater.
Smart. The Bride of Dunkerron.
Spohr. Last Judgment ; Psalm 84.
Stewart. A Winter Night's Wake ;
The Eve of St John (both
written for the Society).
Sullivan. Martyr of Antioch ; Te
Deum ; On Shore and Sea.
Van Bree. St. Cecilia's Day.
Verdi. Requiem Mass.
Weber. Jubilee Cantata; Music
in Preciosa ; Liebe und Natur.
Several large selections from operas containing
a choral element have been given, as Mozart's
'Idomeneo/ • Zauberflote,' and *Don Giovanni';
Weber's *Der Freischiitz ' and 'Oberon,' etc.
For many years the old-fashioned regtilations
compelled the Society to employ only the chor-
isters of the Cathedral for the treble parts in
the chorus, and on occasions where boys' voices
were inadequate, to give its concerts outside the
college walls; but in 1870 permission was granted
to admit ladies as associates, and since that
time they have taken part in the concerts of
the Society.
About the year 1839 the Church Music Society,
of which Mr. J. Rambaut was conductor, was
founded in Trinity College. It appears to have
restricted itself to the practice of psalmody, and
to have had but a brief existence. [G. A.C.]
UPHAM, J. Baxter, M.D., a citizen of Bos-
ton, U.S.A., where he has for long occupied
a prominent position in the musical life of the
city. He was for nearly thirty consecutive
years (1855-1884) president of the Music Hall
Association, and ifc was largely through his
personal exertions that the great organ, built by
Walcker of Ludwigsburg, was procured for the
hall. Before concluding the contract for the
organ. Dr. Upham consulted the most notable
builders in Europe, as well as with organists and
scientific authorities, and personally inspected
the most famous organs in the Old World, with
the view of securing an instrument that should
be in all respects a masterpiece.^ For 10 years
(i860 to 1870) Dr. Upham was president of the
Handel and Haydn Society, and it fell to him
to prepare and deliver the historical sketch of
the society at its bicentenary festival in May,
1865. For 15 years (1857-1872) he officiated
as chairman of the Committee on Music in
the public schools of the city, and through his
active supervision the system of music-training
in Boston acquired much of its thoroughness.
[See United States.] [F.H.J.]
UPRIGHT GRAND PIANO. A transpo-
sition of the ordinary long grand piano to a
vertical position, so that it might stand against
a wall. The upright piano was derived from the
upright harpsichord, and like it, its introduction
was nearly contemporaneous with the horizontal
I The organ was sold and taken down In the snmmer of 1884, and
stored awaiting the erection of a new concert hall, for which it was
bought.
instrument. The upright harpsichord (Fr. Clave-
cin Vertical) is figured in Virdung's ' Musica
getutscht,' etc., a.d. isu.as the * Claviciterium,'
but, like all Virdung's woodcuts of keyboard
instruments, is reversed, the treble being at the
wrong end. He does not figure or describe the
Arpichordium, but we know that the long horizon-
tal instrument was in use at that time, and con-
structive features are in favour of its priority.
Upright harpsichords are now rarely to be met
with. One decorated with paintings was shown
in the special Loan Exhibition of ancient Musical
Instruments at South Kensington in 1872, con-
tributed by M. Laconi of Paris. Another, in
a fine Renaissance outer case, was seen in 1883
at Christie's, on the occasion of the Duke of
Hamilton's sale. The museums of the Conser-
vatoire at Brussels, and of Signer Kraus, Florence,
contain specimens. There is also an upright
grand piano at Brussels, the oldest yet met with.
It was made by Frederici of Gera, in Saxony, in
1745. This was the very time when Silbermann
was successfully reproducing the Florentine Cris-
tofori's pianofortes at Dresden, which were hori-
zontal grand pianos. [See Pianoforte; Cris-
TOFORi ; and Silbermann.] Frederici, however,
made no use of Cristofori's action. Neither did
he avail himself of a model of Schroeter's, said
to be at that time known in Saxony, M. Victor
Mahillon, who discovered the Frederici instru-
ment and transferred it to the Museum he so
ably directs, derives the action from the Ger-
man striking clocks, and with good reasons.
Frederici is also credited with the invention of
the square piano, an adaptation of the clavichord.
The earliest mention of an upright grand piano
in Messrs. Broadwoods* books occurs in 1789,
when one * in a cabinett case ' was sold. It was,
however, by another maker. The first upright
grand piano made and sent out by this firm was
to the same customer, in 1 799. Some years be-
fore, in 1795, William Stodart had patented an
upright grand pianoforte with a new mechanism,
in the form of a bookcase. He gained a con-
siderable reputation by, and sale for, this in-
strument. Hawkins's invention in 1800 of the
modern upright piano descending to the floor,
carried on, modified, and improved by Southwell,
Wornum, the Broadwoods and others, in a few
years superseded the cumbrous vertical grand
piano. [A.J.H.]
URBANI. [See Valentini.]
URHAN, Chretien, born Feb. 16, 1790, at
Montjoie, near Aix-la-Chapelle, was the son of
a violinist. He early showed great taste for
music, and while still untaught began to compose
for his two favourite instruments, the violin and
piano. The Empress Josephine happening to hear
him at Adx-la-Chapelle, was so struck with liis
precocious talent that she brought him to Paris,
and specially recommended him to Lesueur.
The composer of * Les Bardes ' was then at the
height of his popularity both with the public
and the Court, and his countenance was of as
much service to Urban as his lessons in compo-
sition. Urban entered the orchestra of the
I
UEHAN.
^*> Op^ra in 1816, was promoted first to a place
among the first violins, and finally, on Baillot's
retirement (i 831), to that of first violin-solo. As
a concert-player he made his mark as one of the
foremost violinists of the day with Mayseder's
brilliant compositions, which he was the first to
introduce in Paris. He was frequently heard at
the Concerts du Conservatoire, of which he was
one of the originators, and where his perform-
ances on the viola and the viol d'amour excited
great attention. He also contributed to the
success of the memorable evenings for chamber-
music founded by Baillot, and of Fetis's Concerts
historiques. Urban had studied all instruments
played with the bow, and could play the violin
with four strings, the five- and four-stringed viola,
and the viol d'amour, in each case preserving the
characteristic quality of tone. He had a par-
ticular method of tuning, by which he produced
varied and striking effects of tone. Charmed with
his talent and originality, and anxious to turn
to account his power of bowing and knowledge
of effect, Meyerbeer wrote for him the famous
viol d'amour solo in the accompaniment to the
tenor air in the ist act of the ' Huguenots.'
Short in stature, and with no personal attrac-
tions, Urban dressed like a clergyman, and was
looked upon, not without reason, as an eccen-
tric ; but his religion was untainted by bigotry,
1 and he was kind and charitable. He pushed his
asceticism so far as to take but one meal a day,
often of bread and radishes; and during the
30 years he sat in the orchestra of the Op^ra,
either from religious scruples, or fear of being
shocked at the attitudes of the hallerine, he
never once glanced at the stage. As a com-
poser he aimed at combining new forms with
simplicity of ideas. He left 2 string quartets;
2 quintets for 3 violas, cello, double-bass, and
drums ad lib. ; PF. pieces for 2 and 4 hands ;
and melodies for i and 2 voices, including a
romance on two notes only, all published by
Eichault, and now almost unprocurable. Urban
styled all his music ' romantic' He died after a
long and painful illness at Belleville (Paris),
Nov. 2, 1845. Urban was godfather to Jules
Stockhausen the singer. [G.C.]
URIO, Francesco Antonio, a Milanese
composer of the 17th and 18th centuries. The
title of his first ^ published work, of which there
is a copy in the Library of the Liceo Musicale
of Bologna, is as follows : —
Motetti di Concerto a due, tre e quattro voci, con vio-
lini, 6 senza. Opera prima. Composti e Dedicati all'
Ilminentissimo e KeverendisBimo Prencipe II signer Car-
dinale Pietro Ottoboni ... da Francesc' Antonio Uric da
Milano Minore Conventuale, Maestro di Cappella nell'
, Insigne Basilica de' Santi Dodici Apostoli di Eoma. In
I Koma MDCxc nella Stamperia di Gio. Giacomo Komarek,
I Boemo, etc.
K mi
R ms
I
URIO.
209
Between this date and that of his second work
—also contained in the same Library — he had
migrated from Rome to Venice, and was chapel-
master of the church of the Frari.
[ am Indebted for this fact, unknown to F^tis. to the klndneu of
Cavaliere Castellani, Chief Librarian to the Biblioteca della It.
HalTersita, at Bologna.
VOL. IV. PT. 2.
Salmi concertati a' tr6 voci con Violini a beneplacito
del Padre Francesco Antonio Urio Maestro di Cappella
nella Chiesa dei Frari di Venetia. Opera Secouda dedi-
cata air Ecnellenza del signer Don Filippo Antonio
Spinola Colonna, Duca del Testo, Gentilhuomo della
Camera di S. M. Cattolica. suo Generale della Cavalleria
nello Stato di Milano, e Castellano del Castel Nuovo di
Napoli, etc. In Bologna per Martino Silvani 1697, etc.
M. Arthur Pougin, in his Supplement to Fetis's
Biographic, states that Urio wrote a Cantata di
camera (1696), and two oratorios, 'Sansone'
(1701) and 'Maddalena convertita' (1706) for
Ferdinand de' Medicis, Prince of Tuscany ; but
neither the authority for the statement nor the
place where the works are to be found can now
be ascertained. A 'Tantum ergo' for soprano
solo and figured bass is in the library of the
Royal College of Music, London, No. 1744.
Urio's most important known work, however, is
a Te Deum for voices and orchestra, which owes
its interest to us, not only for its own merits,
which are considerable, but because Handel used
it largely,'-^ taking, as his custom was, themes
and passages from it, principally for his Det-
tingen Te Deum (10 numbers), and also for ♦ Saul '
(6 numbers), 'Israel in Egypt' (i ditto), and
'L' Allegro' (i ditto).
Of this work three MSS. are known to be
in existence, (i) In the Library of the Royal
College of Music, which is inscribed 'John
Stafford Smith, a.d. 17S0. Te Deum by Urio
— a Jesuit of Bologna. Apud 1682.' Over the
Score: 'Te Deum. Urio. Con due Tiombe,
due Oboe, Violini & due Viole obligati & Fagotto
a 5 Voci,' (2) In the British Museum (Add.
MSS. 31,478). *Te Deum Laudamus con due
Trombe, due Oboe et Violini, et due^ Viole obli-
gati. Del Padre Franco Uria {sic) Bolognese.*
This title is followed by a note in ink, appa-
rently in the handwriting of Dr. Thomas Bever,
Fellow of All Souls, Oxford, and a collector of
music in the last century :
This curious score was transcribed from an Italian
Copy in the Collection of Dr. Samuel Howard, Mus. D.,
organist of St. Brides and St. Clement's Danes. It for-
merly belonged to Mr. Handel, who has borrowed liom
hence several Verses in the Dettingen Te Deum, as well
as some other passages in the Oratorio of Saul. T. B.
This copy was written by John Anderson, a Chorister
Of St. PauPs 1781. Pri. 11. Us. Od.
Above this in pencil, in another hand :
In the copy purchased by J, W. Callcott at the sale
of Warren Home, the date is put at lOGl. *
(3) The copy just mentioned as having been sold
at Warren Home's sale came into the possession
of M. Schoelcher (as stated in a note by Joseph
Warren on the fly-leaf of No. 2), and is now in
the Library of the Conservatoire at Paris. It is
an oblong quarto, with no title-page, but bearing
above the top line of the score on pnge i, 'Te
Deum, Urio, 1660.* The following notes are
written on the fly-leaves of the volume.'
2 First publicly mentioned by Crotch In his Lectures (see the list,
p. 122, note), and then by V. Novello (Preface to Purcell, p. 9).
3 In the score itself these are given as ' Violetta ' (in alto clef) and
' Violetta tenore ' (in tenor clef).
* More accurately 1660.
6 I owe these notes to the kindness of my friend M. G. Chouquet.
keeper of the Mus^ of the Couserratoiro.
210
[Pagel.]
URIO.
Edm:T: Warren Home. 8.13.6.
N.B. — Mr. Handel was much indebted to this author,
as plainly appears by his Dettingen Te Deum, likewise a
Duett in Julius Caesar, and a movement in Saul for
Carillons, etc., etc., etc
J. W. Callcott, May 16, 1797.
Vincent Novello, May day, 1839.
69 Dean Street, Boho Square.
There was another copy of this extremely rare and
curious Composition in the Collection of Mr. Bartleman,
at whose death it was purchased by Mr. Greatorex. At
the sale of the musical Library of Mr. Greatorex the
MS. was bought by Charles Hatchett, Esq., 9 Belle Vue
House, Chelsea, in whose possession it still remains.
V. Novello, 1832.
This copy was kindly given to me by Mrs. Stokes on
the death of my beloved friend Charles Stokes in April
183J. V.N.
[Page 2.] Handel has borrowed these from Urio's Te
Deimi as they arise :
Welcome, mighty King
The Youth inspir'd
The Lord is a man of war
All the Earth
To Thee Cherubin
Also the Holy Ghost
To Thee all angels
Our fainting courage
Battle Symphony
Thou didst open
Thou sittest at the right hand
O fatal consequence of rage
O Lord, in Thee
We praise Thee
And we worship
Day by Day
Sweet bird
Ketrieve the Hebrew name
Saul.
do.
Israel in Egypt.
Te Deum.
do.
do.
do.
Saul.
do.
Te Deum.
do.
Saul.
Te Deum,
do.
do.
do.
Allegro.
SaiU.
I believe that this curions list is In the handwriting
of Bartleman.>
The 'Italian copy,' which was first Handel's
and then Dr. Howard's, if not that in the Royal
College of Music (which is certainly in an Italian
hand), has vanished for the present.
The Te Deum has been published by Dr.
CJhrysander (from what original the writer does
not know), as No. 5 of his 'Denkmaler' of
Handel (Bergedorf, 1871). It has been exam-
ined chiefly in its connexion with the Dettingen
Te Deum by Mr. E. Prout, in the Monthly
Musical Record for Nov. 1871, and we recom-
mend every student to read the very interesting
analysis there given. [G.]
URQUHART, Thomas, an early London
violin-maker, who worked in the reign of Charles
II. The dates on his violins are chiefly in the
seventies and eighties. The model superficially
resembles Gaspar di Salo ; it is high, straight,
and flat in the middle of the belly, and has a
rigid and antique appearance. The comers have
but little prominence. The soundholes are ' set
straight,' and terminate boldly in circles, the
inner members being so far carried on and in-
troverted that the straight cut in each is parallel
to the axis of the fiddle. This is Urquhart's
distinctive characteristic. The purfling is narrow,
coarse, and placed very near the edge. The
violins are found of two sizes ; those of the larger
size would be very useful chamber instruments
but for the height of the model, which renders
them somewhat unmanageable. The varnish, of
1 This note appears to be In error, as Bartleman'i copy U ipoken of
Just before as being a distinct one from tbis.
UTRECHT.
excellent quality (• equal to that on many Italian
instruments,' says Mr. Hart), is sometimes yel-
lowish brown, sometimes red. [E.J.P.]
USE. A term traditionally applied to the
usage of particular Dioceses, with regard to varia-
tions of detail in certain Plain Chaunt Melodies
sung in the Service of the Roman Catholic Church,
more especially in those of the Psalm -Tones.
• Heretofore,' says the Preface to the Book of
Common Prayer, ' there hath been great diver-
sity in saying and singing in Churches within
this Realm, some following Salisbury Use, some
Hereford Use, and some the Use oi Bangor, some
of York, some of Lincoln*
The Roman Use is the only one which has
received the sanction of direct ecclesiastical au-
thority. In France, the most important varieties
of Use are those observed in the Dioceses of
Paris, Rouen, Reims, and Dijon ; all of which
exhibit peculiarities, which, more or less directly
traceable to the prevalence of Machicotage [vol.
ii. p. 186 b] in the Middle Ages, can only be
regarded as fascinating forms of corruption. The
chief Use, in Flanders, is that of Mechlin ; in
Germany, that of Aachen. In England, not-
withstanding the number of those already men-
tioned, the only Use of any great historical
importance is that of Salisbury, or as it is usually
styled, Sarum, which exhibits some remarkable
points of coincidence with the Dominican Use, as
practised in the present day; as, for instance,
in the splendid Mixolydian Melody to the Hymn
•Sanctorum meritis' — printed in the Rev. T,
Helmore's * Hymnal Noted' — which differs from
the Dominican version of the Hymn for Matins
on the feast of Corpus Christi only just enough
to render the collation of the two readings ex-
tremely interesting. The Sarum Use is, on the
whole, an exceptionally pure one: but, unhappily,
it excludes many very fine Melodies well-known
on the Continent, notably the beautiful Hypo-
mixolydian Tune to *Iste Confessor.' [W.S.R.]
UTRECHT. The Collegium Musicum Ul-
trajectinum, or StadsConcert, is the second oldest
musical society in the Netherlands, if not in
Europe. It was founded on Jan. i, 1631, forty
years after the St. Caecilia Concert of Amheim, a
society which is still in existence. The Utrecht
Collegium originally consisted of eleven ama-
teurs belonging to the best families of the town,
who met together every Saturday evening for the
practice of vocal and instrumental music. In
course of time professional musicians were en-
gaged to perform, and in 1721 friends of the
members and pupils of the professionals were
admitted. In 1 766 the society first gave public
concerts; since 1830 these have been under the
leadership of a conductor paid by the town. At
the present day the orchestra consists of over
forty members, mostly musicians resident in
Utrecht, but including a few artists from Am-
sterdam and amateurs. Ten concerts are given
by the society every winter, each programme be-
ing repeated at two performances, to the first of
which only gentlemen are admitted : the cor-
responding • Dames-Concert ' takes place a week
I
k
UTRECHT.
later. By a mutual arrangement with the simi-
lar societies at Amsterdam, the Hague, Rotter-
dam and Arnheim, no concerts take place on the
same evenings in any of these towns, so that the
soloists — generally one vocalist and one instru-
mentalist— appear alternately at concerts in the
diflFerent places. The concerts are given in the
Gebouw voor Kunsten en Wesensohappen ; the
average attendance is from 600 to 800. In 188 1
the members of the society numbered over 2co,
so that the subscriptions afford a tolerably certain
income. The present director is Mr. Richard
Hoi, who has filled the place since 1862. On the
occasion of the 250th anniversary of the founda-
tion of the society its history was written by Mr.
van Reimsdijk. His work is entitled *Het Stads-
MuziekcoUegie te Utrecht (Collegium Musicum
Ultrajectinum) 1631-1881. Eene bijdrage tot
de geschiedenis des Toonkunst in Nederland'
(Utrecht 1881). [W.B.S.]
UT, RE, MI (Modern Ital. Do, re, mi). The
three first syllables of the * Guidonian system of
Solmisation.'^
Whether Guido d'Arezzo did, or did not, in-
vent the system which, ft)r more than eight
centuries, has borne his name, is a question which
has given rise to much discussion. A critical
examination of the great Benedictine's own
writings proves that many of the discoveries
with which he has been credited were well
known to Musicians, long before his birth ; while
others were certainly not given to the world
until long after his death. We know, for in-
stance, that he neither invented the Monochord,
nor the Clavier, though tradition honours him as
the discoverer of both. Still, it is difficult to
aaree with those who regard him as * a mythical
abstract.' Though he writes with perfect clear-
ness, where technical questions are concerned, he
speaks of himself, and his method of teaching, in
terms so ncdves and fiimiliar, that we cannot af-
ford to despise any additional light that tradition
may throw upon them. We know that he first
used the six famous syllables. Tradition asserts,
that, from this small beginning, he developed
the whole method of Solmisation in seven Hexa-
ehords,^ and the Harmonic (or Guidonian) Hand.
Let us see how far the tradition is supported by
known facts.
In a letter, addressed to his friend Brother
Michael, about the year 1025, Guido speaks of
the value, as an aid to memory, of the first six
hemistichs of the Hymn for the festival of S,
John the Baptist, * Ut queant laxis.' * If, there-
fore,' he says, 'you would commit any sound,
or Neuma, to memory, to the end that, where-
soever you may wish, in whatsoever Melody,
whether known to you or unknown, it may
quickly present itself, so that you may at once
enuntiate it, without any doubt, you must note
that sound, or Neuma, in the beginning of some
well-known Tune. And because, for the purpose
of retaining every sound in the memory, after
this manner, it is necessary to have ready a
Melody which begins with that same sound,
1 See SOLUtSATioN. 3 See Uexachobd.
UT, RE, ML
211
I have used the Melody which follows, fop
teaching children, from first to last.*
C D F DE D
LT que- ant lax - is
D D C D E E
HE - so • na - re fl - bris
EFG E D EC D
Mi - - ra ges - to - rum
P G a GFED D
FA - mu - 11 tu • • o - rum
a a FGE F G D
SOL - - - ve pol - lu - ti
a G a F G a a
LA - bi - i re - a - turn
GF ED C E D.
Sane - te lo - an - nes.
* You see, therefore,' continues Guido, 'that this
Melody begins, as to its six divisions, with six
different sounds. He then, who, through prac-
tice, can attain the power of leading off, with
certainty, the beginning of each division, which-
ever he may desire, will be in a position to
strike these six sounds easily, wheresoever he
may meet with them.' *
The directions here given, by Guido him?elf,
clearly indicate the Solmisation of a typical
Hexachord — the Hexachordon naturale— by aid
of the six initial syllables of the Hymn. Did
he carry out the development of his original
idea? Trc\dition asserts that he did, that he
extended its application to the seven Hexa-
chords, in succession, and even to their Muta-
tions ;* illustrating his method by the help of
the Harmonic Hand. And the tradition is
supported by the testimony of Sigebertus Gem-
blacensis, who, writing in 1113, says, in his
'Chronicon,' under the year 1028, that 'Guido
indicated these six sounds by means of the
finger-joints of the left hand, following out the
rising and falling of the same, with eye and
ear, throughout a full Octave.' Guido himself,
it is true, never recurs to the subject. But
he does tell Brother Michael, in another part of
his letter, that * these things, though difficult to
write about, are easily explained by word of
mouth ';^ and surely, with Sigebert's testimony
before us, we can scarcely escape the conclusion
that he really did afterwards explain the fuller
details of his system to his friend, vivd voce,
and teach them in his school. But, whether he
did this or not, he has at least said enough to
8 • SI quam ergo Tocem vel neumam vis ita memoriae commendare,
ut ubicumque velis, In quocumque cantu, quem scias vel nescias,
tibl mox possit occurrere, quatenus mox ilium Indubitanter possis
enuntiare, debes ipsam Tocem Tel neumam in capite alicuius notis-
simae symphoniae notare. Et pro una quoque voce memoriae reti-
nenda huiusmodi sjmphoniam in prcmtil habere, quae ab eadem
voce incipiat: ut pote sit liaec syanphonia, qua ego docendis puerii
imprimis atque etiam in ultimis utor.'
* ' Vides itaque, ut haec symphonla senis particulis suis a sex dJ-
versis incipiat vocibus? Si quis itaque uniuscuiusque particuiae
caput ita exercitatus noverit, ut confestim quamcumque particulam
voluerit, indubitanter Incipiat, easdem sex voces ubicumque yiderit
secundum suas proprietates facile pronuntiare poterit'
e See Mutation ; also the Table of Hexachords, vol. i. p. 734 6.
s 'Quae omnia cum vix litterli utcumque itgnlflcemus, lacUit!»'
turn coUoquio denudamui.'
P2
SIS
ITT, RE, MI.
convince us that it was he who first endeavoured
to remove ' the cross of the little Choir- Boys,
and the torture of learners' (jcitix tenellorum
puerorum, et tortura discentium), by the use
of the syllables, Ut, Re, Mi, Fa ; and that to
him, and to him alone, belongs the honour of
having invented, even if he did not perfect,
the method of Solmisation which still bears his
name.
The Hymn * Ut queant laxis ' is given, in
modem notation, in vol. iii. p. 550. The poetry
vaisseaufantOme.
is known to have been written by Paiilus Dia-
conus, though Albertus Magnus attributes it
to S. Jerome— a fact which did not escape the
sharp observation of Hermann Finck. The
Melody is a very early one, in JSIode II. (the
Hypodorian). A comparatively late Galilean
version is given in the Mechlin Vesperal (1870).
The version given in the latest Roman Vesperal
(Ratisbon, 1875) is scarcely recognisable, and
does not comply with Guide's conditions in any
of its sections except the second. [W.S.R.3
V.
YACCAJ, Nicola, a prolific composer of Ita-
lian operas, born at Tolentino March 15,
1 790. He passed the first 10 or 1 2 years of
his life at Pesaro, a few more at Rome with the
view to the law, and it was not till his 17th or
1 8th year that he threw off this, and took lessons
of Jannaconi in counterpoint. Xn 181 1 he went
to Naples and put himself under Paisiello for
dramatic composition, and there wrote a couple
of cantatas and some church music. In 18 14 he
brought out his first opera, * I solitari di Scozia,'
at Naples. The next seven years were passed
at Venice, each one with its opera. None, how-
ever, were sufficiently successful, and he there-
fore took up the teaching of singing, and practised
it in Trieste and in Vienna. In 1 824 he resumed
opera composition, and in 1825 wrote amongst
several others his most favourite work, *Giulietta
e Romeo,' for Naples. In 1829 he visited Paris,
and stayed there two years as a singing master
in great popularity. He then passed a short
time in London, and in 1831 we again find him
writing operas in Italy, amongst others * Marco
Visconti' and 'Giovanna Grey' — the latter for
Malibran. In 1838 he succeeded Basili as
head and principal professor of composition of
the Conservatorio of Milan. In 1844 he left his
active duties, returned to Pesaro, and wrote
a fresh opera, * Virginia,* for the Argentino
Theatre, Rome. It was his last work, and he
died at Pesaro Aug. 5, 1848. His works contain
15 operas besides those mentioned above, 12
Ariette per Camera (Cramer, London), and a
Method (Ricordi). 'Giulietta e Romeo' was
performed at the King's Theatre, Haymarket,
London, April 10, 1832. [G.]
VAET,' Jacques (or Jacob), Flemish com-
poser of the 1 6th century,'^ attached to the im-
perial Kapelle at Vienna in the capacity of
chanter and apparently also of court-composer,
as early as 152 0-152 6, when he wrote a motet
* in laudem serenissimi principis Ferdinandi
archiducis Austriae.' After a long life of this
1 The name Is also written Vaedt and Waet. Owing to the latter
spelling the composer was often confused with an entirely different
person. Jacques (or Giaches) de Wert, a mistake which appeared
in the first edition of F6fls' Dictionary. Compare the remarks
of M. Vander Straeten, La Muslque aux Pays-bas III. 197 f. ; lb75.
2 Vaet's birthplace Is unknown, but one Jean Vaet, who may be of
his family, has been discovered as living at Ypres in 1499: Vander
Biraeten, i. 120 ; 1867.
service 'he was appointed ' obrister Kappel-
meister,' Dec. i, 1564, and died Jan. 8, 1567.
That he remained active as a composer to the
court, is shown by his motet * in laudem invic-
tissimi Romanorum imperatoris Maximiliani II.,*
who ascended the throne in July 1 564. * Both
motets were printed in P. loannelli's * Novus
Thesaurus Musicus,' Venice, 1568, which also
contains a motet * in obitum lacobi Vaet.* F.
Haemus, in his * Poemata' (Antwerp 1578), has
an elegy * in obitum lacobi Vasii, Caesaris Maxi-
milian! archiphonasci,' which is quoted by *M.
vander Straeten.
* Vaet's compositions are principally comprised
in the ' Novus Thesaurus' just mentioned, which
includes 25 motets, 8 'Salve Regina,' and one
* Te Deum' of his ; and in the five volumes of the
'Thesaurus musicus' published at Nuremberg
in 1564 (all motets). Other motets, 'Sententiae
piae,' etc., appear in several collections of Tylman
Susato, Montanus, Phalesius, and Buchaw ; and
three French chansons are found respectively in
Phalesius* first book of 'Chansons' (1554), in
Waelrant and Laet's 'Jardin musical' (1556),
and in Buchaw's 'Harmoniae' (1568). Vaet's
reputation among 'contemporaries stood very
high. Among modern critics, *F^tis admires
the correctness, want of affectation, and reli-
gious character, of his writing ; he did not care,
like so many of the composers of that time, to
strain after merely learned, or pedantic, effects.
'Ambros, commenting on the richness and no-
bility of Vaet's style, and the variety of his treat-
ment, singles out his ' masterpiece,' the 8-voice
'Te Deum,' and a 'Miserere' in 5 parts, which he
regards as worthy of special distinction. [R.L.P.]
VAGANS, i. e. wandering, uncertain — the old
name for the Quinta Pars in a mass or motet,
so called because it was not necessarily of
any particular compass, but might be a second
soprano, or alto, or tenor; though usually a
tenor. [G.]
VATSSEAU-FANT6ME, LE. Opera in 2
acts ; words translated or imitated from the
t Vander Straeten, v. 79, 102; 18?0.
< Compare F^tis vill. 291 a (2nd ed.); Ambros, Geschlchte def
Muslk, iil. 324. 6 Vol.1. 119 f.
6 Eltner, Bibllographle der Muslk-Sammelwerke, pp. 886-888 ; cp>
F^tis vlil. 291 b.
7 See for Instance the extract in Vander Straeten It. 64 ; 1878.
e Vol. Till. 292 a. • VoU Ui. 823.
VAISSEAU-FANTOME.
German of Richard Wagner, music by Dietsch.^
Produced at the Grand Opera, Paris, Nov. 9,
1842. [G.]
VALENTINI, PiETRO Francesco, a great
contrapuntist, scholar of G. M. Nanini ; died
at Rome 1654. Various books of canons, ma-
drigals, canzonets, etc., by him, were published
before and after his death, of which a list is given
by F^tis. His canons were his greatest achieve-
ment, and two of them are likely to be referred
to for many years to come. The first, on a line
from the Salve Regina, is given by Kircher
(Musurgia, i. 402), and was selected by Mar-
purg, more than a century later (1763), as the
theme of seven of his Critical Letters on music, oc-
cupying 50 quarto pages (ii. 89). He speaks of
the subject of the canon with enthusiasm, as one
of the most remarkable he had ever known for
containing in itself all the possible modifications
necessary for its almost infinite treatment — for
the same qualities in fact which distinguish the
subject of Bach's *Art of Fugue' and the *Et
vitam venturi ' of Cherubini's great * Credo.'
The first subject is : —
VALENTINI.
213
log tu - OS mi - se - rl - cor - des o - cu -
- loB ad nos cun - ver - te.
which gives direct rise to three others ; viz.-
Second subject, the first in retrograde motion.
Third subject, the first inverted.
Fourth subject, the second in retrograde.
Each of these fits to each or all of the others in
plain counterpoint, and each may be treated in
imitation in every interval above and below,
and at all distances, and may be augmented or
diminished, and this for 2, 3, 4, 5 or 6 voices.
Kircher computes that it may be sung more than
3000 difierent ways.
The second canon— 'Nel nodo di Salomo
(like a Solomon's knot) a 96 voci' — consists of
the common chord of G,
1 FiEHBE LoDis Philippe Dietsch, a French composer and con-
ductor, was born at Dijon, Marcli 17, 1808, was educated by Choron
and at the Paris Conservatoire, was Maltre de Chapelle at 8. £ut-
tacbe, and in 1860 became chief conductor of the Grand Opera.
and may be varied almost ad infinitum, witli in-
sufferable monotony it must be allowed. (See
also Burney, Hist. iii. 522.) [G.]
VALENTINI, Valentino URBANI, usually
called ; a celebrated evirato, who came to London,
Dec. 6, 1 707, very early in the history of Italian
opera in England. Nothing is known of his
birth or early career ; but he seems to have ar-
rived here, possessed of a contralto voice of small
power, which fell afterwards to a high tenor, and
with an opera, *I1 Trionfo d'Amore,' in his
pocket. The translation of this piece he en-
trusted to Motteux ; and he subsequently sold to
Vanbrugh,^ for a considerable sum, the right of
representation. The Baroness, Margherita de
I'Epine, Mrs. Tofts, and Leveridge, sang with him
in this opera (' Love's Triumph '), and, if the
printed score may be trusted, they all, including
Valentini, sang English words. The piece was
produced at the end of February, 1 708, and he
took a benefit in it on March 17. Meanwhile,
he had already sung (Dec. 1707) as Orontes, a
' contra-tenor,' in ' Thomyris,' Hughes under-
studying the part. Valentini's dress ^ in this
piece cost ^625 176'. 3cZ., a very large sum in
those days ; his turban and feathers cost £3 lo*'.,
and his * buskins' 12 shillings. We find him*
(Dec. 31, 1707) joining with the 'Seigniora
Margaritta [de I'Epine], Mrs. Tofts, Heidegger,
and the chief members of the orchestra, in a
complaint against the dishonesty and tyranny of
Rich. They claimed various amounts, due for
salaries, 'cloaths,' etc. Valentini's pay was fixed
at £7 I OS. a night, as large a sum as any singer
then received; but he seems to have had diffi-
culty in extracting payment of it from Yan-
brugh.
There ,is extant a curious letter, in which
M. de I'Epine appeals to the Vice-Chamberlain
(Coke) for 'juste reuange' for the * impertinance^
of which * cette creature^ [Valentini] had been
guilty, in preventing her from singing one of her
songs, a few days before ; and declares that she
would never suffer * ce monster, ennemi des hoffies
des fames et de Dieu ' to sing one of her songs
without her singing one of his I The letter is
simply endorsed by the Vice- Chamberlain, 'Mrs.
Margarita about Mr. Valentin.'
Valentini sang, with Nicolini, in ' Pyrrhus and
Demetrius,' a part which he resumed in 1709.
Nicolini and he sang their music to the Italian
words, while the rest of the company sang in
English, as was not unusual in the gallimau-
fries^ of the time. Valentini reappeared ( 1 710)
in • Almahide,' and (1711) in the original cast
of 'Rinaldo,' as Eustazio, a tenor. In 1712
he sang another tenor part, that of Silvio
in • Pastor Fido ' ; and in the following year
another, Egeo in • Teseo,' as well as that of
Ricimer in * Enielinda.' In that season (17 13)
he again joined in a petition, with Pepusch and
his wife, la Galeratti, and other artists, for the
better regulation of their benefits. Then, as in
modem times, operatic affairs were too frequently
S The Coke papers, tn the writer's possession. > Ibid.
« Busby. A The Coke papers.
214
VALENTINI.
enlivened with petitions, squabbles, and liti-
gation: impresarios were tyrants, and singers
were hard to manage. Valentini sang again in
'Creso,' 1 714, after which his name appears no
more • in the bills.*
Galliard says of him that, • though less power-
ful in voice and action than Nicolini, he was
more chaste in his singing.' [J.M.]
VALENTINO, Henri Justin Armand
Joseph, eminent French conductor, born at
Lille, Oct. 14, 1787. His father, of Italian ori-
gin, was an army-chemist, and intended him for
a soldier, but his talent for music was so decided
that he was allowed to follow his own bent. At
1 2 he was playing the violin at the theatre, at
14 was suddenly called upon to supply the place
of the conductor, and henceforth made conducting
his special business. In 1 813 he married a niece
of Persuis, the composer, on whose recom-
mendation he became in 181 8 deputy-conductor
of the Op^ra under R. Kreutzer, and in 1820
was rewarded with the reversion of the title of
first conductor conjointly with Habeneck. The
decree did not take effect till Kreutzer's resigna-
tion in 1824, when the two deputies had long
been exercising the function of conductor in turn.
Amongst the works produced under Valentino's
direction between 1827 and 1830, maybe men-
tioned 'Moise,' *La Muette de Portici,' 'Guil-
laume Tell,' and * Le Dieu et la Bayadere.' He
also held from April 10, 1824, the reversion
after Plantade of the post of Maltre de chapelle
honoraire to the King, but this he lost by the
Revolution of 1830, which also brought about
changes at the Op^ra. Dr. V^ron, the new
director, inaugurated his reign by cutting down
salaries, and Valentino, determined not to sacri-
fice the musicians who served under him to his
own interests, resigned. He soon after succeeded
Cremont as chief conductor of the Opera Comique,
an enviable post which he occupied from April
183 1 to April 1836. Here he produced ' Zampa,'
* Le Pr^ aux Clercs,' ' Le Prison d'Edimbourg,*
•Le Chalet,' 'Robin des Bois ' ('Der Freischiitz'),
*Le Cheval de Bronze,' 'Action,' and 'L'Eclair.*
On the direction of all these popular works he
bestowed a care, zeal, and attention to nuances
beyond all praise.
On resigning the Op^ra Comique, Valentino
settled at Chantilly, but was soon offered the
direction of the popular Concerts of classical
music. Fascinated by the idea of rivalling the
Concerts of the Conservatoire, and spreading
the taste for high-class instrumental music, he
courageously put himself at the head of the enter-
prise. The spot selected was the hall at 251 Rue
St. Honor^, where Musard had given masked balls
and concerts of dance-music, and which was now
destined to hear the classical masterpieces inter-
preted by a first-rate orchestra of 85 players — and
all for 2 francs! But the public was not ripe
for classical music, and preferred the i franc
nights and dance-music, under a less eminent
conductor. The • Concerts Valentino,' started in
Oct. 1837, came to an end in April 1841, but
the name of their founder remained attached to
VALLERIA.
the hall where so many schemes of amusement
have failed since then.
Valentino then retired to Versailles, and lived
in obscurity for 24 years. He was indeed asked
in 1846 to return to the Opera, but declined.
He had married again, and the last few years
of his life were passed in the midst of his family
and a few intimate friends. He died at Versailles
Jan. 28, 1865, in his 78th year. [G.C.]
VALERIANO, Cavalierb Valeriano PEL-
LEGRINI, commonly called ; a very distinguished
musico, attached to the Court of the Elector
Palatine, about 171 2. In that year he visited
London, replacing Nicolini, who left in June.
Valeriano, who had a counter-tenor voice of
great beauty, * created' the principal parts in
• Pastor Fido,' produced Nov. 21, and in 'Teseo,'
first performed Jan. 10, 171 3. He sang also the
chief rdle in * Ernelinda,' and drew the highest
salary of the season (about £650). His engage-
ment terminated, Valeriano left England, and
did not return here again. [J. M.}
VALLACE, GUGLIELMO. A new libretto
to Rossini's * Guillaume Tell,' written for the
production of that opera in Milan, at the Scala
Theatre, Dec. 26, 1836. [G
VALLERIA, Alwina. Miss Alwina Valle
ria Lohmann was born Oct. 12, 1848, at Balti
more, U.S.A, studied at the Royal Academy
of Music, London, the piano, with Mr. W. H.
Holmes, and singing, as second study, with
Mr. Wall worth, and in 1869 gained the West-
moreland Scholarship ; received further instruc-
tion in singing from Arditi, and on June 2, 1871,
made her first appearance in public, after which
she was promptly engaged for Italian opera at
St. Petersburg, where she made her first appear-
ance on the stage Oct. 23 of the same year, as
Linda di Chamouni. Her next engagements
were in Germany and at La Scala, Milan. She
was afterwards engaged at Her Majesty's
Opera, Drury Lane, for two seasons, and made
her first appearance May 3, 1873, as Marta.
From 1877-78 she was engaged in Italian
opera at the same house, and in 1879-82 at
Covent Garden, undertaking with readiness
and capacity a large number of parts, whether
principal or subordinate — viz. Inez ('L'Afri-
caine'), Leonora ('Trovatore'), Adalgisa, Donna
Elvira, Susanna, Blonde (' II Seraglio '), and Mi-
chaela on the production in England of * Carmen '
(June 22, 1878). For the seasons 1882 and 1883
she sang in English opera under Carl Rosa in the
•Flying Dutchman' and *Tannhauser'; and on
April 9, 1883, was much praised for her spirited
performance of Colomba, on the production
of Mackenzie's opera. She sang in oratorio
for the first time on Dec. 26, 1882, at Manches-
ter, in the 'Messiah,' and has since been very
successful both in the Handel and Leeds Festi-
vals of 1883. Mme. Valleria has also sung suc-
cessfully in opera and concerts in America and
elsewhere. Her voice extends from Bb below
the line to D in alt, is of considerable flexibility,
fair power and volume, and pleasant quality. She
e
►
VALLERIA.
IS moreover an admirable actress. On Aug. 23,
1877, she married Mr. R. H. P. Hutchinson, of
Husband's Bosworth, near Rugby. [A.C.]
VALVE (Fr. Piston; Germ. Ventil). A con-
trivance applied to brass instruments with cupped
mouthpieces for increasing their powers of per-
formance. It may be described as a second tube
or bypath on one side of the main bore, into which
the column of air may be diverted at will by a
movement of the fingers; the original path being
automatically restored on their removal. The
side channels are obviously always longer than
the simple passage, and therefore act by length-
ening the tube, and lowering the note produced
by a definite quantity. This quantity is ap-
proximately a tone for the first valve; a semi-
tone for the second; a tone and a half for the
third. Here the mechanism usually ends ; but a
fourth valve is often added, especially in baritone,
bass, and contrabass instruments, which lowers
the pitch about two tones and a-half. Cornets
have indeed been made with as many as six valves,
but they have not received general acceptation.
It is difficult to identify the original inventor
of this ingenious contrivance. A rude form of
valve may occasionally be seen on old Trombones,
in which four parallel sliding tubes are actuated
by a lever for each set, giving the instrument
the appearance of a rank of organ pipes or of a
Pandean reed. The earliest definite facts are
two patents of John Shaw ; the first taken out
in 1824; the second, which he calls a 'rotary'
or ' swivel ' action, in 1838. The mechanism was
much improved and simplified by Sax of Paris.
The two principal models now in use are the
Piston and the Rotatory valve. Tlie former is
most used in this country and in France; the
latter in Germany. The Rotatory valve is
simply a 'fourway stopcock turning in a cylin-
drical case in the plane of the instrument, two
of its four ways forming part of the main chan-
nel, the other two, on its rotating through a
quadrant of the circle, admitting the air to the
bypath.' This gives great freedom of execution,
but is far more expensive and liable to derange-
ment than the Piston valve. This, as its name
implies, is a brass cylindrical piston moving
airtight, vertically, in a long cylindrical case. It
is pressed down by means of a short rod ending in
a button for the finger at its upper end, and flies
back to its original place under the influence of a
helical spring acting on its lower extremity. On
the sides of the case four passages abut; two
from the main tube, two from the bypath. The
valve itself is perforated obliquely by correspond-
ing holes, which give the open note when it is
at the top, the depressed note when it is at the
bottom of its stroke. In the Rotatory valve these
holes describe an arc of the circle ; in the Piston
they have a rectilinear vertical traverse.
Whichever form be used, it is intended to serve
at least three purposes :
1. To complete the scale.
2. To transpose the key.
^ 3. To remedy false notes or imperfect intona-
tion.
VALVE.
215
In four-valve instruments the first two of these
requirements are combined, in order to bridge
over the long gap of an octave which exists be-
tween the fundamental note and its first upper
part'al : for example, the depression of pitch
by 2 1 tones places a Bb instrument practically
in the F below, and thus founds the whole scale
on a new key-note, in which the three other
valves produce fresh changes of interval.
^ The third requirement has been applied prac-
tically by Mr. Bassett to the trumpet, and his very
valuable improvement is described under that
heading. [Trumpet.]
The depressions and changes of pitch produced
by each valve have been above named as ap-
proximate only. This fact constitutes the great
objection to the system. For an instrument
like the French Horn, which varies in length ac-
cording to key from twelve to twenty-six feet, it
is clear that a corresponding change must be
made in the valve-slides, by which they remain
aliquot parts of the main tube. This adjust-
ment can be eff'ected at the beginning of a com-
position by the player; but in sudden changes,
either of crook, key, or of enharmonic nature, it
is quite impracticable. In instruments, more-
over, of large compass, like the Euphonium, the
valve length is totally different according as the
passage played lies in the lower or the higher
register ; still more so if the fourth valve has
lowered the whole pitch of the instrument as
above described.
In the French Horn, indeed, from the close-
ness of the harmonics to one another in the part
of its scale chiefly used, two valves are sufficient,
depressing the note a semitone and a tone re-
spectively. A far better device for this instru-
ment was, however, patented by the late Mr.
Ford, and may be seen in the Patent Museum ;
but nowhere else, having been relegated, like so
many other improvements, to the limbo of dis-
use. In this the pi.ston arrangement, though
working on the Rotatory method named above,
actuates two short Trombone slides introduced
into the main tube, and entirely does away with
fixed bypaths. The player therefore has the
power, as in the Trombone, of producing any
note by ear, in correct intonation.
An equally ingenious if not quite so perfect a
correction of the error inherent in this construc-
tion has been devised by Mr. Blaikley, of Messrs.
Boosey's, under the name of Compensating Pis-
tons, and is best given nearly in his own words.
In the ordinary arrangement the first valve lowers
the pitch one tone ; the second half a tone ; and the
third a tone and a half; but as the length of the instru-
ment should be, speaking roughly, in inverse proportion
to the number ot vibrations of the required notes, the
desired result is not exactly obtained when two or three
valves are used in combination. Thus, in an instru-
ment in the key of C, the first valve lowers the pitch to
Bb, the third valve lowei-s it to A'?. For the low G the
first valve is used in combination with the third, but its
tubing is tuned to give the interval from C to Bb, and as
the instrument when the third valve is down is vir-
tually in Ah, the tubing of the firet valve is not suffi-
ciently long^to flatten the pitch a true tone from A to
G. This defect is intensified when all three valves are
used together to produce Db and &">. A numerical
illustration may make this more clear : Let the first
216
VALVE.
valve tubing be one-eighth the length of the instru- ]
ment, and the third valve tubing one-fifth, the length of
the instrument being unity ; one-fifth added thereto will
lengthen it iu the right proportion to lower its pitch a
minor third— 1.«. from C to Ajj. To produce G, we should
be able to lower the instrument one tone from AjJ, but
the first valve will increase the length only one-eighth
of unity, and not one-eighth (of 1+*). G will therefore
be somewhat sharp. .^^ .^
Thus far with reference to instruments with three
valves, but the defect is aggravated in those with four.
Any actual lengthening of the valve slides by mechanism
connected with the valve is practically inadmissible, as
the lightness and rapidity of action of the valve would
be thereby interfered with, but in the compensating pis-
tons a lengthening of the valve slides is brought about
as follows. The tubing connected with the third valve
is passed through the first and second in such a way
that when the third is pressed down, the vibrating
column of air passes through passages in the first and
second, in addition to the two passages in the third, as
in the common arrangement; and for the purpose of
bringing additional tubing into action in connection
with the first and second valves, as required for correct
intonation (when they are either or both used in com-
bination with the third), two air passages are added to
each of these valves, and in connection with each pair
of passages a loop or circuit of tube of the required
length, which is added to the effective length of the
instrument only when the third valve is used in con-
nection with the others. Such additional tubing com-
pensates for the lowering of the pitch due to pressing
down the third valve. No extra moving parts are intro-
duced, and the established fingering is preserved.
The writer has examined the system, and finds
it to work with ease, and to add only a few ounces
to the weight of the instrument. [W.H.S.]
VAMP YR, DER. Opera in 4 acts ; words
by C. G. Haser, music by Marschner. Produced
at Leipzig March 28, 1828 ; in London, at the
Theatre Royal English Opera House, in 3 acts,
Aug. 25, 1829. [G.]
VAN BREE, JoHANN Bernhard, son of
a musician, bom at Amsterdam, Jan. 29, 1801.
He was taught chiefly by his father, and first
came before the public as a player of the violin,
on which he was much renowned in Holland.
In 1 8 29 he was appointed conductor of the Felix
Meritis Society of Amsterdam, and held the
post with great distinction till his death Feb. 14,
1857. Van Bree was an industrious composer,
and left behind him a mass of works in all the
regular departments of music. In England he
is known to Choral Societies by three masses for
men's voices, and a cantata for St. Cecilia's Day,
all published by Novellos. Van Bree was the
founder (1840) of the Cecilien-Vereen of Am-
sterdam, which he conducted till his death, and
was also head of the music school of the Society
for the encouragement of music (Maatschapjj
tot bevordering der Toonkunst). [G.]
VAN DEN EEDEN, Gilles, Beethoven's
first instructor in music. Of his birth and death
nothing seems to be known, but he was doubt-
less son or nephew of Heinrich van den Eede,
who in 1695 was Hofmusicusto the then Elector
of Cologne. In 1722 the name occurs again as a
vocc'ilist, but the first certain mention of Gilles is
in 1728, when he represents to the Elector that
he has been employed as organist for a year
and a half without pay, on which 100 gulden is
allotted him, increased, on his further petition
(July 5, 1729), to 200 gulden.^ He thus entered
1 Thay<:r, i. 10. 17, 24. The name U 8?eU Yaadeneet, and Van den Eede.
VANDER STRAETEN.
the Elector's service before Beethoven's grand-
father. [See vol. i. p. 1626]. In 1780 we find
him as teacher to the little Ludwig : when the
teaching began or of what it consisted beyond
the organ is not known. There is reason to
believe however that Beethoven had no instructor
in composition before Neefe. He often spoke
of his old teacher, with many stories which have
not been preserved.' In 1784 Van den Eeden's
name has vanished from the lists. [G.]
VANDER STRAETEN. Edmond, distin-
guished Belgian musician, and writer on music,
and author of *La Musique aux Pays-Bas,' a
work still in progress and destined to be a monu-
ment of erudition and research — was bom at
Oudenarde in Flanders, Dec. 3, 1826. He was
educated for the law, first at Alost, and afterwards
in the University of Ghent. On his return to
Oudenarde, he continued the cultivation of his
taste for music, in combination with numismatics
and archaeology, the last-named pursuit powerfully
influencing the determination of his career. While
in his native town he organised and directed per-
formances of excerpts from operatic works, and in
1 849 himself set to music a three-act drama, en-
titled ' Le Present.' At this early age he began
that research in the rich musical archives of his
native country which he has since given to the
public in his literary works. M. Vander Strae-
ten next became secretary to Fdtis, who was
then Director of the Brussels Conservatoire,
at the same time continuing his studies in har-
mony and counterpoint, the latter under F^tis,
with whom he entered into active collaboration,
in cataloguing the historical section of the Royal
Library and contributing numerous articles to
F^tis's biographical dictionary. He thus spent
fourteen years in preparation for his own histori-
cal productions. During this time he acted as
musical critic to • Le Nord,' * L'Echo du Parle-
ment,' and *L']fctoile Beige,' and wrote, as well, in
various reviews. Although adoring the southern
genius of Rossini, he never ceased to advocate
the claims of Weber, and also of Wagner, as his
operas came out.
The first volume of • La Musique aux Pays-
Bas' appeared in 1867, and marks the period of
his entire devotion to the publication of his
archaeological discoveries. He had formed an
important library of materials for the musical
history of the Low Countries, and had also col-
lected musical instruments bearing upon his
studies, including his beautiful Jean Ruckera
clavecin of 1627, figured in his third volume.
The Belgian Government now charged M. Van*
der Straeten with artistic and scientific missions
which involved his visiting Germany, Italy,
France, and Spain. He visited Weimar in 1870,
for the model representations of Wagner's operas,
and his reports are alike distinguished by aesthe-
tic sentiment and clearness of analytical vision.
He has been appointed quite recently by his
government, in concert with the Academic Royale,
on the committee for the publication of ancient
> Thayer i. lU ; Scblndler (1st ed.) p. 19.
VANDER STRAETEN.
Belgian compositions, and it is confided to him
to collect the materials for this noble undertaking.
The question of the birthplace of the 15th-century
composer TiNCTORiS, which had been claimed for
Nivelles in Brabant, aroused a violent contro-
versy. M. Vander Straeten is, however, admitted
to be victorious, having adduced proofs that place
the locality in West Flanders, and form an im-
portant chapter of his fourth volume.
He is an honorary or corresponding member of
twelve musical or archaeological societies. His
most important published works (to 1885) are —
• LaMusique aux Pays-Bas avant le XIX® sifecle,'
7 vols. (1867-1885); 'Le Theatre Villageois en
riandre,' 2 vols. (1874 and 1880); 'Les Musiciens
n^erlandais en Italic' (1882); 'Les Musiciens
N^erlandais en Espagne' (first part, 1885). A
complete bibliography of his works to 1877 is
appended to an interesting biographical notice,
written by M. Charles Meerens, and published
at Rome. [A.J.H.]
VANINI. [See BoscHi.]
VARIANTE is the usual expression in Ger-
many for varying versions or readings of a piece
of music. Thus in the principal editions of
Bach's instrumental works, besides the adopted
text of a piece, other copies containing various
changes are printed in an appendix, and en-
titled Varianten. [G.]
VARIATIONS. In the days when modern
music was struggling in the earliest stages of its
development, when most of the foims of ai't
which are familiar in the present day were either
unknown or in their crudest state of infancy,
composers who aimed at making works of any
size laboured under great disadvantages. They
were as fully conscious as composers are now
of the necessity of some system of structure or
principle of art to unify the whole of each work,
and to carry on the interest from moment to
moment ; but as they had not discovered any
form which could extend for more than a few
phrases or periods, their only means of making
the music last any length of time was to repeat,
and to disguise the repetition and give it fresh
interest by artistic devices.
^ In choral music they took some old familiar
piece of plainsong, or a good secular tune, put
it into very long notes, and gave it to one of
the voices to sing; and then made something
ostensibly new upon this basis by winding round
it ingenious and elaborate counterpoint for all
the other voices. The movement lasted as long
as the tune served, and for other movements — ^if
the work happened to be a mass, or work neces-
sarily divided into separate pieces — they either
took a new tune and treated it in the same way,
or repeated the former one, and sometimes sang
it backwards for variety, with new turns of
counterpoint each time.
Similarly, in instrumental music, as soon as
their art was enough advanced to produce good,
clear, and complete dance-tunes and songs, they
extended the musical performance by repeating
the tunes, with such other touches of fresh
VARIATIONS.
217
interest as could be obtained by grace-notes and
ornamental passages, and runs inserted in the
bass or other parts. In this way the attention
of composers came to be very much drawn to the
art of varying a given theme, and presenting it
in new lights ; and they carried it to a remark-
ably advanced stage when scarcely any of the
other modern forms of art had passed the period
of incubation.
In choral music the art was limited to the
practice of using a given tune as the central
thread to hold the whole work together ; and it
almost died out when maturer principles of
structure were discovered ; but in instrumental
music it has held its own ever since, and not
only plays a part of great importance in the
most modem sonatas and symphonies, but has
given rise to a special form which has been a
great favourite with all the greatest masters,
and is known by the name of Variations.
The early masters had different ways of apply-
ing the device. One which appears to have been a
favourite, was to write only one variation at a time,
and to extend the piece by joining a fresh theme
to the end of each variation, so that a series of
themes and single variations alternated through-
out. In order to make the members of the series
hang together, the variations to the different
themes were often made in similar style ; while
the successive themes supplied some little con-
trast by bringing different successions of har-
mony into prominence. There are several pieces
constructed in this fashion by Byrd and Bull
and Orlando Gibbons, who were among the ear-
liest composers of instrumental music in modern
Europe ; rnd they consist chiefly of sets of
Pa vans, or Galiards, or neat little tunes like
Bull's 'Jewel.' Many are interesting for in-
genuity and originality of character, but the
form in this shape never rose to any high pitch
of artistic excellence. Another form, which will
be noticed more fully later on, was to repeat
incessantly a short clause of bass progression,
with new figures and new turns of counterpoint
over it each time ; and another, more closely
allied to the modern order of Variations, was
a piece constructed upon a theme like Sellenger's
Round, which did not come to a complete end,
but stopped on the Dominant harmony and so
returned upon itself; by which means a con-
tinuous flow of successive versions of the theme
was obtained, ending with a Coda.
These early masters also produced examples of a
far more mature form of regular theme and varia-
tions, not unlike thoroughly modern works of the
kind ; in which they showed at once a very wide
comprehension of the various principles upon
which variations can be constructed, and an
excellent perception of the more difficult art of
varying the styles of the respective members of
the series so as to make tliem set off one another,
as well as serve towaids the balance and pro-
portion of the whole set.
Two of the works which illustrate best the
different sides of the question at this early date
are Byrd's variations to the secular tune known
218
VARIATIONS.
as 'The Carman's Whistle' and Bull's set called
* Les Buffons.' These two represent respectively
two of the most important principles upon which
variations are made, since the first series is almost
entirely melo<lic, and the second structural ; that
is, each variation in the first series is connected
with the theme mainly through the melody,
whereas in the second the succession of the har.
monies is the chief bond of connection; both
themes are well adapted to illustrate these prin-
ciples, the tune of the first having plenty of
definite character, and the harmonies of the
second being planned on such broad and simple
lines as are most likely to remain in the memory.
Byrd's series consists of eight variations, in
all of which, except the last, the melody is brought
very prominently forward ; a diflferent character
being given to each variation by the figures
introduced to accompany it. The way in which
the various styles succeed one another is very
happy. The first is smooth and full, and the
second rugged and forcible ; the third quiet and
plaintive, and the fourth lively and rhythmic ;
and so on in similar alternation to the last, which
is appropriately made massive and full, and is
the only one which is based exclusively on the
harmonies, and ignores the tune. The two fol-
lowing examples give the opening bars of the
fourth and sixth variations, and illustrate the
style and way of applying the characteristic
figures very happily. The upper part is the
tune of the theme.
Ex.1. Var. 4.
1F=^
^^■Egr=j=lz.^ilEg^^
:t=|:
3^^^^:
rr—r- r ^Yfr
I I
Byrd's variations are remarkable not only for
their intrinsic qualities, but also as rare exam-
ples of melodic treatment in those early days,
when composers were more inclined to notice the
VARIATIONS.
bass than the tune. Bull was by no means so
great a genius as Byrd, but he had a vein of
melody, a good deal of vivacity, and a con-
siderable sense of effect. In * Les Buffons ' the
former gift is scarcely brought into play, but
the two latter are very serviceable. The theme
is the simplest possible succession of chords, as
follows : —
Ex. 3.
i^ i
L^
-^ 1
-«
P^ -* —
=*
— ^
-g
^
'^
zizS — —
(S>
! 1
J , J
^=N
-!=-• — U«L
-i^-Ji — \-9l-
u 1 1
^ —
0
•
Upon this fourteen variations are constructed,
which are varied and contrasted with one an-
other throughout, upon the same general princi-
ples of succession as in Byrd's series. Many of
them are merely made of scale passages, or rather
commonplace figures ; but some are well de-
vised, and the two following are interesting as
examples of the freedom with which composers
had learnt to treat structural variations even in
such early days. Ex. 4 is the beginning of the
second variation, and Ex. 5 is the thirteenth,
which flows out of the one preceding it.
Ex.4.
s
:^r9-»~4^
-g- -^
W
g^^g^^
Ex. 5.
^J ! 1 ! . J
^^^
U=^>^i=U=i
33^
J-J-IJ
nrrrrr^
^
r ' I I r I
* J , J J J
1:=*:
r=r
4 — \-
:5^
m
t=:t
VARIATIONS.
In the time which followed Bja*d and Bull the
best energies of composers were chiefly directed
to the development of such instrumental forms
as the Suite and the Canzona, and the earlier
kinds of Sonata ; and Sets of Variations were not
80 common. There are a few examples among
Frescobaldi's compositions ; as the * Aria detta
Balletto ' in the second book of Toccatas, Can-
zonas, etc., which is curious on account of the
way the variations are put into different times ;
but his works of the kind are on the whole
neither so interesting nor so satisfactory as
Byrd's. It is also common to meet with an
occasional variation on one or more of the regu-
lar dance-movements in the Suites; and in that
position they were commonly called Doubles.
There is a curious and unusual experiment
in a Suite of Kuhnau's in E minor, in which the
Courante in 6-4 time is a complete variation of
the AUemande in common time that precedes
it. But the art of varying a theme of some sort
was cultivated to a greater extent about this
time under other guises. In Germany com-
posers were fond of harmonising their Chorales
in all sorts of ingenious ways, such as are found
later in perfection in Bach's Cantatas and Pas-
sions ; they also used the Chorales as a kind of
Canto fermo upon which they based elaborate
movements for the organ, full of ingenious and
effective figures and vaiious devices of counter-
point; and not a little of the great development
of organ-playing, which culminated in J. S. Bach,
was carried on by the cultivation of this form of
art. Another form which was more obviously
allied to the sets of variations, and indeed can
in some cases hardly be distinguished from them,
was the ground-bass or basso ostinato, which was
a very favourite form of art all over Europe
during the greater part of the 17th century.
The principle of following the bass of the
theme is indeed constantly made use of in
variations, and in theory the only difference
between the two forms is that in a ground-
bass the bass passage, which is repeated over
and over again, is the whole bond of connec-
tion which joins the series together; while in
variations the bass may change entirely so long
as the theme is recognisable either by means of
the melody or the succession of the harmonies.
But in practice, though there are many exam-
ples in which a good clear bass figure is made to
persist with obstinate regularity in this form,
it often gave place to the succession of the har-
monies, or was itself so varied as to become
scarcely recognisable. For instance, a so-called
Ground by Blow in E minor, with twenty-
eight divisions, begins with a section that is
much more like a theme for variations ; and
though the bass moves in good steps, it has no
very decided figure whatever. A comparison
of the first half of the so-called ground with the
corresponding part of the bass of the twentieth
division will show that the view musicians then
took of the repetitions was at least a liberal
one : —
VARIATIONS.
219
Ex.6.
In this case the outline of the bass as defined
by the successive steps downwards is pretty well
maintained, but in a few other divisions which
are more elaborately constructed, not only is the
bass altered, but even harmonies which do not
strictly correspond to the originals are intro-
duced. Such treatment clearly destroys the in-
dividuality of the form of art, and makes the
work to all intents a theme with variations,
under limitations. The real type of movement
constructed on a ground-bass has a decided
character of its own, as the obstinate reiteration
of a good figure is necessarily a striking bond
of connection throughout the piece ; and if the
figures built upon it are well varied it can be
made very amusing. In Purcell's use of this form,
which he was evidently fond of, the type is kept
much purer, and the divisions on the ground are
really what they pretend to be. A quotation of
the bass of a ground in one of his Suites will
illustrate better than any description the differ-
ence between the real thing and a hybrid like
Blow's : —
Ex. 8.
But even so genuine a specimen as Purcell's is
closely allied to a theme with variations ; and
at a time when the form was so popular that it
was not only a favourite with composers, but
the constant resource of performers with any
talent for extemporising to show off their skill in
two directions at once, it seems very likely that
the more elastic but less pure form adopted by
Blow and others should have been easily allowed
to pass in the crowd of experiments ; and thus
composers were constantly developim; the form
of ' Theme and Variations ' under another name.
A celebrated example which bears upon this
question is the twelfth and last Sonata of Co-
relli's Opera Quinta, which is called * La Follia.'
This is sometimes described as a Theme and
twenty-two variations, and sometimes as Divi-
sions on a ground. The bass of the theme was
well known in those days as Farinelli's Ground,
from the inventor, and was commonly used by
musicians and composers, as for instance by
Vivaldi. Hawkins speaks of it as ' the favourite
air known in England as Farinelli's Ground,'
220
VARIATIONS.
eliowing a confusion in his mind even as to the
difference between a ' ground ' and a tune. In
Corelli's work the bass is not repeated at all
regularly, so it is to all intents and purposes a
series of free variations. These are most of them
very simple, being different forms of arpeggios
on the hannonies of the theme, but they are
well devised so as to contrast and set off one
another, and are effective in their way for the
violin. The tempos vary from Adagio and An-
dante to Allegro and Vivace, and the time-
signatures also, as 3-4, 4-4, and 3-8. Corelli
evidently took an easy view of variations, for
both in this set and in the Ohaconne in the
twelfth Sonata of op. 2, the harmonies are not
at all strictly followed, and occasionally have
next to nothing to do with the theme for several
bars together; and this appears to have been
rather a chjiracteristic of the Italian style of
writing such things. The treatment of the form
in this instance, and in many others of nearly the
same period (as those by Blow, and many by
Locatelli and others a little later), together with
the lax way in which Hawkins speaks of the
subject, tend to the conclusion that this popular
form of Ground-bass movement was gradually
becoming mixed up with the form of Theme-
and- Variations, and trenching on its province.
Even the length of the bass in the Follia and
other examples is in favour of this view, because
the effect of the ground-bass is lost when it
extends beyond very moderate limits. The best
examples are after such a concise fashion as the
bass quoted from Purcell, and such superb speci-
mens as the 'Crucifixus' in Bach's Mass, his
Passacaglia in C minor, and similar works by
Buxtehude for the organ. If the ground-bass
has several clauses, as in Corelli's Follia or Blow's
piece (Ex. 6), it loses its effect and has to be
treated after the manner of a theme ; and the
adoption of long periods led composers to that
treatment, at the same time that the habit of
looking at their subject in the direction of the
bass rather than the upper part, influenced their
manner of dealing with variations.
This condition of things throws an interesting
light upon J. S. Bach's thirty Variations on an
Aria in G major for a harpsichord with two rows
of keys, which is the first very important work
of its kind, and still among the most remark-
able in existence, though it is never played in
public in consequence of the difficulty of giving
due effect on one row of keys to the rapid cross-
ing passages which are written for two. The Aria
which serves for theme is not after the manner
of a modern aria, but is a dance movement like
those in the Suites. It is in fact a Sarabande
of the expressive and elaborate kind familiar
among Bach's works ; it has plenty of fine melody
but no catching tune, and nothing to invite
melodic variations of the modem kind. On the
other hand, it is constructed of very broad and
simple successions of harmony, with the bass mov-
ing a step of some sort in almost every bar ; and
upon this motion of bass or harmonies the whole
series of variations is really constructed. It is
VARIATIONS.
therefore actually almost as much of a ground-
bass movement as Corelli's Follia, or Blow's
example. The actual bass figure is not repeated,
but either the steps by which it moves or the
regular changes of the harmony are always
represented in some way under the elaborate tex-
ture of the figures. In fact, wliat Bach does is
to take out the harmonic framework upon which
the Aria is built, and use it to build thirty other
little movements upon. The way in which these
are developed from the original will be best un-
derstood by a comparison of the opening bars of
some of the variations with the corresponding
portion of the bass of the theme.
The following is the bass of the first eight bars
of the Aria, with figures to represent the prin-
cipal hannonies : —
Ex.9.
to 07) (h) ^'^.
In a good many variations, such as the ist,
and, 4th, 12th, and 22nd, these steps are very
clearly maintained. The bass figure of the 2nd
variation will serve to illustrate this : —
Ex. 10.
(e) (/) 07) -^ (A)
It is very rare however that the same positions
of the chords are rigidly adhered to throughout.
All positions are held to be intercliangeable.
This would be less possible in dealing with a
modern theme with weak or irregular motions
of harmony; but where the changes are so
strict and clear, the successions are traceable
even through a looser treatment of the original.
An example which will illustrate Bach's method
of interchanging positions of the same chords,
and the ingenuity with which he builds one
form upon another, is the opening of the tenth
variation, which is a complete little four-part
Fughetta : —
Ex. 11.
(ft) (c)
^ , i J ;^ ;m
VARIATIONS.
In bar (J) the first position of the chord of the
Dominant is implied instead of its first inversion ;
in bar (c) there is a similar interchange, and in
bars (rf) and (g) the principal emphasis of the bar
falls upon a first inversion instead of a first posi-
tion of the same chord.
In other variations he goes much further still.
In the ninth the strict succession of chords is
frequently altered, but in such a way that the
character and general contour of the harmonic
succession is still to be felt in the background.
For instance, in the passage corresponding to
bars (e) and (/) the harmonies of E minor and
G are forced in in the place of those of G and A.
Then the harmony of C and A, which really re-
presents bar (/), is driven into the bar cor-
responding with (g) ; .ind in order to make
the final chord of the cadence answer in position
with the original, all that appears of the chord
corresponding to bar (g) is the last quaver.
The following example will show the nature
of the change, beginning at the half-bar cor-
responding with (d) where the first half close falls,
up to the first close in the principal key in
bar (h) : —
Ex. 12.
VARIATIONS.
221
This appears to be rather an extreme in-
stance, but in reality the change is caused
by nothing more than the happy idea of turn-
ing the passing note in bar (d) in an opposite
direction, and so leading to the intrusion of the
chord of E ; thus causing the chords of G and C,
which follow in their proper order, to come one
step too late, and forcing the penultimate chord
of the cadence into very close quarters. But
the form of the cadence is preserved all the
same, and so the change turns out to be more in
superficial appearance than reality; while the
regularity of the succession is still sufficiently
obvious to identify the theme.
The manner in which all the variations are
written is contrapuntal, and in many cases they
are cast in some one or other of the old contra-
puntal forms. Every third variation through-
out, except the last, is a Canon of some sort,
with a free bass which generally follows the
outlines of the bass of the theme. These take
aU the intervals in regular order— a Canon at
the unison in the 3rd variation, a Canon at the
second in the 6th, and so on up to a Canon
at the ninth in the 27th variation, the Canons
at the fourth and fifth being complicated by
making them in contrary motion. Variation 10
is a complete Fughetta, and Variation 16 an
Overture after the French model, managed by
making the part which represents the first half
of the theme into the Maestoso movement, and
the latter part into the fugal one. The last varia-
tion is a 'Quodlibet'; that is, a movement in
which several bits of familiar tunes are worked
in together. The tunes are * Volkslieder ' of
a very bright and happy type. It begins with
one to the words * Ich bin so lang nicht bei dir
g'west,' on the top of which another, 'Kraut
und Riiben haben mich vertrieben,' is intro-
duced; and the fragments of the two, and
probably bits of others which are not identified,
are mixed up together in amusing but artistic
confusion throughout, always following the har-
monic succession of the original aria. After
the Quodlibet the theme is directed to be played
again, so as to make the cycle complete — a plan
followed by Beethoven more than once, most
notably in the last movement of his Sonata in
E, op. 109. Every variation in the series has
a perfectly distinct character of its own, and is
knit together closely and compactly by the figures
used ; which vary from the most pointed vivacity
to the noblest dignity and calm ; and are so dis-
tributed as to keep the action always going, and
the interest alive at every step; the result of
this many-sided technical workmanship being a
perfectly mature art-form. In this respect, as in
many others, Bach seems to sum up in his own
lifetime the labours of several generations, and
to arrive at a point of artistic development which
the next generation fell far behind ; for a height
equal to that of his work was not again reached
till Beethoven's time. But the aspect of Bach's
work is peculiar to himself and his time. The
teclmical side is brought into extreme promin-
ence. This is shown most obviously in the
canons and fugues, but it is also shown in the
texture of the other variations. Some few are
extremely expressive and beautiful, but it was
not with the paramount object of making them
all so that Bach attacked his problem, for his
variations are rather developments of ideas em-
bodied in vigorous and regular rhythmic figures
than romantic or dramatic types. Both the
ideas and the way of treating them belong to
the old contrapuntal school, and that style of
variation-writing which is most richly and com-
prehensively shown in this series of variations,
comes to an end with Bach.
He produced several other sets in the same
manner, notably the famous Chaconne in the Suite
in D for violin solo; but it is not necessary to
analyse that work, since the same principles are
observed throughout, even to the repetition of the
theme at the end to clench it all together. As
in the previous case, the basis of the variation is
the harmonic framework of the theme ; and the
melody hardly ever makes its reappearance till
its resumption at the end. The bass steps are
just as freely dealt with as in the previous case,
from which it may be gathered that Bach consi-
dered the harmonic structure the chief thing in
a Chaconne (which has the reputation of being a
movement on a ground-bass) as much as in a regu-
lar Theme and variations. He also produced
an example of a different kind, in a little set
of eight variations on a very beautiful and melo-
dious theme in A minor. In this the harmonic
framework is not nearly so noticeable, and the
variations are not made to depend upon it so
much as in the other cases. Some few of them
222
VAEIATIONS.
are constructed on the same principles as the
great set of thirty, but more often the melody
of the theme plays an unmistakeable part. This
may be seen from a comparison of the melody of
the 3rd, 4th, and 5th bars of the theme, with
the same portion of the third variation.
The influence of the tune is similarly apparent
in several other variations, putting a new com-
plexion upon variation-making, in the direction
cultivated by the next generation ; but tlie result
is neither so vigorous nor so intrinsically valuable
as in other works more after Bach's usual
manner, though historically interesting as an
experiment in a line which Bach generally
thought fit to let alone.
Handel's way of treating variations was very
different from Bach's, and more like the methods
of the Italian school, as illustrated by Corelli.
In most cases, indeed, he regarded the matter
from the same point of view as Bach, since he
looked upon the harmonic framework as the
principal thing to follow; but he reduced the
interest of his representation of that frame-
work in new figures to a minimum. Wliere
Bach used ingenious and rhythmical figures,
and worked them with fascinating clearness and
consistency, Handel was content to use mere
empty arpeggios in different forms. In many of
his sets of Variations, and other works of the
same kind, he makes the effect depend chiefly
upon the way in which the quickness of the notes
varies, getting faster and faster up to the bril-
liant but empty conclusion. The set which has
most musical interest is the * Harmonious Black-
smith ' in the Suite in E ; and in this the usual
characteristic is shown, since the variations begin
with semiquavers, go on to triplet semiquavers,
and end with scale passages of demisemiquavers.
The extraordinary popularity of the work is
probably owing chiefly to the beauty of the
theme, partly also to the happy way in which the
style of the variations hits the mean between the
elaborate artistic interest of such works as
Bach's and the emptiness of simple arpeggios,
and partly to the fact that their very simplicity
shows to advantage the ptinciples upon which a
succession of variations can be knit together into
an effective piece, by giving all the members of
the series some relative bearing upon each other.
In this set the connection and function of each
is so thoroughly obvious that the most ordinary
VARIATIONS.
musical intelligence can grasp it, and it is to
such grounds of effect that Handel trusted in
making all his sets, whether in such an example
as the Passacaglia in the G minor Suite or the
Chaconne with sixty vaiiations. Only in very
few cases does he even appear to attempt to
make the separate numbers of the series interest-
ing or musically characteristic, and yet the series
as a whole is almost always effective. He is
more inclined to allow the tune of his theme to
serve as a basis of effect than Bach was. In the
variations in the Suite in D it is very promi-
nent, and in the earlier variations of the ' Har-
monious Blacksmith ' is clearly suggested ; and
in this way he illustrates the earlier stage of the
tendency which came to predominate in the
next generation. The following are types of the
figures used by Handel in more than one set : —
Ex. U.
Another composer showed this tendency to
follow the tune even more markedly. This was
Rameau, who was born two years before Handel
and Bach, but was brought more strongly under
the rising influences of the early Sonata period,
through his connection with the French operatic
school, and the French instrumental school, of
which Couperin was the happiest represent-
ative. These French composers were almost
the first of any ability in Europe to give their
attention unreservedly to tunes, and to make tune,
and character of a tuneful kind, the object of
their ambition. Rameau produced a number of
charming tuneful pieces of a harmonic cast, and
naturally treated variations also from the point
of view of tune, studying to bring the tune for-
ward, and to make it, rather than the harmonic
successions, the basis of his variations. When
operatic influences came into play and influ-
enced the instrumental music of German com-
posers, and when the traditions of the Protestant
school gave place to those of the southern and
Catholic Germans, the same result followed.
Other circumstances also affected the form
unfavourably. The cause of the falling off in
vigour, depth of feeling, and technical resource
from the standard of Handel and Bach, is obvious
enough in other departments; since men were
thrown back as they had been after Palestrina's
time, through having to cope with new forms
of art. In the case of variations — by this time
an old and established form — the cause of such
falling off is not easy to see ; but in reality varia-
tions were just as amenable to unfavourable
inln^ences as the rest of instrumental music,
VARIATIONS.
VARIATIONS.
223
i
fiince composers began to try to treat them in
the same style as their sonata movements.
They dropped the contrapuntal methods, with
the opportunities afforded by them, and as they
had not yet developed the art of expressing
effective musical ideas in the modern style
apart from the regular sonata form, their works
of the kind seem, by the side of Bach's, to be
sadly lacking in interest. Moreover, the object
of writing them was changing. Bach wrote up
to the level of his own ideas of art, without
thinking what would please the ordinary public ;
but the composers of the middle of the i8th
century wrote their clavier music chiefly for the
use or pleasure of average amateurs, on whom
first-rate art would be thrown away ; and aimed
at nothing more than respectable workmanship
and easy agreeable tunefulness. The public
were losing their interest in the rich counter-
point and massive nobility of style of the older
school, and were setting their affections more
and more on tune and simply intelligible form ;
and composers were easily led in the same
direction. The consequences were happy enough
in the end, but in the earlier stages of the new
style variation-making appears to have suffered ;
and it only regained its position in rare cases,
when composers of exceptional genius returned,
in spite of the tendency of their time, to the
method of building a fair proportion of their
variations on the old principles, and found in
the harmonic framework equal opportunities to
those afforded by the tunes.
How strongly Haydn and Mozart were drawn
in the prevailing direction is shown by the
number of cases in which they took simple and
popular tunes as themes, and by the preponder-
ance of the melodic element in their variations.
This is even more noticeable in Mozart than in
Haydn, who took on the whole a more serious
and original view of the form. True, he did not
write nearly so many sets as his younger con-
temporary, and several that he did write are of
the very slightest and most elementary kind —
witness that which forms the last movement
of the Clavier Sonata in Eb, that on a tune
in ' Tempo di Minuetto ' in a sonata in A, and
that in a sonata for clavier and violin in C. In
these cases he is obviously not exerting himself
at all, but merely treating the matter lightly
and easily. But when he set about his work
seriously, it has far more variety, interest, and
many-sided ingenuity than Mozart's. This is
the case with several of the sets in the string
quartets, and with the remarkable one for clavier
alone in F minor, and the beautiful slow move-
ment in the Sonata for Clavier and Violin in F.
The things most noticeable in these are the re-
markable freedom with which he treats his theme,
and the original means adopted to combine the
sets into complete and coherent wholes. Prob-
ably no one except Beethoven, Schumann, and
Brahms took a freer view of the limits of
fair variation ; the less essential chords and root
harmonies of the theme are frequently changed,
even without the melody being preserved to
make up for the deviation, and in certain cases
whole passages appear to be entirely altered, and
to have little if any connection with the theme
beyond observance of the length of its prominent
periods, and the fact that the final cadences come
in the right forms and places. This occurs most
naturally in a minor variation of a major
theme, or vice versa, where a passage in the
relative major is made to correspond to a passage
in the dominant key, and the succession of
chords is necessarily altered to a different course
to make the passage flow back to the principal
key at the same place, both in variation and
theme. There is an extremely interesting
example of such changes in the slow move-
ment of the Quartet in Eb, No. 22 Trautwein.
The theme is in Bb, and the first variation in
Bb minor. The second half of the theme begins
in F, and has a whole period of eight bars,
closing in that key, before going back to Bb.
The corresponding part of the first variation
begins with the same notes transferred from first
violin to cello, and has the same kind of motion,
and similar free contrapuntal imitation ; but it
proceeds by a chain of closely interlaced modula-
tions through Eb minor and Ab, and closes in
Db. And not only that, but the portion which
corresponds to the resumption of the principal
idea begins in the original key in Db, and only
gets home to the principal key for the last phrase
of four bars, in which the subject again appears.
So that for eleven bars the variation is only con-
nected with the theme by the fact that the
successive progressions are analogous in major
and minor modes, and by a slight similarity in the
character of the music. This was a very im-
portant position to take up in variation-writing,
and by such action Haydn fully established
a much broader and freer principle of repre-
senting the theme than had been done before.
The following examples are respectively the first
eight bars of the second half of the theme, and
the corresponding portion of the 1st variation: —
Ex.17. ^^ r^ra^T^
(I) ^ \(^)
^^--
(3)
i^mMM^
m
^ifJJ
I (3)
224
VARIATIONS.
(4)
4^ttb''t±S'
(s)
(6)
(7)
w
•(8)-
The other noticeable feature of Haydn's treat-
ment of the variation -form is illustrated very
happily by the * Andante con Variazioni * in F
minor for clavier solo, and by the movement in
the F major sonata for clavier and violin ; both
showing how strongly he regarded the form as
one to be unified in some way or other beyond
the mere connection based on identity of struc-
ture or tune which is common to all the members
of the series. The first of these is really a
set of variations on two themes ; since the prin-
cipal theme in the minor is followed by a slighter
one contrasting with it, in the major. The varia-
tions on these two themes alternate throughout,
and end with a repetition of the principal theme
in its original form, passing into an elaborate
coda full of allusions to its principal figures.
Thus there is a double alternation of modes and
of styles throughout binding the members to-
gether ; and the free development of the features
of the theme in the coda gives all the weight
and interest necessary to clench the work at the
end. The slow movement for clavier and violin
is somewhat different in system, but aims at
the same object. After the theme comes an
episode, springing out of a figure in the cadence
of the theme, and modulating to the dominant
and back ; then comes the first variation in full,
followed by another episode modulating to Bb,
with plenty of development of characteristic
figures of the theme, coming back (after about
the same length as the first episode) to a pause
on the dominant chord of the principal key, and
followed by another variation with demisemi-
quaver ornamental passages for the pianoforte.
This variation deviates a little at the end, and
pauses on the dominant chord again ; and then
the beautiful and serene theme is given out once
more in its original form. This is therefore an
ingenious kind of Rondo in the form of varia-
tions. The short contrasting episodes are quite
in Rondo-form, the only difference being that
the two middle repetitions of the theme are made
unusually interesting by appearing in a fresh
guise. One more point worth noting about
Haydn's works of this kind, is that some of his
themes are so rich and complex. In a few of
the sets in the quartets the theme is not so
much a tune as a network of figures combined
in a regular harmonic scheme — see Ex. 17 ; and
the same holds true of the ' Andante con Varia-
zioni ' mentioned above, which is long, and full
of the most various and remarkable figures. It
may be said finally that there is no branch
of composition in which Haydn was richer and
VARIATIONS.
more truly polyphonic than in his best sets of
variations.
Mozart, on the other hand, represents the ex-
treme of the melodic form of variations. If in
many of Haydn's slighter examples this ten-
dency was perceptible, in Mozart it comes to a
head. The variations which he makes purely
out of ornamental versions of the tune of the
theme, are at least four times as many as his
harmonic and more seriously conceived ones.
As has been said before, Mozart wrote far more
sets than Haydn, and many of them were probably
pUces d'occasion — trifles upon which there was
neither time nor need to spend much thought.
It is scarcely too much to say moreover that
variation-writing was not Mozart's best province.
Two of his greatest gifts, the power of moulding
his form with the most refined and perfect ac-
curacy, and spontaneous melody, have here no full
opportunity. The themes which necessarily
decide the form are in many cases not his own,
and, except in rare instances, it does not seem to
have entered into his head to try to make new
and beautiful melodies on the foundation of their
harmonic framework. He seems rather to have
aimed at making variations which would be
easily recognisable by moderately- gifted ama-
teurs ; and it must be allowed that it takes a
good deal of musical intelligence to see the
connection between a theme and a variation
which is well enough conceived to bear frequent
hearing. It is also certain that the finest varia-
tions have been produced by scarcely any but
composers of a very deep and intellectual organ-
isation, like Beethoven, Bach, and Brahms.
Mozart was gifted with the most perfect and
refined musical organisation ever known; but
he was not naturally a man of deep feeling or
intellectuality, and the result is that his varia-
tion-building is neither impressive nor genuinely
interesting. Its chief merits are delicate mani-
pulation, illustrating the last phase of harpsi-
chord-playing as applied to the Viennese type
of pianoforte with shallow keys, and he obtains
the good balance in each set as a whole without
any of Haydn's interesting devices. A certain
similarity in the general plan of several of the
independent sets suggests that he had a regular
scheme for laying out the succession of variations.
The earlier ones generally have the tune of the
theme very prominent; then come one or two
based rather more upon the harmonic framework,
so as to prevent the recurrence becoming weari-
some ; about two-thirds of the way through, if the
theme be in the major, there will be a minor
variation, and vice versa ; then, in order to give
weight to the conclusion and throw it into relief,
the last variation but one has a codetta of some
sort or an unbarred cadenza, or else there is an
unbaiTed cadenza dividing the last variation from
the final coda, which usually takes up clearly
the features of the theme. These unbarred ca-
denzas are a characteristic feature of Mozart's
sets of variations, and indicate that he regarded
them as show pieces for concerts and such
occasions, since they are nothing but pure finger-
VARIATIONS.
VARIATIONS.
225
flourishes to show off the dexterity and neatness
of the performer. There are two — one of them
a very long one — in the set on Paisiello's * Salve
tu Domine,' another long one in that on Sarti's
•Come un agnello,' a long one in that on 'Lison
dormait,' and others of more moderate dimen-
sions in the sets on Gluck's ' Unser dummer
Pobel meint/ Mr. Duport's minuet, 'Je suis
liindor,' and others. In his treatment of the
harmonic framework, Mozart is generally more
strict than Haydn, but he is by no means tied
by any sense of obligation in that respect, and
even makes excellent point out of harmonic di-
gression. A most effective example, which con-
tains a principle in a nutshell, is his treatment
of the most characteristic phrase of 'Unser
dununer Pobel' in the fourth variation. The
phrase is as follows : —
Ex.19.
SiS
niiMii
s
To this he gives a most amusing turn by, as it
were, missing the mark by a semitone : —
Ex. 20.
then he goes on to the end of the half of the
variation which contains the passage, and begins
it again as if for repeat ; and then again over-
shoots the mark by a semitone : —
Ex. 21,
There is probably no simpler example of an
harmonic inconsistency serving a definite pur-
pose in variations. In a less obvious way
there are some in which very happy effect is
obtained by going an unexpected way round
between one essential point of harmony and
another, and in such refinements Mozart is most
successful.
When he introduces sets of variations into
sonatas and such works as his Clarinet Quintet,
he seems to have taken more pains with them ;
there are proportionately more free and harmonic
variations among them; and the element of
show illustrated by the unbarred cadenza is not so
prominent. There are good examples of variety
of treatment and success in balancing the various
members of the series in the variations in the
fine Sonata in F for violin and pianoforte. True,
the basis of the variations is for the most part
melodic, but the principle is treated with more
solid effect than usual. The same remark ap-
plies to the last movement of the PF. Sonata in
D, written in 1777. This contains some ex-
tremely happy examples of the exclusive use of
the harmonic principle, as in the 9th variation,
in which the vigour and individuality of the
VOL. IV. FT. 2.
figure give the variation all the appearance of
an independent piece. Similarly in the nth.
Adagio cantabile, and in the last, in which the
time is changed from 4-4 to 3-4, the melody is
so devised as to appear really new, and not merely
the theme in an ornamental dress.
An excellent use to which Mozart frequently
puts variations is that of presenting the subjects
of sonata-movements in new lights, or adding to
their interest by new turns and ornaments when
they reappear a second or third time in the
course of the movement. One example is the
recurrence of the theme in the ' Rondo en Polo-
naise ' which forms the middle movement in the
Sonata in D just referred to. Another is the
slow movement of the well-known Sonata in
C minor, connected with the Fantasia in the
same key.
The cases in which Mozart ventured to give a
variation a thoroughly independent character
are rare. He seems to have thought it better
to keep always in sight of his theme, and though
he invented some charming and effective de-
vices which have been used by later composers,
as a rule the variations wait upon the theme
too subserviently, and the figures are often too
simple and familiar to be interesting. The follow-
ing (' Je suis Lindor') is a fair sample of his way
of ornamenting a tune : —
Ex, 22. Theme.
J2=-'— 1
(1)
(a)
Variation.
i
^ pj«
(X)
«t
^
^
Beethoven's work forms an era in the history
of variation-making. It was a branch of art
eminently congenial to him; for not only did
his instinct for close thematic development
make him quick to see various ways of treating
details, but his mind was always inclined to
present the innermost core of his idea in dif-
ferent forms. This is evinced plainly enough
in the way in which he perfects his subjects.
His sketch-books show how ideas often came to
him in the rough ; and how, sometimes by slow
degrees, he brought them to that refined and
effective form which alone satisfied him. The
substratum of the idea is the same from first to
last, but it has to undergo many alterations of
detail before he finds the best way to say it.
Even in this his practice differed extremely from
Mozart's, but in the treatment of the actual form
of 'Theme and variations' it differed still more.
In principle Beethoven did not leave the line
226
VARIATIONS.
taken up by the composers of the Sonata period,
but he brought the old and new principles more
to an equality than before, and was also very
much more daring in presenting his model in
entirely new lights. The proportion of purely
ornamental variations in his works is small ; and
examples in which the variations follow the
theme very closely are more conspicuous in the
early part of his life than later ; but even among
such comparatively early examples as the first
movement of the Sonata in Ab (op. 26), or the
Btill earlier ones in the Sonata in G (op. 14,
no. 2), and the set on Righini's air, there is a
fertility of resource and imagination, and in the
last case a daring independence of style which
far outstrips anything previously done in the
same line.
In some sets the old structural principle is
once more predominant, as in the well-known
32 in C minor (1806), a set which is as much of
a Chaconne as any by Corelli, Bach, or Handel.
The theme is in chaconne time, and the strong
steps of the bass have the old ground-bass
character. It is true he uses the melody of
the theme in one or two instances — it would be
almost impossible to avoid it at a time when
melody counted for so much ; but in the large
majority the variation turns upon the structural
system of the harmonies. Among other points
this set is remarkable as a model of coherence ;
almost every variation makes a perfect comple-
ment to the one that precedes it, and sets it off
in the same way. In several cases the varia-
tions are grouped together, externally as well as
in spirit, by treating the same figures in dif-
ferent ways; as happens with the ist, 2nd and
3rd, with the 7th and 8th, and with the 26th
and 27th and others. The 12th marks a new
departure in the series, being the first in the
major, and the four that follow it are closely
connected by being variations upon that varia-
tion ; while at the same time they form the
single block in the major mode in the whole
series. Every variation hangs together as closely
as those in Bach's great set of thirty by the
definite character of the figures used, while the
whole resembles that set in the vigour of the
style.
In most of the other remarkable sets the prin-
ciples of treatment are more mixed. For in-
stance, in that on the Ballet Air from the * Men
of Prometheus,' some have a technical interest
like Bach's, and some have an advanced orna-
mental character after the fashion of Mozart's,
Among ingenious devices which may fairly be
taken as types, the sixth variation is worth
noting. The tune is given intact at most avail-
able points in its original pitch and original
form, but the harmonies are in a difierent key.
A marked feature in the series is that it has an
introduction consisting merely of the bass of the
theme, and three variations on that are given
before the real theme makes its appearance ; as
happens also in the last movement of the Eroica
Symphony, which has the same subject, and some
of the same variations, but is not a set of varia-
VARIATIONS.
tions in the ordinary sense of the word, since it
has various episodes, fugal and otherwise, as in
the movement fi:om Haydn's violin and piano-
forte sonata described on p. 323.
Others of Beethoven's sets have original ex-
ternal traits; such as the set in F (op. 34), in
which all the numbers are in different keys ex-
cept the theme and the two last variations, the
others going in successive steps of minor thirds
downwards. The variations themselves are for
the most part based on the melody, but a most
ingenious variety of character is kept up through-
out, partly by changing the time in each suc-
The sets so far alluded to belong to the early
or middle period of Beethoven's life, but the
finest examples of his work of this kind belong
to the last period, such as those in the Quartet
in Eb, and the variations * In modo lidico' in the
Quartet in A (op. 132), those in the Trio in Bb,
in the Sonatas in E (op. 109), and C minor (op,
III), the two in the 9th Symphony, and the
thirty-three on the valse by Diabelli. These J
last five are the finest and most interesting in I
existence, and illustrate all manner of ways of '
using the form. In most cases the treatment
of the theme is very firee, and is sometimes
complicated bj' the structure of the movement.
In the slow movement of the 9th Symphony for
instance the theme and variations are inter-
spersed with episodes formed on a different sub-
ject and by passages of development based on
the principal theme itself. In the choral part
the variations are simply based upon the idea,
each division con'esponding to a variation being
really a movement made out of a varied version
of the theme adapted in style to the sentiment of
the words, and developed without regard to the
structure of the periods or plan of the tune.
The sets in the two Sonatas are more strict,
and the harmonic and structural variations are
in about equal proportions. Their coherence is
quite as strong as that of the thirty- two in C
minor, or even stronger ; while there is infinitely
more musical interest in them. In fact, there is
a romantic element which colours each set and
gives it a special unity. The individual char-
acter given to each variation is as strong as pos-
sible, and such as to give it an interest of its
own beyond its connection with the theme;
while it is so managed that whenever the free-
dom, of style has a tendency to obliterate the
sense of the theme, a variation soon follows in
which the theme is brought forwai-d clearly
enough to re-establish the sense of its presence
as the idea from which the whole series springs.
The set in op. 109 is an excellent model of the
most artistic way of doing this, without the
device being so obvious as it is in the works of
the earlier masters. The first variation has such
a marked melody of its own that it necessarily
leads the mind away from the theme. But the
balance is re-established by the next variation,
which is a double one, the repeats of the theme
being given with different forms of variations,
severally like and unlike the original The next
VARIATIONS.
VARIATIONS.
227
variation is also double, but in a diflFerent sense,
the repeats being given in full with different
treatment of the same figures. Moreover the
balance is still kept up, since the first half is
chiefly structural, and the second resumes the
melody of the theme more clearly. The next
two are more obscure, and therefore serve all
the better to enhance the effect of the very clear
reappearance of the theme in the final variation.
This plan of making double variations was a
favourite one with Beethoven, and he uses it
again in the fourth variation in op. iii, and in
the Diabelli set. In op. iii it is worth noticing
that there is an emotional phase also. The first
two variations gradually work up to a vehement
climax, culminating in the third. After this
outburst there comes a wonderful stillness in the
fourth (9-16), like the reaction from a crisis of
passion, and this stillness is maintained through-
out, notwithstanding the two very different man-
ners of the double variation. Tiien there is a
codetta and a passage wandering through mazes
of curious short transitions, constantly hinting at
figures of the theme ; out of which the theme
itself emerges at last, sailing with wind and tide
in perfect fruition of its freedom ; the last varia-
tion of all seems to float away into the air as the
tune sings through the haze of shakes and rapid
light passages that spin round it, and the whole
ends in quiet repose. In such a sense Beethoven
gave to his variations a dramatic or emotional
texture, which may be, by those who under-
stand it, felt to be true of the innermost workings
of their emotions, but can hardly be explained
in words.
Technically the most remarkable set of all is
that of thirty-three on the Diabelli valse. In
this appear many traits recalling those in Bach's
set of thirty. For instance, there is a fugetta,
cast in the structural mould of the theme ; there
«re imitative variations, of thoroughly modern
type ; and there are also examples of the imi-
tations being treated by inversion in the second
half, as was the manner of Bach. But in style
there is little to recall the methods of the older
master, and it is useless to try and lay down
hard and fast technical rules to explain the
detailed connection of theme and variation. In
all these last sets, and in the Diabelli set espe-
cially, Beethoven is making transformations
rather than variations. He takes the theme in
all its phases — harmonic, melodic, or rhythmic —
and having the idea well in his mind, reproduces
it with unlimited variety in different aspects.
At one moment a variation may follow the me-
lody of the theme, at another the harmonic
structure, at another it will be enough that some
special trait like the persistence of an inner por-
tion of the harmony in thirds or otherwise is
reproduced, as in the second phrase of Variation
No. 8. At other times he will scarcely do more
than indicate clearly the places where the ca-
•dences and signs of the periods fall, as in Varia-
tion 13, with the long pauses ; while at other times
he works by nothing more than analogy, as in
the relations of the end of the first half and
beginning of the second half of Variation 5, and
the beginnings of the second halves of Nos. 9,
13, and 22. In other cases there are even more
complicated reasons for the connection. An ex-
ample occurs as early as the first variation. The
strong type of figure, moving by diatonic steps,
adopted at the beginning, is worked out in
longer reaches in the second half, until it forces
the harmony away from the lines of the theme
into short transitional digressions. These occur
in two successive periods, \^Jhich are brought
round again and rendered externally as well as
ideally intelligible by the way in which the
periods are made to match. In a few other
cases nothing but the strong points of the
periods are indicated, and the hearer is left in
doubt till he hears the strong cadence of the
period, and then he feels himself at home again
directly, but only to be immediately bewildered
by a fresh stroke of genius in a direction where
he does not expect it. The happiest example of
this is Variation 13, already alluded to, which is
principally rhythmic, just indicating by a sort of
suggestion here and there a humorous version of
the theme, and making all the progressions seem
absurdly wrong at first sight, though they come
perfectly right in the end. The two following
examples are the first halves of the theme and
of Variation 13 : —
Ex.23. (Theme.)
Vivace.
-#• (9) (10) (11) (12) (13)
^^ip^
VARIATIONS.
Ex. 24. (Variation 13)
Vivace.
J.
^ ZX ZS^i6) (7) (8) (9)
N^E^*H^^ii
h^h:^ii^'.
Another most wonderful variation is the twen-
tieth, in which again there is a mere suggestion
of the theme woven into mazes of transitions,
passing away from the harmony of the theme in
the less essential points, but always making the
balance even again at the close, melodic and
structural principles being mixed up almost in-
extricably. Example 25 shows the portion of
this variation corresponding to the part of the
theme given in Ex, 23 : —
Ex. 25. (Variation 90).
Andante
In almost all the variations except the fugue
(no. 32) the periods are kept quite clear, and
match the original faithfully; and this is the
strongest point in helping the hearer or reader
to follow the connection. The free fugue, which
comes last but one, is exactly in the very best
place to break any sense of monotony in the
recurrence of these exact periods, while the last
variation sets the balance even again in a very
distinct and weighty way, in favour of the plan
and melody of the theme.
In connection with the point illustrated by
the fugue in this set, it is noticeable that
Beethoven from the first seems to have aimed
at relieving in some striking and decisive way
the monotony which is liable to result from the
constant recurrence of short sections, and the
persistence of one key. His codas are frequently
very long and free, and often contain extra
variations mixed up with telling passages of
modulation. The early set of variations on a
theme by Righini (1790) affords one remarkable
illustration of this, and the twelve on the Russian
air from *Das Waldmadchen' (1797), another.
In the last movement of op. 1 1 1 the same end is
gained by the stringof transitions in the body of the
movement before the last two variations; a similar
passage occurs in the slow movement of the 9th
Symphony ; and in a few instances he gained the
same end by putting some of the variations in a
different key, as in those of the Eb Quartet, which
also contain a modulating episode near the end.
The history of variations seems to be summed
up in the set we have just been considering. In
the earlier stages of the art the plan of the bass
and the harmonies indicated by it was generally
the paramount consideration with composers,
and great technical ingenuity was expended. In
characteristic sets of the earlier sonata-period
the melody became paramount, and technical
ingenuity was scarcely attempted. In Beetho-
ven's latest productions structural and melodic
elements are brought to a balance, and made
to minister in all the ways that artistic ex-
perience and musical feeling could suggest to
the development of the ideas which lie in the
kernel of the theme, and to the presentation of
them in new lights.
VARIATIONS.
VARIATIOJNb.
229
No composer had ever before attempted to
produce variations on such principles as Bee-
thoven did, and the art has hardly progressed
in detail or in plan since his time ; but several
composers have produced isolated examples,
which are really musical and interesting. Schu-
bert is particularly happy in the variations
on the *Tod und Madchen' theme in the D
minor Quartet, in which there is great beauty
of sound, charm of idea, and contrast of style,
without anything strikingly original or ingenious
in principle. Weber produced numbers of very
effective and characteristic sets for pianoforte.
Mendelssohn left one or two artistic works of
the kind, of which the 'Variations serieuses'
is the best. In this set there are happy instru-
mental effects, and the whole makes an effective
pianoforte piece ; but Mendelssohn's view of this
branch of art was only at the level of the simple
standard of Mozart, and not even so free and
spontaneous as Haydn's ; and in his application
of melodic and structural principles he is ex-
tremely strict. Far more interesting is Schu-
' mann's treatment of the form in such examples
as the Andante and Variations for two pianos,
and the well-known • Etudes Symphoniques.'
His view of the art tended to independence as
much as Mendelssohn's did to rigidity, and at
times he was even superfluously free in his
rendering of the structural aspect of the theme.
His devices are less noticeable for ingenuity than
for the boldness with which he gives a thoroughly
warm, free, and romantic version of the theme,
or works up some of its characteristic figures
into a movement of nearly equal proportions
with it.
By far the finest variations since Beethoven
are the numerous sets by Brahms, who is akin to
Beethoven more especially in those character-
istics of intellect and strong emphatic character,
which seem to make variations one of the most
natural modes of expressing ideas. In the Va-
luations and Fugue on a , theme of Handel's
(op. 24), the superb set for orchestra on a
theme of Haydn (op. 56 a), those for four hands
on a theme of Schumann's (op. 23), the two
Paganini sets, and the fine set on an original
theme in D (op. 21, no. i), he has not only
shown complete mastery and perception of all
aspects of the form, but a very unusual power of
presenting his theme in different lights, and
giving a most powerful individuality both of
rhythm and figure to the several members of
each series. His principles are in the main
those of Beethoven, while he applies such de-
vices as condensation of groups of chords,
anticipations, inversions, analogues, sophistica-
tion by means of chromatic passing notes, etc.,
with an elaborate but fluent ingenuity which
sometimes makes the tracing of the theme in a
variation quite a difficult intellectual exercise.
But analysis almost always proves the treatment
to be logical, and the general impression is
sufficiently true to the theme in broad outline
for the principle of the form to be intelligible.
He uses double variations with the happiest
effect, as in those on the theme by Haydn,
where the characteristic repetition of halves is
sometimes made specially interesting by building
one variation upon another, and making the
repetition a more elaborate version of the first
form of each half of the variation. Where the
variations are strongly divided from one another,
and form a string of separate little pieces, the
contrasts and balances are admirably devised. In
some cases again the sets are specially noticeable
for their continuity, and for the way in which one
variation seems to glide into another ; while they
are sometimes connected by different treatment
of similar figures, so that the whole presents a
happy impression of unity and completeness.
Brahms is also, like Beethoven, most successful
in his codas. Two very large ones are the fugue
in the Handel set, and the fine, massive coda
on a ground-bass derived from the first phrase
of the theme, in the Haydn variations. Another
on a large scale, but in different style, is that
which concludes the Hungarian set (op. 21,
no. 2.)
In the following examples — which show the
first four bars of the theme, and the correspond-
ing portion of the third variation in the first Paga-
nini set, the nature of several very characteristic
devices, such as anticipation, insertion of new
chords between essential points of the harmordc
succession, doubling the variation by giving the
repetition of each half in full, with new touches
of effect, etc., — is illustrated.
Ex. 26. -^
230
VARIATIONS.
A peculiar adaptation of the Variation-prin-
ciple to the details of other forms of art remains
to be noticed. In this also Beethoven led the
way. A very fine example is the conclusion of
the Marcia Funebre of the Eroica symphony,
where the subject is made to express a terrible
depth of grief by the constant breaks of the
melody, which seem to represent sobs. A
similar device — in that case amounting to a com-
plete variation — is the repetition of the short
'Arioso dolente' in A b minor in the middle of
the final fugue in the Sonata in Ab (op. no).
Here again the object is obviously to intensify
the sadness of the movement by constant breaks
and irregularities of rhythm. Another passage
of the same kind is the end of the overture to
* Coriolan.'
With a similar view Berlioz has given varied
forms of his * id^e fixe ' in the * Episode de la
vie d'un artiste ' ; adapting it each time to the
changed conditions implied by the movement in
which it appears. Its original form is as fol-
lows : —
Ex. 28.
3E£fe4^.^=?=^^g^TT^f
In the ball scene it takes a form appropriate to
the dance motion : —
Ex. 29.
VH..b»-'^4»- ♦'"-•.
Another form occurs in the 'Scdne aux Champs,*
and in the final ' Nuit de Sabbat ' it is purposely
brutalised into the following : —
Ex. 30.
Wagner, carrying out the same method on a
grander scale, has made great use of it in adapt-
ing his * leitraotiven ' to the changed circum-
stances of the individuals or ideas to which they
belong. One of the most remarkable instances
is the change from one of Siegfiried's tunes as
given by his own horn in his early days, repre-
senting his light-hearted boyish stage of life —
Kx. SL
to the tune which represents him as the full-
grown hero bidding adieu to Briinnhilde, which
is given with the whole force of the orchestra.
Ex. 32.
Liszt has frequently made characteristic varia-
tions of his prominent figures for the same pur-
VAUCORBEIL.
poses, as in the 'Faust' symphony, and *Le»
Preludes.'
Among the devices known as • aesthetic,' varia-
tions again play a most prominent part ; move-
ments of symphonies and sonatas, etc., being
often linked together by diflferent forms of the
same idea. Interesting examples of this are to
be met with in Schumann's Symphonies in D
minor and C, and again in Brahms's Symphony
in D. [See Symphony, pp. 35 and 42.]
In such a manner the principle of variation
has pervaded all musical art from its earliest
days to its latest, and appears to be one of its
most characteristic and interesting features. In
its early stages it was chiefly a mechanical de-
vice, but as the true position of ideas in musio
has come more and more to be felt and under-
stood, the more obvious has it become that they
can be represented in different phases. Thus the
interest of the development of instrumental move-
ments in modern symphonies and sonatas is fre-
quently enhanced by the way in which the sub-
jects are varied when they are reintroduced
according to the usual principles of structure ;
in operas and similar works ever since Mozart's
time characteristic features are made all the
more appropriate by adapting them to different
situations ; and it is even possible that after all
its long history the Variation still affords one
of the most favourable opportunities for the
exercise of their genius by composers of the
future. [C.H.H.P.]
VARSOVIANA. A dance very similar in
character to the Polka, Mazurka, and Redowa.
It is probably of French origin, and seems to
have been introduced by a dancing-master named
Ddsird in 1853. Somewhat later it was much
danced at the Tuileries balls, and is said to have
been a favourite with the Empress Eugenie. The
music is characterised by strong accents on the
first notes of the second and fourth bars, cor-
responding to marked pauses in the dance. The
tempo is rather slow. The following is the tune
to which the Varsoviana was generally danced:—
r\ [^^ I I I I* I j^ " (^^ I I "~
[W.B.S.]
VASCELLO-FANTASMA, IL. An Italian
version of Wagner's * Flying Dutchman.* Pro-
duced at the Royal Italian Opera, Covent Gar-
den, June 16, 1877. [G.]
VAUCORBEIL, Auguste Emmanuel, whose
real name was Veaucobbeille, bom at Rouen,
Dec. 15, 1 821, son of an actor long a favourite
at the Gymnase under the name of Ferville. He
entered the Paris Conservatoire in 1835, where
he was patronised by Queen Marie Amilie, who
made him an allowance. Here he studied seven
years, Dourlen being his master for harmony,
while Cherubini gave him some advice on com-
position. He took the second solfeggio prize in
VAUCORBEIL.
1638. He first tried to earn his living by singing-
lessons. As a skilled musician, and man of polished
manners, he made friends, and became the pet
composer of certain amateur circles. His first
publication was 22 songs, of which a 'Simple
Chanson ' had a well-earned success. His cham-
ber music — two string-quartets, some sonatas
for PF. and violin, and one for viola, and
two suites for PF. — is well constructed, with
ideas at once ingenious and refined, qualities
which also form the leading features of a 3-act
Op^ra-Comique 'LaBataille d' Amour' (April 13,
1863), and a scena with chorus, *La Mort de
Diane/ sung by Mme. Krauss at a Conservatoire
concert (1870). Of an unpublished opera, 'Ma-
homet,' we know only some fragments played in
1877, b^* ^ f^r as we can judge, the fire, energy,
knowledge of eflfect, and passion, required for
success on the stage were not qualities possessed
by M. Vaucorbeil. Finding that composition
ofiered no prospect, he resolved to try a dif-
ferent branch, and in 1872 accepted the post of
government commissary of the subsidised theatres.
In 1878 he obtained the title of Inspecteur des
Beaux Arts, and soon after was made director of
theOpdra for seven years, entering on his functions
by agreement with M. Halanzier, July 16, 1879,
A new era seemed to have opened for the first
opera-house in Paris ; but instead of securing
the services of such artists as Faure, Gayarre,
Mme. Fidfes-Devri^s, etc., he chose his singers
from among the young prize-winners at the Con-
servatoire— a system of * reducing expenses '
which has not been to the advantage of French
composers. M. Vaucorbeil himself was a victim
of his endeavours to manage this unmanageable
theatre. He died after a short illness Nov. 2,
1884. [G.C.]
VAUDEVILLE, a French word, which has
had successively four meanings: (i) a popular
song, generally satirical ; (2) couplets inserted in
a play; (3) the play itself; and lastly (4) a
theatre for plays of this kind, with songs. Most
etymologists derive the word from Vaux de
Vire, the name given to songs sung in the
valleys {vaux) near Vire by a certain fuller and
song-writer named Olivier Basselin, who died at
Vire in the 15th century. His songs were col-
lected and published in 161 o by an avocat named
Jean le Houx, who may virtually be considered
their author.^ They contain such lines as these:
Faisant I'amour, je ne saurais rien diro
Ii^i rieu chanter, sinou on vau de vire.
Others ^ maintain that vaudeville comes from
voix de ville, quoting as their authority the
* Kecueil des plus belles et excellentes chansons
en forme de voix de villes' (Paris, 1575) by Jean
Chardavoine, a musician of Anjou, but we, with
Menage, prefer the former derivation. It is at
any rate certain that the word * vaudeville ' was
employed by writers in the i6th century to
denote a song sung about the town, with a
» The ' Vaux de Vire of Jean Le Houx of Vire,* have been recently
published In English by J. P. Mutrhead (London. 1875).
» See V6tla, Blographie, under 'Leroy,' p. 2806.
VAUDEVILLE.
231
catching tune. Many lampoons, such as the
Mazarinades, are vaudevilles. The word was
used in this sense, for some time, as is evident
from a passage from Kousseau's * Confessions ' :
* A complete collection of the vaudevilles of the
court and of Paris for over 50 years, contains a
host of anecdotes which might be sought in vain
elsewhere, and supplies materials for a history of
France, such as no other nation could produce.'
It was about 1700 that the mere street-song
passed into ' topical ' verses in a dramatic piece.
The plays at the fairs of St. Germain and St.
Laurent contained vaudevilles, generally adapted
to well-known tunes, so as to ensure their im-
mediate popularity. Occasionally fresh music
was written for them, and the vaudevilles com-
posed by Joseph Mouret (a Proven9al, called by
his contemporaries *le musicien des Graces'),
Gillier, Quinault the elder, and Blavet, had
great success in their day.
The next step was to conclude the play with
a vaudeville final, in which each character sang
a verse in turn. Of this Beaumarchais's 'Mariage
de Figaro' (1784) gives a well-known example.
The rage for vaudevilles gave rise to pieces
entirely in verse, and parodies of operas, and
largely contributed to the creation of the op^ra-
comique. To distinguish between these different
classes of pieces the name comedies d ariettes was
given to what are now called operas-comiques,
and the others became successively 'pieces en
vaudevilles,' • comedies melees de vaudevilles,'
then 'come'dies- vaudevilles,' and finally 'vaude-
villes.'
II. It is thus evident that the word would
afford material for a book embracing some most
curious chapters in the history of French dra-
matic literature ; for the vaudeville includes
all styles, the comedy of intrigue, scenes of
domestic life, village pieces, tableaux of passing
events, parodies, and so forth. It was there-
fore natural that from having found a home
wherever it could, it should at last have a special
house erected for it. The Theatre du Vaude-
ville was built in 1792, on the site of a dancing-
saloon called ' Vauxhall d'hiver,' or the * Petit
Pantheon,' between the Rue de Chartres and the
Rue St. Thomas du Louvre, on the site of the
Hotel Rambouillet, and on ground now occupied
by the Galerie Septentrionale, and by a part of
the new court of the Louvre. This theatre was
burnt down in 1838, when the company removed
to the Thdatre des Nouveaut^s, in the Place de
la Bourse. This new The'^tre du Vaudeville
having disappeared in its turn, was replaced by
the present pretty house in the Boulevard dea
Capucines, at the corner of the Rue de la
Chauss^e d'Antin. "We cannot enumerate here
the authors who have contributed to its success ;
sufl&ce it to say that vaudeville, born so to speak
simultaneously with the French Revolution,
crystallised into one of the most characteristic
forms of the old French ' esprit ' ; that later, as
has been justly remarked, it launched boldly
into all the speculations of modern thought, from
the historic plays of Ancelot and Rozier, and
232
VAUDEVILLE.
the Aristophanesque satires of 1848, down to
the works— as remarkable for variety as for
intense realism — of Emile Augier, Dumas fils,
Theodore Barrifere, Octave Feuillet, George
Sand, and Victorien Sardou.
This last period, so interesting from a literary
and philosophical point of view, is, musically,
wellnigh barren, while the early days of
Vaudeville were enlivened by the flowing and
charming inspirations of Chardin (or Chardiny)
and Wecht, Doche (father and son), Henri Blan-
chard, and others less known. Most of the
vaudevilles composed by these musicians are to
be found in ' La Cl*^ du Caveau' (1st ed. 1807,
4th and most complete, 1872). The airs are
in notation without accompaniment. In the
library of the Paris Conservatoire is a MS. collec-
tion of vaudevilles in 1 8 vols., with i vol. index,
made by Henri Blanchard. These have an ac-
companiment for four strings.
The Com^die-vaudeville, or vaudeville proper,
has now been abandoned for the Com^die de
genre, but it is not improbable that it may be
revived. At any rate, the couplet is not likely
to die in a land where, as Beaumarchais said,
everything ends with a song. Since his day
manners in France have, it is true, greatly
changed, but the taste for light, amusing,
satirical verses, with a catching refrain, remains,
and is likely to remain. Unfortunately the
vaudeville, in the old sense of the word, has
taken refuge in the Caf^-concerts, where the
music is generally indifferent, and the words
poor, if not objectionable. Occasionally in the
Revues at the small Paris theatres a smart and
witty vaudeville may still be heard. [G.C.]
VAUDEVILLE THEATRE, 404 Strand,
London, was designed by Mr. C. J. Phipps, and
opened April 16, 1870. Messrs. H. J. Montague,
David James, and Thomas Thorn e, lessees.
It may be useful here to give a list of the
Theatres opened in London since the year 1866.
Alexandra Theatre, Park Street, Camden
Town. J.T.Robinson, architect. Opened May 31,
1873; proprietor, Madame St. Claire. Afterwards
called The Park ; burned down Sept. 11, 188 1.
Alhambra Theatre (New), Leicester Square.
Opened Dec, 3, 1883. Perry & Reed, architects.
Proprietors, the Alhambra Theatre Co., limited.
Aquarium Theatre, adjoining Westminster
Aquarium, TothiU Street, S.W. Mr. A. Bed-
borough, architect. Opened April 15, 1876;
first lessee, Mr. Edgar Bruce. Is now known
as The Imperial.
Avenue, Northumberland Avenue, on site
of house or gardens of Northumberland House.
F. H. Fowler, architect. Opened March 11,
1882 ; proprietor, Mr. Sefton Parry.
Charing Cross, King William Street, Strand.
Mr. Arthur Evers, architect. Opened June 19,
1869; first lessees, Messrs. Brad well and Field.
From Oct. 16, 1882, known as The Folly, and
now as Toole's. Built on the site of the Lowther
Rooms, where Blake's Masquerades were once
held. It afterwards became the oratory of
St. Philip Neri, and there Cardinal (then Dr.)
VAUDEVILLE THEATRE.
Newman preached his famous sermons to Angli-
cans in Difficulties. It next became a Working
Man's Club and Institute under the presidency
of Lord Shaftesbury, and in J 855 was opened by
Woodin as the Polygraphic Hall, for lus mono*
logue entertainments, after which it became the
theatre as named above.
Comedy, Panton Street. Mr. Thos. Verity,
architect. Opened Oct. 15, 1881 ; lessee, Mr.
Alexander Henderson.
Court, Sloane Square. Mr. Walter Emden,
architect. Opened Jan. 25, 1871 ; first lessee,
Miss Marie Litton. The site was formerly occu-
pied by a Methodist chapel ; on April 16, 1870,
was first known as The New Chelsea Theatre,
and afterwards as The Belgravia.
Criterion, underneath the Restaurant of that
name, Piccadilly. C. J. Phipps, architect. Opened
March 21, 1874 ; lessees, Messrs. Spiers & Pond.
Elephant and Castle, opposite the Chatham
and Dover Railway Station of that name. Messrs.
Dean, Son & Co., architects. Opened Dec. 26,
1872 ; first lessee, E. T. Smith.
Empire, Leicester Square. Mr. Thos. Verity,
architect. Opened April 17, 1884 ; proprietors.
The Empire Co. Limited. Built on the site of
Saville House, which was occupied from Feb. 14,
1806, to April 23, 1846, by Miss Linwood for
her Gallery of Needle- work. Saville House after-
wards became the Eldorado Music Hall and Caf^
Chantant, and was burned down March i, 1865.
Gaiety, Strand. C. J. Phipps, architect.
Opened Dec. 21, 1868; lessee, Mr. John Hol-
lingshead. Built on the site of the Strand
Music Hall.
Globe. Mr. S. Simpson, builder. Opened
Nov. 28, 1868 ; proprietor, Mr. Sefton Parry.
Built on the site of Lyons Inn, an Old Chancery
Inn of Court.
Grand, Islington. Mr. Frank Matcham,
architect. Opened Aug. 4, 1883 ; first lessees,
Messrs. Clarence Holt and Charles Willmott.
Built on the site of the Philharmonic Music Hall
and Theatre; burned down Sept. 6, 1882.
HoLBORN, High Holborn, W.C. Messrs. Finch
Hill & Paraire, architects. Opened Oct. 6, 1866;
proprietor, Mr. Sefton Parry. Afterwards known
as The Mirror and Duke's; burned down
July 5, 1880.
New Royal Amphitheatre, High Holborn,
W.C. Thomas Smith, architect. Opened May
25, 1867 ; proprietors, Messrs. McCoUum and
Charman. Opened as a circus, but having at the
same time a dramatic licence. Subsequently
called The National Theatre, the Connaught,
the Alcazar ; now The Holborn Theatre.
Novelty, Great Queen Street, Lincoln's Inn.
Mr. Thomas Verity, architect. Opened Dec. 9,
1882 ; proprietors. The Novelty Co. Limited,
Opera Comique, Strand, Holywell and Wych
Streets. F. H. Fowler, architect. Opened Oct.
29, 1870; first lessees, Messrs. Leslie, Steele, and
Norton.
Prince's Theatre, Coventry Street, Hay-
market. Mr. C. J. Phipps, architect. Opened
Jan. 18, 1884; proprietor, Mr. Edgar Bruce.
VAUDEVILLE THEATRE.
Queen's, Long Acre. C. J. Pliipps, architect.
Opened Oct. 24, 1867 ; first lessee, Alfred Wigan.
Built on the site of St. Martin's Hall. About
1878 it ceased to exist as a theatre, and was sold
to a Co-operative Association,
Savoy. C. J. Phipps, architect. Opened Oct.
10, 1881 ; proprietor, R. D'Oyley Carte.
Variety, Pittfield Street, Hoxton. C. J.
Phipps, architect. Opened March 14, 1870 ;
proprietor, Verrell Nunn. [A.C.]
VAUGHAN, Thomas, born in Norwich in
1782, was a chorister of the cathedral there under
Dr. Beckwith. In June 1799 he was elected a
lay-clerk of St. George's Chapel, Windsor. On
May 28, 1803, lie was admitted a gentleman of
the Chapel Royal, and about the same time
obtained the appointments of vicar-choral of
St. Paul's and lay- vicar of Westminster Abbey.
In March 1 806 he resigned his place at Windsor
and in the same year married Miss Tennant,
who had appeared as a soprano singer about
1797, and from 1800 had sung at the Concert of
Ancient Music and the provincial festivals, and
for some years occupied a good position. Be-
coming estranged from her husband she appeared
on the stage at Drury Lane (as Mrs. Tennant)
in secondary parts, and eventually subsided into
a chorus-singer at minor theatres. In 1813
Vaughan was chosen to succeed Samuel Harri-
son as principal tenor at the Concert of Ancient
Music and the provincial festivals, which position
he occupied for more than a quarter of a century.
His voice was a genuine tenor, the deficiency of
natural power in which was concealed by purity
of tone, great distinctness of pronunciation, and
faultlessness of intonation. HaiTison's style was
chaste, refined, and unaffectedly sublime. He
sang the tenor part in Beethoven's Ninth Sym-
phony on its production by the Philharmonic
Society, London, March 21, 1826. He died at
Birmingham, Jan. 9, 1843, and was buried
Jan. 17, in the west cloister of Westminster
Abbey. [W.H.H.]
VAUXHALL GARDENS. In 1615 one
Jane Vaux, widow of John Vaux, was tenant,
as a copyholder of the manor of Kennington, of
a tenement situate near to the Thames. About
1660 this house, with the grounds attached to it,
was opened as a place of public entertainment.
The earliest mention of it as such is in Evelyn's
Diary, under date July 2, 1661 : * I went to see
the New Spring Garden at Lambeth, a pretty
contrived plantation.' Pepys at later dates fre-
quently mentions it, and from him we learn that
there was an older place of the same name and
description in the neighbourhood. On May 29,
1662, he says, * With my wife and the two maids
and the boy took boat and to Fox-hall. . . .
To the old Spring Garden. . . . Thence to the
new one, where I never was before, which much
exceeds the other.' The musical entertainment
appears to have been of the most primitive de-
scription. Pepys (May 28, 1667) says, *By
water to Fox-hall and there walked in Spring
Garden, , . . But to hear the nightingale and
other birds, and here fiddles, and there a harp,
VAUXHALL GARDENS.
233
and here a Jew's trump [Jew's Harp], and here
laughing and there fine people walking, is mighty
diverting.' Addison, in 'The Spectator,' men*
tions the place as much resorted to. In 1730
Jonathan Tyers obtained a lease of it and opened
it June 7, 1732, with an entertainment termed
a ♦ Ridotto al fresco,' then a novelty in England,
which was attended by about 400 persons. This
became very attractive and was frequently re-
peated in that and following seasons, and the
success attending it induced Tyers to open the
Gardens in 1736 every evening during the sum-
mer. He erected a largn covered orchestra,
closed at the back and sides, with the front open
to the Gardens, and engaged a good band.
Along the sides of the quadrangle in which the
orchestra stood were placed covered boxes, open
at the front, in which the company could sit
and sup or take refreshments. These boxes were
adorned with paintings by Hajmaan from designs
by Hogarth, There was also a rotunda in which
the concert was given in bad weather. In 1737
an organ was erected in the orchestra in the
Gardens, and James Worgan appointed organist.
An organ concerto formed, for a long series of
years, a prominent feature in the concerts. On
the opening of the Gardens on May i, 1738,
Roubiliac's statue of Handel (expressly commis-
sioned by Tyers), was first exhibited.^ In 1745
Arne was engaged as composer, and Mrs. Arne
and Lowe as singers. In 1749 Tyers adroitly
managed, by offering the loan of all his lanterns,
lamps, etc., and the assistance of 30 of his ser-
vants at the display of fireworks in the Green
Park on the rejoicings for the peace of Aix-la-
Chapelle," to obtain permission to have the music
composed by Handel for that occasion publicly
rehearsed at Vauxhall, prior to its performance
in the Green Park. The rehearsal took place on
Friday, April 21, by a band of 100 performers,
before an audience of 12,000 persons admitted
by 2*. 6d. tickets. The throng of carriages was
so great that the traffic over London Bridge
(then the only metropolitan road between Mid-
dlesex and Surrey) was stopped for nearly three
hours. After Lowe quitted, Vernon was the
principal tenor singer. On the death of Jonathan
Tyers in 1767 he was succeeded in the manage-
ment by his two sons, one of whom, Thomas, who
had written the words of many songs for the Gar-
dens, soon afterwards sold his interest in the
place to his brother's family. In 1 774 Hook was
engaged as organist and composer, and held
these appointments until 1820, [See HoOK,
James,] In his time the singers were Mrs.
Martyr, Mrs. Wrighten, Mrs. Weichsell, Miss
Poole (Mrs. Dickons), Miss Leary, Mrs. Moun-
tain, Mrs. Bland (probably the most universally
favourite female singer who ever appeared in the
Gardens), Miss Tunstall, Miss Povey, Vernon,
1 This statue remained In the Gardens, In various situations, some-
times In the open air and sometimes under cover, until 1818, when It
was removed to the house of the Rev. Jonathan Tyers Barrett, D.D.
(to whom the property in the Gardens had devolved, and who thea
contemplated a sale of It), In Duke Street, Westminster, where it
remained until his death. It was purchased at auction In 1833 by
Mr. Brown, a statuary, who In 1854 sold It to the Sacred Harmonle
Society. It now belongs to Mr. Henry Littleton.
234
VAUXHALL GARDENS.
Incledon, Dignum, Charles Taylor, Collyer, Ma-
lion, etc., etc. Parke, the oboist, was for many
years the principal solo instrumentalist. On May
29, 1786, the Gardens were opened for the sea-
son, tor the first time under the name of ' Vaux-
hall Gardens ' (the old name of * Spring Garden '
having been continued up to that time), with a
jubilee performance in commemoration of their
first nightly opening by Tyers 50 years before.
In 1798 fireworks were occasionally introduced,
and afterwards became one of the permanent
attractions of the place. The favour shown by
the Prince of Wales (afterwards George IV.),
made the Gardens the resort of the fashionable
world, and the galas given during the Regency,
on the occasions and the anniversaries of the
several victories over Napoleon, attracted im-
mense numbers of persons. During that period
the prosperity of the establishment culminated.
In 181 5 the celebrated performer on the tight
rope, Madame Saqui appeared, and excited uni-
versal astonishment by her ascent on the rope to
the summit of the firework tower (60 feet high),
during the pyrotechnic display. She continued
one of the principal attractions of the Gardens
for many years. In 1818, the Gardens having
become the property of the Rev. Dr. Jon. Tyers
Barrett, who deemed the derival of an income
from them inconsistent with his sacred calling,
they were submitted to auction (on April 11),
but bought in. In 1822 however they passed
into the hands of Messrs. Bish, Gye, and Hughes.
Great changes then took place in the character
of the entertainments ; and a theatre was erected,
in which at first ballets, and afterwards vaude-
villes, were performed. The concert however
was retained as a leading feature, and in 1823
the singers were Miss Tunstall, Miss Noel, Miss
Melville, Goulden, Collyer, Clark, and Master
Longhurst. In 1826 Miss Stephens, Mme.
Vestris, Braham, Sinclair, De Begnis, etc. were
engaged. In 1827 horsemanship was introduced
and a mimic representation of the Battle of
Waterloo (which proved attractive for several
seasons), given on the firework ground. Miss
Graddon, T. Phillips, Horn, and Mr. and Mrs.
Fitzwilliam were the singers, and Blewitt, T.
Cooke, and Horn the composers. In 1828
Blewitt, T. Cooke and R. Hughes were the com-
posers, and Misses Helme, Kmght and Coveney,
Benson, Williams and Tinney the singers. In
1829 Rossini's *I1 Barbiere di Siviglia' was per-
formed in the theatre by Miss Fanny Ayton,
Mesdames Castelli and De Angioli, and Signori
Torri, Giubilei, De Angioli and Pellegrini ; the
orchestral concert being supported by Misses
Helme and P. Horton (now Mrs. German Reed),
George Robinson, W. H. Williams, and George
Smith; Blewitt and T. Cooke continuing as
composers. In 1830 Bishop was placed at the
head of the musical department, and continued
so for 3 years. He produced during that pe-
riod the vaudevilles of 'Under the Oak/ and
'Adelaide, or the Royal William,' 1830; *The
Magic Fan,' *The Sedan Chair,' and 'The
Battle of Champagne,' 1832, and many single
VECCHI.
songs, amongst which was the still popular bal-
lad, 'My pretty Jane,* written for the sweet-
toned alto voice of George Robinson. His
singers included Miss Hughes and Mrs. Way-
lett. Balloon ascents formed a main feature of
the attractions a few years later. As far back
as 1802 Gamerin had made an ascent from the
Gardens, but that was an isolated case. In 1835
Charles Green ascended and remained in the air
all night. On Nov. 7, 1836, Green, Monck
Mason, and Holland ascended in the large bal-
loon, afterwards known as the 'Nassau,' and
descended next morning near Coblentz, having
travelled nearly 500 miles in 18 hours. In July,
1837, Green ascended, with Cocking attached in
a parachute beneath the balloon, when the latter
was killed in his descent by the failure of his
machinery. The Gardens now rapidly declined.
In 1840 an attempt was made to sell them, but
they were bought in at £20,000. In 1843 they
were under the management of Wardell ; mas-
querades, frequented by the most disreputable
classes of the community were given ; matters
grew worse and worse, until in 1855 they came
into the hands of Edward Tyrrell Smith, and
reached their lowest depth of degradation. The
musical arrangements were beneath contempt ;
a platform for promiscuous dancing was laid
down ; and everything lowered in quality. They
were not afterwards regularly opened, but specu-
lators were forthcoming who ventured to give
entertainments for a few nights in each year,
' for positively the last nights,' until 1 859, when
the theatre, orchestra, and all the fittings were
sold by auction. On July 25 in that year the
trees were felled and the site handed over to
builders. Vauxhall Gardens had a longer exist-
ence than any public gardens in England, and
assisted in maintaining a taste for music as a
source of rational enjoyment, although they did
little or nothing towards promoting its advance-
ment. [W.H.H.]
VECCHI,» or VECCHII. Orazio,'» was born, it
seems at Modena, in or about the year 155 1. He
became the pupil of a monk named Salvatore
Essenga, who was himself not unknown as a
composer, and who published a volume of ' Ma-
drigali,' containing a piece (doubtless his first
essay) by Vecchi, in 1566. The latter entered
holy orders and was made first, in 1586, canon,
and then, five years later, archdeacon, of Correg-
gio. Soon afterwards however he seems to have
deserted his ofl&ce in order to live at his native
town; and by April 1595 he was punished for
his non-residence by being deprived of his ca-
nonry. Possibly the real reason of his absence
or of his deprivation, or both, was the singular
excitability and quarrelsomeness of his disposi-
tion, of which several stories are told. Be this
as it may, in October 1596 he was made chapel-
1 Vecchl - old, and this may possibly mean that Orazio was the
elder of two brothers or of the elder branch of his family,
2 Orazio's separate compositions are Indexed In Eitner's 'Bibllo-
graphie des xvi. und xvli. Jahrhunderts,' pp. 890-895: they consist ot
62 Italian and 44 Latin numbers ; besides 42 (in German collections)
with German words, many of which are presumably Identical with
compositions dififerently entitled in Italian or Latin,
VECCHI.
master of Modena cathedral ; and two years
later received the same post in the court, in
which capacity he had not only to act as music-
master to the ducal family, but also to furnish
all sorts of music for solemn and festival occa-
sions, grand mascarades, etc. Through this con-
nexion his reputation extended widely. He was
summoned at one time to the court of the Em-
peror Rudolf IT, ; at another he was requested to
compose some particular music for the King of
Poland. In 1604 he was supplanted in his office
by the intrigue of a pupil, Geminiano Capi-
Lupi; and within a year, Sept. 19, 1605, he died,
it is said, of mortification at his ill-treatment.
Among Orazio's writings the work which calls
for special notice, and which gives him an im-
portant place in the history of music, is his
'Amfiparnasso, commedia harmonica,* which
was produced at Modena in 1594 and published
at Venice three years later. The 'Amfipar-
nasso ' has been claimed as the first example of
a real opera, but on insufficient grounds. It
marks, it is true, a distinct step towards the
creation of the idea ; but it is not itself an opera.
It is a simple series of five-part madrigals sung
by a choir, while the dramatis jpersonce appear in
masks on the stage and act in dumb show, or at
most sing but co-ordinate parts in the madrigal.^
At the same time, the character of the work is
highly original and dramatic. The composer, in
spite of his clerical standing, is entirely secular
in his general treatment of the comedy. He has
a strong sense of humour and of dramatic effect ;
and if he uses his powers in a somewhat perverse
and eccentric manner, there is always imagina-
tion present in his work, and he lets us see that
the madrigal style is breaking down under the
weight of the declamatory and dramatic impres-
sion which it is now called upon to bear,
Orazio's other works belong to the older Vene-
tian school, which in the 'Amfiparnasso' he was
setting the example of forsaking. They fall
under the following heads : — (i) Canzonette a 4
voci (four books, 1 580-1 590, afterwards collected
with some additions by Phalesius, 161 1), a 6
voci (1587), and a 3 voci (1597, 1599, the former
volume in part by Capi-Lupi); (2) Madrigali
a 5 e 6 voci (i 589-1 591, altogether five parts) ;
(3) Lamentations (1587); (4) Motets, and Sacrse
Cantiones (1590, 1597, and 1604) ; (5) Hymns
and Canticles; (6) Masses (published in 1607) ;
(7) Dialogues; (8) 'Convito musicale'; (9) 'Le
Veglie de Siena, ovvera I varij humeri deUa
musica modema, a 3-6 voci' (1604).' [R.L.P.]
VEILED PROPHET OF KHORASSAN,
THE. An opera in 3 acts ; words by W. Bar-
clay Squire, after Moore ; music by 0. V. Stan-
ford. Produced at the Court Theatre, Hanover, as
* Der verschleierte Prophet ' (German version by
Frank, Feb. 6, 1881). The opera has not been
produced in London, but the overture and other
portions have been given at the Crystal Palace,
etc., and the PF. score is published by Boosey
& Co. [G.]
1 See above, Opeba, vol. II. 499 a.
2 See generally Fetls, s.v., and Ambros, '6«scblchte der Musik,'
lii. 515-562 (lat editioQ).
VELLUTL
235
VEILED VOICE (Joce velata). A voice
is said to be veiled when it is not clear, but
sounding as if it passed through some inter-
posed medium. The definition found in some
dictionaries, namely *a husky voice,' is incorrect.
Huskiness is produced by an obstruction some-
where along the line of the vocal cords, a small
quantity of thick mucus which obstinately ad-
heres to them, or an abrasion of the delicate-
membrane which lines them, from cold or over-
exertion. But the veil is due to a special condition,
temporary or permanent, of the entire surface of
the vocal cords, which affects the tone itself with-
out producing a separate accompanying sound.
There are two distinct kinds of veil — that whicb
is natural, proceeding from the special aforesaid
condition of the vocal cords in a healthy state,
and that which proceeds from a defective position
of the vocal organs (bad production), over- work,
or disease. Almost every fine dramatic voice has
a very slight veil upon it, scarcely recognisable
as such, but imparting to it a certain richness
and pathos often wanting in voices of crystal-
line clearness. It is in idea like atmosphere
in a picture. The veil is therefore not a defect
in every degree. Some great singers have had
it to a considerable extent. Amongst these.
Pasta, one of the first who united classic acting
to fine singing, could never overcome a veil that
was sufficient at times to be very much in the
way, counterbalanced, however, by her other
great qualities; and Dorus-Gras, a French soprano
who flourished about forty-five years ago, was
a remarkable instance of the possession of large
powers with a veil upon the voice, that would in
most cases have been a serious impediment to-
vocal display. She, however, made the most
brilliant singing pierce the impediment, like the
sun shining through a mist. The slight veil on
the voice of Jenny Lind (Madame Goldschmidt)
gave it volume and consistency, and the same
maybe said of Salvini the actor, who has, perhaps,
the finest speaking voice that ever was heard.
Let no student of singing endeavour to culti-
vate a veil because some great singers have had
it naturally. A superinduced veil means a
ruined voice. [H.C.D.].
VELLUTI, Giovanni - Battista, born at
Monterone (Ancona) in 178 1, was the last of the
great male soprani of Italy. At the age of four-
teen he was taken up by the Abbate Calpi, who
received him into his house and instructed him
in music. After the traditional six years of
solfeggi, he made his ddbut, in the autumn of
1800, at Forli ; and for the next two or three
years continued to sing at the little theatres
of the Romagna. In 1805, appearing at Rome,
he earned a great success in Nicolini's *Sel-
vaggia ' ; and two years later, in the same city^
he sang the * Trajano ' of the same composer, by
which he established his position as the first
singer of the day. With no less iclat he ap-
peared in 1807 at the San Carlo in Naples, and at
the Scala in Milan, during the Qfirnival of 1809,
in * Coriolano,' by Nicolini, and ' Ifigenia ia
Aulide,' by Federici. After singing at Turin,,
236
VELLUTI.
■and again at Milan, he appeared in i8ia at
Vienna, where he was crowned, medallised, and
celebrated in verse. On his return to Italy, he
continued to reap golden honours at Milan and
other places until 1825, when he came to
London. Here he was the first sopranist whom
that generation of opera-goers had ever heard,
the last (Roselli) having ceased to sing in 1800,
at the King's Theatre ; and a strong prejudice
was rather naturally felt against the new singer.
•His first reception at concerts was far from
favourable, the scurrilous abuse ^ lavished upon
liim before he was heard, cruel and illiberal; and
such was the popular prejudice and general cry
that unusual precautions' were deemed neces-
sary to secure a somewhat partial audience, and
prevent his being driven from the stage on his
very first entry upon it. The very first note he
uttered gave a shock of surprise, almost of dis-
gust, to inexperienced ears, but his performance
was listened to with attention and great applause
throughout, with but few audible expressions of
disapprobation, speedily suppressed. The opera
he had chosen was * II Crociato in Egitto, by a
■German composer, named Mayerbeer (sic), till
then totally unknown in this country.''
It must be remembered that Velluti at this
time was no longer young, and doubtless had
iost much of the vigour and freshness of his
splendid voice, which had formerly been one of
large compass. When he first sang in England,
the middle notes had begun to fail, and many of
them were harsh and grating to the ear, though
the upper register was still exquisitely sweet,
and he had retained the power of holding, swell-
ing, and diminishing his tone with delightful
effect. The lower notes were full and mellow,
and he showed great ingenuity in passing from
one register to the other, and avoiding the defec-
tive portions of his scale. His manner was florid,
but not extravagant ; his embellishments, taste-
ful and neatly executed, and not commonplace.
His usual style was suave, but rather wanting in
variety ; he never rose to bravura. In appear-
ance he had been remarkably handsome, and was
still good-looking. Velluti received £600 for his
services during that (part) season, but was re-
engaged for the next at a salary of ;C2,30o, as
director of the music as well as singer. He then
appeared in Morlacchi's 'Tebaldo ed Isolina,*
which he considered his best opera. He was much
less admired, however, in this than in the former
work ; and his favour sensibly declined. For his
benefit, he sang in Rossini's ' Aureliano in Pal-
mira,* but in connexion with this got into a dis-
pute about extra pay to the chorus, and the case
was decided against him in the Sheriff's Court.
In 1829 Velluti came to London once more
and sang on a few occasions. On one of these
he was heard by Mendelssohn,* with an effect
only of intense loathing. His voice, indeed had
completely lost its beauty, and he was not en-
gaged. He returned to Italy, and died in the
1 The wits of the day called him 'non yir, sed velutl.'
3 This statement is contradicted by Eben (' Seven Years').
« Lord MouQt-Edgcumb«. * Letter of May 19. 129 to Pevrient.
VENETIAN SWELL.
early part of February, 1 861, at the age of eighty.
Velluti was a man of kind and benevolent dis-
position, and equally gentlemanly feeling and
deportment : his private habits were of the most
simple and inoffensive kind. In society, his
apparent melancholy gave way to a lively and
almost playful exuberance of good humour, and
he never failed to interest. His chief amuse-
ments were billiards and whist, of which, though
no gambler, he was very fond.' It is strange
that no fine portrait should exist of so great a
singer and so handsome a man : the only ones
known are an oval by Jiigel, after Mouron,
representing him as Trajano, and a woodcut, in
which he appears as Tebaldo. [J.M.]
VELOCE, CON VELOCITI, VELOCIS-
SIMO—* Swiftly ; with the utmost rapidity.*
A term invented by the 'Romanticists,' gene-
rally used of an ad libitum passage in a quick
movement, as, for instance, a scale-passage, or
similar figure, in a cadenza. It indicates an
increased rate of speed — not, like accelerando, a
gradual quickening of the time, but an imme-
diate access of celerity, lasting evenly until the
end of the passage or figure to which it is
applied. The original time is then resumed
without the words a tempo being required. In
the large majority of cases, the term is only
applied to loud passages, as frequently in the
works of Chopin, and in the finale of Schu-
mann's Sonata in FJJ minor, op. ii ; but in
one instance at least, the slow movement of his
second concerto, the former composer applies it
to a soft passage, coupling velocissimo with de-
licatissimo. No instance of its occurrence is
to be found in the works of the 'classical *
masters strictly so called ; its earliest use would
seem to be in that work of Chopin's which
Schumann's criticism immortalised, the 'Lk ci
darem ' Variations, where, however, it is applied
to an entire variation. Under such conditions
it must be regarded as equivalent to Presto con
fuoco. It is worthy of notice that in Czemy's
' Etudes de la V^locitd ' the direction occurs only
once, and then in the superlative, applying
moreover to an entire study. [J.A.F.M,]
VENETIAN SWELL. The first Swell Organ
produced its effect by placing the front of the
box containing the pipes under the control of the
player, who by means of a pedal could raise or
lower the panel at will, so releasing or muffling
the sound. This plan was first adopted in the
organ at St. Magnus, London Bridge, built in
1 71 2. [See Organ.] The first Harpsichord
Swell made its crescendo by the raising of the
lid. These clumsy contrivances were superseded
by the Venetian Swell, an invention patented by
Shudi in 1762 [see Swell, Harpsichord], and
so called from its resemblance to the laths of a
Venetian blind. This ingenious device was first
applied to the Harpsichord, but was soon adopted
by organ builders. The louvres are generally in
horizontal rows and are so hung as to close by
their own weight ; but in very large Swell Organs
VENETIAN SWELL.
the size and number of these shutters made
them too heavy for control by the foot, and
they are now often placed vertically and closed
by a spring. The old form of Swell could only
be left either quite open or completely closed:
in recent years a balanced Swell has been intro-
duced which allows the shutters to be left at
any angle. In almost all cases the control is
given to the foot of the player — generally the
right foot. This arrangement has had disas-
trous effects upon the pedalling of many players.
Several ingenious attempts have been made to
enable the organist to open and close the box by
other means. In the large organ built by Mr.
Willis for the 1862 Exhibition, a crescendo could
be made by blowing into a small pipe. This
however was liable to inconvenient sudden sfor-
zandos. Mr. R. H. M. Bosanquet uses a move-
able back attached to the seat by a hinge. A
strap fastened to this is passed over one shoulder
and under the other arm of the player. When
the player leans forward he pulls on the back of
the seat, and this opens the Swell. The action
of the back Swell and Swell Pedal are distinct,
80 that acting on the former may not depress the
latter. [W.Pa.]
VENI CREATOR SPIRITUS. The Hymn
appointed, in the Roman Breviary, to be used
at Vespers on the Eeast of Pentecost, when the
first verse is sung kneeling : —
Veni creator Spiritus
Mentes tuorum visita,
Imple supema gratia
Quae tu creasti pectora.
It is also sung at Ordinations, and on all other
occasions introducing a solemn invocation to the
Holy Ghost. The Latin text is supposed to have
been written about 800, and is often ascribed
to Charlemagne. The English version, by Bishop
Cosyn, in the Book of Common Prayer — ' Come,
Holy Ghost, our souls inspire * — is in Long Mea-
sure, answering, so far, to the eight syllables
of the original hymn, and susceptible of adapta-
tion to the melody (see * Hymns Ancient and
Modem,' no. 157). The second version — ' Come,
Holy Ghost, Eternal God ' — being in Common
Measure, is, of course, less manageable.^
The Plain Chaunt Melody will be found in
the Antiphonarium, the Vesperal, and the Di-
rectorium Chori. Among polyphonic settings,
the finest is that by Palestrina, in the * Hymni
totiusanni' (Rome, 1589). A beautiful move-
ment from a * Magnificat* by Palestrina, was
adapted, many years ago, to the English version,
and published by Messrs. Bums & Lambert;
but is now out of print. Tallis has also written
a little setting, in the form of a very simple
Hymn Tune, adaptable to the English Common
Measure version. [W.S.R.]
VENITE. The name familiarly given to the
95th Psalm — in the Vulgate 'Venite exulte-
mus Domino ' — which in the Anglican Service is
1 The Hymn, ' Come, Thou Holy Spirit, come," Is not ' englyshed '
from the 'Venl Creator,' but from the Sequence for Whtt Sunday,
•Venl Sancte Spiritus,' to which. Indeed, the Common Measure
version bears quite as much resemblance as it does to the ' Venl
Creator ' Itself.
VENTADOUR, TH:i£aTRE. 237
sung immediately before the Psalms of the day
at Matins. For some time after the introduction
of the English service the Venite was set ta
music in the same manner as the Te Deum or
Jubilate. Instances of this are found in the
services by Tallis, Strogers, Bevin, Byrd, Gib-
bons,'' Mundy, Parsons, and Morley, in Bar-
nard's Church Music. The custom was, how-
ever discontinued, and Dr. Giles, who died 1633,
was probably the last composer to do it.' Since
then the Venite has been chanted like an ordi-
nary psalm, thus returning to the practice of the
Roman church ; a practice which indeed must
have been partly followed from the first, since in
Tallis's service a chant is given for it in addition
to the other setting. [G.}
VENOSA, Caelo Gesualdo, Prince of,
nephew of Alfonso Gesualdo, archbishop of
Naples, was bom about the middle of the i6th
century. He became the pupil of Pomponio
Nenna of Bari, and excelled both as a composer
and performer on the organ, clavichord, and lute :
on the last he is said to have had no equal in
his day. Of his history nothing is recorded ; we
only know that he was living in 1613. His
compositions are contained in a single volume of
madrigals published at Genoa in parts, 1585, and
in score, 161 3. The latter bears the following
title: 'Partitura delli sei libri de' madrigali a
cinque voci dell' illustrissimo et eccellentissimo
principe di Venosa, D. Carlo Gesualdo.'
The prince of Venosa is mentioned by *Pietro
della Valle in company with Peri and Monte-
verde, as one of those who followed a new path
in musical composition and as perhaps that one
to whom mainly the world was indebted for the
art of effective singing, * del cantare aiFectuoso.'
This judgment is sustained by modern examin-
ation of the prince's works. Burney indeed
found them almost repulsive in their irregularity
of form and rhythm, and their want of conformity
with the strict canons of part- writing. But it is
this very irregularity which attracts more recent
critics. By swift transitions of keys and bold
modulation, Gesualdo produced a singularly rich
effect, full of surprises and highly individual. His
style is peculiarly distinguished by its pathetic
vein. But it is the change of method in his pro-
ductions that calls for special notice. Gesualdo,
in fact, as a skilful instrumental player, was able
to use his voices in a freer manner than had
commonly been allowed ; and, though a brilliant
contrapuntist when he chose, he preferred to
work consciously on lines which brought him
near to the discovery of a genuine harmonic
treatment.' [R.L.P.]
VENTADOUR, THlfeATRE. Ventadour,
which has given its name to a street and a lyric
theatre in Paris, is a village in the Limousin,
created a duchy in 1568 in behalf of Gilbert de
Levis, whose descendants have since borne the
name of Levis de Ventadour. The Rue Venta-
2 Beprinted by Ouseley In his ' Collection of the Sacred Compo-
sitions of Orlando Gibbons.' Boyce has not given the Venite in his
edition of Tallis, Byrd, or Gibbons. 8 Jebb, p. 269.
4 Ambros, ' Geschichte der Musik.' Iv. 248 note.
6 See especially Ambros. Iv. 236-248.
238 VENTADOUE, TH]6aTBE.
dour, opened in 1640 as the Rue St. Victor,
took the name it still bears in 1672.* The
Theatre was built to replace the Salle Feydeau,
and a new street being planned to run from the
Hue des Petits Champs to the Kue Neuve St.
Augustin, and to be called the Rue Neuve
Yentadour, it was decided to place the theatre
in the middle of the street and call it by the
same name. The street in which the principal
fa9ade stands is now called Rue Mdhul, and that
^t the back Rue Monsigny. The building was
erected by the architect Huv^, superintended by
M. de Guerchy, and cost, including site, 4,620,000
francs (£184,800) which was paid for out of the
Civil List, and it was sold to a company of
speculators for 2,000,000 francs (£80,000) ;
a disastrous transaction, in keeping with much of
the financial history of the Theatre Ventadour.
The company of the Opera Comique left the
old Salle Feydeau for its new quarters on Easter
Monday, April 20, 1829. The audience, a very
distinguished one, expressed great satisfaction
with the luxury and comfort which pervaded the
new Theatre Royal. The programme on the
opening night included ' Les deux Mousque-
taires,' by Barton ; M^hul's overture to * Le
jeune Henri,' and 'La Fiancee,' a three-act
opera by Scribe and Auber. In spite of this
happy commencement the theatre was destined
to frequent collapses, and after two years of
vicissitudes the company were obliged to move
to the Theatre des Nouveaut^s in the Place de
la Bourse, where they performed for the first
time Sept. 22, 1832. During the two years they
played a considerable number of new works,
such as Boieldieu's last opera, * Les deux Nuits '
(May 20, 1829); 'Fra Diavolo,' first given as
*L'H6teUerie de Terracine' (Jan. 28, 1830),
and ' Zampa' (May 3, 1831). The theatre
reopened June 10, 1834, *s the Theatre Nautique,
with 'real water' on the stage. The Theatre
Nautique came to an end early in 1835, and the
ThdS,tre Ventadour was resuscitated (Jan. 30,
1838) for an Italian company cast adrift by
the burning of the Salle Favart, and com-
prising Rubini and Zamboni, Lablache, Tam-
burini, Morelli, Grisi, Persian! and Albertazzi ;
but only one opera new to the French, ' Parisina,'
was given before the season closed (March 31).
With the autumn of 1 838 the theatre again
changed its name, and entered on a new but
still struggling existence as the Th^S,tre de la
Renaissance. Antdnor Joly, the new director,
aimed at maintaining a third French lyric theatre
in Paris, and produced during two years, be-
sides plays by Victor Hugo, Alexandre Dumas,
and Casimir Delavigne, 'Lady Melvil' (Nov.
15, 1838), Albert Grisar's first opera; Doni-
zetti's * Lucie de Lammermoor' (Aug. 6, 1839),
translated into French by A. Royer and G. Vaez ;
and 'La chaste Susanne' (Dec. 27, 1839), ^^^
best work of Monpou. The charming Anna
Thillon, who had a brilliant career in France
before returning to her native England, appeared
1 It begins at No. 26 in the ATenue d« I'Op^ra, aod eocU »t 2Io. S7
in the Bue des Tetits Champs.
V^PRES SICILIENNES, LES.
in all three operas with striking sucfjess. [See
Thillon.]
From Oct. 2, 1841, to the 'annde terrible,'
1870-71, the Theatre ^Ventadour became the
rendezvous of the Paris plutocracy, as well as of
the amateurs of Italian music. The building,
rearranged by Charpentier, was perfect and most
commodious, the pit was converted into orchestral
stalls, and open to ladies as well as gentlemen.
Many an impresario looked to making a fortune
by this Italian theatre, and among those who
made the attempt we may mention Lumley,
Calzado, Bagier, and Strakosch. The list of dis-
tinguished singers heard here during twenty
years of more or less continuous prosperity em-
braces the great artists of that time almost with-
out exception. Besides the old repertoire, these
artists introduced to the Paris world all Verdi's
operas, the favourite works of Mercadante,
Donizetti, and other modern masters, and a few
complete novelties. Among the latter, written
or translated expressly for the TheS.tre Venta-
dour, we will only specify Rossini's ' Stabat
Mater ' (Jan. 7, 1842) ; * Don Pasquale ' (Jan. 4,
1843; Flotow's • Marta' (Feb. 11, 1858), and
'Stradella' (Feb. 19, 1863). Here, too, Vieux-
temps, Sivori, Liszt, Mme. Pleyel, Emile Pru-
dent, and other celebrated artists gave their best
concerts ; Berlioz produced his ' Harold en
Italic,' the 'Francs J uges,' and 'Carnaval Re-
main' overtures (May 3, 1844) > Felicien David
conducted the 'Ddsert' (Dec. 28, 1844) "^^^^
enormous success ; and Wagner produced frag-
ments from ' Tannhauser,' * Tristan und Isolde,*
and 'Lohengrin' (Jan. 25 and 31, i860).
From the war of 1870-71 till its final close
on Jan. 11, 1879, the Theatre Ventadour had a
hard struggle against the indiflference of the
public. Several fruitless attempts were made to
resuscitate the taste for Italian music. The most
interesting events of this last period were the
rival performances by the French Opdra (begin-
ning Jan. 19, 1874) and the Italian artists, after
the burning of the Salle Le Peletier ; the first
performance of *Aida' (April 22, 1876); and of
Verdi's 'Requiem' (May 30, 1876) ; the trans-
formation of the Italian theatre into the French
Theatre Lyrique, and the representation of the
Marquis d'lvry's opera 'LesAmants deV^rone*
(Oct. 12, 1878). On Jan. 20, 1879, the Theatre
Ventadour was sold to a financial company, and
its pediment, still decorated with statues of the
Muses, now bears the words ' Banque d'escompte
de Paris,' a truly exasperating sight.
There is an excellent 'Histoire du Theatre
Ventadour' (large 8vo, 162 pp., 1 881), by the
lamented Octave Fouque (bom 1844), who died
in 1883, just as he had attained the first rank
among French musical critics. [G.C.]
VENTIL is the German term for the valve
in brass instruments. ' Ventilhom * and 'Ventil-
trompet ' are therefore equivalent to Valve-horn
and Valve-trumpet. [See Valve; p. 215.] [G.]
VfiPRES SICILIENNES, LES. Opera in
5 acts ; libretto by Scribe and Duveyrier, music
by Verdi. Produced June 13, 1855, at the
V]&PRES SICILIENNES, LES.
Grand Op^ra, Paris. It was translated into
Italian as * Giovanna de Guzman,' and produced
at the Scala, Milan, Feb. 4, 1856, for Mad.
Barbiere Nini ; at the Royal Italian Opera,
Drury Lane, London, July 27, 1859, ^s *I
Vespri Siciliani.' [G.]
VERACINI, Antonio, a violinist and com-
poser who lived during the second half of the
17th century at Florence. According to Fetis
he published three sets of sonatas. His nephew
and pupil,
Francesco Maria Veracini, a celebrated
violinist and composer, was bom at Florence
about 1685, ^^^ was known as * II Fiorentino.'
He appears to have settled early at Venice,
where Tartini was so much impressed by his style
as to leave Venice without appearing in public,
and retire to Ancona for further study after the
model of Veracini. [Tartini.] He visited Eng-
land for the first time in 1714, acting as leader of
the Italian Opera band, and appearing as soloist
between the acts. He was then * regarded as the
greatest violinist in Europe ' (Burney, Hist. iv.
640). In 1720 he accepted an appointment as
solo-player to the Elector of Saxony at Dres-
den. There he threw himself out of a high
window, and in consequence was lamed for life.
According to one version he did this in a fit of
insanity; but another report goes to the effect
that Pisendel, the leading German musician at
Dresden, in order to prepare a humiliation to
Veracini, who by his conceit and arrogance had
incurred the hostility of the Germans, asked
him to play a concerto at sight before the
Court, and afterwards made a violinist of the
orchestra repeat the piece. As the latter had
carefully prepared his music, the audience,
to Veracini's mortification, gave the preference
to his performance and applauded him greatly.
Be this as it may, Veracini left Dresden for
Prague (1723) and Italy. In 1735 we find him
again in London, where he achieved a signal
success as a composer. His opera 'Adriano'
was performed 17 times during the winter of
1735-36, an enormous run in those days. As a
violinist Geminiani, then a rising star, appears to
have impaired his success. He is reported to have
died in reduced circumstances at Pisa in 1750.
Veracini's general success in Italy, England and
Germany, and the special testimony of Tartini, are
sufficient proofs of his eminence as a player. At
the same time, his compositions, though few of
them have been published, show him to have
been a musician of remarkable originality and
solid attainments. His style is much more
modern than that of Corelli and even of Tartini.
The pathetic element so predominant in the
works of these masters, although not entirely
absent in his works, is yet much less prominent
than vivacity, grace, and piquancy. His forms
are sometimes very extended, his modulations
and harmonies not only rich and varied, but
often so unusual and bold that it is not sur-
prising to find that 'his compositions were too
wild and flighty for the taste of the English at
that time ' (Burney).
VERDI.
239
He published two sets of 12 sonatas each
(Dresden and Amsterdam, 1721; London and
Florence, 1744). For London he composed the
operas 'Adriano,' 1735; 'Roselinda,' 1744;
*L'Errore di Salomone,' 1744. A number of
concertos, sonatas, and symphonies for 2 violins,
viola, violoncello and basso have remained ia
manuscript, and some of them are in the public
libraries of Florence and Bologna. Some of his
sonatas have been edited by Ferd. David (Breit-
kopf & Hartel) and von Wasielewski (Senff,
Simrock), and have been played by Joachim
and others. [i*-I^»]
VERDELOT,! Philippe, a Flemish composer
of the early part of the i6th century, appears
to have settled in Italy when young, since his
first work — a motet — was printed in the 'Fior
de' Motetti e Canzoni ' published, as is believed,
at Rome in 1526, and since he is found to have
resided at Florence at some time between 1530
and 1540. It is certain however that he was,
either now or from an earlier date, attached to
the singing staff of the church of S. Mark at
Venice, and we have the authority of ^Guicciar-
dini for the statement that he was already dead
by the year 1567. His last publication is dated
1549-
Verdelot is commemorated by Cosmo Bartoli,
and by Vincenzo Galilei, who printed two lute-
pieces by him in • Fronimo.' His works had
reached France and were printed in French col-
lections as early as the year 1530. The great
Willaert thought so highly of him as to arrange
some compositions of his in tabulature for lute
and a solo voice. The two Venetian masters
indeed, together with Arcadelt, may be taken
as the representative madrigalists of their time,
and ranked among the earliest writers and chief
promoters of that style of composition. ^Ver-
delot's remarkable skill in the science of music
is well shown in the fifth part which he added
to Jannequin's 'Bataille.' But his distinction
is not simply that of a learned writer : his pro-
ductions also display a certain feeling for beauty
and appropriateness of expression which is his
highest characteristic* His works consist exclu-
sively of madrigals, motets, psalms, and masses,
and are enumerated by F^tis and Eitner. [R.L.P.]
VERDI, Giuseppe, one of the greatest and
most popular operatic composers of the 19th
century, born at Roncole, Oct. 9, 1813. Though
very often called * il maestro Parmigiano,' and
' il cigno di Busseto,' in point of fact neither
Parma nor her smaller sister town Busseto, can
boast of having Verdi's name in the rolls of
their inhabitants ; and the good luck of having
been his birthplace fell to a cluster of labourers*
houses, called * Le Roncole,' some three miles
from Busseto, and, before the unification of Italy,
in the Duchy of Parma. The following certificate
1 Two notices cited by M. vander Straeten, La Musique aux Pays-
bas vl. 322, suggest that the name 'Verdelot' Is an appellative: If
so, we are ignorant of the composer's real name. One of the cases
referred to Is connected with the town of Bruges.
2 Quoted by Vander Straeten, 1. 44.
8 Ambros, Geschichte der Muslk, vol. 11. 513.
4 See generally F^tls, vol. viii. 319-321; Ambros, vol. UI. 293 1:
Tander Straeten, vol. rl. 321 f., 366.
240
VERDI.
will settle once for all the questions so often
raised concerning the place and the date of
Verdi's birth.
Anno Dom. 1813, die 11 Octobris.— Ego Carolus Mon-
tanari Praepositus Euncularum baptizavi Infantem
hodie vespere bora eexta natum ex Carolo Verdi q™.
Josepho et ex Aloisia Utini filia Caroli, hujus Parocciae
jugalibus, cui nomina imposui— Fortuninus, Joseph,
Franciscus.— Patrini fuere Dominus Petrus Casali ^d.
Felicis et Barbara Bersani filia Angioli, ambo hiijus
Parocciae.
In the long run of Verdi's life— which happily
bids fair still to be preserved for an indefinite
number of healthy and vigorous years — we do
not meet with any startling and romantic inci-
dents : everything seems to have gone with him,
though not smoothly, yet with the common
sequence of good and bad turns to which all
mortals are liable, let their calling and station
in life be what they will. Verdi's biography
exhibits nothing heroic or startling, as some
would have us believe it does. The connecting-
link between his life and his works is indis-
soluble : the man and the artist proceed abreast,
hand in hand toward the same goal, impelled and
guided by the same sentiments and emotions.
• Homo sum et nihil humanum a me alienum
puto' is the proper motto for the gate of his
villa at S. Agata, and the title-page of each of
his works. This * humanity ' of his is the reason
and explanation of his life, as well as the key to
the perfect understanding of his works, and to
their popularity wherever there are ears to hear
and hearts to feel.
M. Pougin, who, together with other difficult
achievements, has successfully continued F^tis's
* Dictionnaire des Musiciens,' has written a bio-
graphical sketch of Verdi in the right spirit,
confining himself within the strict limits of the
plain facts. Of this sketch an Italian translation
was made by a well-known Paris correspondent
of the Italian papers, under the nom de plume of
Tolchetto,' with notes and additions, forming
altogether a volume of more than 150 pages, full
of accurate and valuable information. Through
the combined shrewdness and skill of 'Folchetto'
and M. Giulio Ricordi we are enabled to pre-
sent to our readers the most important period
of Verdi's career, in words that are almost the
great composer's own. A conversation that he
had with Giulio Ricordi was by the latter faith-
fully put on paper the very night following the
interview, and sent to * Folchetto * for publica-
tion. Such is the basis of the following article.
Unlike many musicians that have passed their
infancy and childhood amongst artistic surround-
ings, Verdi's musical genius had to fight for its
development against many difficulties. Nothing
that he could hear or see was fit to give him
the slightest hint of anything grand and ideal:
the two hundred inhabitants of Le Roncole were
poor and ignorant labourers, and the very nature
of the country — an immense, flat, monotonous
expanse — however gratifying to a landowner,
could hardly kindle a spark in the imagination
of a poet. Carlo Verdi and his wife Luigia Verdi
Utini kept a small inn at Le Roncole, and in
VERDI.
addition a little shop, where sugar, coflFee,
matches, tobacco, spirits, and clay pipes were
sold at retail. Once a week the good Carlo
walked up to Busseto with two empty baskets,
and returned with them full of articles of his
trade, carrying them on his strong shoulders for
all the three miles of the dusty and sunny way.
His purchases were chiefly made from a M. Ba-
rezzi, dealer in spirits, drugs, and spices, a pros-
perous and hearty man who was destined to
serve as a bridge to Giuseppe Verdi over many
a chasm in his glorious way.
Giuseppe, though good and obedient, was
rather of a melancholy character, never joining
his playmates in their noisy amusements ; one
thing only, we are told, could rouse him from his
habitual indifference, and that was the occasional
passing through the village of a grinding organ :
to the child who in after years was to afford
an inexhaustible repertoire to those instruments
for half-a-century all over the world, this was an
irresistible attraction — he could not be kept
indoors, and would follow the itinerant player
as far as his little legs could carry him. This
slight hint of his musical aptitude must have
been accompanied by others which the traditions
of Le Roncole have not transmitted, since we
know that even in early childhood the boy was
possessed of a spinet. For an innkeeper of Le
Roncole, in 1820, to buy a spinet for his child
to play on, is an extravagance which we could
hardly credit if the author of 'Aida' had not
preserved to this day the faithful companion of
his childhood. M. Ghislanzoni, who saw it at
S. Agata, thus speaks of it : —
At the villa of S. Agata, I saw the first Instrament on
which his little fingers had first practised. The spinet
emeritns, has no strings left, its lid is lost, and ita
keyboard is like a jaw with long and worn-out teeth.
And yet what a precious monument I And how many
recollectiona it brings back to the mind of the artist
who during his unhappy childhood has so often wetted
it with bitter tears 1 llow many sublime emotions are
caused by the sight of it I
I have seen it and have questioned it. I took out one
of its jacks, on which I thought something had been
written, and indeed I found some words as simple as
they are sublime, words that while revealing the kind
attention of a good-hearted workman, contain some-
thing of a prophecy. My readers will be grateful to
me for setting before them the inscription in its original
simplicity. It would be a profanation to correct ths
mistakes in its orthography,
'Da me Stefano Cavaletti fu fato di nuovo qnesti
Saltarelli e impenati a Corame, e vi adatai la pedagliera
che io ci ho regalato : come anche gratuitamente ci ho
fato di nuova li detti Saltarelli, vedendo la buona dis-
posizione che ha il giovanetto Giuseppe Verdi d'im-
parare a suonare questo istrumento, che questo mi
basta per essere del tutto Bodisfatto.— Anno domini
1821'-
a quaint inscription which cannot be translated
literally: —
I, Stephen Cavaletti. made these jacks anew, and
covered them with leather, and fitted the » pedals ; and
these together with the jacks I give gratis, seeing the
good disposition of the boy Giuseppe Verdi for learn-
ing to play the instrument, which is of itself reward
enough to me for my trouble.
How the spinet happened to be in such a con-
dition as to require the workmanship of M. Cava-
letti to set it right, is thus explained by ' Fol-
1 The mention of 'leather* and 'pedals' »eems to show that thi»
' spinet ' was some kind of pianoforte.
VERDI.
VERDI.
241
chetto,' who had it from an old friend of Verdi's
fiither : —
Nobody can imag[ine with what earnestness the boy
practised on the spinet. At first he was satisfied with
being able to play the first five notes of the scale : next
he most anxiously endeavoured to find out chords. Once
he was in a perfect rapture at having sounded the major
third and fifth of 0. The following day, however, he
could not find the chord again, whereupon he began to
fret and fume, and then got in such a temper, that
taking up a hammer he began to break the spinet to
pieces. The noise soon brought his father into the room,
who seeing the havoc his son was playing, landed so
heavy a blow on Giuseppe's ear, as once for all cleared
his mind of any thought of again punishing the spinet
for his inability to strike common chords.
Another evidence of Giuseppe's musical apti-
tude is given by the following fact, which occurred
when he was only seven years old. He was then
assisting the priest at the Mass in the little church
of Le Roncole. At the very moment of the
elevation of the Host, the harmonies tliat flowed
from the organ struck the child as so sweet,
that he stood motionless in ecstasy. 'Water,'
said the priest to the acolyte ; and the latter
evidently not heeding him, the demand was re-
peated. Still no reply. ' Water,' a third time
said the priest, kicking the child so brutally
that he fell headlong down the steps of the
altar, knocked his head against the floor, and
was brought unconscious into the sacristy. After
this event Giuseppe's father engaged M. Bais-
trocchi, the local organist, to give him music
lessons. At the end of a year M. Baistrocchi
made a declaration to the effect that the pupil
had learned all that the teacher could impart,
and thereupon resigned his position as Verdi's
teacher.
Two years after, having completed this first
stage in his musical education, Verdi — then but
ten years old — was appointed as organist in the
room of old Baistrocchi. The dream of his
parents was thus for the time realised : yet
before long the mind of the elder Verdi began
to be haunted with the thought that some know-
ledge of the three R's could but bring good to
his son in after life : and after debating his
scheme with his wife, he resolved upon sending
Giuseppe to a school in Busseto. This would
have been beyond the small means of the good
Verdi, but for the fact that at Busseto lived
a countryman and friend — a cobbler known by
the name of Pugnatta. This Pugnatta took
upon himself to give Giuseppe board and lodg-
ing, and send him to the principal school of
the town, all at the very moderate price of
threepence a day. And to Pugnatta's Giuseppe
went : and while attending the school most
assiduously, kept his situation as organist of Le
Roncole, walking there every Sunday morning,
and back to Busseto after the evening service.
It may not be devoid of interest to the reader
to cast a glance at Verdi's financial condition
at that period of his life. Except clothing, which
did not represent an important item, and pocket-
money, which he had none, his expenditure
amounted to 109 francs 50 centimes a-year — that
is, £4 'J8. 3(f. His salary as the organist of Le
Koncole was £1 8s. lod., which, after one year's
VOL. IV. PT. 2.
service and many urgent appeals, was increased
to £1 I2S. To this add a profit of £2 or £2 105.
from weddings, christenings, and funerals ; and
a few shillings more, the product of a collection
which it was then customary for organists to
make at harvest time — collected in kind, be it
remembered, by the artist himself, with a sack
on his shoulders, at each door of the village.
Life, under these unfavourable conditions, was
not only devoid of comforts, but full of danger.
One night, while the poor lad was walking
towards Le Roncole, worn down by fatigue and
want of sleep or food, he did not notice that he
was in the wrong track, and of a sudden, missing
his ground, he fell into a deep canal. It was
dark, it was bitter cold, and his limbs were
absolutely paralysed ; and but for an old woman
who was passing by the spot and heard his cries
for help, the exhausted and chilled boy would
have been carried off by the current.
The following story of another very narrow
escape from death we give on the entire respon-
sibility of M. Pougin. In 1814 Russian and
Austrian troops had been passing through Italy,
leaving death and destruction everywhere. A
detachment having stopped for a few hours at
Le Roncole, all the women took i*efuge in the
church; but not even that holy place was re-
spected by these savages. The doors were un-
hinged, and the poor helpless women and chil-
dren ruthlessly wounded and killed. Verdi's
mother, with the little Giuseppe in her arms,
was among those who took refuge in the church ;
but when the door was burst open she did not
lose her spirits, but ascending the narrow stair-
case of the belfry, hid herself and her baby
among some timber that was there, and did not
leave her hiding-place until the drunken troops
were far beyond the village.
Giuseppie Verdi, after two years schooling at
Busseto, had learned to write, read, and cypher :
whereupon the above-mentioned M. Barezzi began
to take much interest in the talented Roncolese,
gave him employment in his business, and opened
a way to the development of his musical faculty.
Busseto must have been the Weimar of the
Duchy of Parma. Music was uppermost in the
minds of the Bussetesi, and no name of any in-
habitant is ever mentioned without the addition
of his being a singer, composer, or violinist.
M. Barezzi himself was first flute in the cathe-
dral orchestra ; he could produce some notes on
all kinds of wind instruments, and was par-
ticularly skilful on the clarinet, French horn,
and ophicleide. His house was the residence
of the Philharmonic Society, of which he was
the president and patron, and it was there that
all rehearsals were made, and all Philharmonic
concerts given, under the conductorship of M.Fer-
dinando Provesi, maestro di cappella and organist
of the cathedral.
This was the fittest residence for a lad of
Verdi's turn of mind, and he immediately felt
it. Without neglecting his chief occupation, he
regularly attended the rehearsals, and undertook
the task of copying out the parts from the score;
242
VERDI.
and all this in such earnest that old Provesi
began to notice Giuseppe with approval, and
give him the foundation of a sound musical
knowledge. Provesi may be consid^ed the man
who led the first steps of Verdi into the right
track, and lucky it was for the pupil to have
come across such a man. He was an excellent
contrapuntist, a composer of several comic operas,
of which he had written both words and music,
and a man well read in general literature. He
was the first man in Busseto to understand
Verdi's real vocation, and to advise him to
devote himself to music. Don Pietro Seletti,
the boy's Latin teacher, and a fair violinist,
bore a grudge to Provesi for a certain poem the
latter had written against the clergy. The fact
that Provesi encouraged Verdi to study music
was therefore enough for Don Pietro to dissuade
him as strongly from it. * What do you want
to study music for ? You have a gift for Latin,
and it will be much better for you to become
a priest. What do you expect from your music ?
Do you fancy that some day you may become
organist of Busseto ? . . Stuff and nonsense. , .
That can never be I '
But a short time after this admonition there
was to be a mass at a chapel in Busseto where
Don Pietro Seletti was the ofl&ciating priest.
The organist was unable to attend, and Don
Pietro was induced to let Verdi preside at the
organ. The mass over, Don Pietro sent for
him. 'Whose music did you play?' said he;
• it was a most beautiful thing.' ' Why,' timidly
answered the boy, ' I had no music, and I was
playing extempore, just as I felt.' * AJi ! indeed,*
rejoined Don Pietro ; ' well, I am a fool, and you
cannot do better than study music, take my
word for it.'
Under the intelligent guidance of Provesi,
Verdi studied till he was i6. During this
period he often came to the help of his old
master both as organist and as conductor of the
Philharmonic Society. The archives of the
society still contain several works written by
Verdi at that time, and composed, copied, taught,
rehearsed, and conducted by himself. None of
these compositions have been published, though
it would be a matter of interest to examine the
first attempts of his musical genius. [See
p. 2546.]
It became evident that Busseto was too narrow
a field for the aspirations of the young composer,
and efforts were made to afford him the means
of going to Milan, the most important Italian
town, musically speaking. The financial question
came again to the front, and, thanks to the
good-will of the Bussetesi, it had a happy solu-
tion. The Monte di Pietk, an institution grant-
ing four premiums of 300 francs a year, each
given for four years to promising young men
wanting means for undertaking the study of
science or art, was induced by Barezzi to award
one of the four premiums to Verdi, with the
important modification of allowing him 600 francs
a-year for two years, instead of 300 for four
years. M. Barezzi himself advanced the money
VERDI.
necessary for music lessons, board and lodging
in Milan ; and Seletti gave him an introduction
to his nephew, a professor there, who most heartily
welcomed him, and would not hear of his find-
ing lodgings for himself.
We come now to an incident of Verdi's artistic
life, to which a very undue importance has been
often attached ; we mean his being refused
a scholarship at the Conservatorio di Musica
of Milan, on the ground of his showing no
special aptitude for music. If a board of pro-
fessors were now to be found to declare that the
author of 'Rigoletto,' 'Ballo in Maschera,' and
' Aida,' had no musical disposition, such de-
claration would undoubtedly reflect very little
credit on the institution to which the board
belonged, or on the honesty and impartiality of
the professors; but things were not so bad at
that time as we are made to believe they were —
nay, it is probable that in the best conducted
musical schools of the world, some Verdi, Bee-
thoven, or Bach is every year sent back to his
home and his country organ, as was the case
with Verdi. "Without following Fdtis in his
study of the preposterous fact, we think that a
true idea may be formed of it by looking at the
way in which matters of this kind proceed
now-a-days, and will proceed so long as there
are candidates, scholarships, and examiners.
To a vacant scholarship — for pianoforte, sing-
ing or composition — there is always a number
of candidates, occasionally amounting to as many
as a hundred. A committee of professors, under
the presidence of the Principal is appointed to
examine all the competitors, and choose the best.
The candidates, male and female, have each a
different degree of instruction, ranging from
mere children with no musical education, to
such as have already gone through a regular
course of study. To determine whether there is
more hope of future excellence in a girl who
plays sixteen bars of an easy arrangement of a
popular tune, or a boy who can perhaps sing
something by heart just to show that he has a
certain feeling and a right perception of rhythm
and tonality, or in an advanced pupil who sub-
mits the score of a grand opera in five acts
(not impossibly written by some friend or fore-
father)— to be able to determine this is a thing
beyond the power of the human intellect. The
committee can only select one amongst those that
have the least disqualifications, but nobody can
accuse them of ignorance or ill-will if the chosen
candidate, after five years' tuition, turns out to
be a mere one-two-three-and-four conductor of
operettas, while one of the ninety-nine dismissed,
after ten years' hard study elsewhere, writes a
masterpiece of operatic or sacred music. Not to
get a scholai>ship does not imply that a candidate is
unable to pursue a musical career; it means only
that there being but one place vacant, and twenty
who passed as good an examination as he, he
shares with nineteen others the ill luck of not being
the happy one chosen. Moreover there are no
settled rules as to the time when musical genius
breaks out in unmistakeable light. We are ready
VERDI.
VERDI.
243
to believe that Mozart, when only three years
old, gave unmistakable hints of what he was
afterwards to become; yet we can say, as an
eye-witness, that M. Boito, the author of
'Mephistopheles,' a man of undeniable musical
genius, did not reveal any decided aptitude for
musical composition till nineteen ; while several
amongst his school-fellows who promised to be
the rightful heirs of Rossini and Bellini are now
teachers and conductors of provincial schools or
second-rate theatres. Let us then bear no grudge
to Easily, the then principal of the Conservatoire
of Milan, nor let us depreciate hira for not
having been so gifted as to recognise in the young
and unprepossessing organist of Le Roncole the
man who was destined to write * II Rigoletto '
twenty years afterwards.
But though failing to be admitted to the
Conservatoire, Verdi stuck to the career which
he had undertaken, and, on the advice of Ales-
sandro Rolla, then conductor of * La Scala,' he
asked M. Lavigna to give him lessons in com-
position and orchestration. Lavigna was a dis-
tinguished musician and a composer of no
ordinary merit ; his operas, *La Muta per amore,'
* L'Idolo di se stesso,' ' L'Impostore avvilito,'
*Coriolano,' 'Zaira,' and several others, having
been performed several times with favourable
success. He consented to give the lessons, and
to him actually belongs the honour of being
the teacher of Verdi.
This was in 1831, when Verdi was eighteen.
The two years from 1831 to 1833 passed in
an uninterrupted succession of exercises in har-
mony, counterpoint, and fugue, and a daily study
of Mozart's 'Don Giovanni.' In 1833 the death
of Provesi brought an entire change to Verdi.
He went back to Busseto for five years, and
after this lapse of time returned to Milan to
take his start as a composer. We give, in the
words of M. Ercole Cavalli — for this particular
period the best-informed of the biographers —
the lively description of Verdi's residence at
Busseto. •
*In 1833 M. Ferdinando Provesi died. The
trustees of the Monte di Pietk, of Busseto, and
the other contributors towards Verdi's musical
training, had acted with the intention that, after
Provesi's death, Verdi should be his successor
both as Maestro di Cappella and Organist of
the Cathedral, and also Conductor of the Phil-
harmonic Society. Verdi felt very sorry for the
death of Provesi ; with him he had lost the man
who first taught him the elements of his art,
and showed him the way to excellence ; and
though Verdi felt a call to something nobler
in life, yet he kept his word to his country-
men and went to Busseto to fill the place left
vacant by his deceased professor. The appoint-
ment rested with the churchwardens of the
Cathedral, men who either belonged to the clergy
or were fanatic bigots, and therefore had but
little liking for Verdi, whom they called "the
fashionable maestrino," as being versed only in
profane and operatic music ; they preferred some-
body cut a little more after their own pattern.
and were anxious for a maestro well grounded in
the Gregorian chant.
• Verdi's competitor, one M. Giovanni Ferrari,
played indifferently on the organ, but had the
strong support of two bishops ; he gathered all
the votes of the churchwardens, and the pupil of
Provosi and Lavigna, for whom so many sacri-
fices had been made by the town, was black-
balled. Upon hearing this decision, the Phil-
harmonic Society, which for many years had
made it a rule to enhance the solemnity of all
the services in the cathedral by co-operating
with their orchestra, lost all patience, and
bursting tumultuously into the church, rum-
maged the archives and took away from them
every sheet of music paper belonging to the
Society; thereby beginning a civil war that
lasted several years, in a town that was formerly
an example of tranquillity and peace.
'On this followed satires, insults, affrays,
riots, imprisonments, persecutions, banishments
and the like ; ending in decrees whereby the
Philharmonic Society was prohibited to meet
under any pretence whatever.'
Verdi next fell in love with Margherita,
Barezzi's eldest daughter, whose father, unlike
most fathers, did not oppose Margherita's union
to a talented though very poor young man.
' In 1836 they were married. The whole Phil-
harmonic Society attended the weddings ; it was
a happy and glorious day, and all were deeply
moved by the prospect already opening before
the young man: who, though bom in the poorest
condition, was at twenty-three already a com-
poser, with the daughter of a rich and much
respected man for his wife.'
In 1838 Verdi, with his wife and two children
left Busseto and settled in Milan, with the hope
of performing his opera ' Oberto Conte di S.
Bonifacio.* We are now to witness the vicis-
situdes of a talented but nearly unknown young
man, who comes to a large town, one of the
most important musical centres of those days,
with no fortune but the manuscript of a melo-
drama, and nothing to help him on but the
golden opinions which his genius and honesty have
previously won for him from a few friends ; and
we shall see this young man transformed in a
short time into the favourite composer of all
opera- goers. And we are glad to be able to
give the relation of this most important period
of an artist's career, in words that may be said
to be Verdi's own.
The first part of the narrative refers to the
time when he was in Milan, studying with La-
vigna. On his return there his kind old master
was gone — died while his pupil was at Busseto.
And here is Verdi's narrative : — ^
'About the year 1833 or 34 there was in
Milan a Philharmonic Society composed of first-
rate vocalists, under the direction of one M. Ma-
sini. The Society was then in the bustle and
hurry of arranging a performance of Haydn's
Creation, at the Teatro Filodrammatico. M.
Lavigna, my teacher of composition, asked me
1 We hayo omitted some unimportant jentences.
R2
Ui
VERDI.
whether I should like to attend the rehearsals,
in order to improve my mind, to which I will-
ingly answered in the affirmative. Nobody
would notice the young man that was quietly
sitting in the darkest comer of the hall. Three
maestri shared the conducting between them —
Messrs. Perelli, Bonoldi, and Almasio ; but one
day it happened that neither of the three was
present at the time appointed for rehearsal. The
ladies and gentlemen were growing fidgetty,
when M. Masini, who did not feel himself
equal to sitting at the piano and accompanying
from the full orchestral score, walked up to
me and desired me to be the accompanyist
for the evening: and as perhaps he believed
in my skill as little as he did in his own, he
added, "It will be quite enough to play the
bass only." I was fresh fiom my studies, and
certainly not puzzled by a full orchestral score ;
I therefore answered "All right," and took
my place at the piano. I can well remember
the ironical smiles that flitted over the faces of
the Signori dilettanti : it seems that the quaint
look of my young, slender and rather shabbily
dressed person was not calculated to inspire
them with much confidence.
'However, the rehearsal began, and in the
course of it I gradually warmed up and got
excited, so that at last, instead of confining
myself to the mere piano part, I played the
accompaniment with my left hand, while con-
ducting most emphatically with my right. It
was a tremendous success, all the more because
quite unexpected. The rehearsal over, every-
body congratulated me upon it, and amongst
my most enthusiastic admirers were Count
Pompeo Belgiojoso and Count Renato Borromeo.
In short, whether the three maestri were too
busy to attend the rehearsals, or whether there
was some other reason, I was appointed to con-
duct the performance, which performance was so
much welcomed by the audience that by general
request it had to be repeated in the large and
beautiful hall of the Casino dei Nobili, in pre-
sence of the Archduke and Archduchess Ranieri,
and all the high life of those days.
* A short time afterwards, I was engaged by
Count Renato Borromeo to write the music for
a cantata for chorus and orchestra, on the
occasion of the marriage of some member of the
Count's family — if I remember right. I must
say, however, that I never got so much as a
penny out of all that, because the whole work
was a gratuitous one.
* M. Masini next urged me to write an opera
for the Teatro Filodrammatico, where he was
conductor, and handed me a libretto, which
after having been touched up by M. Solera,
became Oberto, Conte di San Bonifacio.
*I closed immediately with the proposition, and
went to Busseto, where I was appointed organist.
I was obliged to remain there nearly three years,
and during that time I wrote out the whole opera.
The three years over, I took my way back to Milan,
carrying with me the score in perfect order, and
all the solo parts copied out by myself.
VERDI.
'But here difficulties began. Masini being
no longer conductor, my chance of seeing my
opera produced there was at an end. However,
whether Masini had confidence in my talents,
or wished to show me some kindness for the
many occasions on which I had been useful to him,
rehearsing and conducting for nothing, he did not
give up the business, and assured me he would
not leave a stone unturned until my opera was
brought out at the Scala, when the turn came
for the benefit of the Pio Institute. Both Count
Borromeo and Dr. Pasetti promised me their
influence on Masini, but, as far as I am aware,
their support did not go beyond some scanty
words of recommendation. Masini, however, did
his best, and so did Merighi, a cellist who had
played under my direction, and had a certain
opinion of the young maestro.
'The result was that the opera was put down for
the spring of 1839, to be performed at La Scala
for the benefit of the Pio Institute ; and among the
interpreters were the four excellent artists Mme.
Strepponi, Moriani, Giorgio Ronconi, and Marini.
* After a few rehearsals Moriani falls seriously
ill, everything is brought to a standstill, and all
hope of a performance gone ! I broke down
utterly, and was thinking of going back to Bus-
seto, when one fine morning one of the theatre
attendants knocked at my door and said sulkily,
"Are you the maestro from Parma who was
to give an opera for the Pio Institute? Come
with me to the theatre, the impresario wants to
speak to you."
' Is it possible ? said I, but .... and the
fellow began again — I was told to call on the
maestro from Parma, who was to give an opera ;
if it is you, let us go. And away we went.
'The impresario was M. Bartolomeo Merelli.
One evening crossing the stage he had overheard
a talk between Strepponi and Ronconi, wherein
the first said something very favourable to
Oberto, and the second endorsed the praise.
' On my entering his room, he abruptly told
me that having heard my "Oberto" spoken of
very favourably by reliable and intelligent per-
sons, he was willing to produce it during the
next season, provided I would make some slight
alterations in the compass of the solo parts, as
the artists engaged were not the same who were
to perform it before. This was a fair pro-
position. Young and unknown, I had the good
luck to meet with an impresario willing to run
thie risk of mounting a new opera, without
asking me to share in the expenditure, which I
could not have afforded ! His only condition
was that he should shai-e with me the sale of
the copyright. This was not asking much, for
the work of a beginner. And in fact, even after
its favourable reception, Ricordi would give no
more than 2000 Austrian livres (£67) for it.
• Though Oberto was not extraordinarily suc-
cessful, yet it was well received by the public,
and was performed several times; and M.
Merelli even found it convenient to extend the
season and give some additional performances
of it. The principal interpreters were Alme.
VERDI.
Maxini, M. Salvi and M. Marini. I had been
obliged to make some cuts, and had written
an entirely new number, the quartet, on a
situation suggested by Merelli himself; which
proved to be one of the most successful pieces
in the whole work.
'Merelli next made me an offer which, con-
sidering the time at which it was made, may be
called a splendid one. He proposed to engage
me to write three operas, one every eight months,
to be performed either at Milan or Vienna, where
he was the impresario of both the principal
theatrical houses: he to give me 4000 livres
(£134) for each opera, and the profits of the
copyright to be divided between us. I agreed
to everything, and shortly afterwards Merelli
went to Vienna, leaving instructions to Rossi to
write a libretto for me, which he did, and it was
the Proscritto. It was not quite to my liking,
and I had not yet brought myself to begin to set
it to music, when Merelli, coming humedly to
Milan during the spring of 1840, told me that
he was in dreadful want of a comic opera for
the next autumn, that he would send me a
libretto, and that I was to write it first, before
the Proscritto. I could not well say no, and
80 Merelli gave nid several librettos of Romani
to choose from, all of which had already been
Bet to music, though owing to failure or other
reasons, they could safely be set again. I read
them over and over and did not like any; but
there was no time to lose, so I picked out one
that seemed to me not so bad as the others,
II finto Stanislao, a title which I changed into
Un Giorno di Regno. *
* At that period of my life I was living in an
unpretentious little house near the Porta Tici-
nesa, and my small family was with me — that is,
my young wife and my two sons. As soon as I
set to work I had a severe attack of angina,
that confined me to my bed for several days,
and just when I began to get better I remem-
bered that the third day forward was quarter-
day, and that I had to pay fifty crowns. Though
in my financial position this was not a small sum,
yet it was not a very big one either, but my
illness putting it out of my mind, had prevented
me from taking the necessary steps; and the
means of communication with Busseto — the mail
left only twice a week — did not allow me time
enough to write to my excellent father-in-law
Barezzi, and get the money from him. I was
determined to pay the rent on the very day
it fell due, so, though it vexed me very much
to trouble people, I desired Dr. Pasetti to in-
duce M. Merelli to give me fifty crowns, either
as an advance on the money due to me under
the agreement, or as a loan for ten days, till
I could write to Barezzi and receive the money
wanted. It is not necessary to say why Merelli
could not at that moment give me the fifty
crowns, but it vexed me so much to let the
quarter-day pass by without paying the rent,
that my wife, seeing my anxieties, takes the
few valuable trinkets she had, goes out, and a
little while after comes back with the necessary
VERDI.
245
amount. I was deeply touched by this tender
affection, and promised myself to buy every-
thing back again, which I could have done in
a very short time, thanks to my agreement with
Merelli.
* But now terrible misfortunes crowded upon
me. At the beginning of April my child falls
ill, the doctors cannot understand what is the
matter, and the dear little creature goes off
quickly in his desperate mother's arms. More-
over, a few days after the other child is taken
ill too, and he too dies, and in June my young
wife is taken from me by a most violent in-
flammation of the brain, so that on the 19th
June I saw the third coffin carried out of my
house. In a very little over two months, three
persons so very dear to me had disappeared for
ever. I was alone, alone ! My family had been
destroyed ; and in the very midst of these trials
I had to fulfil my engagement and write a comic
opera! Un Giorno di Regno proved a dead
failure ; the music was, of course, to blame, but
the interpretation had a considerable share in
the fiasco. In a sudden moment of despondency,
embittered by the failure of my opera, I despaired
of finding any comfort in my art, and resolved
to give up composition. To that effect I wrote
to Dr. Pasetti (whom I had not once met since
the failure of the opera) asking him to persuade
Merelli to tear up the agreement.
* Merelli thereupon sent for me and scolded me
like a naughty child. He would not even hear of
my being so much disappointed by the cold
reception of my work: but I stuck to my de-
termination, and in the end he gave me back
the agreement saying, " Now listen to me, my
good follow ; I can't compel you to write if you
don't want to do it; but my confidence in
your talent is greater than ever ; nobody knows
but some day you may return on your decision
and write again : at all events if you let me
know two months in advance, take my word for
it your opera shall be performed."
' I thanked him very heartily indeed ; but his
kindness did not shake my resolution, and
away I went. I took up a new residence in
Milan near the Corsia de' Servi. I was utterly
disheartened, and the thought of writing never
once flashed through my mind. One evening,
j ust at the corner of the Galleria De Cristoforis,
I stumbled upon M. Merelli, who was hurrying
towards the theatre. It was snowing beauti-
fully, and he, without stopping, thrust his arm
under mine and made me keep pace with him.
On the way he never left off talking, telling me
that he did not know where to turn for a new
opera; Nicolai was engaged by him, but had
not begun to work because he was dissatisfied
with the libretto.
'Only think, says Merelli, a libretto by
Solera, marvellous . . . wonderful . . . extraordi-
nary . . . impressive dramatic situation . . . grand
. . . splendidly worded . . . but that stubborn
creature does not understand it, and says it is
a foolish poem. I don't know for my life wher*
to find another poem.
•246
VERDI.
'Well, I'll give you a lift out of your trouble.
Did you not engage Rossi to do II Proscritto
for me? I have not yet written one blessed
note of it, and I will give it back to you.
'The very thing! clever fellow! good idea!
' Thus we arrived at the theatre ; M. Merelli
forthwith sends for M. Bassi, poet, stage-mana-
ger, buttafuori and librarian, and bids him find
a copy of II Proscritto. The copy was found,
but together with it M. Merelli takes up another
manuscript and lays it before me —
'Look, says he, here is Solera's libretto
that we were speaking of! such a beautiful
subject ; and to refuse it I Take it, just take it,
and read it over.
' What on earth shall I do with it ? . . . No,
no, I am in no humour to read librettos.
'My gracious I ... It won't kill you; read
it, and then bring it back to me again. And
he gives me the manuscript. It was written
on large sheets in big letters, as was the custom
in those days. I rolled it up, and went away.
'While walking home I felt rather queer;
there was something that I could not well ex-
plain about me. I was burdened witii a sense
of sadness, and felt a great inclination to cry.
I got into my room, and pulling the manuscript
out of my pocket and throwing it angrily on the
writing-table, I stood for a moment motionless
before it. The book as I threw it down, opened,
my eyes fell on the page, and I read the line
Va, pensiero, sulL' ali derate.
I read on, and was touched by the stanzas, inas-
much as they were almost a paraphrase of the
Bible, the reading of which was the comfort of
my solitary life.
* I read one page, then another ; then, decided
as I was to keep my promise not to write any
more, I did violence to my feelings, shut up the
book, went to bed, and put out the candle.
I tried to sleep, but Nabucco was runninor
a mad career through my brain, and sleep would
not come. I got up, and read the libretto again
— not once, but two or three times, so that in
the morning I could have said it off by heart.
Yet my resolution was not shaken, and in the
afternoon I went to the theatre to return the
manuscript to Merelli.'
' Isn't it beautiful ? says he.
♦ More than beautiful, wonderful.
' Well, set it to music.
* Not in the least ; I won't.
• Set it to music, set it to music.
• And so saying he gets off his chair, thrusts
the libretto into my coat pocket, takes me by
the shoulders, shoves me out of his room, slams
the door in my face, and locks himself in.
I k>oked rather blank, but not knowing what
to do went home with Nabucco in my pocket.
One day a line, the next day another line, a
note, a bar, a melody ... at last I found that
by imperceptible degrees the opera was done !
♦ It was then the autumn of 1841, and calling
to mind Merelli's promise, I went straight to
him to announce that Nabucco was ready for
performance, and that he might bring it out in
VERDI.
the coming season of Carnevale Quaresima (Car-
nival before Lent).
* Merelli emphatically declared that he would
stick to his word; but at the same time he
called my attention to the fact that it was im-
possible to bring out the opera during the Qua-
resima, because the repertoire was all settled,
and no less than three new operas by known
composers already on the list ; to give, together
with them, a fourth, by a man who was ^most
a debutant was a dangerous business for every-
body, especially for me ; it would therefore be
safer to put off my opera till Easter, when
he had no engagements whatever, and was
willing to give me the best artists that could be
found for love or money. This, however, I
peremptorily refused : — either during the Carne-
val or never ; and with good reason ; for I knew
very well that during the spring it was utterly
impossible to have two such good artists as Strep-
poni and Ronconi, on whom, knowing they were
engaged for the Carneval season, I had mainly
built my hopes of success.
• Merelli, though anxious to please me, was
not on the wrong side of the question ; to run
four new operas in one season was, to say the
least, rather risky; but I also had good artistic
reasons to set against his. The issue was, that
after a long succession of Yes, No, Perhaps, and
Very likely, one fine morning I saw the posters
on the walls and Nabucco not there.
* I was young and easily roused, and I wrote
a nasty letter to M. Merelli, wherein I freely
expressed my feelings. No sooner was the letter
gone than I felt something like remorse, and
besides, a certain fear lest my rashness had
spoiled the whole business.
' Merelli sent for me, and on my entering his
office he says in an angry tone : Is this the
way you write to your friends ? . . . Yet you are
right ; I'll give Nabucco ; but you must remem-
ber, that because of the outlay on the other
operas, I absolutely cannot afford new scenes or
new costumes for you, and we must be content
to make a shift with what we have in stock.
• I was determined to see the opera performed,
and therefore agreed to what he said, and
new posters were printed, on which Nabucco
appeared with the rest.
*I remember a droll thing happening about
that time : in the third act Solera had written
a love-duet between Fenena and Ismaele. I did
not like it, as it seemed to me not only in-
effective, but a blur on the religious grandiosity
that was the main feature of the drama. One
morning Solera came to see me, and I took
occasion to make the remark. He stoutly dis-
puted my view, not so much perhaps because
he thought I was wrong, as because he did not
care to do the thing again. We talked the
matter over and over and used many arguments.
Neither of us would give way. He asked me
what I thought could be put in place of the
duet, and I suggested a prophecy for Zaccaria :
he thought the idea not so bad, and after several
buts and ifs said he would think over it and
VERDI.
write it out. This was not exactly what I
wanted; because I knew that days and weeks
would pass before Solera would bring himself to
write a single line. I therefore locked the door,
put the key in my pocket, and half in jest and
half in earnest said to him : I will not let you
out before you have finished the prophecy: here
is a Bible, and so more than half of your work
is done. Solera, being of a quick temper, did
not quite see the joke, he got angrily upon his
legs and . . . Well, just for a moment or two
I wished myself somewhere else, as the poet was
a powerful man, and might have got the better of
me ; but happily he changed his mind, sat down,
and in ten minutes the prophecy was written.
* At the end of February 1842 we had the first
rehearsal, and twelve days later, on March 9,
the first performance. The principal interpreters
were Mmes. Strepponi and BoUinzaghi, and
Messrs, Ronconi, Miraglia and Derivis.
*With this opera my career as a composer
may rightly be said to have begun ; and though
it is true that I had to fight against a great
many difficulties, it is no less true that Na-
bucco was bom under a very good star: for
even the things which might reasonably have
been expected to damage its success, turned
out to have increased it. Thus, I wrote a
nasty letter to Merelli; and it was more than
probable that Merelli would send the young
maestro and his opera to the devil. Nothing of
the kind. Then the costumes, though made in a
hurry, were splendid. Old scenes, touched up by
M. Peroni, had a magical effect: the first one
especially — the Temple — elicited an applause
that lasted nearly ten minutes. At the very
last rehearsal nobody knew how and when the
military band was to appear on the stage ; its
conductor, Herr Tusch, was entirely at a loss ;
but I pointed out to him a bar, and at the first
performance the band appeared just at the
climax of the crescendo, provoking a perfect
thunder of applause.
' But it is not always safe to trust to the in-
fluence of good stars: it is a truth which I
discovered by myself in after years, that to have
confidence is a good thing, but to have none is
better still.'
So far the maestro's own narrative.
Eleven months later (Feb. ir, 1843), Verdi
achieved a still more indisputable success with
' I Lombardi alia prima Crociata,' interpreted
by Mme. Frezzolini-Poggi, and MM. Guasco,
Seven, and Derivis. Solera had taken the plot
from the poem of Tommaso Grossi, the author of
'Marco Visconti.' This opera gave Verdi his
first experience in the difficulty of finding libretti
unobjectionable to the Italian governments.
Though five years had still to elapse before the
breaking out of the Milan revolt, yet something
was brewing throughout Italy, and no occasion
was missed by the patriots in giving vent to their
feelings. As soon as the Archbishop of Milan
got wind of the subject of the new opera, he sent
a letter to the chief of the police, M. Torresani,
VEEDl.
247
saying that he knew the libretto to be a profane
and irreverent one, and that if Torresani did not
veto the performance, he himself would write
straight to the Austrian Emperor.
Merelli, Solera, and Verdi were forthwith
summoned to appear before Torresani and hear
from him what alterations should be made in
the opera. Verdi, in his usual blunt manner,
took no notice of the peremptory summons. ' I
am satisfied with the opera as it is,' said he,
*and will not change a word or a note of it.
It shall he given as it is, or not given at all/*
Thereupon Merelli and Solera went to see Tor-
resani— who, to his honour be it said, besides
being the most inflexible agent of the government,
was an enthusiastic admirer of art and artists
— and so impressed him with the responsibility
he would assume by preventing the performance
of a masterpiece of all masterpieces, like the
•Lombardi,' that at the end Torresani got up
and said, * I am not the man to prevent genius
from getting on in this world. Go on ; I take
the whole thing upon myself; only put Salve
Maria instead of Ave Maria, just to show the
Archbishop that we are inclined to please him ;
and as for the rest, it is all right.' The opera
had an enthusiastic reception, and the chorus,
O Signore, dal tetto natio,
had to be repeated three times. The Milanese,
the pioneers of the Italian revolution, always on
the look-out, knew very well that the Austrian
Governor could not miss the meaning of the ap-
plause to that suggestively-worded chorus.
Of Verdi's first three operas 'I Lombardi*
has stood its ground the best. In Italy it is
still very often played, and as late as 1879 ^^^
the honour of twenty-six performances in one
season at Brussels. On Nov. 26, 1847, it was
performed with considerable alterations in the
music, and a libretto adapted by Vaez and
Roger, but with little success, under the title
of 'Jerusalem,' at the French Op^ra. The ex-
periment of retranslating the work into Italian
was not a happy one, and 'Gerusalemme' in Italy
was little better welcomed than 'Jerusalem'
had been in Paris.
Verdi's works were soon eagerly sought after
by all the impresarios, and the composer gave
the preference to Venice, and wrote 'Ernani'
(March 9, 1844) for the Fenice theatre there.
The success was enormous, and during the fol-
lowing nine months it was produced on fifteen
different stages. The libretto, borrowed from
Victor Hugo's ' Hernani,' was the work of F. M.
Piave, of Venice, of whom we shall have occasion
to speak again. The police interfered before the
performance, and absolutely would not allow a
conspiracy on the stage. This time many ex-
pressions in the poem, and many notes in the
music had to be changed ; and besides the annoy-
ances of the police, Verdi had some trouble with
a Count Mocenigo, whose aristocratical suscep-
tibility treated the blowing of the horn by Sylva
in the last act as a disgrace to the theatre. In
the end, after much grumbling, the horn was
allowed admittance. The chorus * Si ridesti il
118
VERDI.
Leon di Castiglia' gave the Venetians an oppor-
tunity for a political manifestation in the same
spirit as that at the production of ' I Lombardi *
at Milan.
•I due Foscari' (Nov. 3, 1844) followed close
on 'Emani.' It was brought out in Borne at
the Argentina, but notwithstanding several
beauties, the opera is not reckoned amongst
the maestro's best. Three months after * I due
Foscari,' 'Giovanna d'Arco' was given at the
Scala in Milan (Feb. 15, 1845). The overture
alone survives. 'Alzira' (Aug. I3, 1845), per-
formed at the San Carlo at Naples, neither added
to nor detracted from its author's popularity;
while • Attila' (March 17, 1846), produced at the
Fenice, was the most successful after 'Emani.*
In this opera a cue to political demonstration was
given by the aria,
Cara Patria gii madre e Keglna,
and by the no less popular line,
Avrai tu I'Uiuverso, resti lltalia a me.
The hxhituis of Covent Garden have little idea
what 'enthusiastic applause' means in Italy, and
in Venice especially, and in what acts of sheer
frenzy the audiences of 1846 would indulge to
give the Austrian Government an unmistakable
bign of their feelings. The overcrowded house
was in a perfect roar : clapping of hands, shouts,
cries, screams, stamps, thumps with sticks and
umbrellas, were heard from every comer, while
hats, bonnets, flowers, fans, books of words,
newspapers, flew from the galleries and boxes to
the stalls, and from the stalls back to the boxes
or to the stage — the noise often entirely covering
the sound of both orchestra and chorus, and
lasting till the police could restore order, or till
there was no breath left in the audience.
' Attila ' was followed by ' Macbeth ' (March
1 7, 1 847), at the Pergola of Florence. The book
was again the work of M. Piave, though to please
the poet and the composer, Andrea Maffei, the
renowned translator of Byron, Moore, Sohiller
and Goethe, did not disdain to write some por-
tions of it. This opera, owing chiefly to the lack
of a tenor part, received scant justice in Italy,
and still less abroad.
Verdi's fame was now firmly established,
and England, following out her programme of
attracting everything and everybody with real
artistic worth, made a step towards him. Mr.
Lumley, the manager of Her Majesty's Theatre,
proposed to him to write a new opera, an offer
which the composer gladly accepted. 'King
Lear* was first named as a fit subject for an
English audience, but as love — the steam-power
of all operatic engines — had no share in the plot,
it was feared that the work would want the first
requisite for success. It was therefore settled to
take the plot from Schiller's ' Robbers.' Maffei
himself was engaged to write the poem, and no
less artists than Jenny Lind, Lablache, and
Gardoni to interpret it. On this occasion the
Muse did not smile on lier devotee, and the first
performance in London (July 23, 1847), proved
no more than what in theatrical jargon is called
VERDI.
a succ^s d'estime; a judgment afterwards endorsed
by many audiences. 'I Masnadieri' was not
only Verdi's first work for the English stage,
but was the last opera conducted by Costa at
Her Majesty's previous to his joining the rival
house at Covent Garden. This coincidence all
but shunted Verdi's intellectual activity into a
new track. Lumley, deserted by the fashionable
conductor, made a liberal offer to Verdi, if he
would act for three years as conductor. Verdi
had a strong inclination to accept the offer, but
there was a drawback in the fact that he had
agreed with Lucca, the publisher, of Milan, to
write two operas for him. Negotiations were
set on foot with the view of breaking off" the
agreement, but Lucca would not hear of it, and
Verdi had therefore to leave London, take a
house at Passy, and write the ' Corsaro ' and the
' Battaglia di Legnano.* Had he handled the
baton for three years he would probably not have
put it down again, and his greatest works might
never have appeared ; for a man brought face to
face with the practical side of musical business
cannot take the flights which are found in ' Rigo-
letto,' the 'Trovatore,' and the 'Traviata.'
•II Corsaro' (Oct. 26, 1848, Trieste) was a
failure. 'La Battaglia di Legnano' (Jan. 27,
1849, Rome), though welcomed on the first night,
was virtually another failure. Those who can
remember the then political condition of Italy,
and the great though unsuccessful struggle for
its independence, will very easily see how the
composer may be justified for not having answered
to the call of the Muse. While so stirring a
drama was being played in his native country,
the dramatis personce of the Corsaro and the
Battaglia di Legnano were too shadowy to in-
terest him. During the summer of 1849, when
the cholera was making ravages in France, Verdi,
at his father s request, left Paris and went home,
and he then bought the villa of S. Agata, his
favourite residence, of which we shall give a de-
scription further on.
It was in the solitude of the country near
Busseto that ' Luisa Miller ' was composed for
the San Carlo of Naples, where it was produced
with great and deserved success on Dec. 8, 1849.
The poem, one of the best ever accepted by an
Italian composer, was the work of M. Cammarano,
who took the plot from Schiller's drama, and
adapted it most eff'ectively to the operatic stage.
In connection with Luisa Miller we shall re-
late an authentic incident illustrating the way
in which the superstitious blood of the south can
be stirred. The word 'jettatore ' is familiar to
anybody acquainted with Naples. It means
somebody still more to be dreaded than an evil
angel, a man who comes to you with the best
intentions, and who yet, by a charm attached
to his person, unwittingly brings all kinds of acci-
dents and misfortunes upon you. There was, at
this time, one M. Capecelatro, a non-professional
composer, and a frantic admirer of all musicians,
and, welcome or not welcome, an unavoidable
friend to them. He was looked upon as a 'jetta-
tore,' and it was an accepted fact in all Nea-
VERDI.
VERDI.
249
politan circles that the cold reception of Alzira
at San Carlo four years before was entirely due
to his shaking hands with Verdi, and predicting
a great triumph. To prevent the repetition of
such a calamity, it was evident that M. Cape-
celatro must not be allowed to see, speak, or write
to Verdi under any pretence whatever before the
first performance of Luisa Miller was over.
Therefore a body of volunteers was levied amongst
the composer's many friends, whose duty was to
keep M. Capecelatro at a distance. Upon setting
his foot on Neapolitan ground, Verdi found him-
self surrounded by this legion of friends ; they
never left him alone for a minute : they stood at
the door of his hotel ; they accompanied him to
the theatre and in the street ; and had more than
once to contend fiercely against the persistent and
unreasonable M. Capecelatro. All went smoothly
with the rehearsals, and the first performance was
wonderfully good. During the interval before
the last act — which, by the bye, is one of Verdi's
most impressive and powerful creations — a great
excitement pervaded the house, and everyone
was anxious to see the previous success crowned
by a still warmer reception of the final terzetto.
Verdi was standing on the stage in the centre
of his guards, receiving congratulations from all,
when suddenly a man rushes frantically forwards,
and crying out ' At last ! ' throws his arms fondly
round Verdi's neck. At the same moment a side-
acene fell heavily on the stage, and had it not been
for Verdi's presence of mind, throwing himself
back with his admirer hanging on him, both
would have been smashed. We need not say that
the admirer was Capecelatro, and that the last
acb of Luisa Miller had, compared to the others,
a very cold reception.
•Stifellio' (Nov. i6, 1850, Trieste) was a
failure ; and even after being re-written and
reproduced under the title of ' Aroldo ' (Aug. 16,
1857, Rimini), it did not become popular, though
the score contains some remarkable passages,
amongst others a great pezzo concertato and a
duet for soprano and bass, which would be almost
sufficient of themselves, now-a-days, to ensure
the success of an Italian opera.
We are now going to deal with the period of
the artist's career in which he wrote the master-
pieces that have given him his world-wide fame
— 'Rigoletto,' 'Trovatore,' and *La Traviata.'
Wanting a new libretto for La Fenice, Verdi
requested Piave to adapt the * Le Roi s'amuse '
of Victor Hugo, and one was soon prepared,
with the suggestive French title changed into
' La Maledizione.' Widely open to criticism as
is Victor Hugo's drama, the situations and plot
are yet admirably fit for opera-goers who do not
trouble themselves about the why and the where-
fore, but are satisfied with what is presented to
them, provided it rouses their interest. Verdi
saw the advantages offered by the libretto, and
forthwith sent it to Venice for approval. But
after the political events of 1848-49 the police
kept a keener eye than before on all perform-
ances, and an opera in which a king is made
to appear under such a light as Fran9ois I. in
*Le Roi s'amuse,' was met by a flat refusal.
The direction of La Fenice and the poet were
driven almost mad by the answer; the season
was drawing near, and they would probably
have to do without the 'grand opera d'ob-
bligo.' Other subjects were proposed to the
composer, who, with his Olympian calm, always
refused on principle, saying, ' Either La Male-
dizione or none.' Days went on without any
solution to the problem, when it was brought
to an unexpected end in a quarter where help
seemed least likely. The chief of the Austrian
police, M. Martello, who, like Torresani, had as
great a love for the interests of art as he had
hatred to patriotic ideas — came one morning
into Piave's room, with a bundle of papers under
his arm, and patting him on the shoulder, said
*Here is your business; I have found it, and
we shall have the opera.' And then he began
to show how all the necessary alterations could
be made without any change in the dramatic
situations. The king was changed into a duke
of Mantua, the title into * Rigoletto,' and all
the curses were made to wreak their fury on
the head of the insignificant duke of a petty
town. Verdi accepted the alterations, and after
receiving the complete libretto, went to Busseto
and set furiously to work. And his inspiration
served him so well that in forty days he was
back at Venice with Rigoletto ready, and its
production took place on March 11, 1851. This
was as great and genuine a success as was ever
achieved by any operatic composer; since no
change, either of time or artistic taste, during
more than thirty years, has been able to dim
the beauty of this masterpiece.
Nearly two years passed before the appearance
of ' II Trovatore,' which was performed at Rome
at the Teatro Apollo on Jan. 19, 1853 ; and in
little more than a month later ' La Traviata '
was brought out at the Fenice at Venice (March
6, 1853). The reception of the two works was
very different : II Trovatore from the very first
hearing was appreciated in full; La Traviata
was a dead failure. *Caro Emanuele,' wrote
Verdi to his friend and pupil Muzio, ' Traviata
last night made a fiasco. Is the fault mine or
the actors' ? Time will show.* Time showed
that the responsibility was to be laid entirely to
the singers, though they were amongst the best
of the day. The tenor, M. Graziani, took cold
and sang his part throughout in a hoarse and
almost inaudible voice, M. Varesi, the baryton,
having what he would call a secondary rdle, took
no trouble to bring out the dramatic importance
of his short but capital part, so that the effect of
the celebrated duet between Violetta and Ger-
mond in the second act was entirely missed.
Mme. Donatelli, who impersonated the delicate,
sickly heroine, was one of the stoutest ladies on
or off the stage, and when at the beginning of
the third act the doctor declares that consumption
has wasted away the young lady, and that she
cannot live more than a few hours, the audience
was thrown in a state of perfectly uproarious
glee, a state very different from that necessary
250
VERDI.
to appreciate the tragic action of the last act.
Yet the failure at Venice did not prevent the
opera from being received enthusiastically else-
where. In connection with the Traviata we
may add that at its first performance in French,
at Paris, Oct. 27, 1864, the heroine was Miss
Christine Nilsson, — her first appearance before
the public.
Next to the * Traviata ' Verdi wrote ' I Vespri
Siciliani,' which appeared in Paris on Jxme 13,
1855. It is strange that writing for the French
stage an Italian composer should have chosen
for his subject a massacre of the French by the
Sicilians. Messrs. Scribe and Duveyrier may be
complimented upon their poetry, but not upon
their common sense in offering such a drama to
an Italian composer, who writing for the first
time for the Grand Op^ra, could hardly refuse
a libretto imposed on him by the then omnipo-
tent Scribe. However, the music was appre-
ciated to its value by the French public, who
overlooking the inopportunity of the argument,
welcomed heartily the work of the Italian mae-
stro. In Italy — where the opera was reproduced
with a different libretto, and under the title of
•Giovanna di Guzman,' the Austrian police not
allowing a poem glorifying the revolt of Sicily
against oppressors — it did not actually fail, but its
many beauties have never been fully appreciated.
* Simon Boccanegra' — by Piave, expressly com-
posed by Verdi for La Fenice and produced
March 12, 1857 — "^^^ * *o^^^ failure, though the
prologue and last act may be ranked amongst
his most powerful inspirations. The failure was
owing to the dull and confused libretto, and to
a very bad interpretation. Both book and music
were afterwards altered — the former by Arrigo
Boito — and the opera was revived with success
in Milan on April 12, 1881.
* Un ballo in Maschera,' though written for
the San Carlo of Naples, was produced at the
Teatro Apollo of Rome. Its original title was
'Gustavo III'; but during the rehearsals oc-
curred the attempt of Orsini against Napo-
leon III (Jan. 13, 1858), and the performance
of an opera with so suggestive a title was inter-
dicted. Verdi received a peremptory order from
the police to adapt his music to different words,
and upon his refusal the manager of San Carlo
brought an action against him for 200,000 francs
damages. When this was known, together with
the fact that he had refused to ask permission to
produce his work as it was, there was very nearly
a revolution in Naples. Crowds assembled under
his window, and accompanied him through the
streets, shouting 'Viva Verdi,' i.e. 'Viva Fit-
torio ^mmanuele iZe Di Italia.'
In this crisis M. Jasovacci, the enterprising
impresario of Rome, called on Verdi, and taking
the responsibility of arranging everything with
the Roman police, entered into a contract to
produce the work at Rome. Richard, Governor
of Boston, was substituted for Gustavo III;
the opera was re-christened • II ballo in Mas-
chera,' was brought out (Feb. 17, 1859), and
Verdi achieved one of his greatest successes.
VERDI.
This was his last opera for the Italian stage.
The next three were written for St. Petersburg,
Paris, and Cairo.
• La Forza del Destine ' — the plot borrowed
by Piave from 'Don Alvar,* a Spanish drama by
the Duke of Rivas — was performed with moder-
ate success on Nov. 10, 1862, at St. Petersburg.
Seven years later Verdi had the libretto modified
by Ghislanzoni, and after various alterations in
the music, the opera was again brought before
the public.
'Don Carlos,' the words by M^ry and Du
Locle, was enthusiastically received at the Opera
in Paris, March 11, 1867. Verdi has since (1883)
introduced some changes in the score, materially
shortening the opera.
His latest operatic work is ' Aida,' which was
produced at Cairo Dec. 27, 1871. During the
last thirteen years Verdi has given nothing
but his Requiem, produced at Milan on the
occasion of the anniversary of the death of
Manzoni, May 22, 1874; in 1880 a 'Pater
Noster* for 5 voices, and an 'Ave Maria* for
soprano solo. Artists and amateurs are anxiously
waiting for 'Othello,' to a libretto by Arrigo
Boito ; but it would appear that the composer is
not satisfied with his work, since there are as
yet no intimations of its production.
Amongst Verdi's minor works are the * Inno
delle Nazioni,' performed at Her Majesty's The-
atre in 1862, and a string quartet in E minor,
written at Naples in 1873, and performed at the
Monday Popular Concerts, London, Jan. 21,
1878. A complete list of all his compositions
will be found at the end of this article.
Of Verdi as a man, as wo have already
hinted, little or nothing can be said.
From the earliest moment of his career, his
dislike of the turmoil of the world has never
varied. Decorations, orders, titles have been
heaped upon him at home and abroad, but he is
still annoyed if addressed otherwise than ' Signer
Verdi.* In i860 he was returned as member of
the Italian parliament for Busseto, and at the
personal wish of Count Cavour took the oath,
but very soon sent in his resignation. In 1875
the king elected him a senator, and Verdi went
to Rome to take the oath, but never attended
a single sitting. Some years after the loss of his
wife and children he married Mme. Strepponi,
but from this second marriage there is no family.
He lives with his wife all the year round at his
villa of S. Agata, near Busseto, excepting only
the winter months which he spends in Genoa.
Passing by the villa every one may see that our
representation of his turn of mind is quite true.
It stands far from the high road, concealed
almost entirely by large trees. Adjoining it is
a large and beautiful garden, and this again
is surrounded by the farm. Verdi himself looks
after the farming operations, and an Englishman
will find there all the best agricultural imple-
ments and machines of modern invention.
Verdi's life at S. Agata is not dissimilar from
that of other landed proprietors in the district.
He gets up at five o'clock, and takes, according
f
VERDI.
to the Italian custom, <i cup of hot black coffee.
He then goes into his garden to look after the
flowers, give instructions to his gardener, and
see that his previous orders have been carried
out. The next visit is to the horses, as the maestro
takes much interest in them, and his stud is
well known as the 'Razza Verdi.' As a rule
this visit is interrupted at eight o'clock by the
breakfast bell — a simple breakfast of coffee and
milk. At half-past ten the bell again summons
the maestro and his wife to a more substantial
dejeuner, after which he takes another walk in
the garden.
At two o'clock comes the post, and by this
Verdi is for a while put in communication with
the world, and has for a few hours to remember
— with regret — that he is not only a quiet
country-gentleman, but a great man with public
duties. At five in summer, and six in winter,
dinner is served : before or after this he drives
for an hour, and after a game at cards or billiards,
goes to bed at ten. Friends sometimes pay him
a visit : they are always welcome, provided they
are not interviewers, or too fond of talking about
music. In a letter addressed to Filippi— the
leading musical critic of Italy — the maestro dis-
closes his views of critics and biographers : —
* If you will do me the honour of a visit, your
capacity as a biographer will find very little
room for displaying itself at S. Agata. Four
walls and a roof, just enough for protection
against the sun and the bad weather; some
dozens of trees, mostly planted by me ; a pond
which T shall call by the big name of lake, when
I have water enough to fill it, etc. All this
without any definite plan or architectural pre-
tence : not because I do not love architecture,
but because I detest every breach in the rules of
harmony, and it would have been a great crime
to do anything artistic in a spot where there is
nothing poetical. You see it is all settled : and
while you are here you must forget that you are
a biographer. I know very well that you are
also a most distinguished musician and devoted
to your art . . . but Piave and Mariani must have
told you that at S. Agata we neither make, nor
talk about music, and you will run the risk of
finding a piano not only out of tune, but very
likely without strings.'
Shunning everything like praise, as an artist,
he shuns even more the reputation of being a
benevolent man, though the kindness of his
heart is as great as his genius. Money is sent
by him, often anonymously, to those in want,
and the greater part of the works done at his
villa are done with the view of affording his
workmen the means of getting their living
during the winter. Of the strength of his friend-
ship and gratitude, he gave an undeniable proof
in what he did for his humble associate, the
poet or — as he would call himself the lihrettista
— F. M. Piave. As soon as Verdi heard that
the old man had had an attack of paralysis, he
took upon himself all the expenses of the illness,
during the many remaining years of Piave's
life gave him a yearly allowance, which enabled
VERDI.
251
the old poet to surround himself with all requisite
comfort, and after his death paid for the funeral,
and made a large provision for the little daughter
of his poet and friend.
Whether M. Verdi will ever give the last
touches to • Othello,' and whether it will prove a
success or a failure, are facts of interest to the
author and the opera-goers only. For the musical
critic, 'Othello,* whatever it may be, can neither
add to nor detract from the merits of its au-
thor. From * Oberto Conte di S. Bonifacio ' to
the * Messa di Requiem ' we can watch the pro-
gressive and full development of Verdi's genius,
and though we have a right to expect from him
a new masterpiece, still nothing leads us to
believe that the new work may be the product
of a nuova manicra.
If popularity were a sure test of merit, Verdi
would indisputably be the greatest operatic com-
poser of the second half of this century. In 1850
the great Italian composers had all passed away :
Bellini and Donizetti were gone ; Rossini, though
still living in Paris, was practically dead to music.
Of the old school there were in Italy only Merca-
dante, Petrella, and Parisini : out of Italy there
were Meyerbeer, Auber, Gounod, and Wagner,
though Meyerbeer and Auber are to be reckoned
amongst the operatic composers of the first half
of this century. Since 1850 Italy has produced
Boito, Ponchielli, and Marchetti ; France, Mas-
senet and Bizet ; Germany, Goetz and Goldmark.
Among these, fame designates Verdi, Wagner, and
Gounod as the three greatest composers of their
respective nations. The three, however, enjoy
different degrees, and even different kinds of
popularity. Gounod's fame is almost solely based
on ' Faust.' Wagner's operas, or rather his early
operas, may be said to be familiar to every-
body in Germany, and German-speaking nations:
but outside of Germany only large towns, like
London, St. Petersburg, and Brussels, are really
acquainted with his works. Paris has notoriously
shut her ears to him ; and New York appears as
yet not to have heard one of his operas. As for
the Latin races — Italy, Spain, France — nobody
has been yet brought to a right understanding,
not to mention the * Niebelungen,' even of
'Rienzi.' Of Verdi, on the other hand, we may
safely affirm that there is not an opera-house in
the world, the Bayreuth Theatre excepted, where
most of his operas have not been performed, and
a season seldom passes without at least a per-
formance of the ' Traviata,' the * Trovatore,' or
'Rigoletto.' Amongst Italians, no matter what
their opinion of the composer is, there is a general
belief that Verdi enjoys the greatest popularity
of all living musicians : and we do not hesitate
to endorse this opinion. Music is a universal
language, and operatic music is, of all branches
of that art, the one which most forcibly imposes
itself upon the attention of the public, as the in-
definite musical expression is rendered definite by
the meaning of the words, and by the dramatic
action on the stage. Moreover, music is of all
arts the one that can be most easily and cheaply
brought home to everybody. This is the reason
252
VERDI.
why we think that Verdi is more known to the
million than any other man in the world.
In comparison to what Verdi has done in the
opera and the church, we can hardly reckon
him amongst composers of instrumental music
A Quartet for strings, the Overtures to *Na-
bucco,* *Giovanna d' Arco,' *Vespri Siciliani,'
*Aroldo,* *Forza del Destine,* and other less
important compositions, constitute all his reper-
toire in that branch of art. Leaving out his one
Quartet, to which he attaches no importance,
and only reluctantly allowed to be played out
of his own drawing-room, the Overtures, though
Bome of them effective and full of inspiration,
can hardly be taken as specimens of instrumental
music. They are almost entirely constructed on
the melodies of the opera; and the choice is
made (excepting in the case of the Prelude to
* Aida ' and a few bars of that to * II Ballo in
Maschera*) rather with a view to presenting the
audience at the outset with the best themes of
the work, than on account of the fitness of the
melody for instrumental development. Italians
have an instinctive tendency toward vocal
music. Distinct rhythm, simply harmonised and
well-balanced musical periods, are to them the
highest musical expression : fugues, canons,
double-counterpoint, have no charm for them :
they appreciate variations on a theme, but fail
to catch in full the meaning'of development. Now,
without development proper there can be no
absolute instrumental music, and for this reason
we say that Verdi has done nothing in the way
of adding to the small repertoire of Italian in-
strumental music ; and in fact none of his Over-
tures can bear comparison with those of the
German school, nor even with those of his
•countrymen and contemporaries, Foroni, Bazzini,
Sgambati, and Smareglia or Catalani.
It is certainly not on his Overtures that Verdi
will rest his fame. He is by nature, inclination,
and education an operatic composer, and what-
ever he has done in other directions must be
considered only as accessory. In this light we
will consider his 'Requiem,' though by that work
one can fairly guess at his power in religious
composition. It was chance that led the com-
poser to try his hand at sacred music, and a few
words spent on the origin of the * Messa ' will
not be here out of place, inasmuch as not even M.
Pougin is well informed on this particular fact.
Shortly after Rossini's death (Nov. 13, 1868),
Verdi suggested that the Italian composers
ehould combine to write a Requiem as a tribute
to the memory of the great deceased ; the Re-
quiem to be performed at the cathedral of Bologna
every hundredth year, on the centenary of
Rossini's death, and nowhere else and on no
other occasion whatever. The project was im-
mediately accepted, and the thirteen numbers
of the work, the form and tonality of each of
which had been previously determined, were
distributed as follows : —
1. Kequiem eetemam (G minor), Buzzola.
2. Dies irse (C minor;, Bazzini.
3. Tuba mirum (Eb minor), Pedrotti.
4. Quid Bum miser (Al^ major), Cagnoni.
VERDI.
6. Kecordare (P major), Ricci.
6. Ingemisco (A minor). Mini.
7. Confutatis (D major;, Bouchenon.
8. Lacrymosa (G major, C minor), Coccia.
9. Domine Jesu (0 major), Gaspari.
10. Sanctus (Db major), Platania.
11. Agnus Dei (F major), Petrella.
12. Lux oeterna (Ab major), MaboUini.
13. Libera me i,C minor), Verdi.
The several numbers were duly set to music
and sent in, but, as might have been expected,
when performed in an uninterrupted succession,
they were found to want the unity and uniformity
of style that is the sine qua non of a work of
art: and, though every one had done his best,
there were too many different degrees of merit
in the several parts ; so that, without assigning
any positive reason, the matter was dropped, and
after a while each number was sent back to its
author. But M. Mazzucato, of Milan, who had
first seen the complete work, was so much struck
by Verdi's * Libera me,' as to write him a letter
stating the impression he had received from that
single number, and entreating him to compose
the whole Requiem. Shortly after this, Alessan-
dro Manzoni died at Milan ; whereupon Verdi
offered to write a Requiem for the anniversary of
Manzoni's death ; and this is the work, the last
movement of which was originally composed for
the Requiem of Rossini.
The piece has been enthusiastically praised
and bitterly gainsaid. The question can only be
decided by time, which, so far, seems inclined to
side with Verdi's admirers. In Italy, unbiassed
criticism on the subject has been rendered im-
possible by a letter written to a German paper by
Dr. Hans von Billow, declaring the work to be
a monstrosity, unworthy of an ordinary pupil of
any musical school in Germany. This language
could not but create a strong reaction, not only
among Verdi's countrymen, but among all persons
to whom his name was associated with enjoyment,
— and from that moment even those who might
have reasonably objected to the Requiem under-
stood that it was not the time to do so.
We leave to technical musicians the task of
finding out whether there are, as an anonymous
writer asserts, more than a hundred mistakes
in the progression of the parts, or not. Even
were this the case it is doubtful whether the
mistakes rest with the composer or with those
who pretend to establish certain rules for his
inspiration. Be this as it may, it is certainly not
by looking at Verdi's Requiem in that way that
we shall discover what place he is likely to hold
among writers of sacred music. Not to mention
Palestrina, whose music can now-a-days only be
heard and fully understood in the Cappella Sistina,
if even there, but looking at the sacred music of
Handel and Bach, and setting up the oratorios,
cantatas, and masses of these two giant artists
against Verdi's Requiem, we cannot but urge
that no comparison is possible. Widely different
as Bach's mind was from Handel's, there is in
both the expression of a similar feeling. In
Verdi's work we may easily recognise the pre-
sence of another kind of feeling, requiring quite
another mode of musical manifestation. There
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VERDI.
253
is mysticism in Bach and Handel, while there is
drama in Verdi, and the dramatic character of the
work is the chief fault that has been found with
it, and apparently on good ground. Still, though
commonly believed, and blindly — we would almost
say instinctively — accepted that the Messiah and
the * Matthew-Passion ' are the patterns and
diapason for all religious music, it remains to be
proved whether this is an axiom or not : and
whether the musical forms adopted by Bach and
Handel were chosen because of their being ab-
stractedly the fittest for the expression of- the
subject, or simply because at that time the purely
melodic development was nearly unknown.
No doubt Bach and Handel are up to this day
unsurpassed by any religious composer. Neither
Marcello nor Lotti, Mozart, Beethoven, Cherubini,
Mendelssohn nor Berlioz, have in their sacred
music on the whole come up to the mark of the
two great Germans : this, however, means that
the genius of the latter was greater than that of
the former, but does not at all show that they
were in the right and others in the wrong track
of composition. A man of genius can convey to
the mind of an audience the full and deep meaning
of a religious passage by a mere melody with a
simple accompaniment, or even without any at
all : while a learned musician may make the
same passage meaningless and even tedious by
setting it as a double fugue. Of this fact we
might quote many instances : but it will be
enough to hint at Schubert's Ave Maria, and
even that of Gounod, though founded on another
work — noble and simple melodies, and certainly
fuller of pathos and religious feeling than many
of the elaborate works in which for centuries the
church composers have exercised their skill and
their proficiency in the architectural and orna-
mental branch of their art.
It is equally safe to assert that no special form
can be declared to be the only one suitable for
sacred music, and that even Bach and Handel
wrote their masterpieces as they did, because
that was the then universally accepted style of
composition. There is certainly something in
the stilo fugato nobler and sterner than in a
purely melodic composition ; still, we repeat
that even simple melodies rouse high and
noble feelings, and we see no objection to the
praises of God being sung in melodies, instead
of 'chorales,' or 'fugatos,' or Gregorian themes.
Verdi's Requiem, it has been said, puts the
hearer too often in mind of the stage ; its
melodies would do as well for an opera ; its airs,
duets, and concerted pieces would be wonderfully
effective in 'Rigoletto,' 'Trovatore,' and 'Aida,*
and are therefore too vulgar to be admitted in a
sacred composition, in which everything that has
any connection with earth must be carefully
avoided. But this is our judgment and not the
composer's. Did Palestrina choose for his sacred
music a different style from the one in which he
wrote his madrigals ? Did not Handel in the
•Messiah' itself adapt the words of the sacred
text to music that he had previously written with
other intentions? And why should not Verdi be
allowed to do as they did, and give vent to his
feelings in the way that is most familiar to him?
Of all branches of art there is one that must
necessarily be in accordance with the feelings of
the multitude, and that is religious art ; and on
that ground we think that Verdi has been right
in setting the Requiem to music in a style that
is almost entirely popular. Whether it was pos-
sible for him, or will be possible for others to do
better while following the same track, we wil-
lingly leave the musical critics to decide.
As an operatic composer, we have already said
that Verdi is the most popular artist of the
second half of the present century — we might
say of the whole centui-y, because, not in quality,
but in number, his operas that still enjoy the
honour of pleasing the public, surpass those ex-
tant of Bellini, Rossini, and Donizetti. How
he won his popularity in Italy can be easily
explained ; how his name came to be almost a
household word amongst all music-loving nations,
is more difficult to understand when we think
that no less men than Wagner, Meyerbeer, and
Gounod were, at the same time, in the full bloom
of their glory — the last two, of their activity:
for this widespread popularity there are however
very good reasons, arising entirely from Verdi's
intellectual endowments and not from fashion, or
mere good fortune.
Though Italian operatic composers may be
reckoned by scores, yet after Rossini, Bellini,
and Donizetti, only one man has had power
enough to fight his way up. After Donizetti's
death Verdi remained the only composer to up-
hold the glory of Italian opera, and from 1845
to this day nobody in ' the land of music ' has
shown any symptom of rivalling him, with the
exception of Arrigo Boito, and he, notwithstand-
ing the promise of his Mefistofele, has as yet
brought out no other work.
As regards Italy, the attention of foreign
audiences was naturally enough concentrated
on Verdi. But on the other side of the Alps
there were men who could stand comparison
with him on every ground, viz. Wagner, Gounod,
and Meyerbeer. To run the race of popularity
with these men, and win the prize, would seem
to require even a greater power than that of
Verdi ; still, by looking carefully at the peculiar
qualities of each composer we may be able to
discover why the Italian maestro, with endow-
ments and acquirements perhaps inferior to those
of the German and French artists, has left them
behind as far as public favour is concerned.
The opera or musical drama considered from
a philosophical point of view, is undoubtedly the
highest artistic manifestation of which men are
capable. All the most refined forms of art are
called in to contribute to the expression of the
idea. The author of a musical drama is no
more a musician, or a poet, or a painter : he is
the supreme artist, not fettered by the limits of
one art, but able to step over the boundaries of
all the diflPerent branches of aesthetic expression,
and find the proper means for the rendering of
his thought wherever he wants it. This was
254
VERDI.
Wagner's aim, and the * Niebelungen Ring,* or
still better ' Tristan and Isolde,' are the actuation
of this theory, or at least are works showing
which is the way towards the aim. Unhappily
the grand scheme has not been carried out by
the great artist, nor is it probable that it will
ever be so ; because if a man has the power to
conceive the type of ideal beauty, it is very
doubtful whether he will find the practical means
for expressing it ; and as the opera or musical
drama is at present, we must reckon it to be the
most impressive and most entertaining branch
of art, but the least ideal, and the farthest
Irom the ideal type of perfection. Let musical
critics and philosophers say what they will,
audiences in every quarter of the world will
unanimously declare that the best opera is the
one that amuses them best, and requires the least
intellectual exertion to be understood. Taking
this as the standard it is undeniable that Verdi's
operas answer perfectly to the requirement.
To deliver a lecture on Astronomy before a
select number of scientific men is quite a different
thing from holding a course of lectures on As-
tronomy for the entertainment and instruction
of latge and popular audiences : if one means
to give something to another, one must give
what that other is able to receive, and give
it in the fittest way. And this is what Verdi
did during all his musical career ; and his manner
of thinking, feeling and living made it quite
natural to him. Verdi felt much more than he
learnt, that rhythm, the human voice and brevity,
were the three elements apt to stir, to please
and not to engender fatigue in his audiences, and
on them he built his masterpieces. In the choice
of his libretto he always preferred plots in which
the majority of the public could take an interest.
Wotan protecting Hunding against Siegmund's
Bword, with the spear on which the laws of the
universe are cut in eternal runes, is certainly
one of the highest dramatic situations that can
be brought on the stage ; but unhappily it is
not a thing whose real meaning can be caught
by everybody ; while in the poems of * Traviata,'
• Rigoletto,' • Trovatore,' etc., even the most un-
learned men will have no trouble in bringing
home to themselves the feelings of the dramatis
personse.
Three difierent styles have been distinguished
in Verdi's operas — the first from * Oberto Conte
di S. Bonifacio' to *Luisa Miller'; the second
from * Luisa Miller * to * Don Carlos ' ; while the
third comprises only 'Don Carlos' and 'Aida.'
[See too the able remarks in vol. iii. p. 301 of this
Dictionary.] We fail to recognise these three
different styles. No doubt there is a great differ-
ence between 'Attila,* *Emani,' 'Rigoletto,* and
• Aida ' : but we submit that the difference is to
be attributed to the age and development of the
composer's mind, and not to a radical change in
his way of rendering the subject musically, or to
a different conception of the musical drama. The
more refined expression of 'Aida' compared to
• II Trovatore,' and of * II Trovatore ' compared
to ' Nabucco ' or ' I Lombardi,' answers to the
VERDI.
refinement of musical feeling which audiences
gradually underwent during the forty years of the
artistic career of the great comj)oser; he spoke
a higher language, because that higher language
had become intelligible to the public ; but what
he said the first day is what he always said, and
what he will say again, if he should ever break his
long silence. Amongst living composers Verdi is
undoubtedly the most universally popular : what
posterity will think of this judgment passed by
Verdi's contemporaries we do not know, but
certainly he will always rank among the greatest
composers of operatic music of all ages and
amongst all nations, because seldom, if ever, is to
be found such truth and power of feeling ex-
pressed in a clearer or simpler way.
We subjoin a complete catalogue of Signer
Verdi's works.
Oberto Conte dl 8. Bonifacio, Nov.
17.1839. Milan.
Un giorno di Regno, i Sep. 6, 1840.
Milan.
Nabucodonosor, March 9, 1842.
Milan.
I Lombardi, Feb. 11. 1843. Milan,
Enianl. Mar. 9, 1844. Venice.
I due Foscari, Nov. 3. 1844. Home.
Ulovaniia d' Arco, Feb. 15, 1845.
Milan.
Alzira. Aug. 12, 1845. Naples.
Attila, Mar. 17, 1846. Venice.
Macbeth, Mar. 12. 1847. Florence.
I Masnadleri, July 22,1847. London.
Jerusalem,^ Nov. 25, 1847. Paris.
II Oorsaro. Oct. 25. 1848. Trieste.
La battaglia di Legnano, Jan. 27,
1849. Rome.
Luisa Miller, Dec. 8. 1849. Naples.
Stifellio, Nov. 16, 18S0. Trieste.
RiiToletto, Mar. 11, 1851. Venice.
11 Trovatore, Jan. 19, 1853. Rome.
La Traviata. Mar. 6, 1853. Venice.
Les V^pres Sicillennes, June 1.3,
1855. Paris.
Simon Boccanegra, Mar. 12, 1857.
Venice.
Aroldo.3 Aug. 16, 1857. Rimini.
Un ballo in Maschera. Feb. 17.
1857. Rome.
La forza del DestIno.< Nov. 10,
1862. St. Petersburg.
Macbeth (revised;, Apr. 21, 1SC5.
Paris.
Don Carlos, Mar. 11, 1867. Parit.
A.ida.5 Dec. 24, 1871. Cairo.
S. Boccanegra (revised) Apr. 18P1.
Milan.
DRAWING-ROOM MUSIC.
Sel Romanze.— Non faccostare all*
urna. More Elisa, lo .stanco
poeta. In solitaria stanza.
Nell* orror di notte oscura.
Ferduta ho la pace. Deh pie-
tosa.
L' esule, a song for bass.
La Seduzione, a song lor bass.
Notturno a tre Toci. S. T. B.
Guarda che blanca luna, with
flauto obbligato.
Album di sei Romanze. 11 Tra-
monto. La Ziiigara. Ad una
Stella. Lo spazza camino. II
mistero. Brindisi.
11 Poveretto. Romanza.
Tu dici che non m'ami. Stor-
nello.
1
INNO DELLE NAZIONI.
Composed on the occasion of the London SzhibitioD, and per-
formed at Her Majesty's Theatre on May 24, 1862.
QUARTETTO.
For two violins, viola and violoncello ; written at Napies, and per*
formed In the author's own drawing-room on April 1, 1873.
SACRED MUSIC.
Messa da Requiem. Performed Ave Maria, soprano and strings,
in 8. Marie's church in Milan, Both performed for the first
May 22, 1874. time at La Scala of Milan, oa
Pater Noster, for 2 soprani, con- April 18, 1880.
tralto, tenor, and bass.
Verdi wrote a great many compositions be-
tween the ages of thirteen and eighteen, that
is, before coming to Milan. Amongst them ai-e
Marches for brass band, short Symphonies, six
Concertos and Variations for pianoforte, which he
used to play himself: many Serenate, Cantate,
Arie, and a great many Duetti, Terzetti, and
Church compositions; amongst them a 'Stabat
Mater.' During the three years he remained
1 This opera was performed In (ome theatres nnder the title of
' II flnto Stanislao.'
2 This opera is a re-arrangement of * I Lombardi.*
s This is an adaptation of the music of ' Stllellio ' to a new poem.
4 Reproduced, with alterations and additions, at La Scala of Milan
Feb. 20, 1869.
« The first performance In Europe was on Feb. 8. 1872, at La Scala
of Milan.
VERDI.
at Milan he wrote amongst other things two
Symphonies which were performed tliere, and
a Cantata. Upon his return to Busseto, he
wrote a 'Messa' and a 'Vespro,' three Tantum
Ergos, and other sacred compositions, as well as
choruses to Alessandro Manzoni's tragedies, and
*I1 cinque Maggie* Everything is lost with the
exception of a few symphonies that are still per-
formed at Busseto, and the music to Manzoni's
poems, which is now in the writer's posses-
sion. [G.M.]
VEREENIGING VOOR NOORD-NEDER-
LANDS MUZIEKGESCHIEDENIS (Asso-
ciation for the History of Dutch Music) is the
literary branch of the national Society for the
Advancement of Music (Maatschappij tot be-
vordering der Toonkunst). It was separated in
1868-9 for the purpose of collecting and publish-
ing materials for the musical history of the Dutch
Netherlands, especially during the period ex-
tending from Obrecht (1450) to Sweelinck (1621).
Its publications are as follow : —
VERNON.
255
1. Sweelinck's Regina Coeli (ed.
H. A. Viotta, 1869).
2. Old Dutch Songs, from the lute-
book of Adrianus Valerius
(ed. A. D. Loman, 1871).
& Organ compositions, by Swee-
linck and Scheldt (ed. B.
Eitner, 1871).
4. Twelve Geuzeliedjes, songs of
the Oueux during the Span-
ish oppression (ed. A. D.
Loman, 1872).
8. Three madrigals by Schuijt,
and two chansons by Swee-
linck (ed. E. Eitner, 1873).
6. Eight Psalms by Sweelinck (ed.
R. Eitner), with Life by F.
H. L. Tiedeman (1876).
7. Chanson by Sweelinck (ed. R.
Eitner. 1877).
8. Selections from Johannes
Wanning's 'LII Sententiae*
(ed. R. Eitner, 1878).
9. Mass ' Fortuna Desperata,' by
Jacob Obrecht (ed. E.Eitner,
1880).
10. Old Dutch Dances arranged
for piano (4 hands), by J. C.
M. van Eiemsdijk (1882).
The Vereeniging has also published a volume
entitled * Musique et Musiciens an XVII® Sifecle.
Correspondance etCEuvre musicales de Constantin
Huygens publides par W. J. A. Jonckbloet et
J. P. N. Land* (1882). Besides these works,
three volumes of transactions have appeared,
under the title of * Bouwsteenen ' (issued for
members only, 1869-72, 1872-4, and 1874-81).
To each is prefixed a short 'chronicle' of the
proceedings of the association. The contents
are principally (1) materials for a dictionary
of Dutch musicians, most valuable for local
statistics and bibliography, (2) catalogues of
little-known musical collections, (3) particulars
respecting the organs, carillons, etc. of Holland,
(4) miscellaneous contributions to the antiquities
of Dutch music. The * Bouwsteenen * are now
superseded by a regular journal (' Tijdschrift '),
of which two numbers have appeared (1882,
1883). The secretary is Dr. H. C. Rogge, uni-
versity librarian at Amsterdam. [R.L.P.]
VERHULST, Johannes Josephus Heesian,
was born March 19, 1816, at the Hague, and
was one of the earliest students at the Royal
School of Music there, where he learned violin
and theory. He afterwards played in the or-
chestra of the French Opera under Charles
Hanssen, and wrote many pieces, amongst others
an Overture in B minor which was published by
the Society tot Bevordering der Toonkunst. An
allowance from the King enabled him to go first
to Cologne, where he studied with Joseph Klein,
and then to Leipzig, where he arrived Jan. 12,
1838, and was well received by Mendelssohn,
and soon after made Director of the important
* Euterpe ' Concerts. There and in Germany he
remained till 1842, when he returned to the
Hague and was at once decorated by the King,
with the order of the Lion and made Director of
the Music at Court. Since then he has resided
at Rotterdam and the Hague, and at Amster-
dam, where for many years he has conducted
the Felix Meritis Society, and the Cecilia
Concerts, as well as the Diligentia Society at
the Hague. As a conductor he is very famous in
his own country. His compositions comprise
symphonies, overtures, quartets, much church
music (amongst other pieces a Requiem for men's
voices is much spoken of), songs and part-songs,
to Dutch words. Verhulst's music is little known
out of his own country. In England the writer
only remembers to have heard one piece, an
intermezzo for orchestra called *Gruss aus der
Feme,* performed occasionally at the Crystal
Palace. Verhulst's friendship with Schumann
was one of the great events of his life. How
close and affectionate it was may be judged
from the many letters given in Jansen's * Die
Davidsbiindler,' and especially the following note
written at the end of one of Schumann's visits to
Holland :
Dear Verhulst,— Good-bye. It delighted me to find
you in your old spirits. Unfortunately you cannot say
the same of me. Perhaps my good genius may yet bring
me back to my former condition. It delighted me too to
find that you have got so dear a wife : in that matter we
are both equally fortunate. Give her a nice message
from me, and take a hearty greeting and embrace for
yourself from your old Egbert SCH.
Scheveningen, Sept. 8, 1852.
Schumann's 'Overture, Scherzo, and Finale*
(op. 52) is dedicated to Verhulst, who possesses
the autograph, with the following inscription.'
J. J. Verhulst
tibergiebt die Partitur des alten Opus
mit alten Sympathien.
Rotterdam d. 18 Dec. 1853. E. Schumann.
VERLORENE PARADIES, DAS (Paradise
Lost). Russian sacred opera in 3 parts ; woids
from Milton, music by Rubinstein (op. 54). Pro-
duced at St. Petersburg Dec. 17, 1876. [G.]
VERNON, Joseph, originally appeared at
Drury Lane as a soprano singer in 175 1. On
Feb, 23 he sang in 'Alfred' (music by Arne
and others), and on Nov. 19 performed the part
of Thyrsis in Dr. Boyce's ' Shepherd's Lottery.'
In 1754 he became a tenor singer. In the early
part of 1 755 he married, at the Savoy Chapel,
Miss Poitier, a singer at Drury Lane. There
was some irregularity in the performance of
the ceremony which infringed the law for the
prevention of clandestine marriages, and Wilkin-
son, the chaplain of the Savoy, and Grierson, his
curate, the actual celebrant, were tried, convicted
and transported. Vernon had been compelled to
appear as a witness against Grierson upon his
trial, and the public, unjustly suspecting him
of having instigated the prosecution, refused to
» See Jansen't'DleDavldsbandler.'
2£G
VERNON.
allow him to appear upon the stage. His en-
forced retirement lasted until the end of 1756,
when he was permitted to return, and became
an established favourite. He had an indifferent
voice, but sang with such excellent taste and
judgment as to render his organic defect almost
imperceptible. He was moreover an admirable
actor, and was constantly allotted parts in which
no singing was required. This rare union of the
qualities of singer and actor peculiarly fitted him
for such parts as the Clown in ' Twelfth Night,'
and Autolycus in * The Winter's Tale/ in both
of which he excelled. He was the original
Cymon in Michael Arne's opera of that name.
Lin ley composed for him the well-known song
in ' The School for Scandal.' He ^as for many
years a favourite singer at Vauxhall. He com-
posed, and about 1762 published in a volume,
'The New Songs in the Pantomime of The
Witches ; the celebrated Epilogue in the Comedy
of Twelfth Night ; a Song in The Two Gentle-
men of Verona ; and two favourite Ballads sung
by Mr. Vernon at Vauxhall.' He died at South
Lambeth, March 19, 1782. [W.H.H.]
V;fiRON, Louis Desir^, bom in Paris, April
5, 1798, died there Sept. 27, 1867; the son of
a stationer, studied medicine on leaving school,
and took his doctor's degree in 1823. He had been
intimate with the chemist Regnauld, and on his
death bought the patent of his 'Pate Regnauld,'
and made a fortune. In 1828 he gave up doctor-
ing, and took to writing for the press. In 1829
he founded the * Eevue de Paris,' and became
a personage of importance. In spite of this, how-
ever, he gave up journalism, and became (March
2, 1 831) director of the Opera for five years, with
a subsidy of 810,000 francs for the first year,
760,000 francs for the second, and 710,000 francs
(respectively £32,500, £30,500, and £28,500) for
the last three. Thus at his ease in money matters,
with an excellent body of artists, and an able
coadjutor in Edmond Duponchel (bom I795i
died 1868), who looked after the Tnise-en-scbne,
his usual luck did not fail him, for the first
wotk he produced was * Robert le Diable '
(Nov. 21, 1 831). The success of Meyerbeer's
first masterpiece is well known, but it is not
so well-known that the manager of the Op^ra
exacted from the composer a large sum in con-
sideration of the expenses of mounting the opera.
With much energy and tact, Veron at caice set
to work to vary and renew the repertoire, as
the following list of the works produced for the
first time under his administration will show : —
In 1832 * La Sylphide,' with Taglioni ; the op^ra-
ballet *La Tentation,* with a very original
march-past of demons ; Auber's opera * Le Ser-
ment,' of which all that remains is the lively
overture, and a coquettish air sung to perfec-
tion by Mme. Damoreau ; and ' Nathalie,' a
ballet for Taglioni, In 1833 * Gustavo III,' with
its masked ball ; Cherubini's last opera ' Ali
Baba ' ; and * La Rdvolte au S^rail,' a smart and
witty ballet. In 1 834 * Don Juan' ; and ' La Tem-
pete,' in which Fanny Elssler made her d^but.
-And finally, Feb. 23, 1835, *La Juive,' with
VERSCHWOKENEN.
Falcon, Nourrit and Levasseur — his greatest
success after ' Robert,' and a greater aid to
his reputation than any other work. Content
with his enormous gains, and unwilling to risk
losing them, Dr. V^ron relinquished his licence
to Duponchel, and took to politics. Failing
to secure his election as a Deputy in 1838
he returned to journalism, and became in turn
manager, editor, and sole proprietor (1844)
of the * Constitutionnel.' This is not the place
in which to dilate on the important part played
by this paper till Dr. V^ron gave it up in 1862,
but it adniirably served the interests of its pro-
prietor, who was twice elected a member of the
Corps L^gislatif. While attending the Chamber
he found time to write his own life under the
title of 'M^moires d'un Bourgeois de Paris*
(Paris 1854, 6 '^o^s* 8vo.), which obtained a
succhs de curiosity, and encouraged its author to
further works, 'Cinq cent mille francs de rente'
(1855, 2 vols. 8vo.) a novel of manners; a sequel
to the 'M^moires' (1856); a political treatise,
' Quatre ans de r^gne. Oti allons-nous V (1857) ;
and, finally, one coming more within the scope
of this Dictionary, ' Les Theatres de Paris, from
1806 to i860' (i860, 8vo.). These books are
all forgotten, but ' Mimi Veron ' (his nickname
at the Op^ra balls), the man of business
and purveyor of pleasures under Louis Philippe,
was a characteristic personage in his day, and a
typical ' Bourgeois de Paris,' both in his industry
and his vanity. [G.C]
VERSCHIEBUNG (Ger. literally shoving
aside). The mechanism acted upon by the left
pedal of the pianoforte, by means of which the
hammers are shifted slightly to the right, so as
to strike one or two strings instead of three, thus
producing a weaker tone of a peculiarly delicate
quality. The word is employed in pianoforte
music to indicate the use of this pedal ; thus the
directions mit Verschiebung, ohne Verschiebung,
are synonymous with the Italian ad una corda,
a tre corde. [See Pedals ; Sordini ; U. C] A
charming efiect is obtained by Schumann in the
slow movement of his Sonata for piano and
violin in D minor, op. 121, where he makes the
piano play mit Verschiebung, accompanied by the
violin am Steg, that is, close to the bridge, thus
producing a veiled quality of sound which suits
admirably with the refined tone of the piano-
forte. [F.T.]
VERSCHWORENEN, DIE {i.e. The Con-
spirators)— a one-act play, with dialogue, adapted
by Castelli from the French, and composed by
Schubert. The MS. in the British Museum has the
date April 1 823 at the end. The title was changed
by the licensers to the less suggestive one of 'Der
hausliche Krieg' (i.e. The Domestic Struggle),
but the piece was not adopted by the management,
and remained unperformed till March i, 1861,
when Herbeck produced it at a Musikverein
concert. It was brought out on the stage at
Frankfort Aug. 29, 1861 ; in Paris, as 'La Croisade
des Dames,' S'eb. 3, 1868 ; at a Crystal Palace
Concert (*The Conspirators') Mar. 2, 72. [G.]
VERSE.
VERSE. A term used in church music to
signify that an anthem or service contains por-
tions for voices soli — duets, trios, etc. The origin
of the term is obscure ; but it is possible that it
arose from a colloquial expression that certain
services or anthems contained verses (i.e. por-
tions of canticles or of Scripture) to be sung
by soloists. A verse-service or verse-anthem
sometimes includes portions set for a voice solo.
When one voice maintains the chief part of an
anthem it is described as a 'Solo-anthem': but
the expression solo-service is rarely used. Some
writers only employ the term verse-anthem when
an anthem commences with voices soli. An
anthem which commences with a chorus fol-
lowed by parts for soli voices is termed * full with
verse.' [J.S.]
VERSICLE (Lat. Versiculum). A short sen-
tence, in the Offices of the Church, followed by
an appropriate Response; as — *V. Domine, in
adjutorium meum intende. B. Domine, ad ad-
juvandum me festina.' * V. 0 God, make speed
to save us. B. O Lord, make haste to help us.'
The Versicles — or, rather, the Responses which
follow them — from the Office of Vespers, and
other Roman Catholic Services, have been har-
monised by Vittoria, G. B. Rossi, and other
Composers : but none of them will bear any com-
parison with the matchless English Responses,
in all probability set originally to the old Latin
words, by our own Tallis, whose solemn har-
monies have never been approached, in this par-
ticular form of music. Some very fine Responses
by Byrd, and other English Composers, will be
found, in company with old versions of those of
Tallis, in Jebb's Choral Responses. [W.S.R.]
VERT- VERT. Comic opera in 3 acts ; words
by Meilhac and Nuitter, music by Offenbach. Pro-
duced at the Op^raComique, March 10, 1869. [G.]
VERVE, a French word adopted as the equi-
valent of spirit or inspiration in performance. [G. ]
VESPERALE— The Vesperal. That portion
of the Antiphonarium Romanum which contains
the Plain-Chaunt Melodies sung at Vespers. It
contains the words and music of all the Psalms,
Canticles, Antiphons, Hymns, and Versicles, used
throughout the ecclesiastical year ; the music
being printed in the old Gregorian Notation.
The most correct Vesperals now in print are
those published at Mechlin in 1870, and at
Ratisbon in 1875; the latter formally author-
ised by the Congregation of Rites. [W.S.R.]
VESPERS (Lat. Officium Vesperarum, Ves-
perce, Oratio vespertina, Ad Vesperas), The
last but one, and most important, of the • Horse
Diurnse,' or * Day hours,* in the Antiphonarium.
The Office begins with the Versicle and
Response, 'Deus in adjutorium,' followed by
five Psalms. On Sundays, these are usually
Pss. cix, ox, cxi, cxii, and cxiii (corresponding
to Pss. cx-cxiv in the English Prayer-Book ver-
sion); on other days, they vary. Each Psalm
is sung with a proper Antiphon, which, on
certain Festivals, is doubled — i. e, sung entire,
both before and after the Psalms. On Ferial
TOL. IV. PT. 3.
VESTRIS.
257
days, the first two or three words only of the
Antiphon are sung before the Psalm, and the
entire Antiphon after it. The Psalms are fol-
lowed by the Capitulum ; and this by a Hymn,
which varies according to the Festival or the
day of the week. After this, * Magnificat ' is
sung with a special Antiphon. Then follows the
Prayer (or Collect) for the day ; succeeded by the
proper Commemorations. Should Complinefollow,
the Office of Vespers ends here. If not, the Com-
memorations are followed by one of the 'Antiphons
of Our Lady,* with which the Office concludes.
The music sung at Vespers is more solemn
and elaborate than that used at any of the other
Hours. The proper Plain-Chaunt Melodies are
found in the Vesperal. [See Vesperale.] The
Melodies of the Antiphons are of extreme an-
tiquity. The Psalms are sung to their proper
Gregorian Tones; for the most part, either
entirely in Unison, or in alternate verses of
Unison and Faux Bourdon. Many Faux Bour-
dons, by the great Composers, are still extant.
Proske has included some by B. Nanini, F. Anerio,
and others, in vol. iii. of his *Musica Divina';
and a copy of a MS. collection, entitled ' Studij
di Palestrina,' will be found among the Bumey
MSS. in the British Museum. Proske has also
printed a very fine setting of the opening Ver-
sicle and Response, by Vittoria; and Ambros
another, by G. B. Rossi, first printed in 161 8.
Polyphonic Magnificats are necessarily very
elaborate; for during the Canticle the High
Altar is incensed, and sometimes the Altar in
the Lady Chapel also — a ceremony which often
occupies a considerable time. [See Magnificat.]
The Hymns for the various Seasons have also
been frequently set, in very elaborate form, by
the Polyphonic Composers ; Palestrina's ' Hymni
totius anni' is a complete collection, of unap-
proachable beauty. Some fine isolated specimens
will also be found among the works of Tallis,
Byrd, and other Composers of the English School ;
and Proske has published many interesting ex-
amples, collected from various sources. The four
'Antiphons of Our Lady' — Alma BedemptoriSf
Ave Regina, Regina Cceli, and Salve Regina —
have been treated by many good writers, includ-
ing Palestrina, Anerio, and O. Lasso, in the form
of highly developed Motets.
With so large a repertoire of Compositions of
the highest order, the Office of Vespers may be
made a very impressive one ; and, indeed, with
little more than Plain-Chaunt, treated in Unison,
and very simple Faux-Bourdon, it is sung at
Notre Dame de Paris, S. Sulpice, and other
large French churches, with a solemnity well
worthy of imitation. [W.S.R.]
VESPRI SICILIANI. [See Vepbes Sici-
LIENNES, LES, p. 2386.]
VESTALE, LA. Lyric tragedy in 3 acts ;
words by Jouy, music by Spontini. Produced at
the Grand Op^ra, Paris, Dec. 16, 1807. [G.]
VESTRIS, Lucia Elizabeth, * or Eliza
LUOT," born either Jan. 3 or March 2, 1797, in
>BegUterof dMthik
> Slgnkture at Mcond muTlagOi
S
258
VESTRIS.
London, daughter of Gaetano Bartolozzi, artist,
and grand-daughter of Francesco Bartolozzi,
the celebrated engraver. On Jan. 28, 181 3,
she married Arraand Vestris, dancer and ballet-
master at the King's Theatre, and grand-
son of the celebrated Vestris. [See Ballet,
i. p. 132.] It was on the occasion of his
benefit at that theatre (July 20, 1815) that
his wife, having received instruction in singing
from Corri, made her first appearance in public as
Proserpine in Winter's 'II Ratto di Proserpina,'
Her success that season was great, in spite of her
then limited ideas of acting and want of vocal
cultivation. She re-appeared in 181 6 in Win-
ter's 'Proserpina* and *Zaira,' Martini's 'Cosa
Bara,* and Mozart's 'Cosi fan Tutte' and
*Nozze' (Susanna), but with less success, her
faults becoming more manifest with familiarity.
In the winter she appeared at the Italian Opera,
Paris, and at various theatres there, including
the Fran9ais, where she played Camille in * Les
Horaces,' with Talma as Horace. About this
time Vestris deserted her. (He died in 1825.)
On Feb. 19, 1820, she made her dAhut at Drury
Lane as Lilla in *The Siege of Belgrade';
made an immeiHate success in that and in
Adela ('The Haunted Tower'), Artaxerxes,
Macheath, and 'Giovanni in London,' and
remained for many years a favourite at the
patent theatres, not only in opera, but in
musical farces and comedies. In certain of these
she introduced well-known songs — 'Cherry ripe,'
* I've been ' roaming,' ' Meet me by moonlight
alone,' and others, which gained their popularity
at the outset through her very popular ballad
singing. On April 12, 1826, she played Fatima
on the production of 'Oberon.' With her sub-
sequent career as manager of the Olympic,
Covent Garden, and Lyceum, we cannot deal,
save to mention that during her tenancy of Covent
Garden, in conjunction with Charles Mathews the
younger (whom she married July 18, 1838), opera
was occasionally performed, viz. 'Artaxerxes,'
' Comus,* etc., English versions of 'Norma,' 'Elena
di Feltre' (Mercadante), and 'Figaro,' with Miss
Kemble, Miss Rainforth, etc., and with Bene-
dict as conductor. In Figaro she played Cheru-
bino, but resigned 'Voi che sapete' to Miss
Kemble. She died at Fulham Aug. 8, 1856.
'As a girl she was extremely bewitching, if
not faultlessly beautiful — endowed with one of
the most musical, easy, rich contralto voices ever
bestowed on singers, and retaining its charm to
the last — full of taste and fancy for all that was
luxurious, but either not willing, or not able to
learn, beyond a certain depth.' (Athenaeum,
Aug. 17, 1856.) At the Italian Opera, says
Chorley (Musical Recollections), ' if she had
possessed musical patience and energy, she
might have queened it, because she possessed
(half Italian by birth) one of the most
luscious of low voices, great personal beauty,
an almost faultless figure, which she adorned
with consummate art, and no common stage
address. But a less arduous career pleased
1 Introduced Into Mozart's Figaro. 1820. (Farke.)
VIAGGIO A REIMS, XL.
her better ; so she could not — or perhaps would
not — remain on the Italian stage.' [A.C.]
VEUVE DU MALABAR, LA. A French
novel, by Lemifere, from which Spohr took the
plot of his • Jessonda.' ^ It has been burlesqued
in • Le Veuf du Malabar' by Siraudin and Bus-
set, music by Doche (Opera Comique, May 27,
1846) ; and under its own title by Delacour and
Cremieux, music by Herv^ (Variet^s, April 26,
1873). [G.]
VIA DANA, LuDOVico, was bom at Lodi
about 1565. Of his education we know nothing
save that he adopted the monastic profession.
In or before 1597 he was in Rome, to which city
his musical style is properly affiliated. He was
chapelmaster in the cathedral of Fano in Urbino,
and at Concordia in the states of Venice ; but
the order of his preferments is doubtful. All
that is certain is that he occupied the same office
ultimately at Mantua, where he is known to
have been living as late as 1644. -^^ composed
and published a number of volumes of canzonets,
madrigals, psalms, canticles, and masses: but
the work upon which his historical significance
rests is a collection of ' Cento concerti ecclesi-
astici a I, a 2, a 3, e a 4, voci, con il basso
continuo per sonar nell' organo. Nova invenzione
comoda per ogni sorte di cantori e per gli orga-
nisti,' Venice 1603 (or, in some copies, 1602) in
five volumes. In consequence of this publica-
tion Viadana has been commonly regarded as
the inventor of the (unfigured) hasso continuo to
accompany the voice on an instrument — a judg-
ment expressed, but, as "Ambros thinks, un-
fairly, in the remark of a contemporary, Praeto-
rius. As a matter of fact, hasso continuo had
been employed in the accompaniment of recita-
tive some years earlier by Caccini and Peri and
others before them. Viadana however was the
first thus to accompany solemn church-composi-
tions, and therefore the first to use the organ for
the purpose. He is also the inventor of the name
hasso continuo. Nor had any One previously
thought of writing pieces for a solo voice, or for
two or three voices, expressly with the object of
their being accompanied by a thorough-bass.^
The way thus opened by Viadana enabled him to
employ a freer and lighter style than his contem-
poraries of the Roman school. Building up his
compositions (in his * Cento concerti ') from the
bass instead of from a cantus firmus, he succeeded
in creating real self-contained melodies ; and if
he cannot be justly regarded as the inveutor of
the notion of hasso continuo, he at least was
led by it to a not far-off view of the modern
principle of melodic, as opposed to contrapuntal,
composition. [R.L.P.]
VIAGGIO A REIMS, IL, ossia l'albergo
DEL GIGLIO d'oba. Opera in one act; words by
Balocchi, music by Rossini. Produced, with a
wonderful cast, at the TheS,tre Italien at Paris,
June 19, 1825, as part of the festivities at the
1 See his '8elbstb<ointiphie,' !i. 149.
S ' Gescbichte der Musik,' iv. 248, etc.
» See on the whole question F6tis, vlll. 334 fc— 837a.
\
VIAGGIO A REIMS. IL.
coronation of Charles X. The music was after-
wards adapted to the new libretto of ' Le Comte
Ory,' and produced at the Grand Opera, Aug.
20, 1828. [See vol. i. p.. 383 ; "i- 171 a.] [G.]
VIARD-LOUIS, Jenny. [See p. 342.]
VIARDOT-GARCIA, Michelle Ferdt-
NANDE Pauline, a great lyric actress and singer,
younger sister of Maria Malibran, is the daughter
of the famous Spanish tenor and teacher, Manuel
del Popolo Garcia, and of his wife, joaquina
Sitchez, an accomplished actress. She was born
in Paris July 18, 1821, and received her names
from her sponsors, Ferdinand Paer, the composer,
and the Princess Pauline Galitzin. Genius was
Pauline Garcia's birthright, and she grew up
from her cradle in an atmosphere of art, and
among stirring scenes of adventure. She was
only three years old when her father took his
family to England, where his daughter Maria,
thirteen years older than Pauline, made her first
appearance on the stage. His children were
with him during the journeys and adventures
already described, and Pauline has never for-
gotten her father being made to sing by the
brigands. [See Garcia, vol. i. p. 581.]
The child showed extraordinary intelligence,
with a marvellous aptitude for learning and
retaining everything. At that time it would
have been hard to determine where her special
genius lay. Hers was that innate force which
can be applied at will in any direction. She
learned languages as if in play. Her facility for
painting, especially portrait-painting, was equally
great. Her earliest pianoforte lessons were given
her by Marcos Vega, at New York, when she
was not four years old. At eight, after her
return from Mexico, she played the accompani-
ments for her father at his singing lessons, * and
I think,' she wrote afterwards, *I profited by
the lessons even more than the pupils did.* She
thus acquired a knowledge of Garcia's method,
although she never was his pupil in the usual
sense, and assures us that her mother was her
'only singing-master.' Her father worked her
hard, however, as he did every one. In his
drawing-room operettas, composed for his pupils,
there were parts for her, * containing,' she says,
• things more difficult than any I have sung since.
I still preserve them as precious treasures.'
The piano she studied for many years with Mey-
senberg, and afterwards with Liszt ; counterpoint
and composition with Reicha. Her industry
was ceaseless. After the death of her father and
sister she lived with her mother at Brussels,
where, in 1837, she made her first appearance as
a singer, under the auspices of De Beriot, She
afterwards sang for him on a concert tour, and
in 1838 at the Theatre de la Renaissance in
Paris, at a concert, where her powers of execution
were brilliantly displayed in a 'Cadence du
Diable ' framed on the * Trillo del Diavolo ' of
Tartini. On May 9, 1839, she appeared at Her
Majesty's Theatre as Desdemona in 'Otello,'
and with genuine success, which increased at
each performance. A certain resemblance to
VIARDOT-GARCIA.
259
her sister Malibran in voice and style won the
favour of her audience, while critics were not
wanting who discerned in her, even at that early
age, an originality and an intellectual force all
her own. Her powers of execution were astonish-
ing, and with the general public she was even
more successful, at that time, in the concert-
room than on the stage. In the autumn of the
same year she was engaged for the Theatre Ly-
rique by the impresario M. Louis Viardot, a
distinguished writer and critic, founder of the
* Revue Inddpendante.' Here, chiefly in the
operas of Rossini, she shared in the triumphs of
Grisi, Persian!, Rubini, Tamburini, and La-
blache. With these great artists she held her
own, and though in many ways less gifted by
nature than they, her talent seemed enhanced
rather than dimmed by juxtaposition with theirs.
Her face lacked regularity of feature ; her voice,
a mezzo-soprano, but so extended by art as to
compass more than three octaves, from the bass
C to F in alt, was neither equal nor always
beautiful in tone. It had probably been over-
worked in youth : although expressive it was
thin and sometimes even harsh, but she could
turn her very deficiencies to account. Her first
admirers were among the intellectual and the
cultivated. The public took longer to become
accustomed to her peculiarities, but always
ended by giving in its allegiance. For men and
women of letters, artists, etc., she had a strong
fascination. Her picturesque weirdness and
statuesque grace, her inventive power and con-
summate mastery over all the resources of her
art, nay, her very voice and face, irregular, but
full of contrast and expression — all these appealed
to the imagination, and formed an ensemble irre-
sistible in its piquancy and originality. 'The
pale, still, — one might at the first glance say
lustreless countenance, — the suave and uncon-
strained movements, the astonishing freedom
from every sort of affectation, — how transfigured
and illumined all this appears when she is car-
ried away by her genius on the current of song !'
writes George Sand ; and Liszt, ' In all that
concerns method and execution, feeling and ex-
pression, it would be hard to find a name worthy
to be mentioned with that of Malibran's sister.
In her, virtuodty serves only as a means of ex-
pressing the idea, the thought, the character of
a work or a r^/e.'
In 1840 she married M. Viardot, who resigned
the Opera management, and accompanied her
to Italy, Spain, Germany, Russia, and England.
At Berlin, after her performance of Rahel, in
•La Juive,' one of her greatest parts, she was
serenaded by the whole orchestra. Here too
she astounded both connoisseurs and public by
volunteering at a moment's notice to sing the
part of Isabelle in * Robert le Diable* for Fraulein
Tuczek, in addition to her own part of Alice — a
bold attempt, vindicated by its brilliant success.
She returned to Paris in 1849 for the pro-
duction of Meyerbeer's 'Proph^te.* She had
been specially chosen by the composer for Fidfes,
and to her help and suggestions he was moroi
S2
260
VIARDOT-GARCIA.
indebted than is generally known. She was
indeed, as Moscheles wrote, ' the life and soul of
the opera, which owed to her at least half of its
great success.' She played Fid^s more than 200
times in all the chief opera-houses in Europe,
and has so identified herself with the part that
her successors can do no more than copy her.
From 1848 to 1858 she appeared every year
in London. In 1859 M. Carvalho, director of
the Theatre Lyrique, revived the * Orph^e ' of
Gluck, which had not been heard for thirty
years. The part of Orph^e, restored (by Berlioz)
from a high tenor to the contralto for which it
was written, was taken by Mme. Viardot, who
achieved in it a triumph perhaps unique.* This
revival was followed in 1861 by that of Gluck's
' Alceste ' at the Op^ra. The music of this— as
Berlioz calls it — *wellnigh inaccessible part,' was
less suited than that of Orph^e to Mme. Viardot's
voice, but it was perhaps the greatest of all her
Achievements, and a worthy crown to a repertoire
which had included Desdemona, Cenerentola,
Rosina, Norma, Arsace, Camilla ('Orazi'),
Amina, Romeo, Lucia, Maria di Rohan, Ni-
nette, Leonora ('Favorita'), Azucena, Donna
Anna, Zerlina, Rahel, Iphig^nie (Gluck), Alice,
Isabelle, Valentine, Fidfes, and Orphde.
In 1863 Mme. Viardot fixed her abode at
Baden, and has sung no more at the Opera,
though she has appeared at concerts, and was
heard in London as lately as 1870. She has
composed a great deal, and several operettas,
the books of which were written for her by
Turgenief, were represented in her little private
theatre by her pupils and her children.^ One
of these, translated into German by Richard
Pohl, as *Der letzte Zauberer,' was performed in
public at Weimar, Carlsruhe, and Riga. In
1871 she was obliged, as the wife of a French-
man, to leave Germany, and since then has lived
in Paris. She has devoted much time to teach-
ing, and for some years was professor of singing
at the Conservatoire. Among her pupils may-
be named Miles. D^sir^e Artot, Orgeni, Mari-
anne Brandt, and Antoinette Sterling. Mme.
Viardot has published several collections of ori-
ginal songs, and vocal transcriptions of some of
Chopin's Mazurkas, made famous by her own
singing of them and by that of Jenny Lind. Her
three daughters are all clever musicians. Her
son, Paul Viardot, a pupil of Ldonard, bom at
Courtavent, July 20, 1857, has appeared with
success in London and elsewhere as a violinist.
Mme. Viardot is still the centre of a distinguished
circle of friends, by whom she is as much
beloved for her virtues as admired for her genius
and her accomplishments. Not one of her least
distinctions is that to her Schumann dedicated
his beautiful Liederkreis, op. 24.
We cannot close this brief account of a great
artist without an allusion to her well-known
collection of autographs, which among other
treasures contains the original score of 'Don
1 The reader Is referred to Chorley's ' Thirty Tears' Becollectlont
of the Opera ' and to Berllort ■ A travers chants.' for detailed descrip-
tions of her wonderful performauce, which vas repeated over »
bundred timet*
VICARS CHORAL.
Giovanni,* a cantata, ' Schmiicke dich,' by J. S.
Bach, Mendelssohn's 42nd Psalm, a scherzo by
Beethoven, etc. [F.A.M.]
VIBRATO, an Italian term (past participle
of, or verb adjective derived from, vibrare, to
vibrate), denoting an effect, something akin to
Tremolo (which see), yet differing essentially
from it, used in musical performance. In vocal
music its mechanism is an alternate partial ex-
tinction and re-inforcement of a note, producing
almost its apparent re iteration. In music for
bowed instruments it is identical with the vocal
* tremolo,' consisting of a rapid change of pitch
brought about by a quick oscillation of the hand
while the finger is stopping a note, and produc-
ing a trembling sound or thrill. It is strange
that vibrato on the bowed instrumeut is the
tremolo on the voice, while the tremolo in in-
strumental music (the rapid reiteration of the
same note by up and down bow) more nearly
resembles the vocal vibrato. It is sometimes
heard on the flute and comet. When the vibrato
is really an emotional thrill it can be highly
effective, as also the tremolo in extreme cases,
but when, as is too often the case, it degenerates
into a mannerism, its effect is either painful,
ridiculous, or nauseous, entirely opposed to good
taste and common sense, and to be severely re-
prehended in all students whether of vocal or
instrumental music. Hard and fast lines in
matters of expression in art are difficult, if not
almost impossible, to draw. Cultivation of taste,
observance of good models, and especially the
true and unbiassed analysis of the human feel-
ings, must be the guides as to how far these two
means of expression are to be used. [H.C.D.]
VICARS CHORAL. * The. assistants or de-
puties of the Canons or Prebendaries of (English)
collegiate churches, in the discharge of their
duties, especially, though not exclusively, those
performed in the choir or chancel, as distinguished
firom those belonging to the altar and pulpit.*
(Hook.) The Vicars Choral answer to the /rovo-
vlfcot tpa\Tal of the early church. Originally
each member of the capitular body had a vicar
choral or minor canon attached to his dig-
nity, whose appointment only lasted during his
own life ; but in process of time the numbers of
these inferior ecclesiastical corporations became
diminished. The difference between Minor
Canons and Vicars Choral appears to be that
whereas for the former, only clergy are eligible,
the latter post can be held by either laymen or
clerics. The former term is generally found in
cathedrals of the new foundation, where the
lay members are termed * lay clerks,' the name
* vicars choral ' being chiefly confined to cathe-
drals of the old foundation. St. Patrick's
(Dublin) and Hereford have both Minor Canons
and Vicars Choral ; in the former the two bodies
foi-m distinct corporations, in the latter they are
united. In all cathedrals of the old founda-
tion in England, in St. David's, and in twelve
Irish cathedrals the Vicars Choral form a dis-
tinct corporation, the members of which vary in
number from twelve to three: these corporations
I
VICARS CHORAL.
are distinct from the chapter as regards property,
but in subjection to it as to the performance of
the services. Formerly the members of these
ecclesiastical colleges lived in common in colle-
giate buildings, some of which (as at Hereford,
Wells, and York) still exist. The 42nd Canon
orders that the Vicars Choral shall 'be urged to
the study of the Holy Scriptures, and every one
of them to have the New Testament, not only
in English, but also in Latin.' The name is en-
tirely confined to the Anglican church ; in Catho-
lic cathedrals the corresponding duties to those
of the Vicars Choral are performed by various
functionaries. (Jebb on Choral Service ; Hook's
Church Dictionary, etc.) [W.B.S.]
VICENTINO, Nicola, was bom at Vicenza
in 15 1 1 or 15 1 2.* If we are to believe the title
he gives himself in his first publication, as * unico
discepolo ' to Adrian Willaert,'^ he had his mu-
sical education at Venice ; but as the * unico '
is plainly false, we may perhaps question the
•discepolo.* He became ordained, entered the
service of Ipolito of Este, cardinal of Ferrara,
and accompanied him to Rome, where he lived,
it seems, for many years. In 1546 he published
a volume of madrigals, with explanatory direc-
tions, written with the design of restoring the
old scales of the Greeks. He then invented a
peculiar instrument, the * archicembalo,' with
several keyboards, in order to illustrate his sys-
tem, and employed a private choir to practise it.
He published also a theoretical work entitled
'L'antica Musica ridotta alia modema prattica'
(Rome 1555). His efibrts were however rewarded
with scant success, and he experienced much op-
position. One contest into which he was led in
defence of his theory, and in which he was de-
feated— that, namely, with Lusitano — is famous.
The cardinal, his patron, is said to have looked
on Vicentino's discomfiture as a personal af-
front; he took him back to Ferrara, and appointed
him chapel-master in his court. This post he
appears to have held until his death. If we
may judge by a medal struck in his honour,
which describes him as *perfectae musicae divi-
sionisque inventor,' he must have enjoyed a cer-
tain amount of fame ; but there is a story that
the medal was his own device. His real eminence
was that of a performer on the clavichord, and it
is difficult to quarrel with the criticism of J. B.
Doni and Apostolo Zeno, who ridiculed him for
pretending to be anything more than a per-
former. At best his theories belong only to a
passing phase in the history of music' [R.L.P.]
VICTORINE. An opera in 3 acts ; words
translated from the French by E. Falconer, the
music by Alfred Mellon. Produced at the Eng-
lish Opera, Co vent Garden, Dec. 19, 1859. [Gr-]
1 The place has been Incorrectly given as Borne, and the date as
1513 ; but the latter is fixed to a year or two earlier by the notice In
his ' Antica Musica,' lo55, that he was then in his 44th year.
2 Caffi has singularly inverted the relation, malcing Vicentlno
Willaert's master: Storia della Musica sacra nella gi^ Oappella
ducale di san Marco in Venezia, i. 83. 135 ; Venice, 1854.
3 A manuscript notice furnished in 1826 by Abbato TodeschinI
of Vicenza to the Gesellschaft dor Musiltfreunde in Vienna, and now
preserved in the library of that society, adds nothing to our know-
Itdge of Vicentino's biography.
VIELLE.
261
VIDAL, a name borne in the past and present
by several French musicians and writers on mu-
sic. The earliest, B. Vidal, whose initial only is
known, died in Paris in i8oo. He was a talented
guitar-player and teacher during the last quarter
of the 1 8th century, and published sonatas, short
pieces, and a method for his instrument.
Jean Joseph, bom at Sorfeze, 1789, a clever
violinist formed in Kreutzer's school, took the
second Grand Prix for composition in 1809,
was for 20 years in Baillot's quartet-party, con-
ducted the orchestra of the Theatre Italien from
1829 to 1832, played first violin in Louis Phi-
lippe's band, and was a valued teacher. He died
in Paris, June 4, 1867.
Louis Antoine, born at Rouen July 10, 1820,
an amateur cello-player, a friend of Vuillaume,
the musical instrument maker, and an accom-
plished linguist, has lately made some mark as
a writer on music by his beautiful work on
bowed instruments, * Les Instruments k archet,*
in three 4to. volumes, with etchings by Hille-
macher. Vol. i. ( 1 8 76) treats of musical instrument
making and makers; vol. ii. (1877) of players,
especially the virtuosi of the bow; and vol. iii.
(1878) of music-printing, with biographies of
chamber-musicians, and a catalogue of works
for instruments played with the bow. M. Vidal
has been for the last few years occupied with
preparations for a similar history of pianoforte-
making.
Fean^ois, Provenfal poet, bom at Aix, July
14, 1832, is the author of * Lou Tambourin,' an
interesting work on the Tambourine of Provence,
and the Galoubet, or pipe. It is in the Proven9al
dialect, with a French translation.
Paul Antonin, bora at Toulouse, June 16,
1863, passed brilliantly through the Paris Con-
servatoire, and took successively the first Har-
mony prize in 1879, the first prize for Fugue in
1881, and the Grand Prix de Rome in 1883. A
talented pianist, an excellent reader and accom-
panyist, Paul Vidal's technical knowledge seems
already complete, and his cantata * Le Gladia-
teur ' is instrumented in masterly style. We hope
great things from this young composer. [G.C]
VIELLE, originally the name of the large
primitive violin used by the French Troubadours
in the 13th century. [See Violin, p. 2746,] It
was next applied to the Hurdy-gurdy, an instru-
ment which is contemporaneous with the Trou-
badour's fiddle, being in fact in its original form
simply the latter instrument adapted for playing
with a wheel and handle, the intonation being
regulated by a clavier on the fingerboard. Early
in the last century the modern vielle or hurdy-
gurdy was cultivated as a musical instrument
of high class, ranking nearly with the lute and
bass viol, and many of the French Vielles of
that period are beautiful artistic productions.
The instrument is not altogether extinct in our
own time ; the writer remembers a performer
who visited Vichy in 1870, describing himself as
* Vielliste de sa Majesty I'Empereur,' who exe-
cuted some difficult music, chiefly operatic airs
and fantasias, on his singular instrument, with
262
VIELLE.
considerable effect. The staccato with the wheel
is surprisingly brilliant ; the defect of the instru-
ment for the listener is its mouoton;^ of force and
intonation, and for the player the extreme fatigue
which the rotary motion induces in the muscles
of the right arm. Even in England a clever
performer may sometimes (though rarely) be
heard about the streets. [E.J.P.]
VIERLING, Georg. One of those solid,
cultivated musicians, who are characteristic of
Germany. He was bom Sept. 15, iSao, at
Frankenthal in the Bavarian Palatinate, where
his father was schoohuaster and organist. His
education was thoroughly well grounded with a
view to a scientific career, and it was not till 1 835,
at the Gymnasium at Frankfort, that his musical
tendencies asserted themselves. Without neg-
lecting his general studies he worked hard at
the piano, and afterwards at the organ under
J. C. H. Rinck of Darmstadt for two years. 1 843
to 1846 were passed in systematic study under
A. B. Marx at Berlin, and in 1847 he became
organist of the Oberkirch at Frankfurt-on-the-
Oder, conducted the Singakademie there, and
was musically active in other ways. After
passing a short time at Mayence he took up
his permanent residence in Berlin, and founded
the Bach-Verein, which did much to advance the
study of the great master. For some time past
Vierling has withdrawn from active life, and his
Bach Society is now conducted by Bargiel.
His works are all in the classical style, and
embrace every department : — a Symphony, op.
33 ; Overtures to * The Tempest,' * Maria Stuart,'
•Im Friihling,* • Hermannschlacht,' and 'Die
Hexe' ; a PF. trio. op. 51 ; 'Hero and Leander'
and * The Rape of the Sabines,' for Chorus and
Orchestra; in addition to Solo and Part-songs,
Pianoforte pieces, etc. His last work is a Roman
Pilgrims-song of the 7th century, *0 Roma
Nobilis,' for 6-part chorus a capella (op. 63). [G.]
VIEUXTEMPS, Henri, a celebrated violin-
player of our own day, born at Verviers, Bel-
gium, Feb. 17, 1830.* His father was connected
with music, and thus the child grew up in a
favourable atmosphere. Through the kindness
of a Herr Genin he had instruction from Lecloux,
a competient local musician, and by the time he
was six played Rode's 5th Concerto in public in
the orchestra. In the winter of 1827 he and his
father made a tour with Lecloux, in the course
of which the boy was heard by De Beriot, who
at once adopted him as his pupil, devoted him-
self to his thorough musical education, and in
1828 took him to Paris and produced him in
public. On De Beriot's departure to Italy in
1 83 1, the boy returned to Brussels, where he re-
mained for some time, studying and practising
hard, but without any guidance but his own. In
1833 his father took him on a lengthened tour
through Germany — the first of an enormous !
series — in the course of which he met Guhr, I
1 The materials for this sketch are supplied by Vieuztemps' auto-
biography published In the Ouide Mu$ieal, and translated in the
Mutieal World, June 25, 1881, and following uos., by Philharmonic
PlDKrammet, the AUg. MurikaliKhe Zeitung, and other sources.
VIEUXTEMPS.
Spohr, MoHque, and other musicians, and heard
much music, amongst the rest *Fidelio.' The
journey extended as far as Munich and Vienna,
where he excited surprise, not only for his
fulness of tone, purity of intonation, and ele-
gance of style, but also for the ready way in
which he played off a MS. piece of Mayseder's
at sight (A. M. Z. 1834, p. 160). He remained
in Vienna during the winter, and while there
took lessons in counterpoint from Sechter.
There too he made the acquaintance of May-
seder, Czemy, and others. He also played Bee-
thoven's Violin Concerto (at that time a novelty)
at one of the Concerts Spirituels. The party
then returned northwards by Prague, Dresden,
Leipsic (where Schumann welcomed him in a
genial article in his *Neue Zeitschrift '), Ber-
lin, and Hamburg. In the spring of 1834 he
was in London at the same time with De Beriot,
and played for the first time at the Philhar-
monic on June 2? Here too he met Paganini.
The winter of 1835 was spent in Paris, where he
made a long stay, studying composition under
Reicha. After this he began to write. In 1837
he and his father made a second visit to Vienna,
and in 1838 they took a journey to Russia, by
Warsaw, travelling for part of the way with
Henselt. The success was so great as to induce
another visit in the following year, when he made
the journey by Riga, this time with Servais. On
the road he made the acquaintance of Richard
Wagner. But a little later, at Narva, he was
taken with a serious illness which delayed his
arrival for some months, and lost him the winter
season of 1838. The summer was spent in the
country, mostly in composition — Concerto in E,
Fantaisie Caprice, etc. — both which he produced
in the following winter amid the most prodigious
enthusiasm ; which was repeated in his native
country when he returned, especially at the
Rubens FStes in Antwerp (Aug. 1840), where
he was decorated with the Order of Leopold,
and in Paris, where he played the Concerto at
the concert of the Conservatoire, Jan. 12, 1841.
He then made a second visit to London, and
performed at the Philharmonic Concert of April
19, and at two others of the same series — a
rare proof of the strong impression he made.
The next few years were taken up in another
enormous Continental tour, and in a voyage to
America in 1844. A large number of compo-
sitions (ops. 6 to 19) were published after re-
gaining Brussels ; but the strain of the incessant
occupation of the tour necessitated a long Kur
at Stuttgart. During this he composed his A
major Concerto (op. 25),. and played it at Brus-
sels in Jan. 1845. In the following autumn he
married Miss Josephine Eder, an eminent pianist
of Vienna. Shortly after this he accepted an in-
vitation to settle in St. Petersburg as Solo Violin
to the Emperor, and Professor in the Conser-
vatorium, and in Sept. 1846 quitted Western
Europe for Russia. In 1852, however, he threw
up this strange contract and returned to his old
arena and his incessant wanderings. 1853 saw
« Moscheles" 'Life.' 1. 304 ; and Phllh. Programmes.
VIEUXTEMPS.
VIGAN5.
26$
I
the composition of his Concerto in D minor (op.
31). 1855 was spent in Belgium, and at a pro-
perty which he had acquired near Frankfort.
In 1857 he again visited the United States in
company with Thalberg, and in the winter of
1858 was once more in Paris occupied in finish-
ing his 5th Concerto in A minor (op. 37). The
next ten years were occupied in constant tour-
ing all over Central Europe, and, somewhat later,
Italy. Serious aflSiction now overtook his hither-
to prosperous course. First his father, and then
— June 29, 1868 — his beloved wife, were taken
from him by death. To divert his mind from
the shock of these losses he engaged in another
enormous tour over Europe, and that again
was followed, in August 1870, by a third ex-
pedition to the United States, from which he
returned in the spring of 1871 to find Paris in
ruins. This was the last of his huge tours. From
1871 to 1873, on the invitation of M. Gevaerts,
who had succeeded F^tis at the Brussels Con-
servatoire, he acted as teacher to the violin class
there, and as director of the Popular Concerts ;
but this sphere of activity was suddenly ended
by a paralytic attack which disabled the whole
of his left side, and by consequence made play-
ing impossible. True, he was able in time to
resume the direction of his pupils, but his career
as a player was at an end. His passion for travel-
ling, however, remained to the last, and it was
at Mustapha-lez Alger, in Algiers, that he died
June 6, 1 88 1, leaving a 6th Concerto, in G,
dedicated to Mme. Normann-Neruda, by whom
it was first played. In 1872 Vieuxtemps was
elected member of the Academic Roy ale of Bel-
gium, on which occasion he read a memoir of
Etienne Jean Soubre.
Vieuxtemps was one of the greatest violin-
ists of modern times, and with De Beriot heads
the modern French school. He had all the
great qualities of technique so characteristic of
that school. His intonation was perfect, his com-
mand of the bow unsurpassed. An astonishing
staccato — in up and down bow— was a speciality
of his ; and in addition he had a tone of such
breadth and power as is not generally found with
French violinists. His style of playing (Vortrag)
was characteristically French. He was fond of
strong dramatic accents and contrasts, and, ge-
nerally speaking, his style was better adapted
to his own compositions and those of other
French composers than to the works of the
great classical masters. At the same time it
should be said that he gained some of his greatest
successes in the Concertos of Beethoven and
Mendelssohn, and was by no means unsuccess-
ful as a quartet-player, even in Germany.
As a composer for the violin he has had a
wider success than almost any one since Spohr ;
and the fact that not a few of his works, though
written more than forty years ago, are still stock-
pieces of the repertoires of all French and not
a few German violinists, shows such vitality as
to lift him out of the rank of composers of
merely ephemeral productions of the virtuoso
genre. It must be granted that their value is
very unequal. While some of his Concertos
contain really fine ideas worked out with
great skill, he has also published many show-
pieces which are not free from vulgarity.
While De Beriot, with his somewhat flimsy
workmanship but undeniable charm of senti-
mental melody, has often been compared to Bel-
lini and Donizetti, Vieuxtemps might not impro-
perly be called the Meyerbeer among composers
for the violin. He appears to share the good
and the bad qualities of that great opera-writer.
On the one hand, no lack of invention, beauty of
melody, extremely clever calculation of eflPect ;
and on the other, a somewhat bombastic and
theatrical pathos, and occasional lapses into tri-
viality. Vieuxtemps shares also with Meyerbeer
the fate of being generally underrated in Ger-
many and overrated in France, where Meyerbeer
is not unfrequently placed on the same level
with Beethoven, and where Vieuxtemps, after
playing his E major Concerto in Paris for the
first time is said to have been invited to write a
Grand Opera — an offer which he wisely declined.
The best-known of his works are the Concertos,
no. I, in E (op. 10) ; no. 2, in FjJ minor (op. 19);
no. 3, in A (op. 25) ; no. 4, in D minor (op. 31) ;
no. 5, in A minor (op. 37) ; no. 6, in G (op. 47) ;
the Fantaisie Caprice, and Ballade et Polonaise.
He also published a Sonata for piano and
violin, 3 Cadenzas for Beethoven's Violin Con-
certo, and a large number of concert-pieces,
many of which are long since obsolete. [P.D.]
VIGANO, Salvatore. A famous dancer, and
composer both of the action and the music of
ballets, who will have a longer reputation than
is otherwise his due, owing to his connec-
tion with Beethoven. He was born at Naples
March 29, 1769, and died at Milan (the native
town of his father) Aug. 10, 1821. He began
his career at Rome in female parts, women being
then forbidden the stage there. We next find
him at Madrid — where he married Maria Medina,
a famous dancer — Bordeaux, London, and Venice.
At Venice he brought out an opera, * Raoul, sire
de Crequi,' both words and music his own.
Thence he came to Vienna, where he and his
wife made their dibut, May 13, 1793. He then
travelled in Germany, and returned -tb Vienna
in 1799. Here he attj acted the notice of the
Empress, and the result was his ballet of The
Men of Prometheus, ' Gli Uomini di Prometeo,*
or * Die Geschopfe des Prometheus ' (music by
Beethoven), the subject of which is said to
have been suggested by Haydn's * Creation'
(Schopfung), then in its first fame. The piece
is called an heroic allegorical ballet, in two acts.
It was produced at the Court Theatre, March
28, 1801, and the two 'creations' were danced
by Viganb and Mile. Cassentini, his wife being
then passde. It had a remarkable run, being
performed sixteen times in 1801, and thirteen
times in 1802. Viganb was evidently a man of
great ability, and made a real reputation for his
abandonment of the old artificial Italian style of
ballet in favour of a 'closer imitation of nature.'
Ten ballets of his are mentioned in the 'Allge-
264 VIGAN5.
meine muBikalische Zeitung/ and no doubt these
are not all that he composed. How solid was
his success may be judged from a passage in one
of the letters of Henri Beyle (Stendhal) : * Viganb
has been immensely prosperous ; 4000 francs are
the usual income of a ballet composer, but he
has had 44,000 for the year 1819 alone.*
Viganb seems to have given his name to a
kind of Minuet in 4-4 time ; at least, if we may
80 interpret the title of a set of 12 Variations on
a Minuet *^ la Vigano,' which Beethoven pub-
lished in Feb. 1 796.
The minuet was certainly danced, for the
names of the dancers are given/ and is as cer-
tainly in Common time :—
Allegretto.
^ eta
It is worth noting that Beethoven has put the
concluding variation and coda into triple time : —
A lleqro.
The new form does not appear to have taken
root. Beethoven wrote a Scherzo in duple time
in his Sonata, op. 31, no. 3, and a Trio in the
same in the 9th Symphony ; and Mendelssohn a
Scherzo in 2-4 in his Scotch Symphony ; but a
Minuet proper would seem to be essentially in
triple time.
There is a life of Viganb— * Commentarii della
vita,' etc., by Carlo Ritomi, 8vo., Milan, 1838;
and much information on him and on the Ballet
of Prometheus (from which the above is chiefly
compiled) is given by Thayer in his 'Beethoven,'
vol. ii. 124-126 and 380-384. [G.]
VILBACK,** Alphonse Charles Renaud
DE, born June 3, 1829, at Montpellier. He en-
tered the Paris Conservatoire in 1842, and in
1844 took the first organ-prize, and the Prix de
Rome at the same time as Victor Massd. The
favourite pupil of Haldvy, and remarkably indus-
trious, he first became known as a composer of
pianoforte pieces, more brilliant than original,
but, like all young prize-winners on their return
from Italy, he aspired to the stage. It was not
however, till Sept. 4, 1857, *bat he produced his
first work, ' Au clair de la Lune,' a pretty oper-
1 The title of the original edition (given in the Wiener Zeltung of
Feb. 27, 1796) runs as follows: 'XII Variazlonl per 11 Clavicembalo o
Piano-Forte (for harpsichord or piano) Sul Menuetto ballato dalla
Bigra. Venturitil e Sigr. ChechI nel Ballo delle Nozze disturbate. del
Slgr. Lulgl van Beethoven no. 3. In Vienna presso Artaria e Comp.'
The Ballet was compostd by J. J. Halbl. and produced at the Court
Theatre, May 18. 1795.
a This Is probably the French spelling of the German name
Wllbach. Mendelssohn, writing to his sister (Not. 16, 1890), speaks
of ordering a set of studs from Paris ' cl la Book.'
VILLANELLA.
etta in one act ('BoufFes Parisiens*), followed
closely by his last • Don Almanzor' (Th^A,tre
Lyrique, April i6, 1858). He found his true
vocation as organist of Saint Eugfene (1855 to
1 8 71), where he rivalled Lef^ure-W^ly in im-
provisation, and equalled him in execution.
Unfortunately he became a mere music-pub-
lisher's hack, and amateur pianists are familiar
with his mosajiques, fantaisies, etc., for two and
four hands, with such titles as * Beaut^s de TO-
p^ra,' etc. This journey-work did not even pay,
and it was in something like poverty that he died
at Brussels, March 19, 1884. So brilliant and
agreeable a talker deserved a better fate. He
became nearly blind, but to the last retained his
charming manner and his ability as a musician.
The library of the Conservatoire contains the
MSS. of his cantata ' Le Ren^gat de Tangier '
and a * Messe Solennelle ' (Aug. 1847). He has
also left printed scores of several orchestral
works, 'Pompadour gavotte,' 'Chanson Cypriote,'
* Marche Serbe,' etc. [G.C.]
VILLANELLA (Ital., a country girl). An
unaccompanied Part-Song, of light rustic char-
acter, sharing, in about equal proportions, the
characteristics of the Canzonetta. and the Balletta.
The looseness of the style is forcibly described by
Morley, who, in Part III. of his ' Introduction
to Practicall Musicke,' speaks of it thus — ' The
last degree of grauity (if they have any at all)
is given to the villanelle, or country songs, which
are made only for the ditties sake : for, so they
be aptly set to expresse the nature of the ditty,
the composer, (though he were neuer so excellent)
will not stick to take many perfect cords of one
kind together, for, in this kind, they think it no
fault (as being a kind of keeping decorum) to
make a clownish musick to a clownish matter:
and though many times the ditty be fine enough,
yet because it carrieth that name Villanella, they ^
take those disallowances as being good enough i9
for a plow and cart.'
This severe criticism of the old master is, how-
ever, applicable only to Villanelle of the very
lowest order. The productions of Kapsperger' —
whose attempts in this direction were very nu-
merous—and of other Composers wanting the
delicate touch necessary for the successful mani-
pulation of a style so light and airy, are certainly
not free from reproach. But the Villanelle of
Pomponio Nenna.StefanoFelis.and other Masters
of the Neapolitan School,* differ but little from
the charming Canzonetti, the Canzone alia Napo-
litana, and the Balletti, for which they are so
justly celebrated, and maybe fairly classed among
the most delightful productions of the lighter
kind that the earlier half of the 1 7th century has
bequeathefl to us. Among the lighter Madngals
of Luca Marenzio — such as 'Vezzos' augelli,*
quoted in vol. ii. p. 190 — there are many which
2 JoHANN HiEBONTHDS Kapsperoes, a prollflo composef and
slcilied musician, flourished at Venice and elsewhere In Italy in the
earlier half of the 17th century ; Is mentioned with great euloglum
by Kircher (Musurgia) ; and left a mass of works both for voices and
instruments behind him, of which a list is given by FtStis.
* The Stadtblbliothek at Munich contains a large number of these
worlcs, by (Jlovannl de Antlquls. and fourteen other Neapolitan com-
posers : printed at Venice iu 1574, in 2 very rare vols. obi. 8vo.
VILLA NELL A.
VILLOTEAU.
265
exhibit almost all the more prominent character-
istics of the Villanella. in their most refined form :
and the greater number of the Canzone of Gio-
vanni Feretti, and the Balletti of Gastoldi — to
which Morley is generally believed to have been
indebted for the first sui^gestion of his own still
more charming Ballets — differ from true Villa-
nelle only in name. The same may be said of
more than one of the best known and best
beloved of Morley's own compositions in the
same style. — The best example of a modem Villa-
nella is Sir Julius Benedict's well-known • Blest
be the home.* i [W.S.E.]
VILLAROSA, II Marchese di. The au-
thor of a Dictionary of Neapolitan musicians,
entitled, ♦ Memorie dei compositori di musica del
Regno di Napoli, raccolte dal Maxchese di Villa-
rosa. Napoli 1840' — indispensable to all stu-
dents of Italian musical history. He was also
the author of a work on Pergolesi (2nd ed.,
Naples, 1843), and to him is due the first cer-
tain knowledge of the place and date of the
birth of that great composer, so prematurely
removed. [See vol. ii. 686 b.] [G.]
VILLOTEAU, GuiLLAUME Andr^, well-
known French writer on music, born Sept. 6,
1759, ^^ Belleme (Dept. de I'Orne). After the
death of his father, he was put, at four years of
age, into the maltrise of the Cathedral of Le
Mans, and afterwards into the town school,
under the Fathers of the Oratory. He declined,
however, to enter a seminary, and roamed about
from town to town seeking engagements as a
church-chorister. In despair for a living, he at
length (like Coleridge) enlisted as a dragoon, but
was totally unfitted for a military life, and re-
turned to the maitrise of Le Mans, which he
shortly exchanged for that of the Cathedral of
La Rochelle. He ultimately went up for three
years to the Sorbonne, and obtained a place in
the choir of Notre Dame, but the outbreak of
the Revolution brought this employment to an
end, and in 1792 he entered the chorus of the
Opdra, and remained there till offered a place
as musician among the savants who accompanied
Napoleon on his expedition to Egypt.
This musical mission opened to him a congenial
sphere for his very considerable abilities. Having
studied on the spot ancient music, both Egyptian
and Oriental, he returned to Paris, and continued
his researches in the public libraries. As a mem-
ber of the Institut de I'Egypte, he was anxious,
before taking part in the great work which that
body was commissioned by Government to draw
up, to publish a * M^moire sur la possibility et
I'utilitd d'une theorie exacte des principes
naturels de la musique' (Paris, 1809, 88 pp. 8 vo),
which he had read before the Societe libre des
Sciences et des Arts. This was followed by
* Recherches sur I'analogie de la Musique avec les
Arts qui ont pour objet I'imitation du langage '
(Ibid. 1807, 2 vols. 8vo), in which he developed
I In the article on Sdmer is icumen in, we promised to give any
farther information which might reach us, under the head of Villa-
nella. We regret to say that no discovery liliely to throw any new
light upoa the subject has as yet been made.
some of his favourite ideas. It is in four parts :
(i ) The relations of the art of music to language
and morals; (2) The part played by music in
ancient times, and the causes which led to the
loss of its former power over civilised and un-
civilised peoples ; (3) The condition of music in
Europe since the days of Guide d'Arezzo, the
necessary acquirements for a complete musician,
and new and original observations on the nature,
origin, and object of music ; (4) A continuation
of the former, and an attempt to prove that
music is an imitative and not an arbitrary art,
that it has always been essentially traditional, and
that by it were preserved intact for many cen-
turies all human attainments — law, science, and
the arts. This huge book, with all its tedious-
ness, purposeless digressions, and false philo-
sophy, is crammed full of learning, and contains
ideas which at that date were new and original.^
Villoteau's fame rests not on this book, but on
his share in *La Description de I'Egypte,'
the magnificent work in 20 vols, folio (11 being
plates), which took 17 years to publish (1809-
1826), and which reflected so much credit on
Conte and Jomard the distinguished secretaries
of the commission. The musical portions are :
(i) On the present condition of music in Egypt ;
researches and observations historical and de-
scriptive made in the country (240 pp. October,
18 1 2); (2) A description, liistorical, technical,
and literary of musical instruments in use among
the Orientals (170 pp., 18 13, with three plates
engraved by Dechamel) ; (3) A dissertation on
the different kinds of musical instruments to be
seen on the ancient monuments of Egypt, and on
the names given them in their own language by
the first inhabitants of the country (26 pp.) ; (4)
The music of ancient Egypt (70 pp., 1816).
Now that Egypt and the East are familiar
ground, it is easy to refute some of Villoteau's
hypotheses, or to prove him wrong on minor
points ; but recollecting how little was known
before him of the subjects he treated with so
much learning and care, we may realise how
much we owe to his patience and penetration.
As a student, and unversed in matters of busi-
ness, Villoteau made no profit either out of
his position or his labours. Three-parts ruined
by a notary, whom he had commissioned to buy
him a property in Touraine, he had to leave
Paris for Tours, where he owned a small house.
Here he lived on his own slender resources, and
on certain small sums allowed him by government
for a French translation of Meibom's ' Antiquae
musicae auctores VII' (1652), which however
was never published. The MS., now in the
library of the Conservatoire, is in three columns,
the original Greek, and translations into Latin and
French, all in Villoteau's hand. The Greek
seems correct, but is difficult to read from its
having neither stops nor accents.
a According to Fi5tis, its success was so small that the publisher
exported or destroyed all the unsold copies, a fact which would
account for its present scarcity, but as the copyright was Villoteau'i
own property, and it had been entered at Galland's, it is difficult to
believe a story so much to the discredit of a respectable booluellei
like Benouard.
266
VILLOTEAU.
During his last years, Villoteau wrote a
• Traits de Phondthdsic,' now lost, which was
not approved by the Institut de France, and
consequently not published. He died at Tours,
April 27, 1839, *g6<i nearly 80. [G.C.]
VINCI, Leonardo, born 1690 at Strongoli
in Calabria, and educated with Pergolesi and
Porpora, in the Conservatorio de' Poveri di Gesti
Cristo at Naples, under Gaetano Greco. Of his
life but little is known. He appears to have
begun his career in 1 719 with two comic pieces
in Neapolitan dialect, which were followed by
26 operas of various characters and dimensions.
Of these, 'Ifigenia en Tauride' (Venice, 1725),
'Astianatte' (Naples, 1725), *Didone abban-
donata' (Rome, 1726), and 'Alessandro nell*
Indie' (Rome, 1729), had the greatest success.
'Didone' established his fame. His last was
•Artaserse' (Naples, 1732). In 1728 he was
received into the congregation of the Rosario
at Formiello, for whom he composed two Orato-
rios, a Kyrie, two Masses k 5, and some Motets.
He was poisoned by the relative of a Roman
lady with whom he had a liaison, and died in
1 732. His operas, says Burney (iv. 400-537, etc.),
form an era in dramatic music by the direct
simplicity and emotion which he threw into the
natural clear and dramatic strains of his airs, and
by the expressive character of the accompani-
ments, especially those of the obblfgato recitatives.
He left a great number of cantatas for i and 2
voices, with bass or strings. These are quoted by
riorimo ('Cenno Storico' p. 230-234), from whom
the above facts are chiefly derived. A collection
of his airs was publislied by Walsh of London,
and highly prized. ' Vo solcando,' from 'Arta-
serse,' was sung everywhere by musicians and
amateurs alike. [G.]
VINGT-QUATRE VIOLONS. No reader
of French 'M^nioires' of the 17th century can
be ignorant of the part played by ballets at
the courts of Henri IV., Louis XIII., and Louis
XIV. The ballet combined the pleasures of
music, dancing, and the play, gave great oppor-
tunities for magnificent display, and was for
nearly a century the favourite diversion of
princes and grands seigneurs, thus preparing
the way for opera. The passion for ballets de
eour and dancing led to the formation of a
special band of violinists, who, under Louis
XIII, bore the name of the • band of 34 violins
of the King's chamber.' Its members, no longer
mere mdnestriers [see Roi des Violons, iii. 145],
became musiciens en charge, with a prospect of
being eventually admitted to the Chapelle du Roi.
Their functions were to play for the dancing at all
the court-balls, as well as to perform airs, minuets,
and rigadoons, in the King's antichamber, during
his lever and public dinner, on New Year's Day,
May I, the King's fdte-day, and on his return
from the war, or from Fontainebleau.
No complete list of 'the 24 violins' who
enlivened the court of the melancholy Louis
XIII. has yet been made, but some of their airs
may be seen in the MS. collection of Philidor
dini — one of the precious possessions of the Con-
VINNING.
servatoire library. [See vol. ii. p. 703 a.] The
composers names are Michel Henri, Constantin,
Dumanoir, Robert Verdi^, Mazuel, Le Page,
Verprd, de La PieiTe, de La Vallez, and Lazarin,
all, we conjecture, among the 24. The violin-
ists occasionally acted in the ballets, as in the
'Ballet des doubles Femmes' (1625), when they
walked in backwards, dressed as old women with
masks at the back of their heads, so as to look
as if they were playing behind their backs. This
had a great success, and was revived by Taglioni
(the father) in the masked ball in Auber's ' Gus-
tavo III,' in 1833.
In Louis XIV's reign the band of 24 violins
was called the ' grande bande,' and on Duma-
noir's appointment as Roi des Violons, the King
made him conductor, with the title of * 25me vio-
lon de la Chambre.' The post however was sup-
pressed at the same time with that of the Roi des
m^nestriers (May 22, 1697). The • grande bande,'
again called * the 24 violins,' continued to exist till
1 761, when Louis XV. dissolved it by decree
(Aug. 2 2). During the rage for French fashions in
music which obtained in Charles II.'s roign, the
* 24 violons ' were imitated here, in the ' King's
music,' and became the * four-and-twenty fiddlers
all of a row ' of the nursery rhyme. Meantime
a dangerous rival had sprung up in its own home.
In 1655 Lully obtained the direction of a party of
16 violins, called the ' petite bande.' As violinist,
leader, and composer he soon eclipsed his rival,
and his brilliant career is well known. The modest
position of conductor of a few musicians, whose
duty was simply, like that of the ' grande bande,*
to play at the King's levers, dinners, and balls,
satisfied him at first, but only because it brought
him in contact with the nobility, and furthered
his chance of becoming * Surintendant de la
Musique' to Louis XIV. This point once
gained, nothing further was heard of the * petite
bande,' and by the beginning of the next reign
it had wholly disappeared.
The 24 violins remained, but as time went on
they became old-fashioned and distasteful to the
courtiers. Accordingly, as fast as their places fell
vacant they were filled by musicians from the
Chapelle du Roi, and thus the band became inde-
pendent of the community of St. Julian. After
1 761 the only persons privileged to play sym-
phonies in the King's apartments were the musi-
cians of his * chamber ' and ' chapel.* [G.C.]
VINNING, Louisa, born probably at Newton
Abbot, Devon. She appeared in public when a
child, from 1840 to 42, under the title of the 'In-
fant Sappho,' as a singer and harpist at the Ade-
laide Gallery, Polytechnic, and elsewhere. She
afterwards received instruction in singing from
Frank Mori, and on Dec. 12, 1856, was brought
prominently into notice by taking the soprano
part in the 2nd and 3rd parts of the 'Messiah' at
the Sacred Harmonic Society's Concert, at a mo-
ment's notice, and 'with credit to herself,' in place
of the singer engaged, who became suddenly indis-
posed during the performance. Miss Vinning
afterwards sang at the Crystal Palace, the Wor-
cester Festival, 1857, the Monday Popular Con-
\
\
VINNING.
certs (1861), and elsewhere, until her marriage
with Mr. J. S. C. Hey wood, in or about 1 865. At
her concert, on July 5, i860, Mme. Montigny-
Kemaury made her first appearance in Eng-
land. [A.C.]
VIOL (Ttal. Viola ; Fr. Viole), The fjeneric
English name of the bowed instruments which
succeeded the mediaeval Fiddle and preceded the
Violin. The Viol was invented in the 15th cen-
tury, and passed out of general use in the 1 8th.
It differs from the violin in having deeper ribs,
and a flat back, which is sloped off at the top, and
was strengthened internally by cross-bars and
a broad centre-piece, on which the sound-post
rests. The shoulders curve upwards, joining the
neck at a tangent, instead of at right angles, as
in the violin. The neck is broad and thin, the
number of strings being five, six, or seven ; the
peg-box is usually surmounted by a carved head.
The soundholes are usually of the C pattern.
[See Soundholes.] The Viol was made in four
principal sizes — Treble or Discant, Tenor (Viola
da Braccio), Bass (Viola da Gamba), and Double
Bass (Violone) : the last is still in use, the dou-
ble bass of the violin pattern never having found
general favour. The Viols are tuned by fourths
and thirds, instead of fifths. Their tone is rather
penetrating than powerful, and decidedly inferior
in quality and flexibility to that of the violin,
which accounts for their disappearance before
the latter instrument. [See Violin.] [E. J.P.]
VIOLA, (i) The Italian name of the Viol.
(2) The usual name for the Tenoe Violin. (The
accent is on the second syllable.) [E.J.P.]
VIOLA BASTARDA. The Bass Viol, or Viola
da Gamba, mounted with sympathetic strings like
the Viola d' Amore. It afterwards developed into
the Barytone. [See Barytone.] [E.J.P.]
VIOLA D' AMORE. A Tenor Viol with
sympathetic strings. It usually has seven stopped
strings. The sympathetic strings, of fine steel
or brass, pass through small holes drilled in the
lower part of the bridge, and under the finger-
board : their number varies from seven to four-
teen. They are tuned to a diatonic or chromatic
scale. We give the ordinary tuning of the
gut strings. The sympathetic
strings, tuned to the scale of D,
diatonic or chromatic, are some-
times screwed up by pegs similar
to those of the gut strings : but
the better plan is to attach them
to wrest-pins driven into the sides
of the peg-box. [See Violin.] [E. J.P.l
VIOLA DA BRACCIO. The Tenor Viol.
It had originally 6 strings, tuned as follows : —
The sixth string was generally
dropped in the last century, and
the instrument thus approxi-
mated in compass to the com-
mon Viola or Tenor Violin,
which has now superseded it.
It was sometimes called Viola
da Spalla. [See Violin.] [E.J.P.]
VIOLIN.
267
i
VIOLA DA GAMBA. The Bass Viol. [See
Viol, Violin.] (2) Under the incorrect title of
Viol di Gamba it designates an organ stop of 8 ft.
pitch, with open pipes, in the choir organ. Con-
sidering its imitative aims, it is troubled with
a most inappropriate slowness of speech, and
in the lower octaves can hardly be used
alone. [W.Pa.]
VIOLA DA SPALLA (i.e. Shoulder Viol).
[See Viola da Braccio.] [E.J.P.]
VIOLA DI BORDONE. [See Babttone.]
VIOLA DI FAGOTTO (Bassoon Viol).
A name sometimes given to the Viola Bas-
tarda. [E.J.P.]
VIOLA POMPOSA. A small Violoncello
with an additional treble string, tuned thus : —
^^ It was invented by Sebastian
=^ Bach, and is probably identical
with the * Violoncello piccolo '
of his scores. The sixth of
: : his solos for the Violoncello
was written for this instru-
-^ ment. [Seep. 281 &.] [E.J.P.]
VIOLET. A name sometimes given to the
Viola d' Amore. L. Mozart calls the Viola
d' Amore with chromatic sympathetic apparatus
the * English Violet ' : a singular denomination,
for, as in the case of the Como Inglese, the
instrument appears never to have been iDade,
and seldom used, in this country. [E.J.P.]
VIOLETTA. The French version of 'La
Traviata,' by M. E, Duprez; produced at the
Theatre Lyrique, Oct. 27, 1864. [G.]
VIOLETTA MARINA. A name found oc-
casionally in the scores of Handel and his con-
temporaries, probably to designate the Viola
d' Amore. [See Viola d' Amore, Violin.] [E. J.P.]
VIOLIN (Fiddle), Viol, Viola, Violone, Vio-
loncello. Portable instruments of different
sizes, constructed on the common principle of a
resonant wooden box, pierced with two sound-
holes, and fitted with a bridge, over which several
gut strings attached to a tailpiece are stretched
by means of pegs. The strings are stopped with
the left hand on a fingerboard, and set in vibra-
tion with a bow held in the right. Being the
only instruments with strings in common orches-
tral use, they are usually called • stringed instru-
ments,' and collectively 'the strings': but the
German name * bowed instruments ' is more ac-
curate.^ They have been developed by the appli-
cation of the bow to the Greek lyre and mono-
chord; and their common name (Viol, Violin,
Fiddle) is derived from the Latin name by which
a small sort of lyre appears to have been known
throughout the Roman empire. The Latin name
for any kind of string is 'fides,' of which the
diminutive is * fidicula ' : and by a grammatical
figure which substitutes the part for the whole,
1 A German authority InsisU that the true name Is 'Bow-strtot
initraments.'
268
VIOLIN.
these terms came to designate the lyre itself,
just as we now speak of the quartet of fiddles
collectively as 'the strings.' In the deriva-
VIOLIN.
tive tongues the diminutive assumed various
forms, which may be divided into two groups*
thus : —
Latin Fides, a Btring
Diminutive
Fidicula
tSODTBEBN OBOUP—
Low Latin.)
Pidiula
Spanish
Vihuela
Viola
Ffdula
(also. Vitula, Vidula,
Vidella. Figella. *c.)
Provencal
Viola
Viula
Italian
Viola
(French Viole,
English Viol)
(NOBTBERN 0B0D»-
Old French.)
Fideille ^
1
Hedleval
Anglo-
Mediaeval
H.U
French
Saxon
English
German
Vielle
Fithele
Fidel
Fiedel
(Viella)
Scottish
Si!S
Low
German
Fithel
Fiddle
Vedel
Diminutive
Violino
Fr. Violon^
Augmentative
Violone
Diminutive
Violoncello
The Violin is the most popular and useful
of all portable instruments, and indeed of all
instruments except the pianoforte, and it has
considerable importance as being the principal
instrument in the orchestra, the main body of
which is composed of violins, in their three sizes
of trebles, altos or tenors, and basses. It is
nearer to the human voice in quality, compass,
and facility of execution than any other instru-
ment ; few are simpler in construction, and none
is so cheap or so easily mastered, provided the
learner sets rightly about it. In addition to the
popularity which it enjoys on these accounts, the
fiddle exercises an unique charm over the mind
from the continuity of its existence and useful-
ness. Most people are aware that * an old fiddle
is better than a new one.* This, as will appear
further on, is not absolutely true ; although
probably the majority of the fiddles in use are
not new, very many being one, two, and even
three hundred years old. A violin, if it be only
well-made to begin with, can by timely and
judicious rehabilitation, be made to last practi-
cally for ever, or at least to outlast the lifetime
of any particular possessor : and few things are
more fascinating than putting an old disused
Violin through this process, and reawakening its
musical capacities. The Violin thus enjoys a
8ort of mysterious immortality, the effect of
which is often enhanced by the groundless idea
1 The form Fideille b not found, so far as the writer knows, In
literature, Its place having been early taken by the decayed form
' vielle ' : but its past existence is demonstrable by analogy. Brachet
<Grammaire Hlstorique de la Langue Fran9alse. p. 285) gives the fol-
lowing instances of the French forms assumed by Latin words in
-Iculus. -a. -um : Abeille (aplcula). Orteil (orticuium). Sommeil (som-
nlculus), P6ril (perlculum), Oreille (auricula). Comeille (cornlcula),
Ouaille(ovicula). Vermeil (vermlculus), Aiguille (aclcula). From this
list, to which may be added Corbelile (corblcula), we may safely con-
clude that Fidicula became In the oldest French 'fideille.' which form
was transmitted with very little alteration to Anglo-Saxon and Old
High German, while in France itself it became by phonetic decay
•vielle.'
3 • violon ' is the old French diminative of ' Yloto,' and eztctly equi-
valent to ' YioUno.*
that no good fiddles have been made since the
golden age of the Cremona makers, which
terminated 120 years ago, and that the secrets
of violin-making are lost. In connexion w ith this,
a good deal of enthusiasm has been lavished by
connoisseurs on the beauty of design and varnish
of the old Cremona Violins, and even in some
useful and reputable works on this subject this
enthusiasm has been carried to a point where it
can only be described as silly and grotesque. A
fiddle, after all, even a Stradivari, is not a work
of pure art, like a piece of painting or sculpture :
it is as merely a machine as a watch, a gun,
or a plough. Its main excellences are purely
mechanical, and though most good fiddles are
also well-designed and handsome, not a few are
decidedly ugly. Leopold Mozart, in his Violin-
School, has some pertinent remarks on this
fallacy. To choose a fiddle for its outward
symmetry and varnish, he says, is like choosing
a singing bird for its fine feathers.
Instruments more or less corresponding to
our fiddle have been in use from very early times,
and their origin has been the subject of much
speculation. Bowed instruments have long been
in use among various Oriental peoples : and this
fact, interpreted by the fallacy that all inventions
have their ultimate origin in the East, has led
many to ascribe an Oriental origin to our bowed
instruments. Strict examination compels us to
reject this view. The harp and lyre were bor.
rowed by the Greeks from Egypt, probably, like
the alphabet, through Phoenicia: but here the
debt of Europe to the stringed instrument makers
of the East begins and ends. The Arabic and
Hindoo instruments from which F^tis and
others deduce the Violin, evidently belong to a
totally distinct family. Their resonant box con-
sists of a small drum, perforated by a stick, the
top of which serves as a fingerboard, while the
lower end is rested on the ground during per-
VIOLIN.
VIOLIN.
269
formance. * Now it can be shown that until the
15th century no European bowed instrument,
except the Marine Trumpet, which is a direct
descendant of the Greek monochord, was rested
on the ground during performance. [See Tbomba
Marina.] All were played overhand, and were
rested on or against the upper part of the per-
former's body. This alone, independently of all
inconsistencies of construction, distinguishes them
from the Kebab and the Kavanastram, and
strengthens our conviction of their affinity with
the Lyre. Most Eastern bowed instruments
appear to be rude imitations of those of Europe ;
and the development of the latter is so clearly
traceable that it is superfluous to seek their origin
elsewhere. The fiddle has developed out of the
lyre and monochord, just as our music has de-
veloped out of the diatonic scale which the Greeks
deduced from the use of those instruments.
Though the plurality of strings of our bowed
instruments, and even their common name ^ are
borrowed from the lyre, their principal parts, the
elongated resonant box with its soundholes, the
fingerboard, and the moveable bridge, come from
the monochord. As early as the legendary age
of Pythagoras the Greeks obtained the intervals
of the scale by cutting off the aliquot parts of
the monochord by means of a moveable bridge.
For this the pressure of the finger was an
obvious substitute : and practical use of the
monochord in training the voice must have early
Lyre
Crwth
I
suggested the discovery that its tones could be
prolonged by rubbing, instead of plucking them
with the plectrum or finger,' The lyre suggested
plurality of strings, and furnished a model of
manageable size. Given the lyre and the mono-
chord, the fiddle must evidently have been de-
veloped sooner. or later: and we now know that
%3 early as the 3rd
Fig. 1. ^J^^^ century B.C. an in-
strument something
between the two, and
curiously reminding
us of the stringed
instruments of the
middle ages, was used
in the Greek colonies
in Sicily. Fig. i re-
presents a specimen
carved on a Greek
sarcophagus now used
as a font in the Ca-
thedral of Girgenti.
A bas-relief in the
Louvre shows an-
other specimen of the same instrument.*
The resemblance between this antique instru-
ment and the rebec and lute is noteworthy ; and
it possibly represents that particular form of
lyre which was denominated * Fidicula.'
The following genealogical table may assist
the reader's memory : —
Crowd
Bebeo
L_
Geigo
Hnrdygurdy
Marine Trumpet
Troubadour Fiddle
Viol (Viola da Gamba, Violone or common Double Bass)
.U
lyra, LIrone
Viol d'Amore
The Cewth [see that article], which appears to
be a survival of the normal pattern of the small
Roman Lyre in a remote part of the Empire, is
an obvious link between the musical instru-
ments of antiquity and those of modern Europe.''
When and by whom the bow was applied to
these instruments we cannot tell. But certainly
long before the 13th century, various modifica-
tions of them, some plucked with the fingers or
plectrum, others sounded with a bow, were in use
throughout Europe under the names of Fiddle,
Crowd, Rotte, Geige (Gigue, Jig), and Eebec
(Ribeb, Ribible). About the 13th century an
improved instrument appeared in the south of
Europe concurrently with that remarkable musi-
cal and literary movement which is associated
with the Troubadours. This instrument was
called * Viole ' or * Vielle * ; but it is convenient
to assign it the name of Guitar- Fiddle^ reserving
the term Viol for the later instrument with
cornerblocks which is permanently associated
with the name. The Guitar-Fiddle, which was
1 Fiddle, i. «. fldlculs, — lyre.
3 The similarity between some ancient Welsh airs and the Greek
modes suggests that these airs may be remnants of the popular
music, of Greek origin, nblch spread with the sway of Borne orer
Western Europe.
Violin (Tenor Violin, Violoncello or Bass Violin)
intended to accompany the voice, was larger than
its predecessors, increased size being made pos-
sible by giving it a waist, so as to permit the
bow to reach the strings. It may be described
as a rude Guitar, Hurdygurdy, and Viol in one ;
for we find the same instrument, in different
instances sometimes plucked, sometimes bowed,
and sometimes played with the wheel. When
modified and developed for plucking it became
the Spanish guitar, for playing with the wheel,
the Vielle or Hurdygurdy, and for bowing, the
Viol. The Viol was employed, as the Guitar-
Fiddle had been, to support the voice : and the
development of choral singing led to the con-
struction of viols of various pitches. In the
fifteenth century we first meet with experiments
in constructing bowed instruments of different
sizes, corresponding to the various human voices.
Cornerblocks, which mark the transition from
the Guitar-Fiddle to the Viol, were probably
invented to facilitate the construction of the larger
fiddles. Their use prepared a great advance in the
• If the finger be slightly rosined a continuous tone can be pro-
duced. The Glass Harmonica Is an example In which the finger
performs the functions of a bow. ,
4 Carl Engel, ' The Early History of the VioUa FamUy,' p.Ul*
270
VIOLIN.
art of fiddle-malcing : for they increased both the
tension of the resonant box, and the transmission
of the vibration of the strings. The construction
of instruments with comerblocks, in various
sizes, was contemporary with the great develop-
ment of polyphonic choral music in Germany
and the Netherlands in the 15th century :
and by the beginning of the next century, the
Treble or Discant Viol, Tenor, Bass Viol, and
Double Bass or Violone, were well established
both in those countries and in North Italy.
The 'Violin' model, which diflfers from the
Viol in having shallower sides, with an arched
instead of a flat back, and square shoulders, and
in being composed in all its parts of curved or
arched pieces of wood, glued together in a state
of tension on the blocks, first appears in Italy
towards the middle of the i6th century. It
completely revolutionised the fiddle-maker's art,
driving out of use first the Discant Viol, then
the Tenor, and last of all the Bass Viol. The
Double Bass, alone, which remains a Viol pure
and simple, has resisted the inroads of the Violin
model in all save the soundholes. The substitu-
tion of the Violin for the Viol in all its sizes
except the largest, is due to the louder tone of
the former instrument, and it accords with a
general principle underlying the whole history
of musical instruments, which may be stated as
the * survival of the loudest.' The vibrations
of the Viol were insuflficient to meet the growing
demand for power. As a means to this end.
Viols were constructed double-strung in fifths
and octaves [see Lyre], and also with sympa-
thetic strings of metal, constituting the family
of the Viola d'araore and Babytone. [See vol. i.
p. 146.] But in the last century the Violin
efiected a complete rout of all its competitors,
and its model was finally adopted for the Tenor
and Bass, and sometimes even for the Double-
Bass, although for the last-named instrument the
Viol model is still generally used in this country.
The Viol Double Bass has survived partly be-
cause it is much easier to make, partly because
£rom this particular instrument a penetrating,
rather than powerful, tone is required. The
Violin extinguished the Discant Viol in Italy
and Germany in the 1 7th century, in France and
England in the i8th. England held out longest
for the Bass Viol or Viola da Gamba, for this
instrument continued to be manufactured and
played in this country to nearly the end of the
last century, when it had everywhere else become
practically extinct. The models now in use for
our bowed instruments have scarcely changed at
all since the time of Stradivari (1680-1730) : and
his models varied only in the design of certain
details hova. those in use a century earlier.
The Violin, as we have it, is therefore about
three centuries old. Of all musical instruments
it is the only one that has survived unchanged
throughout modem musical history. The lutes,
the universal companions of bowed instruments
until a century and a half ago, have disap-
peared as completely as the spinet and the harp-
sichord. Wind instruments of all kinds have
VIOLIN.
been completely revolutionised, but the Violin
has remained for three hundred years the same :
and it is probably destined to remain so while
music exists, for though numberless attempts
have been made to improve it they have been
all abandoned.
The model of the Violin, which the experience
of centuries and the ingenuity of many genera-
tions of mechanics thus wrought out, appears at
first sight eccentric and capricious. It might be
thought that any sort of resonant box, and any
sort of frame strong enough to hold the strings,
would equally answer the purpose. The fact
however is, that every minute detail has its
use and meaning. Suppose, for instance, the
fiddle were made with straight sides. In this
case, unless either the resonant box is so much
narrowed as to spoil the tone, or the bridge is
considerably heightened, with the same result,
the bow could not reach the outer strings. Sup-
pose, again, it were made of the same general
outline, but without cornerblocks, like a guitar.
In this case the vibrations would be more nu-
merous, and their force would be consequently
less ; the tone would be thin, as may be proved
with one of the many guitar-shaped fiddles
which have been occasionally made in all
periods. Suppose it made with a flat back
like the Viol : in this case, though the tone
might be improved in the high treble, it would
be deficient in depth in the middle and bass,
unless indeed it were made considerably larger
and deeper. If the curves of the various parts or
the shape and position of the bridge and sound*
holes are materially altered, the capacity for
vibration is injured, and the tone deteriorates in
consequence. If the body of the instrument is
lengthened at the expense of the fingerboard, the
player's left hand is cramped; if the whole length
is increased the instrument becomes too large to
be conveniently handled. Probably every struc-
tural alteration that could be suggested has been
at some time tried and dismissed. The whole
design of the fiddle has been settled gradually
in strict accordance with the requirements of
tone and execution.
The total normal length of the violin has been
determined by the length of the average human
arm bent at a convenient angle. The length of
the handle or neck has been determined by the
space necessary for the average human hand to
manipulate the fingerboard ; and since 'shifting*
on all the strings has become general this length
has increased. The length of the resonant box
is the first of these measurements less the second.
Its central or smallest breadth is determined by
the requirements of bowing, as applied to a bridge
of sufficient breadth and height to set the in-
instrument properly in vibration. The other
breadths and lengths are determined by the ne-
cessity of allowing a sufficient vibrating length
for the strings, while keeping the bridge in the
centre, i.e. on a line dividing the superficial area
of the belly into two equal parts, or nearly so.
The tongue, so to speak, of the violin, that which
corresponds to the reed of a -wind instrument, ia
VIOLIN.
the bridge ; and the action of the bridge depends
upon the soundpost. The soundpost is a slender
cylindrical block, fixed at both ends, performing
the double function of transmitting certain vibra-
tions from the belly to the back and of making a
firm base for one foot of the bridge. The bridge
is a true reed ; its treble foot is rigid, and rests
on that part of the belly which is made rigid by
the soundpost. Its bass foot rests on that part of
the belly which has a free vibration, augmented
and regulated by the l»ass bar : and it is through
this foot that the vibration of the strings is com-
municated to the belly, and thereby to the mass
of air in the fiddle. The treble foot of the bridge
is therefore the centre of vibration : the vibra-
tional impulse is communicated by the bass foot
alone, and undulates round the treble foot in
circles, its intensity being modified by the thick'
nesses and curves of the belly and by the incisions
called the soundholes.
The steps by which this instrument, at once so
simple and so complex, has been produced, are
easily traced : its intermediate forms can be
studied in artistic monuments, and some of them
even still exist. Old stringed instruments have
generally died hard : and very primitive ones have
maintained their place side by side with the im-
proved ones founded upon them. Thus the Marine
Trumpet, which is the oldest bowed instrument,
and represents the earliest development of the
Monochord, long continued in use concurrently
with instruments of a more advanced kind, and is
not yet quite obsolete. [See Tromba Marina.]
A Guitar-shaped Violin, which is directly de-
scended from the Fidel of the Troubadours, has
been made and used in all ages. Similarly the
Bebec long continued in use side by side with
the violin.^ The Viola da Gamba has never been
completely effaced by the Violoncello. But per-
haps the most singular survival of all is the
"Welsh Crwth, which is simply the small lyre,
as introduced by the Romans into Celtic Britain,
adapted by some slight modifications for use as
a bowed instrument. In tracing the history of
stringed instruments it is necessary to beware of
assuming that the same name always designates
the same instrument. * Violino' and * Violon,' for
instance, were at first commonly employed to
denote the Tenor. [See Tenor Violin.] 'Violon-
cello' is literally the 'little violone' or bass
viol. The Violone itself, as its augmentative
termination implies, was a 'big Viola,' and
originally designated the Bass Viol. When the
Double Bass- Viol became common, the name
was transferred to this larger instrument. It
then became necessary to find a new name for
the small Bass, and hence the diminutive name
•Violoncello.' When our modem Violoncello,
which is properly the ' Bass Violin,' came into
use, the original name and the functions of this
small Violone were transferred together to the
1 See the article Kebeo. In that article the author erroneously
stated that no specimen of the Rebec was known to exist, an error
shared by M. Vidal (Instruments & Archet, vol. 1, p. 18) and by M.
Chouquet ' Catalogue Baisonn^ des Instruments du Conservatoire,'
p. 2 (' Impossible d'en retrouver un seul aujourd'hul ')• In the
Exhibition of Ancient Musical Instruments at Milan in 1881 no less
ihan six genuine specimens were exhibited.
VIOLIN.
271
new instrument, which still retains them. 'Vielle/
now appropriated to the hurdy-gurdy, denoted in
the 13th century the instrument which we
have called the Guitar-Fiddle. • Fiddle,' • Crwth,'
'Geige,' and 'Ribeca,' all now frequently em-
ployed in various languages to designate the
modern violin, are properly the names of dis-
tinct instruments, all now obsolete. • Lyre ' has
been employed at different times to designate
all sorts of bowed instruments. 'Viola,' which
seems to have been the original Proven9al name
of the guitar-fiddle, and afterwards designated
Viols of all sizes, is now appropriated to the
Tenor Violin. But it is needless to multiply
instances. No rational account of the develop-
ment of instruments can be obtained from the
use of names. For this purpose we must examine
the instruments themselves when they exist :
when they have perished we must have recourse
to artistic representations, which, however im-
perfect, are all we have to rely on before about
1550, a century later than the earliest develop-
ment of bowed instruments as a class by them-
selves. For, although the fittings of the two
classes differed, it was not until the 15th cen-
tury that any constructive difference was effected
between plucked and bowed instruments. In
that century the discovery seems to have been
made that an arched back and a flat belly were
best for the plucked class, and a flat back and
arched belly with inwardly curving bouts for the
bowed class; and hence the lute and the viol,
A higher bridge, supported by a soundpost, in
the bowed class, completed the separation. Both
however were strung alike: and down to the
time of Bach the same music often served for
both, and was played with identical stringing
and fingering.
It is curious that both the pianoforte and the
violin owe their origin to the monochord. Fami-
liarity with the monochord might have early sug-
gested that by stopping the strings of the lyre
upon a fingerboard the number of strings neces-
sary to the latter instrument might be diminished
by two-thirds, the tuning facilitated, and the
compass extended. But before any improvement
in this direction was ever made, the monochord
itself had been developed into other instruments
by the appliciition of the bow and the wheel. The
monochord consisted of an oblong box, at each end
of which was fixed a triangular nut. A peg at the
tail end of the box served to attach the string : at
the other end the string was strained tight, at first
by weights, by changing which the tension and
pitch of the string were altered at pleasure, after-
wards by a screw. Beneath the string were
marked those combinations of the aliquot parts of
the string which yielded the diatonic scale. The
belly was pierced with soundholes near the tail ;
a moveable block or bridge somewhat higher
than the nuts served to cut off so much of the
string as was necessary to produce the desired
note. This moveable bridge has survived in all
bowed instruments, though its position is never
changed ; and it will serve to the end of time to
connect them with their original.
272
VIOLIN.
This now-forgotten instrument was the main
foundation on which mediaeval music rested. By
its aid the organ was tuned, and the voice of the
singer was trained to the ecclesiastical scales,
the principal of which, with their Authentic
and Plagal tones, were graduated upon it in
parallel lines. The oldest representations of the
monochord show it horizontally placed on a
table and plucked with the finger : but as the
most primitive of bowed instruments is simply
a bowed monochord, it may fairly be assumed
that the bow was early employed to render its
tones continuous. Probably a common mili-
tary bow was originally used. Nothing could
be more natural. The monochord was used, as
already said, to tune the organ and to traiij the
voice : and its efficiency in both respects would
be greatly increased by thus prolonging its
sounds. The wheel was probably used at an
early period as a substitute for the bow; and
the monochord was thus ready for further de-
velopments.
Adapted so as to be handled vertically, i.e.
with one end on the ground, it became the
Trumrascheidt or Marine Trumpet. [See Tromba
Mabina.] In its primitive form, the Trumm-
scheidt must have been very unlike the mature
instrument as described in that article. As we
find it in old pictures, it was a monochord about
6 feet long, the lower part consisting of a large
wooden sheath, 4 feet long and about 10 inches
wide at the bottom, and diminishing to 5 inches
in width where it joins the handle. The handle
and head together were about 2 feet long. It
had a common bridge, and was played, not in
harmonics, but by stopping and bowing in the
ordinary way. We know from Mersenne that it
was occasionally strung with two or more strings,
thus forming, if the expression is permissible, a
double or triple monochord.
Whether the second modification of the mono-
chord, in which it retains its horizontal position,
and the string is set in vibration by a wheel and
handle, and which is represented by the Organis-
trum or Hurdy-gurdy, preceded or followed the
Trummscheidt in point of time cannot be deter-
mined. Structurally the Organistrum departs
less from the monochord than the Trummscheidt
does, because the horizontal position is retained :
on the other hand, the invention of the wheel
and handle cannot have preceded that of the bow,
for which it is a substitute. Originally the Or-
ganistrum was an ecclesiastical instrument, and
it may be said to be a combination of the mono-
chord and the organ. It was made of large size,
and was played, like the organ, by divided labour,
the performer being solely concerned with the
clavier, while an assistant supplied the rotary or
grinding motion which produced the tone. The
large Organistrum is found in the sculpture over
the celebrated door of Santiago at Compostella,
which proves its position among ecclesiastical
instruments. But we have also actual specimens
which appear to have been used in the church.
Two are preserved in the Germanic Museum at
Nuremberg, in both of which the size and oma-
VIOLIN.
mentation leave no doubt as to theur ecclesiastical
character.^
Meanwhile, the Eoman Lyre or Fidicula, in
various modiSed forms, had never gone out of
use. Introduced into Celtic Britain by the Ro-
mans, the Fidicula was called by the Britons
'Crwth,' a word which signifies 'a bulging box.'
Latinised as * Chrotta,' this became by phonetio
decay ' Hrotta' and * Rotte.* The meaning of the
word, taken together with existing pictures, gives
us a clue to its shape. The upper part consisted
of two uprights and a crosspiece or transtillum,
the lower part of a box bulging at the back, and
flat at the front where the strings were extended.
From the illustrations in old manuscripts it ap-
pears that sometimes the resonant box was
omitted and the type of the primitive harp was
approached. In either form the primitive fidicula
must have been of small size. It apparently
had neither bridge nor fingerboard, and was
plucked with the fingers. But in a celebrated an-
cient * Harmony of the Gospels' in the Frankish
dialect, attributed to Ottfried von Weissenburg
(840-870), we find the Lyre, the Fiddle, the Harp,
and the Crwth, all enumerated in the Celestial
Concert." Were any of these instruments played
with the bow ? In other words, does this passage
indicate that the art of fiddling is a thousand
years old ? The writer is inclined to think that
it does. It is hard to see how so many sorts
of stringed instruments could have been diffe-
rentiated, except by the circumstance that some
of them were played with the bow : and in an
English manuscript of not much later date be-
longing to either the loth or nth century, w©
have a positive representation of an English
fiddler with fiddle and bow, the former being, in
fact, the instrument called by Chaucer the Ribible,
and afterwards generally known by the name in
its French form *Eebec.'
Fig. 2,
Certainly in the nth or loth, probably in the
9th century, the bow, the bridge, and the finger-
board, all derived from the monochord, had evi-
> One rnj largo and heavy one has a crucifix canred near the
handle, and the lid ornamented with earrings: the other baa
the sacred monogram and sacred heart,
a * Sih thar ouh al ruarit
Thas organa fuarit
Lira Job Fldula
Joh managfaltu Swegala
Harpha Joh Butta
Joh thai Joh Quates dohta.*
(Schilter, Thesaurus Antiq. Teut. ToL 1. p. S79.)
VIOLIN.
dently been applied to the • Fidicula' or ' Crwth.'
The instrument is altered precisely as might have
been expected. The crosspiece and uprights have
disappeared. Their place is taken by a neck and
head, the latter forming a peg-box ; and the bulg-
ing lower part of the instrument is modified to
suit the change. It may well be, however, that
this primitive bowed instrument was the direct
descendant of the lute-shaped fidicula which the
Girgenti sarcophagus (p. 267) proves to have
existed before the Christian era, and that it is
identical with the *Fidula' of Ottfried.
Sometimes the crosspiece and uprights, placed
somewhat closer together, were retained side by
side with the new features, the neck and finger-
FiG. 3.
VIOLIN.
278
board. The above cut, from Worcester Cathedral,
serves to illustrate the coalition of the Crwth and
Rebec, the upper part of the instrument being in-
termediate between the two. The instrument
thus produced is the bowed Crwth, to which, fol-
lowing Mr. Engel, it may be convenient to assign
the name of (>owd, leaving the original word
Crwth to designate the primitive fidicula plucked
with the fingers. In point of tone and execution
the Crowd and the Rebec were identical. The
Crowd was the Crwth with the addition of a
bridge and a fingerboard : the Rebec was the
Crowd minus its uprights and crosspiece, and
having a pear-shaped body. The name Fidel, the
decayed form of • Fidicula,' probably indifierently
applied to both, and was afterwards used for the
larger instrument presently mentioned.
The ' Geige,* which some authorities have
treated as an independent instrument, appears
to be practically identical with the Rebec. In the
Nibelungenlied the instrument played by the
• Videlar ' is called the • Glge,' though the bow
is always called 'Videlbogen,' Mediaeval sculp-
ture, painting, manuscripts and heraldry yield
numberless illustrationis of the * Geige.' If there
was any marked difiference between it and the
Rebec it amounted to this, that the Rebec had a
narrower pear-shaped body, like the lute, while
the Geige had a short neck fitted to an oval or
circular resonant box.
VOL. IV. PT, 3.
The accompanying woodcut is taken from
Cologne Cathedral, and shows the Geige of the
13th century.
Fio. 4.
The next, from the Kreuz-Capelle in Burg Carl-
Btein in Bohemia, shows the improved one of
Fig. 5, *^6 ^4*^ century. The
name * Geige' probably
contains the root ' jog ' or
* jig,' the connection lying
in the jogging or jigging
motion of the fiddler's right
arm.
A writer of the 13th
century gives instructions
both for this small fiddle,
which he calls 'Rubeba,'
and for the larger Fidel,
then just coming into use,
which he calls 'Viella.'^ The Rubeba or
Rebec, according to him, had two strings only,
which were tuned by the interval of a fifth, the
lower being C, the upper G. * Hold it close to
the head,' he writes, * between the thumb and
forefinger of the left hand.' He then minutely
describes the fingering, which is as follows : —
2nd String.
1st String.
It will at once strike the reader that we practi-
cally have here the second and third strings of the
violin. A third string was soon added : and we
know from Agricola that the highest string of the
three-stringed Rebec was tuned a fifth higher,
thus : —
'■ 1st String.
■ 2nd string.
^ 3rd String.
We have here practically the three highest strings
of the violin : and it is thus clear that the violin,
in everything except the ultimate shape of the
resonant box and the fourth string, is at least
as old as the 13th century, and probably very
1 Jerome of Horavls (a Dominican monli of Paris), 'Speculum
Husices,' printed in Oousiemalcer, Scriptores de Muslca MedH
Aevl. Tom. i. The original MS. is in the Bibllothfeqne Nationale ;
Fonds de la Sorbonne, No. 1817. A French translation, with notes
by U. FarDe,'appeared In Fetis's B«Tue If usicale for 1827.
274
VIOLIN.
much older. Another striking illustration of the
identity of fiddling and the fiddler now and six
hundred years ago is afibrded by the bow-hands
of the mediaeval players, whose grasp of the bow
is generally marked by perfect freedom and cor-
rectness.
These early mediaeval fiddles were small instru-
ments of simple construction and slight musical
capacity, chiefly used in merrymakings to ac-
company song or dance. Companies of profes-
sional players were maintained by noblemen for
their amusement: witness the four-and-twenty
fiddlers of Etzel in the Nibelungenlied. The
reader will remember that Etzel's private band
of fiddlers, richly dressed, and headed by their
leaders, Schwemel and Werbel, are chosen as his
messengers into Burgundy: and among the noble
Burgundian guests whom they bring back is the
redoubtable amateur fiddler Volker, who lays
about him like a wild boar with his *Videlbogen
starken, michel, unde lane,' doing as much execu-
tion, says the rhymer, as an ordinary man with
a broadsword. Volker * der videlar,' or ' der
spileman,' as he is often called, is not a mere
figment of the poet. Everything proves the
mediaeval fiddles to have been popular instru-
ments, and their use seems to have been familiar
to all classes. Wandering professional musicians,
*fahrende Leute,* carried them from place to
place, playing and singing to them for subsist-
ence. Among the amateurs who played them
were parsons and parish clerks : witness the
parish clerk Absolon of Chaucer, who could * play
tunes on a small ribible,' and the unfortunate par-
son of Ossemer, near Stendal, who, according to
the Brunswick Chronicle (quoted by Forkel), was
killed by a stroke of lightning as he was fiddling
for his parishioners to dance on Wednesday in
Whitsun-week in 1203.*
These primitive fiddles apparently suflBced the
musical world of Europe until the 13th century.
Their compass seems to have been an octave and
a half, from C to G, including the mean notes
of the female or boy's voice. The extension of
the compass downwards is probably the clue
to the improvement which followed. It may be
observed that the development of musical instru-
ments has always been from small to large and
from high to low : the ear, it would seem, seeks
ever more and more resonance, and musical re-
quirements demand a larger compass: but the
development of the Song in the hands of the
Troubadours afibrds an f^equate explanation of
the fact that the fiddle-maker about this time
strove to make his resonant box larger. But
there is an obvious limit : if the belly is greatly
widened the bow cannot be made to touch the
strings without making the bridge of inordinate
height. Some ingenious person, about the 1 3th
century, devised an alternative : this consisted in
constructing the sides of the resonant box with a
contrary flexure, giving the contour of the instru-
1 • In dussem Jore geschah eln Wundertreclten bey Stendal In dem
Dorpe gebrten Ossemer, dor sat de Parner des Midweckens In den
Pinzten und veddelte synen Buren to dem Danse, da quam eln
Donnerscblach. and schloch dem Parner synen Arm aff mid dem
Veddelbogen und XXIV LQde tod up dem TJFa,'
VIOLIN.
ment a wavy character, exactly like the guitar,
and making a sort of waist. By this means the
bridge could be left at the proper height, while
the capacity of the instrument in' respect of size,
compass, and resonance was increased. Some
unknown mechanic thus invented what came to
be called in Northern Europe the Fidel, in
Northern France the Vielle, in Southern France
and Italy the Viole. We have called it the
Guitar-fiddle. There can be little doubt that
Provence is its motherland, and that it first
came into use among the Troubadours.
Fig. 8.
The invention of the waist was the first prin-
cipal step in the development of the Viol, and this
feature was only possible in instruments con-
structed like the monochord and hurdy-gurdy,
with sides or ribs. The Geige, Crowd, and Rebec
were constructed on the principle of the Lute,
which still survives in the Mandolin : they con-
sisted of a flat belly and a convex back, joined
oyster-fashion by the edges. No improvement
as regards resonance was possible in these oyster-
shaped instruments : the fiddle of the future re-
quired a certain depth in all its parts, which
can only be given by sides or ribs. No other
instrument was capable of a waist : and as the
reader is aware, the body of such an instrument
was ready to hand in the small organistrum or
hurdy-gurdy. The Guitar-fiddle was simply a
Hurdy-gurdy played with the bow. The de-
scription of it by Jerome of Moravia proves
that it was a harmonic as well as a melodic in-
strument. It had five strings, the lowest of
which was a bourdon, i. e. was longer than the
rest, and did not pass over the nut, but was
attached to a peg outside the head. In the
long Bourdon of the Troubadour's-fiddle we thus
have the origin of the fourth string, which was
afterwards reduced to the normal length by the
expedient of covering it with wire. The two
highest strings were usually tuned in unison :
this enabled the player either to double the
highest note, or to play in thirds, at pleasure.
Jerome of Moravia gives three different tunings.
VIOLIN.
and probably others were in use, each being
adapted to the music intended to be performed.
The Guitar-fiddle was larger than the Geige
and Rebec, and approximated in size to the
Tenor. [See opposite, Fig. 6.] This instrument
is probably the Fidel of Chaucer. It has place
in English life as an instrument of luxury.
For him [i.e. the Oxford Clerk] had lever han at his
beddes hed
A twenty bokes, clothed in black and red,
Of Aristotle and his philosophy,
Than robes rich, or Fidel or Sautrie.
(Canterbury Tales, Prologue.)
Existing representations of the Fidel appear to
indicate that the increased length of the instru-
ment was not at first accompanied by a cor-
responding increase in the length of the strings,
and that it was fitted with a tailpiece and loop
of unusual length. It had no corner-blocks. A
good idea of the mediaeval Fidel may be gained
from the modem Spanish or common guitar,
which appears to be simply the improved Fidel of
the Troubadours minus its bridge, tailpiece, sound-
post and soundholes. It has precisely the same
arrangement for the pegs, which are screwed ver-
tically into a flat head, which is often, but not
always, bent back at an angle with the neck.
The guitar, however, requires no bridge, and no
soundpost: its tailpiece is glued to the belly,
and it retains the primitive central soundhole,
which in the bowed instrument gives place to
a double soundhole on either side of the bridge.
[See Soundholes.]
We now reach a step of the greatest impor-
tance in the construction of bowed instruments,
the invention of 'comer-blocks.' This improve-
ment followed naturally from the invention of
the waist. A modern violin has two projecting
points on each of its sides, one at either ex-
tremity of the bouts or bow-holes which form
the waist of the instrument. In the classical
pattern, which has prominent corner-blocks,
these projections form a sharp angle : in the
older ones, including the viols, the angle is less
acute, and the comer therefore less prominent.
These corners mark the position of triangular
* blocks ' inside, to which the ribs of the instru-
ment are glued, and which are themselves glued to
the back and belly, forming, so to speak, the cor-
ner-stones of the construction. They contribute
enormously to the strength and resonance of the
fiddle. Comer-blocks, as well as bowed instru-
ments of the larger sizes, first appear in the 15th
century : and as large fiddles can only be con-
veniently constructed by means of comer-blocks
we may fairly conclude that the two inventions
are correlative.
The writer inclines to ascribe the origin of
comer-blocks to Germany, because it was in
that land of mechanical inventions that the
manufacture of the viol in its many varieties
was chiefly carried on by the lute-makers from
1450 to 1600, because the earliest known instru-
ment-makers, even in France and Italy, were
Germans, and because it is in the German
musical handbooks of the first part of the
16th century — Virdung, Luscinius, Juden-
VIOLIN.
275
kiinig, Agricola, and Gerle — that we find the
viol family for the first time specifically described.
This invention was the turning-point in the de-
velopment of bowed instruments. It not only
separated them definitely from their cognates of
the lute and guitar class, but it gave them
immense variety in design, and rendered them
easier to make, as well as stronger and more
resonant. "Whether double or single corner-
blocks were first employed, is uncertain. Possi-
bly the first step was the introduction of single
comer-blocks, by which the ribs were increased
from two to four, the upper ones having an in-
ward curvature where the bow crosses the strings.
The illustration is from a drawing by Raffaelle,
p,g^ y^ in whose paintings
the viol with single
corner -blocks oc-
curs several times ^
[For another speci-
men, see Sound-
holes, Fig. 3.] Sin-
gle corner - blocks
were occasionally
used long after the
introduction of dou^
bleones. The writer
has seen very good
old Italian tenors and double-basses with single
corners. A well-known specimen in painting
is the fine Viola da gamba in Domenichino's St.
Cecilia. The vibration is more rapid and free
than that of the instrument with double corners,
but the tone is consequently less intense.
But the foundation on which fiddle-making
was finally to rest was the viol with double
comers. Double corners produced a new con-
structive feature, viz. the 'middle bouts,' or
simply the 'bouts,' the ribs which curve in-
wards between the two corner-blocks. While
the comer-blocks enormously increased the re-
sonance of the fiddle, the bouts liberated the
right hand of the player. In early times the
hand must have been kept in a stiff and cramped
position. The bouts for the first time rendered
it possible for the fiddler to get at his strings ;
and great stimulus to play-
ing must have been the
consequence. It was long
before the proper propor-
tions of the bouts were
settled. They were made
small and deep, or long
and shallow, at the maker's
caprice. At one period,
probably an early one,
their enormous size ren-
dered them the most con-
spicuous feature in the out-
line. It would seem that
fiddlers desired to carry
their newly- won freedom of hand to the utter-
most : and the illustrations in Agricola prove
that this preposterous model prevailed for in-
struments of all four sizes.
The fantastic outlines which were produced
T2
Fig. 8.
276
VIOLIN.
by this extravagant cutting of the bouts were
sometimes further complicated by adding more
blocks at the top, or bottom, or both, and by
cutting some of the ribs in two pieces, and
turning the ends in at right angles. The former
of these devices was early abandoned, and few
specimens of it exist : but the latter was some-
times used for the viola d'amore in the last cen-
tury. Its tendency is to diminish the vibrational
capacity, and the intensity of the tone. Its adop-
tion was partly due to artistic considerations,
and it is capable of great variety in design. But
it naturally went out of practical use, and the
viol settled down to its normal model about the
beginning of the i6th century, by the final adop-
tion of the simple outline, with double comers
and moderately long and shallow bouts.
Concurrently with these experiments on the
outline, we trace a series of experiments on the
place and shape of the soundholes and bridge.
For a sketch of the development of the former,
the reader is referred to the article Soundholes.
Their true place, partly in the waist, and partly
in the lower part of the instrument, was not de-
fined until after the invention of the violin. In
the guitar-fiddle the soundholes had naturally
fallen into something nearly approaching their
true position. But the invention of the bouts
dbplaced them, and for nearly a century we find
them shifting about on the surface of the instru-
ment. Sometimes, indeed, it occurs to the early
viol-makers to leave them in the waist between
the bouts. But at first we frequently find them
in the upper part of the instrument, and this is
found even in instances where their shape is of
an advanced type.
Later, we usually find the soundholes and
bridge crowded into the lower part of the in-
strument, near the tailpiece, the instrument-
maker evidently aiming at Fio. 9,
leaving as much as possi-
ble of the belly intact, for
the sake of constructive
strength. The illustration
is from Jost Amman's
' Biichlein aller Stande,'
and represents a minstrel
of the 1 6th century per-
forming on a three-stringed
Double Bass.
Afterwards the sound-
holes are placed between
the bouts, the extremities
of both approximately
corresponding, the bridge
standingbeyondthem. This
arrangement prevailed dur-
ing the early half of the
i6th century. It was not
until the violin model had been some time in use
that the soundholes were lowered in the model,
extending from the middle of the waist to a short
distance below the bouts, and the bridge fixed in
its true place in the middle of the soundholes.
The Bridge, the most important part of the
voicing apparatus, and in reality the tongue of
VIOLIN.
the fiddle, was perfected last. [See Stbadi«
VARi.] The plan of cutting a small arch in the
moveable block of the monochord, so as to
check the vibration as little as possible, is
probably of Greek origin, and in the Marine
Trumpet the bridge, which has only one string
to support, can be made proportionately small, and
its vibrating function more perfect. [See Tromba
Marina.] The polychord instruments of the
Middle Ages required a more massive support ;
but the bridge-like character was always main-
tained, the pattern being from time to time
modified so as to produce the maximum of vibra-
tion without loss of strength. The soundpost
beneath the treble foot of the bridge is of un-
certain antiquity. At first, it would seem, the
expedient was tried of lengthening one foot of
the bridge, and passing it through the sound-
hole, so as to rest on the centre block of the
back : this primitive bridge and soundpost in
one have been found in existing specimens of
the Crwth. The superior effect of a separate
soundpost, supporting the bridge and augment-
ing the vibration, must soon have been dis-
covered : and many early pictures of fiddles
with bridges leave no doubt that it was exten-
sively in use. [See Soundpost.]
The scale of the larger mediaeval viols makes
it probable that the vibration of the belly under
the bass strings was regulated by a Bass-bar.
Cross-bars were early employed to strengthen
the back of the viol and the belly of the lute ;
and observations of their efiect on the vibration
possibly suggested the use of a longitudinal bar
for the viol. The bass-bar is at least as old as
the invention of corner blocks, and probably
older. Concurrently with the development of the
Viol in its larger sizes, we find a characteristic
change in the head or peg-box, which completely
transformed the physiognomy of the instrument.
The mediaeval peg-box was invariably flat, like
that of the Guitar, the pegs being inserted at
right angles to the face of the instrument ; see
figures 2, 4, 5, 6, and 7, from the last of which
the reader wiU at once understand how this form
of peg-box facilitated the addition of bourdons,
though it afforded but a weak and imperfect
means of straining the strings to their due ten-
sion and keeping them in their proper place.
When the invention of the larger viols super-
seded Bourdons, the flat peg-box gave place to
the modern one, which bends back so that the
strings form an obtuse angle in crossing the nut ;
the pegs are transverse instead of perpendicular,
and have a support in each side of the box ; the ten-
sive force is applied directly instead of obliquely,
in the direction of the fidcUe's length. The top
of the improved peg-box was often surmounted
by a human or animal's head. This, however,
obliged the fiddle-maker to have recourse to the
artist for the completion of his work. A volute
was therefore substituted, the well-known 'scroll '
of the fiddle, on the curves of which accom-
plished fiddle-makers employed the same taste
and skill which they displayed in the curved
lines and surface of the body.
VIOLIN.
About the end of the 15th century we find the
viol with the distinctive features above indicated
fully developed, in its three principal sizes, Dis-
cant, Tenor, and Bass, in general use. They
had at first sometimes four, sometimes five, and
sometimes six strings, which were tuned by
fourths, a single major third being interpolated
in the five and six stringed instruments, in order
to preserve the same tonality in the open notes.
This device was Sorrowed from the Lute. The
fixed number of six strings, and the settled
tuning by fourths with a major third in the
middle, is proved to be at least as old as 1542
by a method published in that year at Venice.*
The tuning is as follows :
Discant. Tenor, Bass.
VIOLIN.
«77
^
The relative tuning of the Viols is evidently
derived from the parts of contemporary vocal
music : and the early concerted music written for
the Viols is always within the compass of the
relative voices. It seems, in fact, to have been
entirely based upon vocal music. As early as
1539 we have vocal compositions professedly
adapted to be either played or sung (buone da
cantare et sonare).'
This parallelism between the parts of vocal
and stringed music explains why in early theo-
retical works we hear little or nothing about the
Double Eass. We may however assume that it
was employed as a sub-bass in octaves to the
voice and Bass Viol. Strung with three, four,
five, and even six strings, the lowest would by
analogy be tuned a fourth lower than those of
the Bass Viol, as at (a) ; and this is in fact the
tuning of the modem Double Bass. The tuning
for completely strung instruments was probably
as at (6), but the highest strings would be inef-
(«) (fc)
TT "^^^-^
fective, and liable to break, and they could have
been of little use in playing a sub-bass : and as
the pressure of useless strings impairs the reso-
nance of the instrument, it may be assumed that
the upper strings came to be gradually aban-
doned. The trio of viols, tuned as prescribed
by the *Regola Rubertina' of 1542, continued
in use unaltered for a century and a half as the
basis of chamber-music : for Playford's * Intro-
duction to the Skill of Musick ' gives the same
tuning without alteration. We may therefore
take the duration of the school of pure six-
etringed viol music as about a hundred and fifty
years (i 550-1 700). During the latter part of
1 Begola Rubertina, che insegna a sonar dl Viola d'arco tastada, da
fiylvestro Ganassi del Fontego. (Btthlmann, Gesch. der Bogen-
Instrumente, p. 202.) 2 ' Apt for viols and voyces ' Is frequently
found on the title-pages of the English madrigals of the 17tb century.
this period the Violin and Tenor Violin came
steadily into use for orchestral purposes in sub-
stitution for the Treble and Tenor Viols, and the
invention of the Violoncello or Bass Violin com-
pleted the substitution of the new model for the
old. The trio of viols was in fact rather a theo-
retical than a practical musical apparatus : and
its two highest members had but little signifi*
cance apart from the rest. The Treble or Dis-
cant Viol, feeble and delicate in tone, though
employed in concerted music, never took the
place of the more powerful Rebec and Geige,
which continued in popular use until they were
ultimately driven from the field by the Violin,
The Tenor Viol laboured under a great disad-
vantage. Being too large and too clumsy to be
played fiddlewise, it became the practice to rest
the lower part of the instrument on the knee,
and its shoulder upon the arm, the left hand being
elevated at the height of the head. It was then
bowed underhand, the bow passing obliquely over
the strings. This difficulty must have tended to
check its musical usefulness : and as the lowest
string of both the Discant and Tenor Viol was
little used, it was at length omitted, and makers
were thus enabled to construct Tenor Viols of
more manageable size. The German and French
Treble and Tenor Viols of late manufacture have
only five strings, the lowest in each, as in the
Violin and Tenor, being G and C respectively.
The Treble and Tenor Viols thus gradually ap-
proximated in size and tuning to the Violin and
Tenor, by which they were ultimately effaced.
The five-stringed Treble Viol survived longest
in France, where it was called *Quinton' or
'Pardessus de Viole': and from the very nu-
merous specimens which were sent forth in the
last century from the workshops of Guersan and
Fio. 10. other Parisian makers, there
can be no doubt that it was
a fashionable instrument, in
fact probably a musical toy for
ladies of quality. The stop
being an inch shorter than
that of the Violin, and the tun-
ing by fourths and a third en-
tirely obviating the necessity
of employing the fourth finger,
it is easily played by small
and comparatively unpractised
hands. The back and ribs of
Guersan'sQuintons are usually
built up of parallel staves of
sycamore and cedar, a method
which not only makes the tone
extremely soft and resonant,
but combined with fine finish
and elegantly carved scrolls
gives them a most picturesque
appearance. The illustration
is from a specimen in the
writer's possession.
The development of the Viola d'Amore, which
is briefly described below, probably prevented
the use of the common Tenor Viol, without sym-
pathetic strings, as a solo instrument. Built large
27&
VIOLIN.
enougli to give a resonant note on the lowest
©pen string, C, the five-stringed Tenor Viol is
undoubtedly a difficult instrument to manage:
but after some practice it may be commanded by
a player with an arm of sufficient length. The
best have thick whole backs, cut slabwise or on
the flat, instead of on the cross, and the flaming-
sword soundhole, which Fio. 11.
the German makers pre-
ferred, seems to favour
the development of tone.
The tone is rich and
penetrating : and the
writer has heard the
five-stringed Tenor Viol
played in concerted
music with good efi'ect.
The illustration repre-
sents one made in 1 746
byElslerofMainz. [See
Tenor Violin.]
The Bass Viol alone,
of the original Viol
family, developed into
an instrument having
important musical qua-
lities of its own, and
secured a noticeable
place in musical history
imder its Italian name
of Viola da Gamba.
This is no doubt due to
its long-continued use
as an orchestral bass,
and to its similarity in
tuning to the Theorbo Lute. In the latter
quarter of the 16th century, and throughout
the 1 7th, while the Violin and the Tenor were
taking the place of the higher Viols, the Bass
Viol maintained its place, and afforded a wide
field to a considerable school of players and
composers, principally in England, France, and
the Low Countries. It was the first bowed in-
strument to receive treatment commensurate to its
capacities, a circumstance which is accounted
for by the fact that its tuning is practically
identical with that of the lute, and that both in-
struments were practised by the same players.
Throughout the 1 7th century, the Viola da Gamba
closely followed in the wake of the lute, and
the two reached their highest development at
the hands of French composers in the early part
of the 1 8th century. The conmaand of the
six-stringed finger-board which the lutenists
had attained through two centuries of incessant
practice was in fact communicated by them to
bowed instruments through the medium of the
Bass Viol. By the middle of the 17th century,
before anything having any pretensions to
musical value had been written for the Violin,
and still less for the Violoncello, many species of
composition had been brought to a considerable
degree of perfection on the Lute, and this de-
velopment of the Lute was directly communi-
cated to the Viola da Gamba. The great mass
of Viola da Gamba chamber-music of the 1 7th
VIOLIN.
century which still exists in manuscript, is evi-
dently adapted from lute music. The Corrente,
Chaconne, Pavane, Gig, Galliard, and Almaine,
were favourite measures for both : the Prelude,
in which the capacity of the instrument for
modulation was displayed, was also much the
same ; but the Viol was especially employed in
the • Division on a Ground,* which was the
delight of English musicians in the 1 7th century.
So completely was this the case that in Symp-
son's well-known Method for the Viola da Gamba
the instrument is named the * Division Viol.'
It was made in three sizes, that used for division
being of medium size : the largest size was used
for the 'Concert Bass,' played in combination
with other Viols : a size smaller than the Divi-
sion Viol was used for Lyra or Tablature playing,
in which the composer varied the tuning of the
Viol, and employed tablature instead of staff
notation for the convenience of the player.
Occasionally the tuning of the Division Viol
itself was varied : the two favourite * scordature '
of the English players, usually called the * Harp-
way' tunings, from the facilities they afforded
for arpeggios, were as follows :
Harp-way sharp. Harp-way flat.
^
-^=
The following * harp- way' tunings have been
noticed by the writer in old German composi-
tions for the instrument :—
(i) Sharp.
(2) Flat.
7>^ ^
(3) Sharp.
1^-
The use of these tunings greatly increases the
resonance of the Viola da Gamba, and facilitates
execution in thirds on the upper strings : but the
writer is unacquainted with any instance of their
use, or of the use of any other scordatura, by the
classical writers for the instrvunent. The great
writer for the Viola da Gamba was De Caix
D'Hervelois, who flourished early in the last
century: but there were many others of less
note. The writings of De Caix, like those of
Bach, occasionally require the seventh string,
tuned to Double Bass A, a fourth below the
sixth string. This was added towards the end
of the 1 7th century, by a French violist named
Marais. [See Scordatura.]
The latest development of the Viol was the
construction of instrmnents with sympathetic
strings of metal. These date from the i6th cen-
tury: their properties are scientifically discussed
in the 2nd Book of Bacon's * Natural History'
(1620-1625). The fanciful name * d'Amore,' given
to these instruments, relates not to any special
aptitude for expressing amorous accents, but to
the sympathetic vibration of the open metallic
strings, stretched over the belly, to the tones of
those which pass over the fingerboard. They
were made in several sizes. Even Kits are
found made with sympathetic strings (Sordino
VIOLIN.
d'Amore) : the next largest size was called
the Violino d'Amore, and in its later type was
a Violin rather than a Viol. It usually has peg-
holes for five sympathetic strings: there exists
a very curious one by Stradivari, guitar-shaped.*
The Tenor size became more generally known
as the Viola d'Amore, an instrument in very
general use in Italy and Germany in the 17th
and 1 8th centuries. The instrument is invaria-
bly made with * flaming-sword ' soundholes, and
often has a * rose ' under the finger-board. The
sympathetic strings, of fine brass or steel wire,
are attached by loops at the bottom to small
ivory pegs fixed in the bottom block above the
tail-pin; they are then carried through small
holes drilled in the lower part of the bridge,
under the finger-board, which is hollowed for the
purpose, and over an ivory nut immediately below
the upper nut, into the peg-box. In the earlier
instruments the sympathetic strings are worked
by pegs similar to those of the gut-strings : but
the later plan was to attach them to small wrest-
pins driven vertically into the sides of the peg-
box, and tune them with a key, a preferable
method in all respects. The sympathetic appa-
ratus was of two species, the diatonic and the
chromatic, the former consisting of six or seven,
the latter of twelve or more strings. In the former
species the strings are tuned to the diatonic
scale, the lowest note being usually D, and the
intervals being adapted by flattening or sharp-
ening to the key of the piece in performance.
In the chromatic description this is unnecessary,
there being twelve strings, one for each semitone
in the scale, so that every note played on the
instrument has its sympathetic augmentation.
Sometimes a double set (24) of sympathetic
strings was employed. In the classical age of
this instrument, the time of Bach and Vivaldi,
it was tuned by fourths and a third like the
tenor viol. Following the example of the Viola
da Gamba, a seventh string was added about
the beginning of the last century, and ultimately
the so-called 'harp-way' tuning of the Lute and
Viola da Gamba came to be generally adopted,
which was ultimately modified thus :
Flat.
VIOLIN.
279
^
The latter tuning was most employed, and is
used in the well-known obligate part in Meyer-
beer's * Huguenots.' The Viola d'Amore is a sin-
gularly beautiful and attractive instrument, but
the inherent difficulties of execution are not
easily surmounted, and as every forte note pro-
duces a perfect shower of concords and har-
monics, all notes which will not bear a major
> Now in the possession of F. Johns, Esq. The instrument was
probably tuned like the ordinary violin, and the five sympathetic
strings tuned tu c, d, e, f, and k, the sympathetic tuning being how-
ever varied to suit the Icey.
third require to be very lightly touched. The
illustration represents a diatonic Viola d'Amore
dated 1757, by Kauch of Mannheim.
Fig. 12. The 'English Violet'
mentioned by Mozart and
Albrechtsberger is identi-
cal with the Viola d'Amore :
the former applies the name
to the chromatic Viola
d'Amore, to which he as-
signs fourteen sympathetic
strings, the latter to a
common Viola d'Amore
having six instead of seven
strings. Why the Germans
called it * English ' is a
mystery, for the writer has
never met with nor heard
of a true Viola d'Amore of
English make. The ' Vio-
letta Marina,' employed by
Handel in the air * Gik
I'ebro mio ciglio ' (Orlando),
and having a compass as
low as tenor E, appears
also to be simply the Viola
d'Amore.
The Viola da Gamba
with sympathetic strings
was at first known as the Viola Bastarda, but
after undergoing considerable mechanical im-
provements in the sympathetic apparatus, it be-
came the well-known Barytone, the favourite
instrument of the musical epicures of the last
century. [See Barytone.] The seventh string
added to the Viola da Gamba by Marais was
usually employed in the Barytone. The sympa-
thetic apparatus of the Barytone is set in a
separate metal frame, and has an independent
bridge.
The disuse of instruments with sympathetic
strings is easily explained. They added little or
nothing to the existing means of producing
masses of musical sound. They were essentially
solo instruments, and were seldom employed in
the orchestra. Nothing but continuous use in
professional hands in the orchestra will keep a
musical instrument from going out of fashion :
and it invariably happens that the disuse of in-
struments in the orchestra only shortly precedes
their disuse in chamber music. The practical ex-
tinction of these instruments is to be regretted.
Originally invented as a means of augmenting
the tone of the Viol, they acquired a character
entirely unique, and are undoubtedly capable of
further development.
The early employment of the Violin and Tenor
Violin in the orchestra left the Treble and Tenor
Viols exclusively in the hands of amateurs, who
only slowly relinquished them. The pure school
of concerted viol-playing seems to have held its
ground longest in England : the * Fantasies ' of
Gibbons,* and those of many other composers,
which repose in manuscript in the libraries,
2 Edited by Bimbault for the Musical Antiquarian Society. The
Frefaoe is full of interesting Information as to viol music.
280
VIOLIN.
suflBciently indicate the extent to which the art
was cultivated. In performance, the parts were
usually doubled, i. e. there were six players, two
to each part, who all played in the fortes : the
piano passages were played by three only. To
accompany voices, theorboes were added in the
bass, and violins in the treble : but the English
violists of the 17th century long regarded the
violin as an unwelcome intruder. Its compara-
tively harsh tone offended their ear by destroy-
ing the delicate balance of the viol concert :
Mace denominates it * the scolding violin,' and
complains that it out-tops everything.^ When
the 'sharp violin,' as Dryden calls it, was making
its way into music in England, it had already been
nearly a century in use on the continent. The
model had been developed in Italy : the treble
violin had first come into general use in France.
Of the viol family the most important seems
originally to have been the Tenor. This agrees
with the general plan of mediaeval music, in
which the tenor sustains the cantus or melody,
the trebles and basses being merely accompani-
ments. The violin apparently originated in
the desire to produce a more manageable and
powerful instrument for the leading part. The
Geige and Rebec were yet in use : perhaps the
contrast between their harsher tone and the
softness of the discant viol may have suggested
the construction of a viol with a convex back
modelled like the belly. But the extreme un-
handiness of the tenor viol is probably the true
key to the change. It was impossible to play
artistically when supported on the knee, and too
large to be held under the chin. At first, it
would appear that violin-makers made it handier
in the latter respect by cutting away the bottom,
exactly as the top was sloped away to the neck :
and viols thus sloped at the bottom are still
extant. The more effective expedient of assimi-
lating the back to the belly not only reduced
the depth at the edges but rendered it easier to
retain in position. The first instrument to which
we find the name Violino applied was the tenor,
and the common violin, as a diminutive of this,
was the ' Violino piccolo.' [See Tenob Violin.]
However the idea of assimilating the model
of the back to that of the belly may have ori-
ginated, it must have been quickly discovered
that its eflPect was to double the tone. The
result of making the instrument with a back
correlative to the belly, and connected with the
latter by the sides and soundpost, was to pro-
duce a repetition of the vibrations in the back,
partly by transmission through the ribs, blocks,
and soundpost, but probably in a greater degree
by the concussion of the air enclosed in the
instrument. The force which on the viol pro-
duced the higher and dissonant harmonics ex-
pended itself in the violin in reproducing the
lower and consonant harmonics by means of the
back. [See Harmonics.]
The invention of the Violin is commonly as-
signed to Gaspar Duiffoprugcar, of Bologna, and
placed early in the i6th century : and it has
1 Music's Monument, p. 838.
VIOLIN.
been stated there still exist three genuine vi<><
lins of Duiffoprugcar's work, dated before 1520.'
The name is obviously a corruption. There
existed in the i6th century in Italy several
lute -makers of the Tyrolese name TieflPen-
brucker;' and as some of them lived into the
following century it is possible that they may
have made violins. But the authenticity of
any date in a violin before 1520 is question-
able. No instrument of the violin pattern that
can be fairly assigned to a date earlier than the
middle of the i6th century is in existence, and it
is scarcely credible that the violin could have been
so common between 1511 and 15 19, seeing that
we find no mention of it in contemporary musical
handbooks which minutely describe the stringed
instruments of the period. In default of any
better evidence, the writer agrees with Mr.
Charles Reade (quoted in Mr. Hart's book, • The
Violin,' p. 68) that no true violin was made
anterior to the second half of the i6th century,
the period of Gaspar di Salo and Andreas Amati.
The earliest date in any instrument of the violin
pattern which the writer has seen, is in a tenor
by Peregrine Zanetto (the younger) of Brescia,
1 580. It is, however, certain that tenors and vio-
lins were common about this time, and they were
chiefly made in the large towns of Lombardy,
Bologna, Brescia, and Cremona, The trade had
early centred in the last-named city, which for
two centuries continued to be the metropolis of
violin-making; and the fame of the Cremona
violin quickly penetrated into other lands. In
1572 the accounts of Charles IX. of France show
a payment of 50 livres to one of the king's musi-
cians to buy him a Cremona violin.*
The diflBculty of ascertaining the precise anti-
quity of the Violin is complicated by the fact
that the two essential points in which it differs
from the Viol, (i) the four strings tuned by
fifths, and (2) the modelled back, apparently
came into use at different times. We know from
early musical treatises that the three-stringed
Rebec and some four-stringed Viols were tuned
by fifths : and the fact that the modelled back
was in use anterior to the production of the true
violin is revealed to us by a very early five-
stringed Viol with two Bourdons, now in the
Historical Loan Collection at the Inventions
Exhibition. This unique instrument, while it
has the primitive peg-box with seven vertical
pegs, has a modelled back and violin sound-
holes : and it only needs the four strings tuned
by fifths, and a violin scroll, to convert it into a
Tenor of the early type.
Another very important member of the Violin
family is the Violoncello, which, though its
name (little Violone) would seem to derive it
from the Double Bass, is really a bass Violin,
2 WaslelewskI, Die Viollne Im xrll. Jahrhundert. p. 8. The dates are
stated as 15n. 1617, and 1619.
8 Besides Gaspar we hear of Magnus, Wendelin, Leonhard, Leopold
and Uldrich Tlefifenbriicker. Magnus was a lute-maker at Venice.
1607. Wasielewskl, Geschlchte, etc., p. 31.
* A Nicolas Dollnet. joueur de fluste et violon du diet sleur. la
somme de 50 livres toumols pour luy donner moyen d'achepter un
violon de Cremone pour le service du diet sleur. Archives curleuses
de I'Hlstolre de France, Tol. viil. p. 355.
VIOLIN.
formed on a different model from the Violone. It
is traceable in Italy early in the 17 th century,
was at first used exclusively as a fundamental
bass in the concerted music of the church, and it is
not until a century later that it appears to have
taken its place as a secular and solo instrument.
Elsewhere during the 1 7th century and a con-
siderable part of the i8th, the Viol Bass (Viola
da gamba) was almost exclusively in use as a
bass instrument. The first English violoncellos
date from about the Restoration. The oldest one
known to the writer is undoubtedly the work of
Edward Pamphilon. It is of a very primitive
pattern, being extremely homM in the back and
belly, the arching starting straight from the
purfling, which is double. The writer has also
seen a Violoncello by Eayman, another of the
Restoration fiddlemakers. Barak Norman's Vio-
loncellos are not uncommon, though far fewer
than his innumerable Bass Viols. The earlier
Violoncellos in England therefore date not long
after those of Italy; the French and German
ones somewhat later. The Violoncello must have
been kept out of general use by its irrational
fingering; for being tuned by fifths, and the
fingers of the performer being only able to
stretch a major third, the hand has great diffi-
culty in commanding the scales : and it was not
until the middle of the last century that its
difl&ciilties were sufficiently overcome to enable
it to practically supplant the Viola da Gamba in
the orchestra. [See Gamba, vol. i. p. 579.]
The adoption of four strings, tuned by fifths,
for the Violin in its three sizes, really marks the
emancipation of bowed instruments from the
domination of the Lute. Such impediments to
progress as complicated and various tunings,
frets, and tablature music were thus removed.
In most respects this change facilitated musical
progress. The diminished number of strings
favoured resonance; for in six-stringed instru-
ments there is an excessive pressure on the
bridge which checks vibration and increases re-
sistance to the bow. By the change the finger-
ing was simplified, though in the larger instru-
ments it was rendered more laborious to the
executant. Composers, though still obliged to
regard the limited capacities of stringed instru-
ments, were able to employ them with less
reserve. Music, however, cannot be said to have
lost nothing by the abandonment of the Viol.^
The Violin affords fewer facilities for harmonic
combinations and suspensions, in the form of
chords and arpeggios. Bowed instruments tended
more and more to become merely melodic, like
wind instruments. Effect soon came to be sought by
increasing the length of the scales, and employing
the higher and less agreeable notes, the frequent
use of which, as in modem music, would have
shocked the ears of our forefathers. It is often
supposed that early violinists were not suffi-
<;iently masters of their instrument to com-
mand the higher positions. Nothing can be
1 Schubert's Sonata for the Pianoforte and Arpeggione (a revived
form of the Viola da Gamba) Is in fact a tribute to the musical capa-
tilities of the Viol. [See Abpeqoione.I
VIOLIN.
281
more absurd. In addition to what has been
stated under the head Shift, it may be observed
that many existing compositions for the Viola da
Gamba prove that very complicated music was
played on that instrument across the strings in
the higher positions, and the transfer of this
method of execution to the violin obviously rested
with individual players and composers. Bach's
Violin Solos represent it in the hands of one of
transcendant genius; but Bach, with unfailing
good taste, usually confines the player to the
lower registers of the instrument. The tuning
of the principal stringed instruments thus be-
come what it is at the present moment and is
probably destined to remain.
Violin. Tenor. Bass.
W-
The strings indicated by solid notes are *spun'
or * covered ' strings — that is, they are closely en-
veloped in fine copper or silver wire. The others
are of plain gut, usually called * cat-gut,' and
perhaps at one time derived from the cat, but now
manufactured out of the entrails of the sheep.
The Tenor and Violoncello, it will be observed, are
octaves to each other, A smaller Bass, inter-
mediate between the Tenor and the Violoncello,
and in compass an octave below the Violin,
whence the name 'Octave Fiddle,' sometimes
applied to it, was in use in the last century, but
has long been abandoned. A Violoncello of
smaller dimensions, but of identical pitch with
the ordinary Violoncello, and chiefly used for
solo playing, appears to be the same instrument
which L. Mozart, in his Violin School, calls the
' Hand-bassel,'^ and Boccherini the 'Alto Violon-
cello.' Boccherini intimates on the title-page of
his Quintets that the first Violoncello part, which
extends over the whole compass of the ordinary in-
strument, may be played on the Alto Violoncello.
The • Violino piccolo ' of Bach, which Leopold
Mozart (1756) describes as obsolete in his time,
was a three-quarter Violin (Quartgeige), tuned
a minor third above the Violin.
The invention of a smaller Vio- («) ^^
loncello with five strings, tuned ^ g -
as at (a), and thus combining ^-^ ^ -^^
the scales of the Violoncello and :^
the Octave Fiddle, is ascribed
to J. S. Bach. It was called Viola Pomposa, but
never came into general use. It appears, in fact,
to have been merely a reproduction of an old form
of the Violoncello, which is mentioned by L.
Mozart as obsolete. [See p. 267 6.]
The musical development which followed
closely on the general employment of the Violin
family throughout Europe is treated in other
articles. [See Violin-playing.] Extraordinary
as this development has been, it has produced
2 In Austrian dialect ' Bassel ' became ' Bassetl,' and even ' Pasedel/
See Nohl's Beethoven, ill. note 244. So too ' Bratsche ' viras corrupted
Into Pratschel. (Engel. ' Musical Myths.' i. 160.)
VIOLIN.
VIOLIN.
no constructive changes in the instrument, and
only the slightest modifications. The increased
use of the upper shifts has indeed necessitated a
trifling increase in the length of the handle,
while the sound-post, bridge and bass-bar are
larger and more substantial than those formerly
in use. It might probably be further shown
that the strings were smaller and less tense, and
lay closer to the finger-board, and that the tone
of the fiddle was consequently somewhat feebler,
thinner, and more easily yielded. In other re-
spects the fiddle family remain very much as
they came from the hands of their first makers
three centuries ago.
The reason of the concentration of fiddle-
making at Cremona is not at first sight apparent.
The explanation is that Cremona was in the
1 6th century a famous musical centre. This
is partly due to the fact that the Cremonese
is the richest agricultural district of Lombardy,
and was mainly in the hands of the monasteries
of the city and neighbourhood. These wealthy
foundations vied with each other in the splendour
of their churches and daily services, and fur-
nished constant employment to painters, com-
posers, and instrument-makers. The celebrity
of Cremona as a school of music and painting was
shared with Bologna ; but its principal rival in
fiddle-making was Brescia, where Gaspar di Salo,
the two Zanettos, Giovita Kodiani, and Maggini,
made instruments from about 1580 to 1640. The
characteristics of these makers, who compose
what is sometimes called the Brescian School,
are in fact shared by Andreas Amati, the earliest
known maker of Cremona. To speak of a ' Bres-
cian School ' is misleading : it would be more
correct to class their fiddles generally as early
Italian. The model of these early Italian violins
is generally high, though the pattern is atten-
uated : the middle bouts are shallow ; the
/-holes are narrow and set high, and terminate
abruptly in a circle like that of the crescent
Boundhole. (See Fig. 6, vol. iii. p. 641.) The
scroll is long, straight, and ungraceful. The
violins are generally too small ; the tenors are
always too large, though their tone is deep and
powerful. Violoncellos of this school are not
met with. The substantial excellence of the
makers of Brescia is proved by the fact that
the larger violins of Maggini, and the Double
Basses of Gaspar di Salo are still valued for
practical use. De Beriot played on a Maggini
Violin : and Vuillaume's copies of this maker
once enjoyed a high reputation among French
orchestra players for their rich and powerful
tone.
The reputation of the Cremona violins is
mainly due to the brothers Antonio and Girola-
mo Amati^ (Antonius et Hieronymus), who were
sons of Andrew^ Amati, and contemporaries of
Maggini. [See Amati.] The idea of treating the
violin as a work of art as well as a tone-producing
machine existed before their time : but so far the
Fio. 18.
■L ruinain
is originally a Christian name, identical with Aimd,
which in the feminine form survives in French and English (Aim^e,
Amj). The correct family name is ' de' Amati' (De Amatls).
artistic impulse bad produced only superficial
decoration in the form of painting or inlaying.
The brothers Amati, following imconsciously the
fundamental law of art-manufacture that de-
coration should be founded on construction,
reduced the outlines and surfaces of the instru-
ment to regular and harmonious curves, and
rendered the latter more acceptable to the eye
by a varnish developing and deepening the
natural beauty of the material. Nor did they
neglect those mechanical conditions of sonority
which are the soul of the work. Their wood is
of fine quality, and the dis-
position of the thicknesses,
blocks, and linings, leaves
little to be desired. Those
who came after them, Nicho-
las Amati, Stradivari, and
Joseph Guamieri (del Gesti),
augmented the tone of the
instrument. But for mere
sweetness of tone, and artistic
beauty of design, the brothers
Antonius and Hieronymus
unsurpassed. The illustration
(Fig. 13), shows the soundholes, bouts, and
corners of the most famous maker of the family,
Nicholas Amati, the son of Hieronymus (1596-
1684). He began by copying most accurately
the works of his father and uncle; his early
violins are barely distinguishable from theirs.
Between 1640 and 1650 his style developes
unconsciously into that which is associated with
his own name. His violins become larger, the
thickness is increased in the middle, the blocks
are more massive and prominent, and the sound-
holes assume a difierent character. But these
changes are minute, and tell only in the general
eflfect. And the same love of perfectly curved
outlines and surfaces rules the general design.
During a very long life Nicholas Amati varied
from his own standard perhaps less than any
maker who ever lived. After his time the
Cremona violin was carried to its utmost per-
fection by his pupil Antonio Stradivari (^1649-
1737). [See Stbadivari ; and for some account
of other makers see Albani, Amati, Gagliano,
Grancino, Guadagnini, GuARNiERi, Landolpi,
Sebafin.]
Fio. 14, The principal varieties in the
E design of violins of the classical
period wiU be illustrated by a
comparison of Figs. 13, 14 and
15. Fig. 14 is from a violin by
Stainer; Fig. 15, from a Tenor
by Joseph Guarnerius. • [For
an illustration of a violin by
Stradivari, see vol. iii. p. 728.]
After Cremona, Venice among
Italian towns produced the best fiddle-makers ;
then come Milan and Naples. The pupils and
imitators of Stradivari maintained the reputation
of the Italian Violins during the first half of the
last century ; but after 1 760 the style of Italian
violin-making shows a general decline. This is
partly attributable to the fact that the musical
VIOLIN.
world was by this time amply provided with
instruments of the best class, and that the de-
mand for them declined in consequence. Good
iusiruments, however, were Fia. 15.
made by some of the second-
rate makers of the latter
part of the century. One
of the best of the Italian
makers, Pressenda, worked
at Turin in the present cen-
tury.
The violin-makers of South
Germany form a distinct
school, of which some account
will be found under Klotz and Staixer. Mu-
nich, Vienna, Salzburg, and Nuremberg, produced
many fiddle-makers. The makers of France and
the Low Countries more or less followed Italian
models, and during the past century there have
been many excellent French copyists of Stradi-
vari and Guarnieri ; two of the best are noticed
under Lupot and Vuillaume: besides these
there have been Aldric, G. Chanot the elder,
Silvestre, Maucotel, Mennegand, Henry, and
Kambaux. The numerous English makers are
reviewed under the head London Violin
Makers. The oldest English school, repre-
sented by such makers as Urquhart and Pam-
philon, had much quaintness and beauty of
style : but the fame of the Stainer and Cremona
patterns soon effaced it. The only English
makers of any note now living in London, are
Furber and the Hills.
The trade of making viols and violins was en-
grafted on the profession of the lute-maker, and
to this day the Italian and French languages
express *violin-maker ' by Luthier and Liutaro,
though lute-making has long been obsolete.
In Cremona and some other Italian towns,
principally Venice and Milan, the demand
for the violin produced workmen who devoted
themselves primarily to making bowed instru-
ments, and to whom the lute tribe formed a
secondary employment : but the earlier violins
of Germany, France and England were produced
by men whose primary employment was lute-
making. Hence the uncertainty and inferiority
of their models, though their workmanship is
often praiseworthy and always interesting. But
as the Cremona violin spread all over Europe,
the lute-makers of other countries at first uncon-
sciously, afterwards of set purpose, made it an
object of imitation. The original violin models of
England, Germany, and France, were thus gra-
dually extinguished ; and since about the middle of
the last century scarcely any other models have
been followed than those of the Cremona makers.
It was about this time that a change, from an
artistic point of view disastrous, swept over the
art of violin-making. This change seems to
have been the result of a demand for more and
cheaper fiddles, and it originated in Italy itself.
We know from Bagatella's singular brochure on
the Amati model, that 'trade fiddles* (violini
dozzinali), cheap instruments of coarse construc-
tion, probably made by German workmen, were
VIOLIN. 28S
sold by the dozen in Italy in the last century.
Such fiddles were soon produced in far greater
numbers in Germany and France. In Ger-
many the manufacture of 'trade fiddles' was
first carried on at Mittenwald, in Bavaria,
where it originated with the family of Klotz ; it
afterwards extended to Groslitz : early in the last
century Mirecourt in French Lorraine became
a seat of the trade ; and in recent times Mark-
Neukirchen in the kingdom of Saxony has risen
to importance. These towns still supply nine-
tenths of the violins that are now made. * Trade '
or common violins can be bought for fabulously
low sums. The following is the estimate of
M. Thibouville-Lamy, of Mirecourt, Paris, and
London, the principal fiddle-maker of our time,
of the cost of one of his cheapest violins : —
s. d.
Wood for back -j.
>i belly L>
„ neck 1
"Workmanship in neck .... 2
Blackened fingerboard .... 2
Workmanship of back and belly . . 3
Cutting out by saw I^
Shaping back and belly by machinery . 1 0
Varnish Id
Fitting-up, strings, bridge and tail-piece 9^
Y~7
G per cent for general expenses . . 3
"3~io
15 per cent profit • • . . . 8
Ludicrously low as this estimate is, it is certain
that one of these fiddles, if carefully set up, can
be made to discourse very tolerable music. Vast
numbers of instruments of better quality, but
still far below the best, costing from £i to
£2 I OS., are now sold all over the world.
Mirecomrt and Markneukirchen mainly produce
them: of late years the latter place has taken
the lead in quantity, the German commercial
travellers being apparently more pushing than
the French ; but the Mirecourt fiddles have de-
cidedly the advantage in quality, having regard
to the price.
But violins of a superior class to the trade
fiddle, of good workmanship throughout, and in
every way excellent musical instruments, though
inferior to the best productions of the classical
age, have been and still are made, not only at
Mirecourt, but in the principal musical centres
of Europe. London, Paris, Vienna, and Munich,
have had a constant succession of violin-makers
for the past two centuries. The English violin
manufacture suffered a severe blow by the abo-
lition of duties on foreign instruments, and it
can hardly be said that the musical stimulus of
the last few years has caused it to revive. Those
makers who carry on their trade in England
are chiefly employed in rehabilitating and sell-
ing old instruments, and their own productions,
too few in number, are usually bespoken long
beforehand. At present, therefore, an intend-
ing purchaser will not find a stock of new in-
struments by the best English makers : but it is
to be hoped that, as the demand increases, they
will find means to increase the supply. Messrs.
284
VIOLIN.
Hill & Sons charge £15, Mr. Duncan of Glasgow
£12, for their violins.
Those who wish to purchase a new violin of
the best quality ready made, cannot do better
than resort to the French makers. Vuillaume,
now deceased, was a few years ago at the head
of the list, and sold his violins for £14: they
are now worth considerably more.^ The sale
prices of instruments by some living French
makers are as follows :~-
Violins. Tenors. ^^T
£ s. d. £ 8. d. £ s. d.
Gand&Bemardel, Paris 16 0 0 18 13 4 26 13 4
Miiemont, Paris 13 6 8 16 0 0 24 0 0
Cherpitel. Paris 10 13 4 13 6 8 24 0 0
Thibouville-Lamy,Paris
and London 800 800 16 00
Geronimo Orandini, sen.
Mirecourt 468 468 8 13 4
M. Thibouville-Lamy has all these on sale;
his own instruments are highly recommended.
Instruments of good quality are made in this
country by W. E. Hill & Sons, 72 Wardour
Street; Charles Boullangier, 16 IVith Street;
G. Chanot, 157 Wardovur Street; Szepessy Bela,
10 Gerrard Street; Furber, Euston Road, all in
London: G. A. Chanot, of Manchester, and
George Duncan, of Glasgow, are also excellent
makers. Among foreign makers, the following
may be mentioned — in Vienna, Zach, i Kam-
thner Strasse ; Bittner, i Karnthner Strasse ;
Lembok, Canova Strasse ; Voigt, Spiegel Gasse ;
Gutermann, Maria-Hilf Strasse: Rampftler,
Burggasse, Munich ; Sprenger, 34 Garten Strasse,
Stuttgart ; Hammig, Leipzig ; Lenk, Pro-
menade Platz, Frankfort-on-the-Maine ; Liebich,
Breslau ; Mougenot, Brussels ; Hel, Lille ; Mar-
chetti, Milan ; Guadagnini Brothers, Turin ; and
Ceruti, Cremona.
Old instruments, however, are generally pre-
ferred by purchasers, especially those by the old
Italian makers. Among these, the best instru-
ments of Stradivari and Guarnieri del Gesti form
a distinct first class; their prices range from
£200 to £500. Inferior instruments by these
makers can be bought at from £100 to £200.
The very best instruments of second-class makers
often realise over £100: but ordinary instru-
ments by second and third-rate makers can
generally be bought at prices ranging from £20
to £50: while old Italian fiddles of the com-
monest description are considered to be worth
from £10 to £20. Fair instruments by old
French, German, and English makers can be
bought at still lower prices, ranging from £3 to
£10. Red instruments, other things being equal,
will generally fetch somewhat more than yellow
or brown ones. The principal English dealers
in old violins are Hill & Sons, G. Hart, G. Chanot,
and Withers.
Old violins may be divided into two classes,
those made on the ' high ' and the ' flat ' model
respectively. The latter, which is characteristic
of Stradivari and his school, including all the
best modem makers, is undoubtedly the best.
The ' high ' model, of which Stainer is the best-
VIOLIN.
known type, was chiefly in use with the German
and English makers before the Cremona pattern
came to be generally followed in other countries.
It is, in fact, a survival of the Viol, for which in-
strument the high model is the best : even Stra-
divari used the high model for the Double Bass
and the Viola da Gamba. But a high-modelled
violin, however handsome and perfect, is practi-
cally of little use. The tone, though easiJy
yielded and agreeable to the player's ear, is defi-
cient in light and shade, and will not * travel.'
The flatness of the model, however, must not
go beyond a certain point. Occasionally a violin
is met with, in which the belly is so flat as to
have almost no curvature at all. The tone of
such violins is invariably harsh and metallic.
The question is often asked, are old Italian
violins really worth the high prices which are
paid for them, and are not the best modem in-
struments equally good ? In the writer's opinion
the prices now paid for old Italian violins,
always excepting the very best, are high beyond
all proportion to their intrinsic excellence. The
superiority of the very best class indeed is proved
by the fact that eminent professional players will
generally possess themselves of a full-sized Stra-
divari or Giuseppe Guarnieri, and will play on
nothing else. There can be no doubt that these
fine instruments are more responsive to the
player, and more effective in the musical result,
than any others ; and as their number, though
considerable, is not unlimited, the purchaser
must always expect to pay, over and above their
intrinsic value, a variable sum in the nature of a
bonus or bribe to the vendor for parting with
a rare article, and this necessarily converts the
total amount paid into a 'fancy price.' But
when we come to inferior instruments by the
great makers, and the productions of makers of
the second and third class, the case is widely
different. Such instruments are seldom in re-
quest by the best professional players, who, in
default of old instruments of the highest class,
use the best class of comparatively modern
violins ; and the prices they command are usu-
ally paid by amateurs, under a mistaken idea
of their intrinsic value. No one with any real
idea of the use of a violin would pay £100 for
instruments by Montagnana, Serafin, or Peter
Guamerius, when he could buy a good Vuil-
laume, Pressenda, or Lupot for from £20 to £30 :
yet the writer has constantly known the first-
named price realised for Italian instruments of
decidedly inferior merit.
Though Tenors and Violoncellos of the highest
class are as valuable as Violins, Tenor and Vio-
loncello players can usually procure moderately
good instruments more cheaply than Violinists.
Not only are the larger instruments less in de-
mand, but while old English Violins are useless
for modern purposes, the Tenors and Violoncellos
which exist in large numbers, are generally of
very good quality, and many players use Banks
and Forster Tenors and Basses of these makers
by preference. Double Basses by the great
makers are rare and not effective in the or-
VIOLIN.
chestra : professional players usually choose old
English ones, or modem ones by such makers
as Fendt and Lott, who made the Double Bass
a speciality.
Fiddle-making is so little practised as a trade
in this country, that a short explanation of the
process may be useful. The question is often
asked whether the belly and back of the fiddle
are not * bent ' to the required shape, and the
enquirer hears with surprise, that on the con-
trary, they are ' digged out of the plank,' to use
the words of Christopher Simpson, with infinite
labour and care. The only parts of the Fiddle to
which the bending process is applied are the ribs.
In construction, the violin, tenor, and violon-
cello may be said to be identical, the only
difference being in the size and in the circum-
stance that the ribs, bridge, and soundpost of
the violoncello are relatively higher than those
of the other instruments. The tenor is one
seventh larger than the violin, the violoncello
twice as large : the double-bass is about double
the size of the violoncello. The number of
separate pieces of wood which are glued together
for the fixed structure of the violin is as
follows : —
VIOLIN.
285
Back .
Belly .
Blocks
Kib3 .
Linings
Bar .
Purfling
Nut .
Mngerboard
. 2 pieces (sometimes 1)
, 2 „ (sometimes 1)
6 „
6 „ (sometimes 6)
12 „
24 "
1 "
Handle or Neck 1
Lower Nut . 1 „
Total 67
The moveable fittings comprise thirteen ad-
ditional parts : —
Tailpiece , . 1
Loop . . .1
Button or Tailpin 1
Screws ... 4
Strings . . 4
Soundpost . .1
Bridge . . . 1
Total 13
The violin thus consists of seventy different
parts, all of which, except the strings and loop,
are of wood. The wood employed is of three
sorts — maple for the back, handle, ribs and
bridge ; ebony for the fingerboard, nuts, screws,
tailpiece and button; the purfling is partly of
ebony, partly of maple; the belly, bar, blocks,
linings, and soundpost are of pine. All metal
is a profane substance in fiddle-making: no
fragment oi it should be employed, whether con-
structively or ornamentally. The parts must be
put together with the finest glue, and with in-
visible joints.
The tone, other things being the same, depends
largely on the quality of the maple and pine used.
The wood must not be new : it should have
been cut at least five or six years, and be well
seasoned. It is, however, not advisable to use
wood that is so old as to have lost much of
its elasticity. Both pine and maple should be
as white as possible, with a grain moderately
wide, even, and as a rule perfectly straight.
Local shakes and knots render the wood useless.
Curves in the grain derange the vibration, and
are therefore usually avoided : but the writer has
seen violins in which a slightly curving grain
has produced an exceptional power of tone.
The belly and back are often made each out
of a single block of wood. This, however, is
wasteful, and they are usually made each in two
pieces. A square block of maple of suitable
grain for the back, having been selected some-
what exceeding in length and in half- breadth
the dimensions of the intended fiddle, and about
an inch and a half thick, the saw is passed
obliquely through it from end to end, dividing
it into two similar pieces, each having a thick
and a thin edge. The thick edges are planed
perfectly true and glued together. The figure
of the grain, when the fiddle is made, will thus
match in the halves.
The first thing to be done is to settle the
design of the instrument. The modern maker
invariably ' adopts this from a Stradivari or a
Giuseppe Guarnieri (del Gesti) fiddle, some-
times mixing the two designs. The old makers
generally worked by rule of thumb, using the
moulds of their predecessors, and if they made
new patterns only slightly varied the old ones
as experience suggested. It was by a succession
of such minute experimental changes that the
classical patterns were reached, and though at-
tempts have been made to reduce their designs
to mechanical principles, and to fi:ame directions
for constructing them by the rule and compasses'
no practical violin-maker would think of doing
so. There is no reason why he should slavishly
copy any model : but his design should be based
on study and comparison of classical patterns,
not upon any theoretical rules of proportion.
Having settled the design, whether a tracing
firom an old instrument, or an entirely new one,
the first thing is to trace the outline on a plate
of hard wood about as thick as a piece of card-
board, and to cut this carefully out with the
pen-knife. This is called the Pattern, and it
serves both for back and belly.
The next thing is to make the Mould, which
is made out of a block of hard wood about
three quarters of an inch thick. Its outline
stands three eighths of an inch all round inside
that of the Pattern. Having cut out the mould
to the requisite size and shape, the workman
cuts rectangular spaces for the six blocks,
large ones at the top and bottom and small ones
at the four comers. The next thing, and one of
great importance, is to trim the edges of the
mould so that it shall be everywhere perfectly at
right angles to the faces. Eight finger-holes are
now pierced, to enable you to manipulate it
without touching the edges. The making of the
mould requires the greatest care and nicety :
and fiddlemakers will keep and use a good one
1 The most noticeable of these Is the 'calcolo ' of Antonio Bagatella
an amateur of Padua, published In 1782, by which he pretends to
reveal the secret of the proportions used by the brothers Amati. It
Is reprinted In Folegattl's ' II viollno esposto geometrlcamente nella
sua costruzione' (Bologna, 1874). Bagatella seems to have ruined
many a good violin by adapting it to the Frocrustean bed of bia
' calcolo.'
286
VIOLIN.
VIOLIN.
all their lives. In addition to the pattern and
the mould the fiddlemaker requires four templates
of varying size, cut to curves which are the
reverse of the principal curves of the surface.
The largest is the curve lengthwise in the
middle of the fiddle (i), the other three are
transverse, being (3) the curve of the sur&ce at
the greatest width in the upper part, (3) that at
the narrowest part of the waist, (4) at the
greatest width at the lower part.
The first part of the fiddle actually made is
the back. The block out of which it is made is
first reduced to the exact shape of the pattern ;
its upper surface is then cut away and brought
to the right curves by the aid of the four
templates. The maker then hollows out the
inside, gauging the proper thicknesses by means
of a pair of callipers. Precisely the same method
is used for the belly, but its thicknesses are every-
where somewhat less than those of the back.
The top and bottom blocks are next prepared
and shaped, temporarily fixed in the mould by
means of a single drop of glue, brought to the
exact height of the mould by the knife and file,
and cut to the right shape by the aid of the
pattern. The next task is to prepare a long
strip of maple planed to the right thickness for
the ribs. The proper length of each rib is
ascertained on the mould by means of a strip of
cartridge paper, and each rib is then cut off to
its length and the edges prepared for joining.
The ribs are now dipped two or three times in
water, and bent to the curves of the mould by
means of a hot iron. They are then placed in
position on the mould and glued to the blocks ;
eight moveable blocks of wood, trimmed as
counterparts to the ribs, one in each bout, one
in the outer curve of each comer block, and two
at the top and bottom, are applied outside them,
and the whole mass is tightly screwed up in a
frame and left to dry. When the frame and
moveable blocks are removed, the ribs and blocks
form a structure which only requires the addition
of the back and belly to be complete. The back
is first glued on, and the inside joint is filled up
with linings of pine passing from block to block
and dovetailed at each end into the blocks,
similar linings are now glued to the upper edge of
the ribs and brought to a flat surface. Lastly, the
belly, on which the bass bar has already been fitted,
is glued on, and the resonant box is complete.
The design and cutting of the head, the carving
of the volute, and the double grooving of its
back, are among the most difficult branches of
the violin-maker's art. When the handle is ready
it is accurately fitted and glued to the top block
and to the semicircular button at the top of the
back, which hold it firmly in the angle they form.
The fiddle is now ready for varnishing. After
being sized, three or more coats of varnish are
successively applied. This is of two kinds, one
made with oil and the other with spirits of wine.
Oil varnish is long in drying; hence in this
country, except in hot weather, the process is
tedious, and the old English makers usually pre-
ferred spirit varnish, which dries very quickly.
The best makers in all countries have used oil
varnish, the soft texture of which penetrates and
solidifies the wood without hardening the tone.
When the varnishing and polishing are com-
pleted the fingerboard is glued on, and the violin
is then ready for its moveable fittings. The peg-
holes are now pierced, the pegs inserted, and the
button prepared for the bottom block. The sound-
post is made so as to fit the slopes of the back
and belly and inserted in a perfectly vertical
position : this is ensured by observation through
the bottom block and soundholes. The bridge is
then prepared and fitted, the tail-piece looped on,
and the violin is ready for stringing.
Many of the best fiddle-makers, however,
seldom make new instruments, which can be
produced more cheaply and expeditiously by
inferior workmen. Their principal and most
profitable occupation is the purchase, restoration,
and sale of old ones, which are preferred by
modem purchasers, the best, because they really
surpass in workmanship and appearance any of
modem times, the inferior ones, because age has
rendered them more picturesque to the eye, and
easier to play. An old violin has generaUy to
undergo many alterations before it is fit for use.
If any part is worm-eaten, it must be renewed.
If the blocks and linings are out of repair, or
badly fitted, they must be properly arranged.
Cracks must be united ; if the belly or ribs have
been pressed out of shape, they must be restored
to shape by pressure on the mould : the damage
to the belly, above the soundpost, which is sure
to have occurred, must be repaired ; if the old
bass-bar remains, a larger and stiffer one must
be provided, to enable the belly to bear the in-
creased tension of a higher bridge. In almost
every case the neck must be * thrown back,' i.e.
so re-arranged as to raise the lower end of the
fingerboard farther above the belly, and thus
admit of a bridge of the modem height: the new
handle, carefully grafted into the head, must be
made of somewhat greater length than the old
one. The peg-holes, enlarged by use, must be
plugged and repierced : a new bridge and sound-
post must be adjusted with all the accuracy
which these important details demand. Great
labour and attention are demanded by an old
violin, and it will be thrown away unless every
detail of it is considered with strict reference to
the particular type of instrument which is in
hand. Hence the restoration of old instruments
demands a knowledge of the fiddle which is
wider and deeper than that required for the
mere fiddlemaker.
For further infoi-mation on the subject of the
Violin the reader is referred to Ruhlmann*a
* Geschichte der Bogen-Iiistrvmiente ' (Bruns-
wick, 1882), a collection of valuable materials,
with an excellent Atlas of Illustrations ; Dubourg
on the Violin (R. Cocks & Co.) ; Mr. Hart's
excellent work, 'The Violin* (Dulau & Co.);
M. Vidal*s ' Les Instruments h. Archet,' 3 vols.
4to. Paris, 1876-8, and Mr. E. H. Allen's recent
publication ' Violin-making as it was and is *
(Ward & Lock). [E.J.P.]
VIOLIN DIAPASON.
VIOLIN DIAPASON. An organ stop of 8 ft.
pitch, in scale between the Open Diapason and the
Dulciana. The pipes are open, and have a slot near
the top. It is usually in the Swell organ. [W.Pt. ]
VIOLIN - PLAYING. Some account of the
musical employment of the medisaval fiddle,
from which the viol and the violin were deve-
loped, will be found in the preceding article (p.
273). From this it appears that all the elements
of violin-playing were already in existence in
the 13th century. But it was not till the middle
of the 1 6th that players on bowed instruments
began to shake off the domination of the lute,
with its tunings by fourths and thirds, and its
excessive number of strings ; and it appears that
concurrently with this change, the modelled
back, which gives the characteristic violin tone,
came into use, and the fiddle finally took its
present form. It seems to have spread quickly
both in France and Italy. At Rouen, in 1550,
a considerable number are said to have been
employed in public performances, and Mon-
taigne, in 1580, heard at Verona a Mass with
violins. Too much importance, however, must
not be attached to such statements, since the
terms * violin' and * viola' were then often ap-
plied to stringed instruments of all kinds.
^ In order to gain an idea of the way the
violin was played at this early period, we na-
turally look to the scores of contemporaneous
composers. But here we meet with a difficulty.
Down to the end of the i6th century we do
not find the instruments specified by which the
different parts are to be played. On the titles of
the earlier works of A. and G. Gabrieli (1557-
161 3) we read ; * Sacrae Cantiones, tum viva voce
turn omnis generis Instrumentis cantatu commo-
dissimsB' (most convenient for the voice, as for
all kinds of instruments), or 'Sacrae Symphonise
tarn vocibus quam instrumentis' (for voices as
well as instruments) ; or ' Psalmi tum omnis ge-
neris instrumentorum tum ad vocis modulationem
accomodati ' (Psalms for all kinds of instruments
and the voice) ; or •Buone da cantare e suonare,' or
other similar directions/ No doubt settled usages
prevailed in this respect, and it is of course to be
assumed that whenever violins were employed,
they took the upper part of the harmony. It is
obvious that, as long as the violins had merely
to support and to double the soprano-voice, the
violin-parts were of extreme simplicity. Soon,
however, we meet with indications of an inde-
pendent use of the violin. As early as 1543
Silvestro Ganassi, in the first part of his 'Eegula
Rubertina ' (Venice), speaks of three varieties of
violins as Viola di Soprano, di Tenore, e di Basso ;
and Castiglione, in his * Cortigniano,' mentions a
composition as written for * quattro viole da
arco,' which almost seems to indicate a stringed
quartet. Towards the end of the century we
meet with the Balletti of Gastoldi and Thomas
Morley, some of which were printed without
words, and appear, therefore, to have been in-
1 These expressions are exactly equivalent to the words so often
found on the title-pages of English madrigals of the 17th century
— ' Apt for Toyals [viols] and voices.'
VIOLIN-PLAYING.
287
tended for independent instrumental performance.
Nevertheless, they are entirely vocal in character,
and do not exceed the compass of the human
voice. Among the earliest settings which are not
purely vocal in character are the 'Canzoni da
sonare* by Maschera (1593), — originally, per-
haps, written for the organ, but printed in sepa-
rate parts, and evidently therefore intended for
performance by various instruments. The earliest
instance of a part being specially marked for
•Violino* we find in 'Concerti di Andrea e Gio-
vanni Gabrieli — per voci e stromenti musical!
Venetia, 1587.* Up to this time the leading
instrument of the orchestra was the Cometto
(Germ. Zirike) — not, as might be concluded from
its German name, an instrument made of metal,
but of wood. The parts written for it correspond
to the oboe parts in Handel's scores. In Gabrieli's
the cornetti alternate with the violins in taking
the lead. His instrumental compositions may
roughly be divided into two classes, the one evi-
dently based on his vocal style, the other de-
cidedly instrumental in character. In a ' Sonata *
belonging to the first class, we find an instru-
mental double-choir, a cometto and 3 trombones
forming the first choir, a violin and 3 trombones
the second, and the two being employed anti-
phonally ; the setting is contrapuntal throughout,
and the effect not unlike that of a motet for
double-choir. The violin-part does not materially
differ from that for the cometto. To the second
class belong the Sonatas and Canzoni for 2 or 3
violins with bass. Here the setting is much
more complicated, mostly in fugato-form (not
regular fugues), reminding us to a certain ex-
tent of organ-style, and certainly not vocal in
character, but purely instrumental. The scores
of Gabrieli contain the first beginnings of the
modem art of instrumentation, and mark an
epoch in the history of music. Not content with
writing, in addition to the voices, obligato instru-
mental parts, he takes into consideration the
quality {timbre) of the various instruments. That
this should have been brought about at the very
period in which the violin came into general use,
can certainly not be considered a mere accident,
although it may be impossible to show which of
the two was cause and which effect. Once the
violin was generally accepted as the leading in-
strument of the orchestra, its technique appears
soon to have made considerable progress. While
Gabrieli never exceeds the 3rd position, we find
but a few years later, in a score of Claudio
Monteverde (1610), passages going up to the
5th position : after an obbligato passage for 2 cor-
netti, enter the violins (ist and 2nd) :
Violin 1.
288
VIOLIN-PLAYING.
H^ rfl^ 1 1^1
; jigg. .^^^ J ,V f-rfi^pit
n r
The manner in which, in this example, the violins
are ^ used * divisi' is worthy of notice. In another
work of Monteverde's, • Combattimento di Tan-
credi e Clorinda, diClaudio Monteverde. Venezia,
1624/ ^ we find modem violin-effects introduced in
a still more remarkable way. Here we have re*
citatives accompanied by tremolos for violins and
bass, p{zzicat08 marked thus, * Qui si lascia I'arco,
e si strappano le corde con duoi diti '; and after-
wards, 'Qui si ripiglia Tarco.' That violinists
were even at that time expected to produce gra-
dations of tone with the bow is proved by the
direction given respecting the finsd pause of the
same work: 'Questa ultima nota va in areata
morendo.*
The earliest known solo composition for the
violin is contained in a work of Biaoio Marini,
published in 1620. It is a 'Komanesca per
Violino Solo e Basso se piaci ' (fld lib.) and some
dances. The Komanesca ' is musically poor and
clumsy, and, except that in it we meet with the
Bhake for the first time, uninteresting. The de-
mands it makes on the executant are very small.
The same may be said of another very early com-
position for violin solo, 'La sfera armoniosa da
Paolo Quagliati* (Roma 1623). Of far greater
» Qalte In accordance with Berlioz's advice.
3 See Monteverde, vol. 11. p. 869a.
3 Beprinted In the Appendix of Waslelewski's book : 'Die Violins
im XTli. Jabrhundert.'
VIOLIN-PLAYING.
importance, and showing a great advance in exe-
cution, are the compositions of Carlo Farina, who
has justly been termed the founder of the race of
violin-virtuosos. He published in 1627, at Dres-
den, a collection of Violin-pieces, Dances, French
airs, Quodlibets, etc., among which a • Capriccio
stravagante ' is of the utmost interest, both music-
ally and technically. Musically it represents one
of the first attempts at tone-picturing (Klang-
malerei), and, however crude and even childish,
the composer evidently was well aware of the
powers of expression and character pertaining to
bis instrument. He employs a considerable variety
of bowing, double-stopping, and chords. The 3rd
position, however, is not exceeded, and the fourth
string not yet used. Tarquinio Merula (about
1640) shows a technical advance in frequent
change of position, and especially in introducing
octave-passages. Paolo Uobllini, in his canzoni
(1649), goes up to the 6th position, and has a
great variety of bowing. Hitherto (the middle
of the 1 7th century) the violin plays but an un-
important part as a solo instrument, and it is only
with the development of the Sonata-form (in the
old sense of the term) that it assumes a position
of importance in the history of music. The terms
* Sonata,' * Canzone,' and * Sinfonia' were origin-
ally used in a general way for instrumental set-
tings of all kinds, without designating any special
form. Towards the year 1630, we find the first
compositions containing rudimentally the form of
the classical Violin Sonata. Its fundamental prin-
ciple consisted in alternation of slow and quick
movements. Among the earliest specimens of
this rudimentary sonata-form may be counted the
Sonatas of Giov. Battista Fontana (published
about 1630), a Sinfonia by Mont' Albano (1629),
Canzoni by Tarquinio Merula (1639), Canzoni and
a Sonata by Massimiliano Neri (164A and 51).
From about 1650, the name Canzone falls out of
use, and Sonata is the universally accepted term
for violin-compositions. M. Neri appears to have
been the first to have made the distinction be-
tween 'Sonata da chiesa' (church-sonata) and
♦ Sonata da camera ' (chamber-sonata). The So-
nata da chiesa generally consisted of 3 or 4 move-
ments : a prelude, in slow measured time and of
pathetic character, followed by an allegro in fu-
gato-form ; again a slow movement and a finale of
more lively and brilliant character. The Sonata
da camera, at this early period, was in reality a
Suite of Dances — the slow and solemn Sarabandes
and AUemandes alternating with the lively Ga^
vottes, Gigues, etc. The artistic capabilities
the violin, and its powers for musical expressio:
once discovered, the Roman Catholic clergy, wl
have ever been anxious to avail themselves of th
elevating and refining power of the fine arts, were
not slow to introduce it in the services of the
Church. We have seen already the extended use
which Gabrieli, in his church-music, made of
orchestral accompaniments, and how, from merely
supporting and doubling the voices, he proceeded
to obligato instrumental settings. From about
1650, instrumental performances — unconnected
with vocal music — began to form a regular part
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290
VIOLIN-PLAYING.
of the services of the Church. This was probably
nothing new as regards the organ, but the violin
was now introduced into the Church as a solo-
instrument, and the Violin Sonata — then almost
the only form of violin-composition — thereby re-
ceived the serious and dignified character which
exercised a decisive influence upon the future
development, not only of violin-playing, but of
instrumental music generally. The influence of
this connexion with the Church afterwards ex-
tended to sec ular violi n -music. The Dances pure
and simple soon made room for more extended
pieces of a Dance character, and afterwards
almost entirely disappear from the Chamber So-
nata, which begins more and more to partake of
the severer style of the Church Sonata, so that at
last a difference of name alone remains, the
Church-Sonata-form dominating in the Chamber
as much as it did in the Church. The first great
master of the Violin-SonataisGiovANNi Battista
ViTALi (1644- 1 69 2). He cultivated chiefly the
Chamber-Sonata, and his publications bear the
title of ' Balletti, Balli, Correnti, etc. da Camera,'
but in some of his works the transition from the
Suite-form to the later Sonata da camera, so
closely allied to the Church-Sonata, is already
clearly marked. In musical interest, Vitali's
compositions are greatly superior to those of his
predecessors and contemporaries. His dances are
concise in form, vigorous in character, and in
some instances — especially in a Ciaconna with
variations — he shows high powers as a composer.
[See ViTALi.] His demands on execution are
in some instances not inconsiderable, but on the
whole he does not represent in this respect any
material progress.
The first beginnings of violin-playing in an
artistic sense in Germany were doubtless owing
to Italian influence. As early as 1626 Carlo
Farina was attached to the Court of Dresden.
About the middle of the century a certain
JOHANN WiLHELM FuRCHHEiM is mentioned in the
list of members of the Dresden orchestra, under
the title of 'Deutscher Concertmeister,' implying
the presence of an Italian leader by his side.
Gerber, in his Dictionary, mentions two publica-
tions of his for the violin: (i) ' Violin-Exerci-
tium aus verschiedenen Sonaten, nebst ihren
Arien, Balladen, Allemanden, Couranten, Sara-
banden und Giguen, von 5 Partieen bestehend,
Dresden, 1687*; and (2) * Musikalische Tafel-
bedienung (Dinner-Service), Dresden, 1674.'
Thomas Baltzar was, according to Bumey and
Hawkins, the first violinist who came to England.
He appears to have greatly astonished his au-
diences, especially by his then unknown eflElciency
in the shift, in which however he did not exceed
the 3rd position. It is amusing to read, that a
certain D. Wilson, who was then considered the
best connoisseur of music at Oxford, confessed
that, when he first heard Baltzar play, he had
looked at his feet to see whether he had a hoof,
as his powers seemed to him diabolic. Baltzar's
compositions consist of Chamber Sonatas in the
sense of Suites of Preludes, Dances and Varia-
tions. Bumey, in the fourth volume of his
VIOLIN-PLAYING.
History, gives an Allemande of his. Two sets of
'The Division Violin' were published in London
in 1688 and 1693. [See vol. i. p. 451 a]. Of far
greater importance than Baltzar are two German
violinists, Johann Jacob Walther (bom 1650),
and Franz Heinrich Biber (died 1698). Wal-
ther [see that article] appears to have been a sort
of German Farina, with a technique much further
developed ; he ascends to the 6th position and
writes diflicult double-stops, arpeggios and chords.
His compositions are, however, clumsy and poor
in the extreme, and if we consider that he was a
contemporary of Corelli, we cannot fail to notice
the much lower level of German art as compared
with that of Italy. Biber was no doubt an artist
of great talent and achievement. [See vol.i.p. 240.]
His technique was in some respects in advance
of that of the best Italian violinists of the period,
and from the character of his compositions we
are justified in assuming that his style of playing
combined with the pathos and nobility of the
Italian style that warmth of feeling which has
ever been one of the main characteristics of the
great musical art of Germany.
In tracing the further progress of violin-play-
ing we must return to Italy. After Vitali it is
TORELLI (1657-1716) who chiefly deserves our
attention, as having added to the Sonata a new
and important kind of violin-composition, the
Concerto. In his Concert! da Camera and Con-
cert! gross! we find the form of the Sonata da
Chiesa preserved, but the solo-violins (one or
two) are accompanied not only by a bass, as in-
the Sonata, but by a stringed band (2 orches-
tral or ripieno violins, viola and bass), to which
a lute or organ part is sometimes added, an
arrangement which on the whole was followed
by Vivaldi, Corelli, and Handel. If no remark-
able progress in the technique of the instrument
was effected by the introduction of the Concerto,
it is all the more striking to notice how hence-
forth the best composers for the Church contri-
bute to the literatm-e of the violin. We have, in
fact, arrived at a period in which the most
talented musicians, almost as a matter of course,
were violinists — just as in modem times, with
one or two exceptions, all great composers have
been pianists. The most eminent representative
of this type of composer- violinist is Aroangelo
Corelli (1653-1 713). His works, though in
the main laid out in the forms of his pre-
decessors and, as far as technique goes, keeping
within modest limits, yet mark an era both in
musical composition and in violin-playing. He
was one of those men who seem to sum up in them-
selves the achievements of their best predeces-
sors. Corelli's place in the history of instrumental
music is fully discussed elsewhere. [See Corelli,
vol. i. p. 400; Sonata, vol. iii. p. 556.] Here it
remains only to state that in both main branches
of violin-composition, in the Sonata and the Con-
certo, his works have served as models to the best of
his successors. They are distinguished chiefly by
conciseness of form and logical structure. There
is nothing tentative, vague or experimental in
them; the various parts seem balanced to a
VIOLIN-PLAYING.
nicety, the whole finished up and rounded off
with unerring mastery. His harmonies and mo-
j dulations, though not free from monotony, are
' sound and natural ; simplicity and dignified pathos
on the one hand, and elegant vivacity on the other,
are the main characteristics of his style. The
technical diflBculties contained in his works are
not great, and in this respect Corelli's merit does
not lie in the direction of innovation, but rather
of limitation and reform. We have seen how the
. violin at the beginning of its career simply
adopted the style of the vocal music of the period,
how later on it took in the orchestra the place of
the cornetto, and how, though very gradually, a
special violin style began to be formed. Now
followed a period of experiments — all more or
less tending towards the same end — a style which
should correspond to the nature, ideal and
mechanical, of the instrument. In both re-
spects, as we have seen, remarkable progress was
made ; although exaggeration was not always
avoided. The virtuoso par excellence made his
appearance even at this early period. Corelli, by
talent and character had gained a position of
authority with his contemporaries, which has but
few parallels in the history of music. This au-
thority he used to give an example of artistic
purity and simplicity, to found a norm and model
of violin-playing which forms the basis of all
succeeding legitimate development of this im-
portant branch of music.
Before mentioning the most important of
Corelli's pupils we have to consider the influence
exercised on violin-playing by the Venetian
Vivaldi (died 1743). Though by no means an
artist of the exalted type of Corelli, his extra-
ordinary fertility as a composer for the violin,
his ingenuity in making new combinations and
devising new effects, and especially his undoubted
influence on the further development of the Con-
certo-form, give him an important position in
the history of violin-playing. While in the Con-
certi grossi of Torelli and Corelli the solo-violins
are treated very much in the same manner as
the orchestral violins — the solo-passages being
usually accompanied by the bass alone — Vivaldi
not only gives to the solo-violins entirely distinct
passages of a much more brilliant character, but he
also adds to his orchestra oboes and horns, which
not merely double other parts, but have inde-
pendent phrases and passages to perform — thereby
giving the earliest instance of orchestration as
applied to the Concerto.
As an executant the Florentine Veraoini^
exercised a greater influence than Vivaldi.
Owing in great measure to its connexion with
the Church, the Italian school of violin-playing
had formed a pure and dignified style, which
was brought to perfection by Corelli. As far as
it went, nothing could be more legitimate and
satisfactory in an artistic sense — yet there was
something wanting, if this severe style was not to
lapse into conventionality : the element of hu-
man individuality, strong feeling and passion.
Some German masters — especially Biber — were
1 Franoesco Maria (about 1685-1750). See vol. iv. p. 239,
VIOLIN-PLAYING.
291
certainly not devoid of these qualities ; but their
efforts were more or less crude, and lacking in
the fine sense for beauty of form and sound
which alone can produce works of art of a
higher rank. Veracini, a man of passionate
temperament, threw into his performances and
compositions an amount of personal feeling and
life, which in his own day brought on him
the charge of eccentricity, but which to us ap-
pears as one of the earliest manifestations of a
style which has made the violin, next to the
human voice, the most powerful exponent of
musical feeling. His Violin Sonatas are remark-
able for boldness of harmonic and melodic treat-
ment, and of masterly construction. The demands
he makes on execution, especially in the matter
of double stops and variety of bowing, are con-
siderable. His influence on Tartini — after Co-
relli the greatest representative of the Italian
school — we know to have been paramount. [See
Tartini, vol. iv. p. 58.] Tartini (169 2 -17 70)
by a rare combination of artistic qualities of the
highest order, wielded for more than half a
century an undisputed authority in all matters
of violin-playing, not only in Italy, but in Ger-
many and France also. He was equally eminent
as a performer, teacher, and composer for the
violin. Standing, as it were, on the threshold
of the modem world of music, he combines with
the best characteristics of the old school some
of the fundamental elements of modern music.
Himself endowed with a powerful individuality,
he was one of the first to assert the right of
individualism in music. At the same time we
must not look in his works for any material
change of the traditional forms. His Concertos
are laid out on the plan of those of Corelli and
Vivaldi, while his Sonatas, whether he calls them
da chiesa or da camera, are invariably in the
accepted form of the Sonata da chiesa. The
Sonata da camera in the proper sense, with its
dance forms, he almost entirely abandons. The
difference between Tartini's style and Corelli's is
not so much one of form as of substance. Many
of Tartini's works bear a highly poetical and
even dramatic character, qualities which, on the
whole, are alien to the beautiful but coldei
and more formal style of Corelli. His melodies
often have a peculiar charm of dreaminess and
melancholy, but a vigorous and manly tone is
equally at his command. His subjects, though
not inferior to Corelli's in conciseness and clear
logical structure, have on the whole more breadth
and development. His quick passages are freer
from the somewhat exercise-like, dry character
of the older school ; they appear to be organically
connected with the musical context, and to grow
out of it. As an executant Tartini marks a great
advance in the use of the bow. While no ma-
terial change has been made in the construction
of the violin since the beginning of the i6th cen-
tury, the bow has undergone a series of modifica-
tions, and only toward the end of the 1 8th century
attained its present form, which combines in such
a remarkable degree elasticity with firmness. [See
Bow, vol. i. p. 264; Tourte, vol. iv. p. 155.]
U 2
292
VIOLIN-PLAYING.
Whether Tartini himself did anything to perfect
the bow, we are not aware, but the fact that
old writers on musical matters frequently speak
of ' Tartini's bow,' seems to point that way. At
any rate, we know that in his time the bow
gained considerably in elasticity, and in some
letters and other writings of Tartini's we have
direct evidence that he made a more systematic
study of bowing than any one before him. The
task of the violinist's left hand is a purely
mechanical one : all power of expression rests
with the bow. If we consider the character of
Tartini's compositions, we cannot but see what
great and new claims on expression, and conse-
quently on bowing, are made in them. That
these claims were fulfilled by Tartini in an
extraordinary degree, is the unanimous opinion
of his contemporaries : in the production of a
fine tone in all its gradations, as well as in perfect
management of a great variety of bowing, he had
no rival. As regards the technique of the left
hand he excelled particularly in the execution of
shakes and double-shakes, than which there is no
better test for those fundamental conditions of
all execution, firmness and lightness of finger-
movement. At the same time, to judge from
his compositions, his technique was limited even
in comparison to that of some of his contempo-
raries— he does not exceed the 3rd position, his
double-stops are on the whole simple and easy.
He appears to have adhered to the holding of
the violin on the right side of the string-holder,
a method which was a barrier to further develop-
ment of the technique of the left hand. With
him the exclusive classical Italian school of vio-
lin-playing reached its culminating point, and
the pupils of Corelli and Tartini form the
connecting links between that school and the
schools of France and Germany. In this respect
the Piedmontese SoMis (about 1 700-1 763) must
be considered the most important of Corelli's
pupils. We do not know much of him as a
player or composer, but as the teacher of Giar-
DINI ( 1 716-1796), and of PUGNANI (1737-1803),
the teacher of Viotti (1753-1824), his influence
reaches down to Spohr and our own days. The
most brilliant representatives of Italian violin-
playing after Tartini were Geminiani and Nar-
DiNi. [See vol. i. p. 587; vol.ii.p. 446.] The former
was a pupil of Corelli, the latter of Tartini. Their
style is decidedly more modem and more brilliant
than that of their great master's. Nardini's influ-
ence in Germany — where he passed many years —
contributed much towards the progress of violin-
playing in that country. Geminiani (1680-1 761),
who for a long time resided in London, was the
first to publish a Violin-School of any import-
ance. Compared with that of Leopold Mozart
(see vol. ii. p. 379), which appeared a few years
later, and on the whole is a work of much higher
merit, Geminiani's * school ' shows an advance
in some important points of technique. Here for
the first time the holding of the violin on the
left side of the string-holder is recommended —
an innovation of the greatest importance, by
which alone the high development of modem
VIOLIN-PLAYING.
technique was made possible. He goes up to the
7th position. As affording the only direct evidence
of Corelli's method and principles (which in all
main respects have remained ever since the
basis of all legitimate and correct treatment of
the instrument), Geminiani's book is still of the
greatest interest. In Looatelli (1693-1764),
another pupil of Tartini, a curious instance is
afforded, how, in spite of the strongest school-
influence, a powerful individuality will now and
then, for better or worse, strike out a path for
itself. While some of Locatelli's compositions
afford clear evidence of his sound musicianship
and genuine musical feeling, he shows himself in
others, especially in a set of Caprices, to have
been, to say the least, an experimentalist of the
boldest type. In overstepping to an astonishing
degree the natural resources and limits of the
instrument, these caprices afford one of the
earliest instances of charlatanism in violin-
playing. [See Looatelli, vol. ii. p. 155.]
The beginnings of violin-playing in France
date from a very early period. We have already
seen that the very first known maker of vio-
lins, Duiffoprugcar, was called to France by
Francis I., and that there is some evidence of
the violin having very quickly gained consider-
able popularity there. Musical guilds spread
throughout the country as early as the 14th cen-
tury. The most important was the *Confr^rie de
St. Julien,' headed by * Le Roy des M^n^triers du
Koyaume de France,' [See Roi des Violons,
vol. iii. p. 145.] Whatever historical or anti-
quarian interest may attach to these guilds, they
did little to further musical art in general or the
art of violin-playing in particular. We have no
means of forming an estimate of the proficiency as
violinists of these mdn^ triers, but, to judge from
the extreme simplicity of the violin-parts in the -
scores of Lulli, who in 1652 was appointed Director jj|
of the Royal Chapel (Les vingtquatre violons du ^
Roy), it cannot have been great. [See vol. iv.
p. 266.] As late as 1 7 .; 3 a certain Paris musician,
CoiTette, writes that when Corelli's Violin Sonatas-
came to Paris, no violinist was to be found who
could have played them. The violin composition»
Frenchmen of the same period, among which of
the Suites of R^bel (about 1700), a pupil of
Lulli, were counted the best, are in every re-
spect inferior to the average of Italian and even
of German productions of the same period : the
setting is as poor and even incorrect as the treat-
ment of the instrument is primitive. FRAN901S
Franoceur, in his Sonatas (1715), shows decided
progress in both respects. (As a curiosity it
may be noticed that Francoeur, in order to pro-
duce certain chords, adopted the strange expedient
of placing the thumb on the strings.) As was
the case in Germany, it was owing to the influ-
ence of the Italian school, that violin-playing in
France was raised to real excellence. The first
French violinist of note who made his studies in
Italy under Corelli was Baptiste Anbt (about
1700). Of much greater importance however
was Jean Marie L^cl air ( i 69 7-1 764), a pupil of
Somis, who again was a direct pupil of Corelli's.
VIOLIN-PLAYING.
As a composer for the violin Ldclair has among
Frenchmen down to Rode hardly a rival. If
most of his works are characterised by the essen-
tially French qualities of vivacity, piquancy, and
grace, he also shows in some instances a re-
markable depth of feeling, and a pathos which
one would feel inclined to ascribe to Italian in-
fluence, if at the same time it did not contain
an element of theatrical pomposity characteristic
of all French art of the period. His technique
shows itself, within certain limits — ^he does not
go beyond the 3rd position — to be quite as de-
veloped as that of his Italian contemporaries.
By the frequent employment of double-stops a
remarkable richness of sound is produced, and
the bow is used in a manner requiring that
agility and lightness of management for which at
a. later period the French school gained a special
reputation.
Among other French violinists, directly or in-
directly formed by the Italian school, may be
mentioned Pagin (born 1721), Touchemoulin
(i 727-1801), Lahoussaye(i 735-1818), Barthe-
LEMON (died 1808), and Berthaume (1752-1828).
Meanwhile an independent French school began
to be formed of which Pierre Gavini:6s (1728-
1800) was the most, eminent representative. Of
his numerous compositions, ' Les vingt 4uatre
matinees ' — a set of studies of unusual difficulty
— have alone survived. Without partaking of
the eccentricity of Locatelli's Caprices, these
studies show a tendency towards exaggeration in
technique. Beauty of sound is frequently sacri-
ficed— difficulty is heaped on diflBculty for its
own sake, and not with the intention of producing
new effects. At the same time, so competent a
judge as F^tis ascribes to Gavinids a style of
playing both imposing and graceful.
Not directly connected with any school, but
in the main self-taught, was Alexandre Jean
Boucher (i 770-1801). He was no doubt a
player of extraordinary talent and exceptional
technical proficiency, but devoid of all artistic
earnestness, and was one of the race of charlatan-
violinists, which has had representatives from the
days of Farina down to our own time. If they
have done harm by their example, and by the
success they have gained from the masses, it
must not be overlooked that, in not a few re-
spects, they have advanced the technique of the
violin. The advent of Viotti (1753-1824) marks
a new era in French violin-playing. His enormous
success, both as player and composer, gave him
an influence over his contemporaries which has no
parallel, except in the cases of Corelli and Tartini
before him, and in that of Spohr at a later
period.
In Germany the art of Corelli and Tartini was
spread by numerous pupils of their school, who
entered the service of German princes. In
Berlin we find J. G. Graun (i 700-1 771), a
direct pupil of Tartini, and F. Benda (1709-
1786), both excellent players, and eminent mu-
sicians. In the south, the school of Mannheim
numbered among its representatives Johann
Carl Stamitz (1719-1761), and his two sons
VIOLIN-PLAYING.
293
Carl and Anton — (the latter settled in Paris, and
was the teacher of R. Kreutzer) ; Chr, Canna-
BiCH (i 731-1798), well known as the intimate
friend of Mozart; Wilhelm Cramer (1745-
1799), member of a very distinguished musical
family, and for many years the leading violinist
in London; Ignaz Franzl (born 1736) and his
son Ferdinand (i 770-1833). The Mannheim
masters, however, did not contribute anything
lasting to the literature of the violin. On the
whole, the Sonata, as cultivated by Tartini, re-
mained the favourite form of violin compositions.
At the same time, the Concerto (in the modern
sense) came more and more into prominence.
The fact that W. A. Mozart, who from early
childhood practised almost every form of compo-
sition then in use, wrote no sonatas for violin ^
solo, but a number of concertos for violin and
orchestra, is a clear indication of the growing
popularity of the new form. Mozart in his
younger years was hardly less great as a violinist
than a piano-player, and his Violin Concertos,
some of which have been successfully revived of
late, are the most valuable compositions in that
form anterior to Beethoven and Spohr. While
they certainly do not rank with his Pianoforte
Concertos, which date from a much later period,
they stand very much in the same relation to
the violin-playing of the period, as his Pianoforte
Concertos stand to contemporary pianoforte-play-
ing. Here, as there, the composer does not dis-
dain to give due prominence to the solo instru-
ment, but the musical interest stands in the first
rank. The scoring, although of great simplicity
— the orchestra generally consisting of the stringed
quartet, two oboes, and two horns only — is full
of interest and delicate touches. On the other
hand, the Concertos of Tartini and his imme-
diate successors are decidedly inferior to their
Solo Sonatas. The Concerto was then in a state
of transition : it had lost the character of the
Concerto grosso, and its new form had not yet
been found, although the germ of it was con-
tained in Vivaldi's Concertos. On the other
hand, the Solo Sonata had for a long time
already obtained its full proportions, and the
capabilities of the form seemed wellnigh ex-
hausted. Meanwhile the Sonata-form, in the
modern sense of the word, had been fully deve-
loped by composers for the pianoforte, had been
applied with the greatest success to orchestral
composition, and now took hold of the Concerto.
Mozart and Viotti produced the first Violin Con-
certos, in the modern sense, which have lasted to
our day. Mozart, however, in his later years
gave up violin-playing altogether,^ and although,
like Haydn, he has shown in his chamber-music
how thoroughly in sympathy he was with the
nature of the violin, he did not contribute to the
literature of the instrument any works wherein
he availed himself of the technical proficiency
attained by the best violinists of his time. In
this respect it is significant that Spohr, whose
unbounded admiration for Mozart is well known,
• That is, for violin without accompaniment.
2 His latest Viollu Concerto dates from 1776. (See KOchel, No. 268.)
204
VIOLIN-PLAYING.
seems never to have played his Violin Concertos
in public. Viotti and Rode were Spohr's models
for his earlier Concertos.*
Towards the end of the 17th century Paris
became the undisputed centre of violin-playing,
and the Paris school, represented by Viotti, as
depository of the traditions of the classical Italian
school; byKBEUTZEB(i766-i83i),who, though
born at Versailles, was of German parentage,
and a pupil of Anton Stamitz ; and by Bode
(1774-1830), and Baillot (1771-1842), both
Frenchmen, assumed a truly international cha-
racter. The single circumstance that four
violinists of such eminence lived and worked
together at the same place, and nearly the same
time, would be sufl&cient to account for their
essential influence on the taste and style of this
period. DiflFering much in artistic temperament,
they all took the same serious view of their art,
and shared that musical earnestness which is
averse to mere technical display for its own sake,
and looks on execution as the means of inter-
preting musical ideas and emotions. As teachers
at the newly founded Conservatoire, Eode,
Kreutzer, and Baillot formally laid down the
principles of violin-playing as they prevail to this
day. If it is to Germany that we have to look for
their true successors, apparently because their
style, founded on a broad and truly musical
basis, irrespective of national peculiarities, found
its most congenial soil in the country of the great
composers, who in their works are truly inter-
national, as all art of the very first rank must
be ; while the strongly pronounced national
character of French violinists was bound sooner
or later to assert itself, and to return to a charac-
teristically French style of playing. Baillot, in
his 'L'Art du Violon,' points out as the chief
distinction between the old and the modem
style of violin-playing, the absence of the dra-
matic element in the former, and its predomin-
ance in the latter. In so far as this means that
the modern style better enables the player to
bring out those powerful contrasts, and to do
justice to the enlarged horizon of ideas and
emotions in modem musical compositions, it
merely states that executive art has followed
the progress, and shared in the characterisBic
qualities of the creative art of the period. A
comparison of Mozart's String Quartets with
those of Beethoven, illustrates to a certain extent
this difference. The style of playing which was
admirably adapted for the rendering of the works
not only of Corelli andTartini, but also of Handel,
and even Mozart, could not cope with Haydn,
and still less with Beethoven. The great merit
of the masters of the Paris School was, that they
recognised this call for a freer and bolder treat-
ment of the instrument, and approached their
task in a truly musical and artistic spirit.
The manner and style of the Paris school were
brought to Germany by Viotti and Bode, who
I Mozart's Solo Violin Concertos, with two exceptions, remain In
MS., and indeed seem to have undergone an almost total eclipse till
our own days, when one or two of them have bean resuscitated by
Pavid, Joachim, and others.
VIOLIN-PLAYING,
both travelled a great deal, and by their per-
formances effected a considerable modification in
the somewhat antiquated style then prevailing
in that country. The Mannheim school, as
already mentioned, was the most important centre
of violin-playing in Germany during the second
half of the iSth century. It produced a number
of excellent players, such as the three Stamitzes,
Chr. Cannabich, Ferd. Franzl, and others. They
had adhered more closely than the French players
to Tartini's method and manner, and not only
Spohr, but before him Mozart, speaks of their
style as old-fashioned, when compared with that
of their French contemporaries. The fact that
the last and final improvements in the bow as
made by Tourte of Paris, were probably un-
known to them, would account for this. [See
p. 155.] Another remarkable player belong-
ing to this school, was J. F. EoK (born 1766),
whose brother and pupil Fbanz Eck ( 1 774-1 809),
was the teacher of Spohr. Both the Ecks ap-
pear to some extent to have been under the in-
fluence of the French school. Spohr in his
Autobiography speaks of Franz Eck as a French
violinist. Spohr therefore can hardly be reckoned
as of the Mannheim school, and we know that
later on he was greatly impressed by Rode,
and for a considerable time studied to imitate
him. His earlier Concertos are evidently worked
after the model of Rode's Concertos. Thus —
granting the enormous difference of artistic tem-
perament— Spohr must be considered as the direct
heir of the art of Viotti and Rode. At the same
time, his individuality was so peculiar, that he
very soon formed a style of his own as a player
no less than as a composer. As a composer he
probably influenced the style of modem violin-
playing even more than as a player. His Con-
certos were, with the single exception of Bee-
thoven's Concerto, by far the most valuable con-
tributions to the literature of the violin, as a
solo instrument, hitherto made.' Compared even
with the best of Viotti's, Rode's, or Kreutzer 's
Concertos they are not merely improvements,
but in them the Violin Concerto itself is lifted
into a higher sphere, and from being more or
less a show-piece, rises to the dignity of a work
of art, to be judged as much on its own merits
as a musical composition, as by its effective-
ness as a solo-piece. Without detracting from
the merits of the works of the older masters,
it is not too much to say that there is hardly
enough musical stuff in them to have resisted the
stream of superficial virtuoso-music which more
than ever before flooded the concert- rooms during
the first half of the 19th century. We believe
that it was mainly owing to the sterling musical
worth of Spohr's violin compositions that the
great qualities of the Classical Italian and the
Paris schools have been preserved to the present
day, and have prevented the degeneration of
violin-playing. Spohr had great powers of exe-
cution, but he used them in a manner not wholly
free from one-sidedness, and it cannot be said
that he made any addition to the technique of
the instrument. He set a great example of
VIOLIN-PLAYING.
purity of style and legitimate treatment of the
instrument — an example which has lost none
of its force in the lapse of more than half a
century.
Next to Spohr no one has had a greater in-
fluence on the style of modem violin-playing
than Paganini. The fame of Corelli and Tartini
had spread far beyond their own country ; the
fiddlers of Italy, like the singers, travelled
during the i8th century all over Europe in search
of gold and laurels. Some of them returned to
enjoy a quiet old age under their native sky;
others, like Viotti, never came back. A great
many either settled abroad, in Paris or London,
or were attached to some of the many courts of
Germany. Thus we find Geminiani and Giar-
dini in London, Viotti alternately in Paris and
London, Locatelli at Amsterdam, Nardini at
Stuttgardt, as soloists, leaders, and teachers. In
this way the school of Italy was virtually trans-
ferred to France and Germany by the pupils of
Tartini ; and at the beginning of the century it
was practically extinct in Italy, where violin-
playing, with few exceptions, had sunk to a
very low level. But Italy afterwards produced
a few violinists of great eminence, who, more
or less self-taught, achieved enormous successes
as virtuosi, and no doubt have largely in-
fluenced modem violin-playing. Lolli (about
1 730-1802) was one of these; an extraordi-
nary fiddler, but a poor musician. Of much
greater importance was Paganini (i 784-1840).
The sensation he created wherever he appeared
was unprecedented. By his marvellous execu-
tion, and his thoroughly original, though eccen-
tric personality and style, he for a time held
the public and the musicians of Europe spell-
bound. His influence on the younger violinists
of the period could not fail to be considerable
— more so in France than in Germany, where
the more serious! spirit prevailing among musi-
cians and the presence of such a master as Spohr,
were powerful enough to keep the influence
within bounds. The growing importance and
popularity of chamber-music for the violin, espe-
cially of the String Quartet, since Haydn, Mozart,
and Beethoven, were another barrier against the
predominance of an exclusive virtuoso style of
violin-playing in Germany. French violinists,
especially Baillot, were certainly anxious enough
to attack these highest tasks of the violinist, but
there can be no doubt that in their hands the
works of the German classics assumed an aspect
which was too frequently more in accordance
with the French character of the performers
than with the intentions of the composers. In
this respect the minute directions which Baillot
gives for the performance of a great number of
passages extracted from the works of most emi-
nent composers, is extremely curious and in-
structive. It was but natural that Paganini
should have a number of imitators, who copied
with more or less success his harmonics and
double-harmonics, his long and quick staccatos,
pizzicatos with the left hand — in fact, all those
technical feats which, though not invented by
VIOLIN-PLAYING.
295
him, he brought to the highest pitch of perfection.
The style of the man, which had its source in his
genius and originality, was inimitable. He could
not, and did not start a school. SivOBi (bom
181 7) claimed to be his only actual pupil. But,
pupils or no pupils, Paganixii caused nothing
short of a revolution in the technique of the
French school. The striking change which the
general style of violin-playing underwent in
France during the third decade of this century
has, however, other and deeper causes, and finds
its explanation in the complete revolution in
musical taste which took place at that period.
The Classical Paris school was in reality the
school of Italy, which for the time being had
made Paris, as it were, its headquarters. Founded
by Viotti, the Italian, at a time when German
instrumental music, in the persons of Haydn
and Mozart, was occupying the attention of the
whole musical world, tMs School hardly reflected
the salient points of the French national cha-
racter, although it harmonised well with the
classical tendencies of the sister arts in that
country. In Baillot's *L'Art du Violon,' we
cannot fail to recognise already a leaning
towards a style which was more in harmony
with the genius of the French nation — a style,
brilliant, showy, fuU of shrewdly calculated
effects, elegant, and graceful, aiming chiefly at
a highly polished execution, and distinguished
by what they themselves untranslateably call elan.
At the same time, the French school gained, in
what might be termed its classical period, a basis
and a systematic method for the technical train-
ing of violinists, the advantages of which are
still so apparent in the highly finished technique
of a large number of French violin-players of the
present day.
It is only within the last fifty years that in-
stnunental composition, apart from the stage,
has gained any great importance in France. As
in Italy, so there, the operatic style of the period
determined the general musical style. Thus
we find the chaste and graceful style of M^hul
and Boieldieu reflected in Rode and the best
of his contemporaries. The success of Rossini
threw everything else for a time into the
shade, and brought about a complete revulsion
of musical taste in France ; but if Rossini's
sparkling and graceful style appealed to one
prominent feature of the national character, it
was Meyerbeer, with his supreme command of
theatrical effect, who took hold of another. The
most eminent native opera composers, Adam,
Auber, Herold, and Haldvy, while no doubt
strongly French in character, did not escape
the powerful influence of these two masters ;
and it is but natural that in common with
all other branches of musical art, violin-playing
and composition for the violin had to submit to
it. While in Germany the spirit of instru-
mental music was almost as dominant on the
stage as in the concert-room, and delayed the
formation of a truly dramatic style of music, in
France the operatic style was as supreme in the
concert-room as on the stage ; and in that senss
296
VIOLIN-PLAYING.
Baillot's characterisation of the modem style
of violin-playing as the dramatic style is quite
correct.
The two most eminent representatives of the
modern French school, Db B^biot (1802-1870)
and H. Vieuxtemps (1830-1881), were of Belgian
nationality. The Belgian school of violin-playing
is, however, in reality but a branch, though a
most important one, of the Paris school. De
B^riot's style as a composer for the violin seems
to have been formed under the influence of the
modem Italian opera composers, especially of
Rossini, Donizetti, and Bellini ; and his Con-
certos and Air8 varies, which have attained an
immense popularity all over the world, share the
strong and weak points of modem Italian music.
They have plenty of melody, though of a somewhat
sentimental kind, and their general style, without
affording much difl&culty to the player, is most
brilliant and effective. If De Beriot's ideas
are on the whole superficial and often not free
from triviality, they are also unpretentious and
unaflFected. The same can hardly be said of
Vieuxtemps. He certainly was a great violinist,
and as a musician decidedly superior to B^riot.
His compositions contain ideas of great beauty
and are often cleverly worked out, but at the
same time there is in them too frequently an
element of theatrical bombast and pretension
which is analogous to Meyerbeer's grand-opera
style, just as De Beriot's is to the spontaneous
melody of Italian opera. De Bdriot's treatment
of the instrument, though often commonplace,
does not go against its nature, while Vieuxtemps
not unfrequently seems to do violence to it, and
in some of his tours de force oversteps the boun-
daries of the beautiful. Both these great artists
travelled much, and gained by the great excel-
lence of their performances universal success in
almost every European country. Vieuxtemps was
also the first violinist, of the highest rank, who
visited America. De B^riot, as leader at the
Brussels Conservatoire, formed a great number
of excellent violinists, the best known of whom
are the Spaniard Monastebio (born 1836), Sau-
RET (born 1852), ScHBADiECK (bom 1846), and
Heebman (born 1844). Jean Beckeb (born
1836), and Lauterbach (born 1832) also studied
for some time under him.
Among Baillot's pupils F. A. Habeneck (1 78 i-
1849) attained a great reputation as conductor
and as teacher. He counts among his pupils
Sainton (bom 1813), Pbume (1816-1849),
Alabd (bom 1815) and L^onabd (bom 1819).
The two last, with Massabt (bom 181 1), a
pupil of Kreutzer, have for thirty years past,
as teachers at the Paris Conservatoire, headed
the Franco-Belgian school. Alard's most emin-
ent pupil is Sarasate (born 1844). Marsick
and M. Dengremont (bom 1866) studied under
Leonard.
WiENiAWSKi, Lotto, and Tbbesina Tua, are
pupils of Massart. Wieniawski (1835-1 880) was
indeed a wonderful player. He possessed a beauti-
ful tone, an astonishing technique of the left hand
and of the bow, and threw into his performances
VIOLIN.PLAYING.
an amount of life and warmth which, if it now
and then led to some exaggeration, was irre-
sistible. The marvellous perfection of Sarasate's
playing, and the gracefulness of his style, are too
well known to require further comment. The
character of his repertoire deserves, however,
special attention. It is a very extended one, and
illustrates a remarkable general change in the
repertoires, if not in the style, of the younger
generation of French violinists. Formerly the
French violinist, no less than the German one,
as a matter of course, wrote his own Concertos —
or if that was beyond his power, his own Fan-
tasias or the like. Unfortunately, French vio-
linists, with few exceptions, have not been highly
trained musicians. We know that Bode and
De Bdriot had even to seek assistance in the
scoring of their Concertos. The descent from the
compositions of Rode and Kreutzer to those of
De B^riot, Alard, and Leonard, is only too ap-
parent. The operatic Fantasias of the last two
mark, we may say, the lowest point to which
composition for the violin had hitherto descended.
Of late years the taste for serious instrumental
music has grown more and more universal in
France, and a reaction has set in. Not that the
public has left off its delight in brilliant technical
display. The fabulous successes of some modem
virtuosi prove the contrary. But these triumphs
have been won as much by their performance of
the best Concertos by the best composers as of
brilliant show-pieces.
In Germany we find the schools of Cassel,
Leipzig, and Vienna taking the lead. Spohr at
Cassel had a great number of pupils, but his
manner and style were too exclusively individual
to form a school. His most eminent pupil was
Ferdinand David (18 10-1873) who as founder
of the Leipzig School exercised great influence
on violin-playing in Germany. It can hardly be
said that he perpetuated in his pupils Spohr's
method and style. Entirely difi'ering from his great
master in musical temperament, enjoying from
his early youth close intercourse with Mendels-
sohn, and strongly imbued with the spirit of
modern music as manifested in Beethoven, he
represents a more modern phase in German
violin-playing and an eclecticism which has
avoided onesidedness not less in matters of tech-
nique than of musical taste and judgment gener-
ally. He was the first who played Bach's Violin
Solos, and all the last Quartets of Beethoven
(not even excepting the Fugue) in public.
Schubert's Quartets and Quintet were on the
programmes of his chamber-concerts at the time
when they had, except . perhaps at Vienna, no-
where yet been heard in public. [See vol. iii.
p. 356 b.] As a teacher his chief aim was to give
to his pupils a thorough command of the tech-
nique of the violin, and to arouse and develop
their musical intelligence. There as elsewhere
the classical works of violin literature naturally
formed the main stock of teaching-material. At
the same time David laid great stress on the
study of the modern French masters, maintaining
that, irrespective of musical value, their works.
VIOLIN.PLAYING.
being as a rule written with the aim of bringing
out the capabilities of the violin, contain a large
amount of useful material for technical training,
which in the end must benefit and improve the
execution of music of any style. The correctness
of this theory is strikingly proved by Joachim,
who as Boehm's pupil at Vienna, was made
thoroughly familiar with the technique of the
modern French school, while he studied most of
bis classical repertoire at Leipzig under David's
guidance, and in what we may term Mendels-
sohn's musical atmosphere. Joachim's unlimited
command over technical difficulties in music of
any style, which enables him to do equal justice
to Paganini and Bach, is undoubtedly largely
owing to the fact that his early training was
free from onesidedness, and that he gained
through the study of brilliant modern music the
highest finish as well as the completest mastery.
David trained a large number of good violinists :
— Japha (Cologne), Eontgen (Leipzig), Jacob-
8ohn (Bremen), Schradieck (who succeeded him
at Leipzig), F. Hegar (Zurich), and many more.
By far the most eminent of his pupils is WiL-
HELMJ (bom 1845), a virtuoso of the very first
rank, who combines a fine broad tone with a
technique of the left hand unrivalled by any
other living violinist.
A most powerful influence on the style of the
German violinists of the present-day has been
exercised by the Vienna school, more especially
by the pupils of Boehm (i 798-1876). Although
it is difficult to trace any direct connexion be-
tween the Viennese violin-players of the last
century and the school of Italy, Italian violinists
came very early to Vienna, and the local players
adopted their method and style. We know that
Tartini was for three years in the service of
Count Kinsky, a Bohemian noble, and also that
Trani, Ferrari, and other Italian virtuosos came
to Vienna. It is remarkable that the leading
Viennese composers of the last century, down to
Haydn, were almost without exception violinists.
Some of them, like Anton Wranitzky and Ditters-
dorf, were virtuosos of high rank, but most of
them were in the first place composers and
leaders, and in the second place only violinists.
Naturally they excelled less as solo-players than
in the performance of chamber-music, which at
that period hardly enjoyed anywhere so much
popularity as at Vienna. It was the time of
preparation for the great classical period which
opened with Haydn, and the circumstance that
the violin was even then cultivated in Vienna
far more in connexion with good and serious
music than merely as a solo-instrument, has
undoubtedly contributed much towards giving
to the later representatives of that school their
thoroughly musical character, and towards
making Vienna the earliest home of quartet-
playing. As a quartet-player Sohdppanzigh
(17 76- 1 830), a pupil of Wranitzky, attained
great reputation, and may be regarded as stand-
ing first on the roll of great quartet-players.
For many years in close intercourse with Haydn
.and Beethoven, enjoying the advice and guid-
VIOLIN-PLAYING.
297
ance of these great masters in the production
of their Quartets, he established the style of
quartet-playing which has been handed down
by the most eminent Vienna violinists to our
days. His greatest pupil was Matseder (1789-
1863), a brilliant solo-player, of a style more
elegant than powerful. Among his pupils the
best known are MiSKA Hauser (born 1822),
and De Ahna (bom 1835). The latter, an
excellent soloist, has lived for many years at
Berlin, and plays second violin in Joachim's
quartet.
It is however through the pupils of JOSEPH
Boehm (1798-1876) that the Vienna school
attained general renown and importance. Ernst
(1814-1865), G. Hellmesberger sen., Dont sen.,
Joachim, Ludwig Straus, Eappoldi, and Grun,
all studied \mder Boehm. Boehm himself can
hardly be reckoned as belonging to the old
Vienna school, since he made his studies under
Rode, and no doubt was also influenced by Spohr,
who resided at Vienna in 181 3, 14, and 15. The
modem Vienna school therefore, though cer-
tainly not uninfluenced by the musical traditions
of Vienna, appears in reference to technique and
specific violin-stylo to be based on the principles
of the classical French school. Counting among
its representatives players of a great diversity
of talent and artistic temperament, who after-
wards formed more or less a style of their own,
the Vienna school, or, strictly speaking, Boehm's
school, can hardly be said to have been directly
continued at Vienna. Boehm, although a
thoroughly competent violinist, was not a player
of great genius, but he was possessed of an emi-
nently sound and correct taste and judgment in
musical and technical matters, and had a rare
talent for teaching. Ernst, next to Joachim the
most famous of his pupils, came largely under the
influence of Paganini, whose style he for some
time closely imitated. Undoubtedly a violinist
of the first rank, and by no means exclusively a
bravura-player, he did not to any extent aflfect
the prevailing style of violin-playing, nor did he
train pupils. An enormous influence on modern
violin-playing, and on the general musical life of
Germany and England, is exercised by Joachim.
He combines in a unique degree the highest
executive powers with the most excellent musi-
cianship ; and while through his brilliant example
he may truly be said to have given to modem
German violin-playing a peculiar character, it
has not been without effect even on the style of
the French school. Unsurpassed as a master of
the instrument, he uses his powers of execution
exclusively in the service of art. First musician,
then violinist, seems the motto of his life and the
gist of his teaching. His performances undoubt-
edly derive their charm and supreme merit from
the strength of his talent and of his artistic
character, and are stamped with a striking origin-
ality of conception ; at the same time fidelity to
the text, and careful endeavour to enter into the
spirit and feeling of the composer, are the prin-
ciples of executive art which Joachim through
his long career has invariably practised. In the
298
VIOLIN-PLAYING.
rendering of Bach's Solos, of Beethoven's Con-
certo and Quartets, he has absolutely no rival,
and it seems impossible he should ever be sur-
passed in these liighest tasks of the violinist,
in which both his conception and execution
appear to fulfil the ideal of the composer. With
Ernst, and still more with Joachim, an element
derived from the national Hungarian, and the
Hungarian gipsy music has come into promi-
nence. Haydn, and still more Schubert, made
frequent use of its peculiar melodic progressions
and characteristic rhythms. [See vol. ii. p. 197.]
It is fiddle-music par excellence, and if introduced
into serious music with such judgment and dis-
cretion as in Joachim's Hungarian Concerto and
transcriptions of Brahms's Hungarian Dances, it
is not only artistically legitimate and musically
interesting, but opens a field for telling and
beautiful violin-eftects. It evinces the same
desire to make the resources of popular national
music available for artistic purposes, which
showed itself in Chopin's idealisations of the
Polish element, and of late in Sarasate's adapta-
tions of Spanish melodies and dances. Joachim
has trained a large number of excellent
violinists. Among the best of his pupils are:
J. Ludwig, well-known as teacher and quartet-
player in London, Hanflein (Hanover), Walde-
mar Meyer, Hollander (Cologne), Kruse (Berlin),
Kotek (Berlin), Schnitzler (Rotterdam), Hess
(Frankfort), Petri (Leipzig), Halir (Mannheim),
Schiever (Liverpool), Gompertz (London), T,
Nachez, and many more.
In addition to Boehm's pupils, the Vienna
school produced a number of eminent violinists,
such as Joseph Hellmesberger, a pupil of his
father, who for a great many years has been
the leading violinist at Vienna, and enjoys a
special reputation for quartet- playing ; Leopold
AuEB (bom 1845), pupil of Dont, jun., and per-
former of the first rank, and others. Leopold
Jansa (1796-1875) deserves to be specially men-
tioned as the teacher of the most eminent lady-
violinist of the present day, Wilma Normann-
Nerdda (born 1840). Madame Neruda, pos-
sessing a highly-finished technique, is not
merely a brilliant soloist, but a thorough musi-
cian, versed in the whole range of musical
literature, and an admirable quartet-player. It
is, no doubt, largely owing to her immense success
and popularity that of late years violin-playing
has been much taken up by ladies, but, if we
except Teresina Tua, with but transient success.
Lady amateur violinists in London, as in Boston
and New York, at the present time are counted
by hundreds.
The school of Prague— started by F. W. Pixis
(l 786-1842), a pupil of Franzl at Mannheim, and
of Viotti — has produced several violinists of note :
J. W. Kalliwoda (i 801-1866), M. Mildner
(181 2-1865), who succeeded Pixis as Professor
of the Violin at the Prague Conservatoire, and
Ferdinand Laub (1832-1874), a violinist of the
very first rank.
It remains to mention a few violinists of emi-
nence who do not stand in any direct connexion
VIOLIN-PLAYING.
with the established schools of violin-playing.
Franz Clement (i 780-1842), who was a mu-
sician and player of remarkable genius, deserves
specially to be remembered as the first who played
in public, and for whom, in fact, was written,
the Concerto of Concertos, the original MS. of
which bears this inscription : * Concerto par
Clemenza pour Clement, primo Violino e Diret-
tore al theatre di Vienna, Dal L. v. Bthvn. 1806.*
C. J. LiPlNSKi (1 790-1861) was mainly self-
taught, an excellent, solid, and brilliant player ;
though not exercising, either as composer or
teacher, much influence on violin-playing gener-
ally. Bebnhard Molique (i 803-1 869), although
a pupil of Rovelli's at Munich, must be called a
follower of Spohr. His concertos take a high rank
in violin-literature, and although they cannot
rival Spohr's in spontaneity of ideas, they show,
as it were, a further development of that mas-
ter's violin-style and technique. During his
long residence in England, Molique formed a
number of pupils, the best known of whom is
Cabrodus. Ole Bull^ (1810-1880), a player
of great originality, not free from charlatanism,
was entirely self-taught, and has not inappro-
priately been described as a Northern Paganini.
He belongs to no school, and has exercised
no influence on the style of violin-playing of
the period.
England has produced but few violin-players
of eminence, and violin-playing has, as a rule,
been represented in this country by foreigners.
Thus we find Geminiani, Giardini, Wilhelm
Cramer, Salomon, Viotti, Mori, Sainton, Straus,
Nermann Neruda, as the leading resident violin-
ists in London, while there is hardly an eminent
player during the last hundred years who has not
visited the country.
The earliest English violin -player of note
was Davis Mell, whom Hawkins calls the
great rival of the German Baltzar. [See vol. i.
P- 1 33-] John Banister (about 1640-1700)
was leader of the band of Charles II., in suc-
cession to Baltzar. Matthew Dubourg (1703-
1767) was a pupil of Geminiani, and appears
to have been a clever player. His pupil, John
Clegg (died about 1742), was a brilliant vir-
tuoso. J. Abraham Fisher (bom 1744) was
a player of much talent, who travelled a great
deal on the continent, but appears to have been
much of a charlatan. Thomas Linlet (1756-
1778) studied under Nardini at Florence, but
died young. George A. P. Bridgetower (i 779-
184-), though not bom in England, made his
studies in London, and must have been a player
of considerable powers, to judge from the fact
that Beethoven played with him the Kreutzer
Sonata for the first time in public. Thomas
Pinto (died about 1780) and George F. Pinto
(i 786-1806) were bom in London of Portuguese
parents. Both were clever violinists. Among
modem players, the most eminent are Henry
Blagbovb (1811-1872), a pupil of Spohr, and
the brothers Alpbed (1837-1876) and Henry
Holmes (bom 1839). The last-named, now
I See Bull. Ole, in Appendix.
1
VIOLTN-PLAYING.
VIOLONCELLO-PLAYING. 29^
chief Professor of the Violin at the Royal Col-
lege of Music in London, is a thoroughly artistic
player, who more especially excels in quartet-
playing.
There can be no doubt that the number of
good violin -players is very much greater at the
present time than it ever was before. Striking
originality and genius are probably as rare as
ever, but the improvement which has taken
place in the rank and file during the last forty
years is truly astonishing. While formerly
even the most famous orchestras contained but
a few who could make any claim to be soloists,
nowadays the great majority are thoroughly
trained artistic players. One of the best-known
teachers of modern times used to declare that
the same concertos which during the first half of
this century were considered the ne plus ultra of
difficulty, and were attempted in public by per-
haps a very few of the most famous virtuosos — he
used specially to adduce Lipinski's * Concerto
Militaire ' — are now as a matter of course
studied and fairly mastered by the average stu-
dent at any Conservatoire. It is obvious how much
orchestral performances must have gained by
this general spread of executive skiU, and we
can safely assume that at no period of musical
history has orchestral music been so generally
well executed as at the present day.
At the same time we cannot speak of a
modern violin-technique and a modern develop-
ment of such technique as we speak of it in
reference to piano-playing. The development
of the technique in any instrument, as a matter
of course goes along with the perfecting of its
mechanical structure. Now in the case of the
pianoforte this gradual perfecting of the me-
chanism has continued up to the present time.
Thus the technique of Mozart probably stands
in the same relation to the technique of Liszt
as an old Vienna clavicembalo to a modern
Broadwood. In the case of the violin it is
not so. For more than three hundred years
the violin has undergone no structural alteration
whatever, and no important change in the prin-
ciples of execution has taken place since the
days of Corelli. The advance made in master-
ing difficulties since the early days of violin-
playing is more apparent than real. There are
but few points of modern technique which one
or another of the old masters had not already
attempted (Locatelli, Lolli, Bach, etc.), and it
is owing only to the more complicated nature
of modem music (not to speak of the morbid
tendency towards exaggeration in every respect)
that the execution of great difficulties is more
often demanded. It is only in reference to
• bowing ' that we can speak of a modem de-
velopment, and that for the very good reason
that the modem flexible bow attained its pre-
sent form but very gradually at the end of last
century. In the art of bowing we do find, as in
piano-playing, a modem development which
follows the gradual perfecting of the instrument.
TOUBTB, of Paris, made the modem bow what it
is, and the violinists of his time were not slow
to avail themselves of its immense advantages.
Hence resulted a rapid progress in the art of
bowing, which culminated in Paganini, and.
there reached a point of perfection which is not
likely to be surpassed. [P-I^'}
VIOLONCELLO— t.c. the little Violone—
commonly Cello. For the place of this instru-
ment in the Violin family see vol. i. 580; iv.
268, 269, 281. II. The name is given to an organ
stop of 8 ft. pitch, usually to be found in the-
Pedal organ, but occasionally in the Great also.
It may be found both with open and closed
pipes. There is always, as its name implies,
some attempt to give the string quality. [W.Pa.7
VIOLONCELLO-PLAYING. Though the
manufacture of the Bass Violin or Violoncello
followed closely on the invention of the Tenor
and Treble Violins, nearly a century elapsed
before the Violoncello took its proper rank in
the family of stringed instruments. This is due
to the fact that the six-stringed Viola da gamba,
the established chamber and orchestral bass of
the 17th century, was a very popular instru-
ment, and more easily handled than the Violon-
cello, though inferior to it in power and quality
of tone. [See Gamba.] The larger and more
thickly strung Violoncello was at first employed
to strengthen the bass part in vocal music, par-
ticularly in the music of the church. It was in
Italy that the instrument first took a higher posi-
tion. The stepping-stone appears to have been
the continuous basses which formed the usual
accompaniment to solos for the Violin. The
ringing tones of the Violin demanded a more
powerful accompaniment than the Viola da^
gamba could give ; and with many Violin solo»
of the latter part of the century we find bass
parts of some difficulty, which were played on
the Violoncello by accompanists who made this
department of music a special study. Corelli is
said to have had a Violoncello accompaniment
to his solo performances, though his basso con-
tinue is obviously written in the first instance
for the Viola da gamba : but it is not until
after the death of CoreUi that we hear of the
first solo violoncello player. This was one
Franciscello (i 713-1740), of whom little ia
known except that he played solos in the prin-
cipal European capitals. The name of Vandini
has also come down to us as the violoncello-
accompanist of the solos of Tartini. These two
players rank as the fathers of the Violoncello,
and it may be assmned that it was from its
association with the Violin as a bass that the
Violoncello itself became a model instmment,
and that the methods of violin playing came ta
be applied to it.
Among the earliest compositions for the Vio-
loncello may be mentioned the sonatas of Ante-
niotti of Milan, an Amsterdam edition of which,
is dated 1736, and of Lanzetti, violoncellist to
the King of Sardinia (i 730-1 750). According
to M. Vidal^ we trace in these masters the first
decided recognition of the capacities of th*
> Les Instruments h, Archet, torn. 1. p. 327.
soo
VIOLONCELLO-PLAYING.
instrument. The left hand stops an octave and
& half (upper E) on the first string, necessitating
the use of the thumb, which is the special cha-
racteristic of the higher positions of the Violon-
cello. Canavasso and Ferrari, two other Italian
Cello players, appeared in Paris between 1 750
and 1760. There already lived in Paris a
player whose name stands by tradition at the
head of the French school. This was the famous
Berteau, who died in 1 756. None of Berteau's
compositions are known to exist, except a well-
known study printed in Duport's * Essai,' and a
sonata in Breval's ' M^thode * ; but he is always
recognised as the first of the French school of
violoncello-players. Cupis, Tillifere, the two Jan-
sons, and the elder Duport were among his pupils.
Among the classical composers, Handel and Bach
first employed the instrument in its wider range ;
it is only necessary to mention the famous six
fiolos of the latter, while well-known instances of
its use by the former are the obligato parts to
"•O Liberty* (Judas), 'What passion cannot
music raise * (St. Cecilia's Day), and * But 0 !
fiad virgin ' (L' Allegro). Pepusch's * Alexis *
was for long a favourite. With the creation of
tlie stringed quartet the Violoncello gained the
greater prominence which is exemplified in tlx,e
chamber music of Haydn and Boccherini. The
latter master was himself a solo cellist of con-
siderable ability ; he played at the . Concert
Spirituel in Paris in 1 768. Gluck is said to have
been a cellist, but no predilection for the instru-
ment appears in his works.
The true method of violoncello-playing was
first worked, out by the younger Duport, and
laid down in his famous * Essai sur le Doigt^ du
Violoncelle, et sur la Conduite de I'archet.'
DUPOKT, who was born in 1 749, made his d^but
at the Concert Spirituel in the same year in
which Boccherini performed (1768) ; the ' Essai'
was published some years later. Before Duport
much confusion had existed in fingering and
bowing the instrument ; many players, it ap-
pears, endeavoured to get over the difl&culties of
the scales by fingering the Violoncello like the
Violin, i.e. stopping whole tones with successive
fingers, thus throwing the hand into a false posi-
tion, and losing that aplomb which is indis-
pensable alike to certainty of fingering and
solidity of tone. Duport, recurring to the prac-
tice of the old Viola da gamba players, laid
down the principle that the true fingering was
by semitones, only the first and second fingers
being as a rule allowed to stretch a whole tone
where necessary ; and he overcame the inherent
difficulties of the scales by dividing the positions
Into four so-called ' Fractions,* and by adopting
a methodical system of shifting, the violin fin-
gering being only retained in the higher ' thumb'
positions, where the fingering is similar to the
first position of the Violin, the thumb acting as
ji moveable nut. The * Essai * of Duport formed
an epoch in violoncello-playini":. Among his
pupils was Frederick William, iKing of Prussia,
to whom Mozart dedicated the three famous
<iuartet8 in F major, Bb major, and D major, in
VIOLONCELLO-PLAYING.
which the Violoncello occupies so prominent a
place ; while Beethoven's two first Violoncello
sonatas (op. 5) were dedicated to Duport him-
self. The compliment of Voltaire to Duport,
who visited him when at Geneva on a musical
tour, aptly illustrates the change which was
taking place in the treatment of the instrument.
• Monsieur,' he is reported to have said, * vous
me faites croire aux miracles,: vous savez faire
d'un boeuf un rossignol ! ' In Germany Bern-
hard Romberg and Stiastny, contemporaries of
Duport, worked upon his method, while Levas-
seur, Lamare, Norblin, Platel, Baudiot and others
represented the school in France. The Italians
were slower in the cultivation of the Violoncello,
and Bumey in his Tour remarks that the Italian
players retained the underhand grasp of the bow,
while elsewhere the overhand grasp, founded on
that of the violin, was generally adopted. Since
the time of Duport, the tendency of players and
composers has been to make the Violoncello
more, and more a Bass Violin, i.e. to assimilate
its treatment more and more closely to that of
the treble instrument. The most accomplished
players even perform (an octave lower in pitch)
on it solo violin pieces of great difficulty, the
'Trillo del diavolo' and 'Carnaval de Venise*
not excepted. Merk, Franchomme, Kummer,
and Dotzauer ranked anaong the best bravura
players of their times, but the greatest master
of all the effects producible on the Violoncello
was undoubtedly the late M. Servais (died 1866),
under whose large and vigorous hand, says a
critic, the Violoncello vibrated with the facility
of a kit : the staccato in single notes, in thirds,
in octaves, all over the fingerboard, even to
the most acute tones, came out with iiTeproach-
able purity; there was never a hesitation or
a doubtful note. He was an innovator in
every sense of the word : never, before him,
had the Violoncello yielded such effects. His
compositions will remain as one of the most
marvellous monuments of the instrumental art
of our time.^ Servais may well be called the
Paganini of the Violoncello. • The English
players who have left the greatest name are
Crosdill and Lindlet. Among living players
the name of Signer Piatti shoxild be mentioned
as a master in all styles, equally admirable in
the severest classical music and in the brilliant
technical efi'ects which are embodied in some of
his own compositions. Grdtzmacher, Davidofp,
the Hausmanns, and our own Edward Howell,
must also be named.
At present players use thinner strings than
formerly : and the use of the thumb positions is
more restricted, the rule being to employ ordi-
nary stopping wherever practicable. The objec-
tion to the thumb positions is that the quasi-open
notes, being stopped sideways, are necessarily
weak and unequal. For solo perfoimance the
tenor register of the Violoncello, i.e. the first
and second strings, each employed in its lowest
octave, is the best portion of the instrument:
the ponderous notes of the lowest string are ex-
t Vidal. Instruments k Arcbet, torn. I. p. 371.
VIOLONCELLO-PLAYING.
ceedingly effective in legato and tenuto passages.
The Cello affords less scope than the Violin for
flisplaying skill in bowing, the bow being shorter
than that of the Violin, though the instrument
itself is very much larger : while the bowing is
to some extent reversed, because in the Violin
t/ie bow points in the downward direction of
tie scales, ». e. towards the lowest string, while
iri. the Cello, which is held in a reversed posi-
ti)n, the bow points in the upward direction,
towards the highest string. The rule of the
old Viola da ganiba players, however — to bow
strictly the reverse way to the Violin, i.e. to
commence the bar with an up-bow — is not appli-
cable to the Cello.
The principal Methods for the Violoncello are
those by B. Romberg, Kummer, Dotzauer, Lee,
and Piatti. The Studies of Stiastny, Griitz-
mdcher, and Lee, are usually recommended.
Perhaps the best known among special writers
fo* the instrument is Goltermaun, who wrote
many sonatas, and concertos with alternative
orchestral or pianoforte accompaniment, as well
as a very large number of lighter solos. Many
of his works possess considerable musical as well
as technical interest. Besides Goltermann, there
may be mentioned Popper, a living violoncellist
of good repute, Dunkler, and Signer Piatti, who,
besides being the author of several original com-
positions, has rendered good service to the musical
world by his admirable editions, with pianoforte
accompaniments, of the Sonatas of Marcello and
Boccherini. The principal classical compositions
for the Violoncello and Piano are Beethoven's
Four Sonatas, Hummel's Sonata, Stemdale Ben-
nett's Sonata, Schumann's Concerto and ' Stucke
im Volkston,' Molique's Concerto in D, op. 45.
Mendelssohn's predilection for the Cello is well
known. His orchestral works abound in melo-
dious and effective solos for the instrument
(Allegros of Italian and Scotch Symphonies,
Meeresstille Overture, etc.), and in addition his
Sonatas in Bb and D, and his Air with Varia-
tions in D, all for Cello and Piano, are among
the finest works in the repertoire of the cellist.
The obbligato part to the air * Be thou faithful
nnto death' (St. Paul), is a masterpiece in its
kind which will probably never be surpassed.
It is a pity that his intention of writing a Con-
certo for Cello and Orchestra was frustrated by
his death, as it would undoubtedly have been
a fine and effective composition, which, with all
its merits, Schumann's Concerto fails to be.
[See vol. ii. p. 285 a.] Onslow's Sonatas are
esteemed by some amateurs of the instrument.
Some effective duets for two Violoncellos have
been written by Dotzauer, Gross, Kummer, Lee,
Viotti, and Offenbach. The Violin and Violon-
cello concertante duets of the Bohrers, the Rom-
bergs, and Leonard and Servais, are brilliant
works, suitable for advanced performers: the
less ambitious duets for Violin and Violoncello
by Hoffmeister, Hoffmann, and Reicha should
also be mentioned. [E.J.P.]
VIOLONE {i. €. Double-bass). An organ stop
of 16 ft. pitch, with open pipes of smaller scale
VIOTTI.
SOI
than those of the Open Diapason. Generally
in the Pedal organ. [W.Pa.]
VIOLONS DU ROY. [See Vingt-quatre
ViOLONS, p. 266.]
VIOTTI, Giovanni Battista, celebrated
violin-player and composer for the violin, was
born March 23, 1753, at Fontanetto, a village in
Piedmont. His first musical instruction he got
from his father, a blacksmith, and from an itine-
rant musician of the name of Giovannini. In
1766 a bishop, who had been struck by the
cleverness of the boy's performance, sent him
to Turin, where Prince Pozzo de la Cisterna
placed him under Pugnani. He soon developed
into a fine player and entered the Royal band. In
1 780 he left Turin, and travelled with Pugnani
through Germany to Poland and Russia, meeting
with great success, especially at St. Petersburg,
and winning the favour of the Empress Catherine,
who endeavoured to attach him to her court.
But Viotti did not remain long in Russia, and
proceeded with Pugnani to London, where his
success was so great as completely to throw
every other violinist into the shade. From Lon-
don he went to Paris, and there parted from
Pugnani, who returned to Italy. He made his
first appearance at the Concert Spirituel in 1782,
and was at once acknowledged to be the greatest
living violinist. He happened to be less success-
ful on one occasion, while in the next concert a
very inferior player earned a great success. This
is said to have disgusted him so much that he
altogether ceased to play in public. In 1783 he
visited his native town and bought some property
for his father. Returned to Paris, he occupied
himself with teaching and composing, giving
at his residence regular private performances,
and playing his concertos as he finished thenx
with the accompaniment of his pupils. After
some time he accepted the leadership of the
orchestra at private concerts which had been
established By the Princes Conti, Soubise, and
other members of the aristocracy. He also fre-
quently played at the Royal Court, but kept to
his resolve not to appear in public. In 1788 he
was induced to undertake the artistic manage-
ment of the Italian Opera, a licence for which
had been granted to the Queen's hairdresser
Leonard. He succeeded in bringing together a
brilliant company of singers, and also secured
Cherubini's services as composer. From 1 789 to
1792 the Italian Opera gave performances in the
Tuileries, but on the return of the Court from
Versailles to Paris, had to be transferred to the
Theatre Feydeau. On the outbreak of the re-
volution however the enterprise quickly col-
lapsed, and Viotti, having lost almost everything
he possessed, went to London. Here he renewed
his former successes — appearing frequently at
Salomon's concerts in Hanover Square Rooms
and in the drawing-rooms of the aristocracy.
London soon filled with refugee French noble-
men. Owing probably to the circumstance that
he had had some personal dealings with the Due
d'Orl^ans (Philippe ^galit^) Viotti feU under
302
VIOTTI.
suspicion, and wa4s advised to leave England.
He went to Hamburg, and for some time lived in
complete retirement in the neighbourhood of that
town. It was there that he composed a number
of his famous violin duets. F^tis and Wasielew-
ski are both mistaken in stating that he remained
in Germany until 1 795, as we find his name on
the London concert programmes early in 1794,
and in the winter of 1794 he was acting ma-
nager of the Italian Opera at the King's Theatre.^
At the same time he played frequently in Salo-
mon's concerts, and acted as leader in Haydn's
Benefit Concerts in 1794 and 1795. He was
also director of the great Opera Concerts in 1795,
for which he brought together a band containing
the most eminent players in London, and de-
clared to be unprecedented in brilliancy of
effect. Financially however these and similar
enterprises proved to be anything but successes,
and as his old aversion to playing in public grew
more and more upon him, he retired entirely
from public life, and with the remnants of his
fortune embarked in trade, entering as a partner
in a wine merchant's firm. In 1802 he once
more visited Paris. Although firmly resolved
not to play in public, he could not resist the
persuasion of his numerous old admirers, and
after a lapse of twenty years appeared once
more at the Conservatoire, showing, by the
masterly performance of one of his later con-
certos, that his execution had lost none of its
former perfection, while as a composer he had
greatly advanced in maturity of ideas, style,
and workmanship. After a few months he re-
turned to his business in London. Viotti went
to Paris once more in 1819, and undertook the
post of director of the Opdra, at that period in
a state of utter decadence. His administration
did not restore prosperity, and in 1822 he was
pensioned off. He returned to London, and died
there March 10, 1824.
Viotti was one of the greatest violinists of all
ages, and the last great representative of the
classical Italian school. He retained in his style
of playing and composing the dignified simplicity
and noble pathos of the great masters of that
school, treating his instrument above all as a
singing voice, and keeping strictly within its na-
tural resources. As a composer he was among
the first to apply the extended modem sonata-
form to the violin concerto, and to avail himself
of the resources of the modem orchestra in his
orchestral accompaniments. In both respects he
was no doubt much influenced by Haydn, whose
symphonies were played in Paris and London as
early as 1 765, and with whom, as we have already
noticed, he came into frequent personal contact.
His ideas, though neither of striking originality
nor great force, are invariably refined and digni-
fied. The Allegros are as a rule of pathetic
character, and even in their quicker passages
broad and reposeful. Some of his Adagios have
great sentimental charm — they are however
frequently mere outlines, which, according to
the fashion of the time, the performer filled
1 See Fobl. ' Uozart and H«7dn io London.'
VIRDUNG.
out and adorned by cadenzas, shakes and othei*
ornamental passages. The Finales, with }%
few exceptions, strike the modem ear as some-
what antiquated. Of his 29 published Concertot'?,
the 22nd (in A minor) is still played in public,
being remarkable for its fine subjects and tVie
symphonic treatment of the orchestra. Tlxe
Adagio in E especially is a perfect gem. THe
exceptionally interesting and effective instru-
mentation of this concerto has been ascribed to
Cherubini, but there is no valid evidence for tliis
assumption. It is evident enough from Viotti's
earlier works that his musical education, apart
from violin-playing, was anything but complete —
the form is clumsy, the harmonies poor; it is
also true that it was by no means an unusual
thing for a virtuoso to get assistance for the
scoring of his concertos; but the steady pro-
gress to complete mastery of form observable in
Viotti's later works, coupled with his long expe-
rience as leader and conductor, make it incredible
that a man of his talent and musical instinct
should not have acquired the necessary profi-
ciency for writing an effective score.
His violin duets deserve special mention. They
have not the richness of effect of Spohr's duets,
but next to them they are the most valuable
contributions to this branch of violin literature.
His quartets, sonatas, trios, etc., are antiquated
and entirely forgotten. He published (according
to F^tis) 29 Violin Concertos, 2 Concertantes for
2 violins, 21 Quartets for stringed instruments,
21 Trios for 2 violins and a viola, 51 Violin-duets,
18 Sonatas for solo violin with bass, and a Sonata
for piano and violin. Some of the duets he also
arranged for piano and violin. Cherubini pub-
lished an arrangement of some of the trios for
piano and violin. The study of some of his con-
certos still forms part of the regular course of all
schools of violin-playing.
The most eminent of Viotti's direct pupils were
Rode and Baillot. The influence which he ex.
ercised on the style of violin-playing generally
by his brilliant example was not less strong in
Germany than in France.
Baillot published a memoir of Viotti (Paris,
1825). [P.D.]
VIRDUNG, Sebastian, author of the oldest
work describing the precursors of modem
musical instruments. It is entitled *Musica
getutscht und auszgezogen durch Sebastianum
Virdung Priesters von Amberg und alles gesang
ausz den noten in die tabulaturen diser benanten
dryer Instrumenten der Orgeln : der Lauten: und
den Flo ten transferieren zu lernen. Kurtzlich
gemacht zu eren dem hochwirdigen hoch gebor-
nen fursten unnd herren : herr Wilhalmen Bis-
chove zum Straszburg se3niem gnedigen herren.*
We read in the dedication that the Bishop in
1 5 10 had required of Virdung that he should
send to him the * Gedicht der Deutschen Musica.*
Virdung replied that on account of the great
cost he had decided to postpone printing the
great work, but to pacify the Bishop and his
own friend Andreas Sylvanus, he sends this pre-
sent extract, in which the latter appears as the
VIRDUNG.
VIRGINAL.
303
interlocutor. The place of publication is Basel ;
the date 1511. The work, which is written in
dialogue, begins with a description of the key-
board instruments ; then follow the others in use
at the time. He describes the keyboard, the organ
and clavichord, concluding with the tablature of
those instruments and of the lute and flute. The
woodcuts, taken in their order, will best briefly in-
dicate the nature of the book. The clavicordium
is the clavichord 'gebunden,' or fretted, as is
obvious from the twisted keys, and he explains
this peculiarity in the text. It shows its mono-
chord origin by the strings being all of the same
length. The soundboard is very narrow. The
virginal is an instrument of the same oblong
form, but has a triangular scale of stringing, by
an error of the engraver turned the wrong way.
The soundboard, psaltery-wise, covers the in-
terior. The compass of keyboard of both these
instruments is three octaves and a note from the
bass clef-note f to g'", the lowest fJJ being
omitted ; but Virdung goes on to say that the
compass had already, in 151 1, been extended by
repeating the lowest octave, that is, descending
to F below the bass clef. The clavicimbalum is
like the virginal, but with different compass
(the organ short octave), apparently from Bll in
the bass clef to d'"; but the B, we believe,
sounded G. [See Spinet and Virginal.] This
is the * clavicimbanum * of Sagudino, on which he
tells us little Mary Tudor pSiyed ; — the Italian
spinetta ; French espinette. The claviciterium is
figured as an upright virginal, with the same
keyboard ; but the keyboards of all these instru-
ments and the organs also are inverted in the
printing. Virdung says it has jacks (* federkile ')
like a virginal, but cat-gut strings. It was, he says,
newly invented ; he had only seen one. This is
the only early reference we have anywhere met
with to the clavicytherium. Rimbault's early
date for it in his History of Music and the chro-
nological order of keyboard instruments, are alike
without foundation and misleading; and further
to confuse matters, he has been deceived by
a blunder in Luscinius, the Latin translator
(1536) of Virdung, by which the horizontal cla-
vicimbalum appears as the claviciterium, and
vice versH. Count Correr s interesting upright
virginal, or spinetta, to be ascribed to the
last years of the 15th century, and shown
in the Loan Collection of the International In-
ventions Exhibition, 1885, has Virdung's com-
pass, but adds the bass E and "Ft, which we
assume to represent C and D short octave.
Virdung appears to know nothing about the
harpsichord or later clavicembalo, yet there
is a fine and authentic specimen of this two-
unisons instrument, dated 1521, of Roman
make, in South Kensington Museum. Virdung's
lyra is the hurdy-gurdy. His lute has 11
strings, 5 pairs and chanterelle, 6 notes; his
quintern, or treble lute, 10 strings, or 5 notes.
The Gross Geigen is a bass viol with the bridge
omitted by the draughtsman. The Harffen is
the regular mediaeval David's harp, such as
Patrick Egan was still making in Dublin as a
revival or fancy instrument some 50 or 60 years
since. The Psalterium is a triangular small
harp strung across. The Hackbrett shows the
common dulcimer. The *Clein' Geigen is a
small viol ; the Trumscheit, or Tromba Marina,
a kind of bowed monochord. The last-named
instruments, being without frets, Virdung re-
gards as useless. The wind instruments follow : —
Schalmey, Bombardt (oboes), Schwegel, Zwerch-
pfeiff (German flute), Floten (set of flauti dolci
or recorders), Ruszpfeiff, Krumhom, Hemseu
horn, Zincken (ancient cornets), Platerspil, Krum-
horner (set of Cromornes, the origin of the * Cre-
mona' in the modem organ), Sackpfeiff (bag-
pipes), Busaun (trombone), Felttrumet (cavalry
trumpet), Clareta (clarion), Thurner horn (a
kind of French horn). The organs are Orgel
(with 3 divisions of pipes), Positive (a chamber
organ), Regale (a reed organ), and Portative (pipe
regal), with, as we have said, short-octave com-
pass like the clavicimbalum, the keyboards
being reversed in the printing. The organ and
portative end at g'' instead of d''''. Lastly are
Ampos, Zymeln und Glocken (anvil and various
bells, Virdung appearing to believe in the anvil
myth). He has trusted to his own or another's
imagination in reproducing St. Jerome's instru-
ments, only the drums and perhaps psalteries
being feasible. His keyboards come next, and
are evidently trustworthy. His diagram of the
diatonic keyboard, with two Bbs oidy, agreeing
with Guido's hand, is the only evidence we are
acquainted with for this disposition of the clavi-
chord with twenty natural and two raised keys,
which Virdung says lasted long. The latter
part of the book is occupied with the Tablatures.
His lute rules meet with objections from Arnold
Schlick the younger, * Tabulatur etlicher Lobge-
sange' (Mentz, 151 2). Mendel's Lexicon says
that copies of Virdung's book are only to be
found in the Berlin and Vienna Libraries. How-
ever, Mr. Alfred Littleton, of Sydenham, owns
an original copy. A facsimile reproduction of
200 copies was brought out in 1882 at Berlin,
edited by Robert Eitner, being the nth volume
published for the Gesellschaft fiir Musikforschung,
who had previously published Arnold Schlick's
'Spiegel der Orgelmacher,' also of 1511, and
referred to by Virdung. Mendel further says
there are at Munich four 4-part German songs by
Virdung in the rare collection of Peter Schoeffer
(Mentz, 1513). They are numbered 48, 49, 52
and 54. [A.J.H.]
VIRGINAL or VIRGINALS (Fr. Clavecin
rectangulaire). Virdung (Musica getuscht und
auszgezogen ; Basel, 15 11) is the oldest authority
we can cite who describes this keyboard instru-
ment. His woodcut of it shows a rectangular
or oblong spinet, which agrees in form with
what we are told of the spinetta of 1503, said
by Banchieri (Conclusione nel suono dell' organo ;
Bologna, 1608) to have been the invention of the
Venetian Spinetti. Banchieri derives the name
* spinetta ' from this maker ; in later Italian the
oblong spinet, which is the same as Virdung's
virginal, is called • spinetta tavola.' Virdung's
804
VIRGINAL.
virginal is, in fact, of the same shape as his
clavichord, and has the same arrangement of
keyboard (from the bass clef note F), but the
soundboard of the clavichord is narrow ; the jack-
action of the virginal is derived from the psaltery
plectrum, while the tangent of the clavichord
comes from the monochord bridge. Virdung con-
fesses he knows nothing of the invention of either,
by whom or where. If the 'proverb' quoted by
Kimbault, as formerly inscribed on a wall of the
Manor House of Leckingfield, Yorkshire, be as
old as the time of Henry the Seventh (1485-1509),
it contains a reference earlier than Virdung. Rim-
bault's * History of the Pianoforte ' is a store-
house of citations, and we borrow from them
with due acknowledgment of the source and
their great value. This proverb reads,
A slac strynge in a Virginall soundithe not aright,
It doth abide no wrestinge it is so loose and light ;
The Bound-borde crasede, forsith the instrumente,
Throw misgovernance, to make notes which was not
his intente.
The house is destroyed, but the inscriptions are
preserved in a MS. at the British Museum.
According to Prsetorius, who wrote early in the
1 7th century, Virginal was then the name of the
quadrangular spinet in England and in the
Netherlands. In John Minshen's ' Ductor in Lin-
guas,' 161 7, against • Virginalls' we read, 'Instru-
mentum Musicum propria Virginum ... so called
because virgins and maidens play on them. Latin,
Clavicymbalum, Cymbaleum Virginaeum.' Other
lexicographers follow. Most to the purpose is
Blount, Griossographia,' 1656 : * Virginal (virgi-
nalis), maidenly, virginlike, hence the name of
that musical instrument called Virginals, because
maids and virgins do most commonly play on
them.' But another reason may be given for the
name ; that keyed stringed instruments were
nsed to accompany the hymn * Angelus ad
Virginem,' as similar instruments withput keys,
the psaltery, for instance, had been before them.
(See Chaucer's • Miller's Tale.*) From Henry
the Seventh's time to nearly the close of the
17th century, 'Virginal' in England included
all quilled keyboard instruments, the harpsi-
chord and trapeze-shaped spinet, as well as the
rectangular virginal of Virdung and Prsetorius.
For instance, in the ' Privy Purse Expenses of
Henry the Eighth (Sir N. H. Nicholas editor ;
London, 1827) there is an entry: '1530 (April)
Item the vj daye paied to William Lewes for ii
payer of Virginalls in one coffer with iiii stoppea,
brought to Grenwiche iii U . . . and for a little
payer of Virginalls brought to the More, &c.'
This two pair of Virginals in one case with four
stops looks very like a double harpsichord.
Again, in the inventory of the same king's
musical instruments, compiled by Philip Van
Wilder, a Dutch lute-player in the royal service,
— the manuscript is in the British Museum — * a
payre of new long virginalls made harp fashion
of Cipres, with keys of Ivory, etc' Still later,
in 1638, from 'Original unpublished papers
illustrative of the life of Sir Peter Rubens*
(London, 1859), ^^ ^"^ * correspondence be-
VIRGINAL.
tween Sir F. Windebanck, private secretary to
Charles the First, and the painter Gerbier, relat-
ing to a Ruckers * virginal ' the latter had under-
taken to procure : ' Cest une double queue ainsi
nommde [i.e. 'virginal'] ay ant quatre registres et
le clavier plac^ au bout.' There can be no doubt
about either of these ; although called virginals,
they were at the same time double harpsichords.
Huyghens (CoiTespondance, Jonkbloet et Land ;
Leyden, 1883) shows how invariably the clavi-
cimbal or espinette was ' virginal ' in England.
Henry the Eighth played well, according to con-
temporary authority, on the virginal, and he
had a virginal player attached to the Court,
one John Heywood, who died at Mechlin about
1565-* The same Heywood was one of Edward
the Sixth's three virginal players. Mary, Eliza-
beth and James the First retained as many.
Queen Mary is said to have equalled, if not sur-
passed, Queen Elizabeth in music, playing the
regals and lute, as well as the virginals. One
Cowts used to repair her virginals (Privy Purse
expenses of the Princess Mary, Sir F. Madden,
ed. ; London, 1S31). Queen Elizabeth's Vir-
ginal Book was in MS., and the first engraved
music for this tribe of instruments, including
harpsichords, was the 'Parthenia, the first
musicke that ever was printed for the Vir-
ginals'; London, 161 1. After the restoration
of the Stuarts, we find in difierent publications
for the harpsichord and virginal, the instruments
clearly separated.
John Playford, in * Musick's Handmaid,' dis-
tinguishes them, and in 1672, * Introduction to
the skill of Musick,' names Mr. Stephen Keen
as a maker of 'Harpsycons and Virginals.'
John Loosemore, Adam Leversidge, and Thomas
White appear to have been at that time foremost
English makers ; they adopted the Italian coffer-
shaped instrument, combining with it Flemish
fashions in painting. Pepys, describing (Sept. 2,
1666) the flight of the citizens at the time of the
Great Fire, says, *I observed that hardly one
lighter or boat in three that had the goods of a
house in, but there was a paire of virginals in
it.' The plural, or rather dual, in organs, regals,
virginals, with the following 'pair,' signifies a
graduation or sequence, as now-a-days ♦ a pair of
stairs.' In spite of the interesting statement of
Pepys the destruction of virginals by this terrible
catastrophe must have been very greaj, for very
few musical instruments are found in this country
anterior in date to the Great Fire. In Queen Anne's
reign we hear no more of the virginal ; the ' spin-
net ' is the favourite domestic instrument.
' Queen Elizabeth's Virginal,' which bears her
royal arms and is the property of the Gresley
family, a familiar object in the Tudor room of
the Historic Loan Collection of the Inventions
Exhibition, 1885, is really a pentagonal spinet,
evidently of Italian make. With reference to
Stephen Keene, a beautiful spinet of his make
(spinetta traversa), belonging to Sir George
1 Hr. W. H. J. Weale owns a medal strack for Michael Hercator ot
Venloo In 1539. Mercator was maker of Virginals to Floris d'EgmonW-
Cardinal Wolsey, and Ueury VIII. He was bom 1491. died 1544.
VIRGINAL.
Grove, has been examined with respect to the
soundboard barring ; we reproduce the diagram
showing the barring, exhibited with the instru-
ment in the same collection. Mersenne (Har-
VIRGINAL MUSIC.
305
5TEPHANVS
LoNDiNiFEnr
monie Universelle, 1636) mentions the skill of
the contemporary French spinet-makers in thus
preparing their soundboards. But that the
Italians were their models is conclusively shown
by the Antoni Patavini Spinet of 1550, belong-
ing to Brussels, which we have now been able
to examine, and the date of which there is no
reason to dispute.
Notwithstanding the statement of Prsetorius,
we have not found the name Virginal comnjon in
the Netherlands. The * Clavecin Rectangulaire '
is 'Vierkante Clavisimbal.' The Ruckers, as
well as other Antwerp makers, made these oblong
instruments and so called them.^ Although not
bearing upon Virginals, except in the general
Old English sense, we take this opportunity to
describe the Ruckers instruments that have
come to light since the last addition (vol. iii,
p. 652) in the catalogue of them given, pp. 197-9
in the same volume.
Hans Ruckebs de Oude (the Eldeb).
(Continuation of Tables in vol. iii. pp. 197, 652.)
63 ' Bent side.
64 Trapeze.
86 Bent side.
1591
1612
ft. In. ft. in.
7 6 by 2 U
S 7 toy 1 11
7 6 by 3 0
General Bescriplum.
2 keyboards (put In by Messrs. Broadwood, 1885).
Kose No. 1. Case and compass as No. 47. In-
scribed Joannes Rvckers me fecit Antvek-
PUE, 1612. Found at Windsor Castle, 1883.
This may have been the large Harpsichord
left by Handel to Smith, and given by the
latter to King George III.
2 keyboards ; black naturals. Rose No. 1. No
name of original maker, but inscribed 'Mis
en ravalement par Pascal Taskin, 1774,' mean-
ing that the compass of keys was extended.
This beautiful instrument, painted in-
side and out with Louis XIV. subjects by
Vander Meulen, Is said to have belonged to
Marie Antoinette. It vrtll be remembered as
having adorned the Louis Seize Boom of the
Historic Collection, Inventions Exhibition,
London. 1885.
Present Owner.
H. M. The Queen.
T. J.Canneel, Director of
the Acad^mie Boyale
Ghent.
Lord Fowerscourt.
A. J. Hipkins.
T. J. Canned.
A. J. HipklM.
(18 Bent side.
Andeies Ruckebs de Oude (the Eldeb).
7 8 by 3 1 2 keyboards. Kose No. 6. Buff stop. "Mis en i Museo Civico, Turin,
ravalement par Pascal Taskin, 1782.' Case
A. J. Hipkini.
and top Lacquer with Japanese figures,
hibited, London, 1885.
Ex-
Lastly, to complete the short-octave theories
put forth in Spinet, which we are enabled to
do by nearer examination of instruments con-
tributed to the present Historic Loan Collection
(1885), the natural keys of the Patavini Spinet
mentioned above are marked with their names.
The lowest E key is clearly inscribed Do-C ; on
the next, the F, is written F. This writing is
not so early as 1550, because Do was not then
used for Ut. The probable date is about one
hundred years later, when the solmisation was
finally giving way before the simple alphabetic
notation. There are other instances. Then as
to the cut sharps : ^ the small Maidstone clavi-
1 The oldest spinet with cut sharps In the Historic loan Collection
Is according to the Facles, by Edward Blount ; but on the first key,
aAd less legibly on the Jacks, Is written • Thomas Hitchcock his make
In 1664 ' A similar autographic inscription of this maker, but dated
1703 has been brought forward by Mr. Taphouse of Oxford. We are
thus enabled to find Thomas Hitchcock's working time. We think
John Hitchcock came after him.
VOL. IV. PT. 3.
chord, said to have been Handel's, has the two
nearer or front divisions intended for fourths
below the next higher naturals, the two further
or back divisions being the usual semitones.
The first explanation, as ofi'ered in vol. iii,
p. 654 b, may be therefore assumed to be true,
and this, as well as the preceding hypothesis,
established as facts. [A.J.H.]
VIRGINAL MUSIC, COLLECTIONS OF.
I. The most remarkable, and in many respects
the most valuable collection of English 17th cen-
tury instrumental music is that contained in the
volume known for the last century by the mis-
leading name of Queen Elizabeth's Virginal
Booh. This book, which is now preserved in
the Fitzwilliam Museum at Cambridge, is a
small folio volume containing 220 folios of paper
2 See • De Llggeren der Antwerpsche Slnt Lucasgllde,'by Rombouts
and Van Lerius. Antwerp and the Hague, 1?TO
806
VIRGINAL MUSIC.
ruled by hand for music in 6-Une staves, aog of
■which are filled with music written in a small but
distinct handwriting. The volume measures
33 A centimetres in height by 23 centimetres in
breadth, and the binding (a fine specimen of Eng-
lish 1 7th-century workmanship) is of crimson mo-
rocco, enriched with beautiful gold tooling, the
sides being sprinkled with fleurs-de-lis. The
water-mark on the paper is a crozier-case, mea-
suring 4^ inches in height and 2^ inches in its
widest part. It is possible that this mark indi-
cates that the paper was manufactured at Basel,
as the arms of that town are similar to it. The
manuscript has in places been cut by the binder,
but the binding is probably not of later date than
the bulk of the book. Nothing is known of the
history of the volume before the early part of the
1 8th century, when it was first noticed as being
in the possession of Dr. Pepusch, but there is
sufficient evidence to prove that it can never
have belonged, as is generally supposed, to
Queen Elizabeth. As has been already stated,
the whole of the manuscript is in one handwrit-
ing ; in many cases the compositions it contains
bear the dates at which they were composed, and
these dates (as will be seen from the list printed
below) are in no sort of chronological order. The
latest dated composition contained in the collec-
tion is an ' Ut, re, mi, fa, sol, la, a 4 voci,' by the
Amsterdam organist Jehan Peterson Swellinck
(1577-81-1621), which occurs on page 216, and
bears the date 1 61 2, nine years after the death
of Queen Elizabeth, to whom the book is said to
have belonged. But there is another piece in
the volume which proves that the collection must
have been written even later than this. At page
255 is a short composition by Dr. John Bull, en-
titled * D. Bull's Juell ' (i. e. * Dr. Bull's Jewel ').
Another copy of this occurs on folio 496 of a
"manuscript collection of Bull's instrumental mu-
sic preserved in the British Museum (Add. MSS.
23,623), which is particularly valuable as con-
taining the dates at which most of the composi-
tions were written, and this copy bears the
inscription 'Het Juweel van Doctor Jan Bull
quod fecit anno 1621. December.' The volume
must therefore have been written later than this,
and in all probability it dates fi:om the third
decade of the 1 7th century, the character of the
handwriting, as well as the absence of composi-
tions by musicians of a later date precluding the
SossibiUty of its being of more recent origin.
Ir. Chappell, at the beginning of his work on
the • Popular Music of the Olden Time ' ^ (p. xv.)
surmises that this collection may have been
made for, or by, an English resident in the
Netherlands, and that Dr. Pepusch obtained it
in that country. This conjecture he founds upon
the fact that the only name which occurs in an
abbreviated form throughout the book is that of
I The edition of this yroA referred to in this article Is that pub-
lished by Chappell i Co. In two volumes, without a date. The full
title-page runs as follows: 'The Ballad Literature and Popular
Music of the Olden Time: a History of the Ancient Songs, Ballads,
and the Dance Tunes of England, with numerous Anecdotes and
entire Ballads. Also a Short Account of the Minstrels. By W.
Chappell, F.S.A. The wbol« of the Airs barmonlzed by 0. A. Uac-
furea.'
VIRGINAL MUSIC.
Tregian, and that a sonnet signed * Fr. Tregian *
is prefixed to Verstegan's 'Restitution of De-
cayed Intelligence,* which was published at
Antwerp in 1605. The abbreviated name oc-
curs as follows: at p. iii is a composition of
William Byrd's headed * Treg. Ground ' ; at p.
152 is a ' Pavana Dolorosa. Treg.,* set by Peter
Philips and dated 1593; at p. 196 is a short
piece entitled * Heaven and Earth,' to which no
composer's name is given besides the syllable
* Fre * (probably a contraction of • F. Tregian ') ;
and at p. 297 in the margin, the initials • F.
Tr.' are written against the first line of a jig
by William Byrd; on p. 315 'Mrs. Katherin
Tregian's Pauen' is written in the margin against
a Pavana Chromatica by William Tisdall. These
few clues certainly point to some connection of the
volume with the Tregian family, and it so hap-
pens that the history of at least two individuals
of the name of F. Tregian is known with a con-
siderable degree of certainty. The Tregians
were a very rich and powerful Catholic family,
whose seat was at Golden or Volveden in Corn-
wall, in which county their estates were said to
have been worth £3000 per annum. Towards
the close of the i6th century the head of the
family was named Francis Tregian : his mother
was named Katherine, and was the daughter of
Sir John and Lady EUzabeth Arundell of Lan-
heme.' In the year 1577 the Tregian family
seem to have become suspected, probably as
much on account of their wealth as of their
religion, and (according to one account) a con-
spiracy was planned for their ruin. On June 8
the house at Golden was entered and searched,
and one Cuthbert Mayne, a priest of Douay,
steward to Francis Tregian, was arrested and
imprisoned, with several other of Tregian's ser-
vants, ' all gentlemen saving one,' says a contem-
porary account, in Launceston Gaol. At the
following assizes, Mayne was convicted of high
treason, and was hanged, drawn, and quartered
at Launceston on Nov. 29 of the same year.
Tregian himself, who had been bound over to
appear at the assizes, was committed a close pri-
soner to the Marshalsea, where he remained for
ten months. He was then suddenly arraigned at
the King's Bench and sent into Cornwall to be
tried. For some time the jury would deliver no
verdict, but after they had been repeatedly
threatened by the judges, a conviction was ob-
tained, and Tregian was sentenced to suffer the
penalty of praemunire and to perpetual banish-
ment. On hearing his sentence he exclaimed,
' Pereant bona, quae si non periissent, fortassis
dominum suum perdidissent I ' Immediately
judgment was given, Tregian was laden with
irons and thrown into the foul common gaol of
the county ; his goods were seized, his wife and
children were expelled, and his mother was de-
prived of her jointure, so that 'she remained
oppresst with calamity untill her death.'
After being moved from prison to prison, and
« Harleian Society Publications, vol, ix., Visitation of Cromwell of
1620. p. 275, note. See also Cooke's VlslUtion In 1673 (Harl. MS.
VIRGINAL MUSIC.
suffering indignities without number, which he
endured with the utmost fortitude, T^egian was
finally removed to the Fleet, where his wife
joined him. He remained in prison for twenty-
four (or, according to some accounts, twenty-
eight) years, during which time he suffered
much from illness, but occupied himself by writ-
ing poetry, and about the end of Elizabeth's
reign he was released on the petition of his
friends, though his estates still remained for-
feited. In 1606 he left England on account of
his ill-health, and went to Madrid. On his way
he visited Douay (July 1606), and at Madrid he
was kindly received by Philip III., who granted
him a pension. He retired to Lisbon, and died
there Sept. 25, 1608, aged 60. He was buried
in the church of St. Roch, and soon came to be
regarded as a saint. His body was said to have
been found uncorrupted twenty years after his
death, and it was alleged that miracles had been
worked at his grave. Francis Tregian had no
less than eighteen children, of whom eleven were
born in prison. The eldest son, who bore his
father's name of Francis, on June 29, 1608,
bought back the family estates for £6,500, but
in the following year he was convicted of recu-
sancy, and part of the lands were again seized.
In 161 1 he is said to have compounded with the
Crown, to have sold the rest of his property and
gone to Spain, where he was made a grandee,
and became the ancestor of the St. Angelo
family. He was living in 1620, and probably
did not die until 1630, when an inquisition was
held of his lands. Another son of Francis Tre-
gian the elder's, Charles by name, was educated
at Rheims, and entered the household of Cardi-
nal Allen. After the Cardinal's death (1594),
Charles Tregian wrote a 'Planctus de Morte
Cardinalis Alani.' He is said later to have served
with the Spanish army in the Netherlands, and
was living in 1611.^
It will thus be seen that the connection of the
Tregian family with the Netherlands was even
closer than Mr. Chappell suspected, but it was
impossible that the Virginal book could have
been written by the elder Francis Tregian, who
(according to Oliver) was the author of the son-
net prefixed to Verstegan's work. If the account
of the younger Francis Tregian's settling in
Spain is accurate, it is 'hardly probable that he
was the transcriber of the MS. But whoever
the actual scribe was, the series of dated pieces
by Peter Philipps (pp. 134-165), who was an
English Catholic ecclesiastic settled in the Ne-
therlands, and possibly a connexion of Morgan
Philipps, one of the first Professors of the Douay
College, the note (p. 284) to the Pavana of Byrd's
(who was all his life a Catholic), the heading of
the jig (p. 306), 'Doctor Bull's myselfe' (Bull
went to Holland in 161 3), all point to the con-
clusion that the collection was formed by some
1 Farther Information as to tbe Tregian family may be found In
the following works :— Oliver's 'Catholic Religion in Comwairj
> Polwhele's 'History of Cornwall,' volumes iv. and v. ; Catholic Mis-
cellany for June, 1823; also In Add. MSS. 21,203, and in the State
Fapers, particularly Domestic Series, James 1, 1619, volume 41, and
IffiW. volume U6.
VIRGINAL MUSIC.
3or
one who was intimate with the Catholic refugees
of the period, while the probable connection of
the book with the Tregian family, the details of
whose misfortunes are more interesting than the
above short sketch can convey, lends to it a
value beyond that of its musical contents.
The earliest account of this collection of Vir-
ginal music occurs in the Life of Dr. John Bull
in Ward's Lives of the Gresham Professors (1740),
in which is printed a list of Bull's compositions
contained in it. Ward states that his informa-
tion was derived from Dr. Pepusch, who com-
municated the contents of the volume to him,
describing it as 'a large folio neatly written,
bound in red Turkey leather, and guilt.' In
this no mention is made of the book having be-
longed to Queen Elizabeth. In 1762 it was
bought for 10 guineas at the sale of Dr. Pe-
pusch's collection by R. Bremner, who gave it to
Lord Fitzwilliam, in whose possession it was in
1783. It is next noticed in Hawkins's History
(1776), where it is first stated to have been in
Queen Elizabeth's possession. Hawkins also
tells the story (repeated by Burney) of Pepusch's
wife, Margherita de I'Epine, having attempted
to play the music it contained, but although an
excellent harpsichord player, never having been
able to master the first piece. Bull's Variations
on ' Walsingham.' Burney (1789) adds the
well-known account of Elizabeth's playing to Sir
James Melvil, with the remark that if she could
execute any of the pieces in the Virginal Book,
she must have been a very great player, as some
are so difficult that it would be hard to find
a master in Europe who would play them with-
out a month's practice. Burney's acquaintance
with the MS. must have been very slight, as he
describes Peter Philipps's Fantasia on p. 158 as
a regular fugue for the organ. Burney's remarks
have been repeated by several writers, amongst
others by Steevens, in his notes to 'Winter's
Tale' (1803), but with the exception of Mr.
Chappell's conjecture nothing further has been
discovered with regard to the origin or history
of the book. A MS. index of its contents was
in the possession of Bartleman, and from this a
copy was made in 18 16 by Henry Smith, and
inserted at the end of the original volume. In
Warren's edition of Boyce's * Cathedral Music *
(1849), a list of its contents was printed in the
notes to the Life of Byrd, but this is in many
respects inaccurate. In framing the following
list some attempt has been made to give a
few references to similar collections in which
other copies of the compositions indexed may be
found. The compositions mostly consist of airs
and variations, the different sections of which
are numbered consecutively. Thus the first
piece in the book consists of 29 variations on
the air * Walsingham,' but as in the MS. the air
itself is numbered ' i,' the number of sections is
stated in the index to be thirty. The references
to Mr. Chappell's work are to the edition already
mentioned. The spelling of the MS. is generally
retained, but in a few instances abbreviations
have been omitted.
Xa
308
VIRGINAL MUSIC.
VIRGINAL MUSIC.
Page.
Num-
ber.
1
10
12
14
15
16
17
19
21
9
23
10
S7
u
88
12
90
13
S3
14
S3
18
83
16
84
17
8S
18
W
19
87
20
38
21
M
22
^ 40
23
41
24
41
25
42
26
43
27
44
28
46
29
47
80
49
81
64
S2
6B
33
63
34
66
35
67
36
69
87
70
38
72
89
74
40
76
41
18
42
Deteription.
Walsingham . . . .
Fantasia
Fantasia
Pauana ...•••
Yariatlo
Galliarda
Variation
Fantasia
* Goe from my Wndow'
'Jhon come kisse me
now.
Galliarda to my L. Lum-
ley's Fauen, Pag. 76 .
Nancle
Pauana
Alman ......
Bobin
Pauana
Galiarda
Barafustus Dreame . .
Xuscadin
Alman
Galiarda
Praeludium . . . .
Praeludiura. El.Kider-
mister.
Praeludium , . . .
Praeludium . . . .
The Irish Ho-hoane .
Pauana
Yariatlo
Galiarda
Varlatio
The Quadran Pauen .
Variation of the Quad-
ran Pauan.
Galiard to y" Quadran
Pauan.
Pauana. Do
Galiard to the Pauen .
St. Thomas Wake . .
In Nomine
Pauana
The Woods so Wilde w
Pauana of My L. Lum-
ley.
' Goe from my Window '
Composer.
Dr. John Bull.*
John munday.
Ferdo Bichardson.s
William Byrd.
Thomas Morley.9
W. Byrd.s
T. Morley.8
Doctor Bull.»
Jhon Munday.
M.S.
Dr. Bull."
U
Ferdinando Blchardson
Bob. Jhonson. Sett by
Giles Farnabie.
Doctor Bull."
Jhon Munday.w
I Chappell, p. 121. Ward (Lives of the Gresham Professors) says,
•This tune was first composed by William Byrde with twenty-two
Tarlatlons ; and afterwards thirty others were added to It by Dr. Bull.'
Another copy is in Benjamin Cosyn's Virginal Book, p. 189. See also
Forster's Virginal Book, p. 74.
a Contains 80 bars of music descriptive of a storm. The different
sections are headed, Falre Wether, Lightning, Thunder, Calme
Wether, Lightning. Thunder, Falre Wether, Lightning, Thunder.
Falre Wether, Lightning, Thunder, A Cleare Day. [See Pboqeamme
MD8I0,Vo1. lii. p. 86.]
* A copy of this Is In Add. MSS. 80,485, fol. 76 b.
«Add.MSS.80,485.fol.76 6.
B Chappell, pp. 140, 142. A setting by Wm. Byrd Is in B. Cosyn's
Virginal Book, p. 139. See also No. 42. Another setting (by Francis
Pilkington. Mus. Bao.) is in lute tablature in Add. MSS. 31,392,
fol. 28.
« Chappell, pp. 122, 147. 218, 660. 771.
7 Mentioned in Ward's List. A copy Is in B. Cosyn's Virginal
Book, p. 120.
• Chappell, p. 149. » In Ward's List w Ibid.
II Chappell, pp. 240, 775. Vide it\fra, p. 241.
U Vide infra, p. 410. W i.e. ' Ochone.' Chappell, p. 793.
i« Chappell, p. 104. A different setting by Dr. Bull is In Cosyn's
Virginal Book. p. 94. See also Add. MSS. 29,485, p. 34 ; 30.485, fol. 176 ;
81,392, fol. 20 ; and Foster's Virginal Book, pp. 96 and 202 ; also it\fra
p. 245. This and the next seven pieces are in Ward's List.
19 In Ward's List this Is called ' Fantasia upon a Plain Song.'
M Only one bar of the fifth section has been written in, the rest of the
page is left blank. Chappell, p. 66. A copy of this is in Add. MSS.
81.403, which gives the name of Orlando Gibbons as the composer.
See also Forster's Virginal Book. p. 118: Lady Nevell's Virginal
Book, fol. 109 ; and Add. MSS. 30,485, fol. 67 ; also infra, No. 68.
17 'Vide the Galllard to this Pauen, pag. 27' (note in the MS.). In
Cosyn's Virginal Book, p. 15, this Pavan and its Galliard have
Oosyn's initials to them. It is mentioned in Ward's List.
18 ' Vide p. 21.' This is the same composition as that on p. 21, attri-
buted to Morley, but the copy on p. 21 wants the final section.
Another setting (by Byrd) is in Forster's Book, p. SM, and In
Cosyn's Book, p. 157.
Num-
ber.
80
43
81
44
82
45
86
46
87
47
89
48
91
49
91
50
92
51
94
52
98
63
100
64
101
55
102
56
104
67
106
68
108
59
111
60
114
61
116
62
119
63
120
64
123
66
125
66
127
67
129
68
132
69
134
70
135
71
137
72
138
73
139
74
141
75
142
76
146
77
148
78
160
79
152
80
154
81
155
82
156
83
158
84
161
85
162
86
Deeeription.
Praeludium . . . .
Gloria TibiTrinltas. .
Saluator Mundl . . .
Galliarda
Varlatio
Galiarda to the Pauen,
Pag. 63. Dor.
Praeludium . . . .
In Nomine
Vt, re, mi, fa, sol, la .
Fantasia.
The K(ing's) Hunt . .
Spagnioletta . . . .
For 2 Virg
Passamezzo Pauana .
Galiardus Passamezzo.
The Carman's Whistle
The Hunt '8 Up . . .
Treg. Ground . . . .
Monsieur's Alman . .
Varlatio
Selllnger's Bound . .
Fortune
0 Mistris myne . . .
The Woods so Wild . .
Walsingham ....
The Bells
a) Tirsi di Luca Ma-
renzio 1» x^^rte. In-
tauolata di Pietro
Philippl.
(2) Freno, 2» parte . .
(3) Cosi Morlro, 3*
parte.
(4) Fece da voU 6 . .
(5) Pauana Pagget . .
(6) Galiard
(7) Passamezzo Pau-
ana. [mezzo.
(8) Galiarda Passa-
(9) Chi fara fede al clelo
dl Alessandro Striggio
(10) Bon Jour mon
Cueur dl Orlando.
(11) Pauana Dolorosa.
Treg.
(12) Galiarda Dolorosa
aS) Amarilli dl Julio
Bomano.
(14) MargotteLaborez.
aS) Fantasia ....
(16) Pauana ....
(17) Le Eossignol . .
CompoMT,
Doctor Bull.
Thomas OIdfield.4
William Blithman.B
Doctor Bull.6
W. Byrd.
Giles Farnabie.i
W. Byrd.»
•
1590. n
Peeter Philips.
1602.
1593.
1608.
16(6.
1580.2*
1595.
1 Ward calls this • Praeludium to Gloria Tlbi Trlnltas.*
a This and the following three pieces are in Ward's List.
s There are two similarly named compositions by Bull In Add. MSS.
23,623, fol. 19, and 81,403 respectively, but all three are different.
4 This composer is totally unknovm.
B Written on the same plainsong as 'In Nomlnes' byBlytheman
In Add. MSS. 81,403, and S0.4S6. < In Ward's List.
I Chappell, p. 60. See also Cosyn's Book, p. 75.
• A curious little piece of eight bars for two Virginals.
» See vol. 11. p. 662 a. This Pavan and the following Galliard also
occur in Lady Nevell's Book, fol. 92,"and Will Forster's Book, p. 217.
See also p. 142, No. 76.
10 This celebrated piece has been often printed. Copies of It ar»
In Lady Nevell's Book, fol. 149, and in Add. MSS. 81,403 and 80,486.
and Forster's Book, p. 130. Chappell, pp. 137—140. 428.
II Chappell, pp. 53, 60—62, 196; a copy is In Lady Nevell's Book;
fol. 46.
12 A copy of this is in Lady Nevell's Book, fol. 1536. where It U
called 'Hughe Astons grownde.'
13 A copy of this is in Forster's Book, p. 244. A different setting i»
in Lady Nevell's Book, fol. 1736, of which a copy Is also in Forster'fr
Virginal Book, p. 366.
14 Chappell, p. 69, where the melody Is printed In Byrd's arrange*
ment. A copy is in Lady Nevell's Book, fol. 166 6.
19 Chappell, p. 162, u ibld. p. 909.
17 A different setting from that contained In p. 74, ». tupra. Copies
in Lady Nevell's Book. fol. 109 and Add. MSS. 31,403. See also Will
Forster's Virginal Book. p. 118.
13 See No. 1. Other copies of this setting are In Lady Narell's Book,
fol. 31, and Will Forster's Book, p. 74.
15 See vol. 11. p. 662 a.
20 In the margin Is the following note (part of which hu been 001^
by the binder) : ' The first one Philips made.'
VIRGINAL MUSIC.
VIRGINAL MUSIC.
309
Page.
192
194
196
197
198
199
201
205
210
212
213
214
215
215
216
219
221
222
Num-
ber.
Description.
aS) Galliarda . . .
(19) Fantasia . . .
(1) Fantasia . . .
Alman
PauanaBray . . .
Galiarda
Pauana. Ph. Tr. . ,
Galiarda ,
Toccata
Praludlum Toccata 1 ,
Pauana 1 . . . . ,
Galiarda 2
Praeludium to y« Fan-
cle, pag. 94.
Vt, re, ml, fit, sol, la .
Vt. mLre
Fantasia
All in a Garden green .
Heaven and Earth . .
Preludium
Venl
Fantasia
Foellx Namque. l»»n .
Foellx Namque. 2"" .
Daphne. 6
Pawles Whistle. 6 . .
Quodling's Delight. 7 .
Praeludium . . . .
Praeludium Dor. . .
Praludium . . , . .
Vt, re, ml, fa, sol, la,
ii4vocl. 2 . . . .
In Nomine
Praeludium . . . .
Pauana Lachrymae .
Galiarda .
Pauana. 1
Fantasia
Christe Bedemptor .
The Mayden's Song . .
Putt vp thy dagger,
Jemy. 8
Bony Sweet Eobln. 9 .
Fantasia. 10 ... .
A Grounde. 2 . , . .
Barafostus Dreame. 3 .
The Hunting Galliard. 4
Quadran Pauen . . .
Galiard to the Quadran
Pauen
Composer.
Peeter Philips, 1696.
,. 1582.
Nicholas Strogers.
Martin Peereson.
W. Byrd.
Giouannl Pichi.i
Jehan Pieterson Swel-
linck.
Thomas Warrock.
Wm. Byrd.
W. Byrd.2
Fre.
Dr. Bull.
Dr. Bull.4
Thomas Tallis. 1562.5
.. 1564.6
Giles Farnaby.7
Jehan Peterson Swel-
llnck. 1612.
Dr. BuU.
John Dowland. Sett
foorthbyWm. Byrd.u
James Harding. Sett
foorth by Wm. Byrd.u
Thomas Tomklns.
Thomas Morley.
Dr. Bull.i3
Wm. Byrd.H
Giles Farnaby.
Thomas Tomkins.
„ 16
Wm. Byrd."
The
1 Part of p. 176, and pp. 177, 178, 179, and 180 are blank,
numeration of the pieces leaves off here.
2 This piece consists of seventeen quite short sections. At the foot
of p. 189 Is written • Perge.'
s Chappell, p. 110. Occurs in Lady Novell's Book, fol. 1426.
* In Ward's List.
8 In Add. M88. 30,485. a collection of Virginal Music headed
•Extracts firom Lady Nevll's Music Book,' but containing much
besides, Is a 'Felix Namque' by Tallis, against which (In a later band)
is written • 1562. In the Virginal Book,' but this is a different com-
position from either this or the following.
6 A copy of this, entitled ' Felix Numquam,' is In Forster's Virginal
Book (p. 24) with no composer's name to it. Another ' Felix Nam-
que' Is In Benjamin Oosyn's Book (p. 150); this Is different from any of
the above, bringing up the number of Tallls's settings to four. (See
vol. iv. p. 54.)
7 No. 4 of Giles Famaby's ' Canzonets to Foure Voyces ' (1598) is
•Daphne on the Bainebow.'
8 Chappell, pp. 456. 782, 794. » In Ward's List. lo Ibid.
11 Add. MSB. 31,392 (fol. 35) has 'Dowland's Lachrymae' In lute
tablature. The tune Is to be found In nearly every Elizabethan
collection, and Is frequently alluded to by writers. It occurs at
fol. 71 a of Add. MSS. .<)0,485, and a setting by Cosyn Is In his Virginal
Book, p. 8. See Chappell, p. 92, and infra.
12 Occurs as 'Hardlngs Galliard,' without Byrd's name, Forster's
Book, p. 380. Two fancies by James Harding are In Add. MSS. 30,485,
ff. 47 and 50.
13 In Ward's List.
M Occurs at fol. 113 a of Lady Nevlll's Book. A copy Is in Add. MSS.
81.403.
15 Chappell. p. 233. In Add. MSS. 23,623 Is (fol. 136) 'Bonnl well
Bobin van Doct. Jan Bull,' dated Jan. 18, 1627.
i< Vide $upra. No. .S5, to which this Is a different setting.
17 Vide tupra, No. 31. A copy Is in Forster's Book, p. 288.
u A copy is in Forster's Book, p. 302.
Page.
Deteription.
The King's Hunt. . .
Pauana
Galiarda
D. Bull's Juell . . .
The Spanish Pauen . .
In Nomine. 1 . . . .
Wooddy-Cock. 2. . .
The Duke of Bruns-
wick's Alman . . .
Eosasolis. 12 ... .
Psalme. 3
Alman .
Alman. 2
Alman. 2
The New Sa-hoo. 13
Nobodyes GIgge. 1 .
Malt 's come downe
Praeludium. . . .
Alman
Pauana ..,..,
Galiarda
LaVolta
Alman ...,.,
Wolsey's Wilde . .
Callino Casturame .
LaVolta. T. Morley ,
Bowland
Whyaskeyoui2 . . ,
The Ghost
Alman ......
Pauana
Galiarda
Pauana ......
Galiarda
Pauana
The Queenes Alman .
AMedley
Pauana
Galliarda
Miserere, 8 Parts . . .
Miserere, 4 Parts . . .
Pakington's Pownde ".
The Irlshe Dumpe 15 .
Watkins Aleifi. . . .
AGIgg
Pipers Pauen . , . .
Piper* Galliard . . .
Variatio Eiusdem . .
Praeludium. D. . . .
Galiarda
Galiarda
AUemanda
Can shee
Composer.
Persons.
Giles Farnaby.*
Dr. Bull.5
Giles Famaby.«
Jehan Pieterson Swel-
ling.
Bobert Johnson.
B. Johnson. Sett by
Giles Farnaby.
Giles Farnaby.
Bichard Farnaby, sonns
to Giles Farnaby.
William Byrd. 7
Thomas Morley.
William Byrd.8
Wm.Byrd.
W. Byrd.w
Byrd.
„ 18
W. Byrd.
Thomas Morley.
Wm. Byrd.
W. Byrd."
Martin Peerson.
Dr. BuU.i8
Marchant,
1 This and the following four pieces are in Ward's List.
2 This occurs In Add. MSS. 23.623 (fol. 49 6). where it is entitled
• Het Juweel van Doctor Jan Bull quod fecit anno 1621. December.'
Ward, who prints a list of the contents of this version Inserts the
date ' 12,' before the name of the month. A slightly different version
occurs at p. 124 of Cosyn's Virginal Book.
3 Chappell, pp. 240. 776. * Ibid. p. 793.
6 In Ward's List.
8 At fol. 176 of Add. MS. 23.623 Is a different setting of this air
entitled ' Bose a soils van Joan (sic) Bull Doct.' The sections of this
piece are termed 'variations.'
7 Chappell, p. 74.
8 Occurs under the name ' Leualto ' at p. 20 of Forster's Virginal
Book.
8 Chappell, p. 86. See Forster's Book (p. 70).
10 Chappell, p. 793. This tune, the Irish origin of which Is denoted
by its name (' Colleen oge asthore ') Is referred to in ShtJiespeare'a
Henry V. Another copy Is at fol. 96 6 of Add. MSS. 30,485.
11 Chappell, pp. 114 and 770. Occurs under the name 'Lord Willo-
bles welcome home,' at fol. 46 6 of Lady Nevlll's 'Virginal Book' and
at p. 22 of Forster's Book. Against the bass line is written in tho
margin ' 300 to S. T. by Tom.'
12 Vide infra, p. 401.
13 In the margin Is written ' the first t(hat) euer hee m(ade).' The
letters in brackets have been cut by the binder.
» Chappell, pp. 123 and 771. Another copy Is at p. 46 of Oosyn'*
Virginal Book, where it is signed with his Initials.
15 Chappell, p. 793.
18 Ibid. p. 136. Occurs at p. 460 of Forster's Book.
17 Against the first line In the margin is written 'F. Tr.'
18 This and the four following pieces are In Ward's List.
310
VIRGINAL MUSIC.
VIRGINAL MUSIC.
Num-
her.
ao6
185
i
SOT
186
£
aoz
187
]
SOT
188
J
308
189
(
308
190
J
308
191
J
909
192
1
309
193
;
310
194
i
310
195
i
SIO
196
(
310
197
i
su
198
c
SU
199
c
311
200
(
811
201
1
312
202
1
312
203
]
313
204
i
SM
205
J
314
206
814
2OT
I
815
208
i
315
209
.
817
210
^
321
211
(
824
m
1
827
213
(
828
214
J
828
215
1
829
216
(
329
217
i
829
218
(
329
219
(
330
220
<
330
221
(
830
222
2
831
223
(
881
224
;
833
225
:
834
226
■
335
227
:
838
229
810
230
841
231
^
343
232
844
233
:
346
234
847
285
:
849
236
J
351
237
362
238
855
239
'
356
240
]
SOT
241
358
2i2
358
243
859
244
859
245
359
216
862
217
864
248
1
365
249
866
250
SOT
251
368
252
870
253
870
254
871
255
873
256
874
257
DeaeripUon.
AGIgge. Dr. Bulls My-
selfe.
Sr Jhon Grayes Gallard
Fraeludium ....
A Toy
Giles Farnaby's Dreame
His Best. Galiard .
His Humour . . .
Fayne would I wedd
A Maslce
A Maslca
An AlmaiQ . . . •
Corranto. • . • •
Alman . . . • .
Corranto
Corranto
Corranto . . . . •
Daunce
Worster Braules . .
Fantasia . . . . •
A Haske . . . . .
Fraeludium . . .
Martin sayd to his ManS
Almand
Fauana Cliromatica
Vt, re, mi, fa, sol, la
Gipseis Bound . .
Fautasia. 4 . • .
Corranto. ■ . • . .
Fauana. Clement Cot-
ts. 3
Fauana. 4 . . • • •
Corranto. . • • • .
Alman. ..••••
Corranto. . . • • .
Corranto
Corranto
Corranto
Alman .
Corranto. . . . . .
Fantasia. 20 ... .
Lotti to depart. 21 . .
'22. Fantasia' . . .
Fantasia. 23 ... .
Walter Earle'sFauen.;
Fantasia. 28 . . .
L. Zouches Maslce. 30 .
AGrounde. 31 . . .
Corranto
VpT(ails)All. 32. . .
Thomson's Medley . .
Nowel's Galiard . , .
Tower Hill
Fraeludium. 33 . . .
The King's Morisco. .
A Duo
Alman
A Galliard Ground . .
The Leaues bee greene. 2
Pauana
Galiarda.
Fauana ......
Galiarda ......
Fauana ,
Fauana Fant(astica) .
Galiarda
The Earle of Oxford's
Marche
Galiarda
Fantasia. . . • . .
Composer.
W.B.
Dr. BuU,«
Giles Farnaby.
Bichard Farnaby,
Giles Farnabye.
Thomas Tomklns.
Giles Farnabye.3
William Tlsdall.
., •
Dr. BnU.T
Wm. Byrd.8
Jhon Fieterson Sweel-
ing, Organista a Am-
steireda.
' William Byrd sett.'
Wm. Tisdall.
Hooper.
Hooper.
Giles Farnaby.
W.Byrd.
Giles Farnaby .»
Edward Johnson.
Giles Farnaby.
Bichard Farnaby.
William Inglot.
W. Byrd.
Jehan Oystermayre.
W.Byrd. 12
I In Ward's List. 2 Ibid.
> In the margin are some words which Mr. Chappell reads
*B. Bysd Silas.'
* In Ward's List. S Chappell, p. 76.
« In the margin is written ' Mrs. Katherin Treglan's Pauen."
t Ward calls thU ' Fantasia with 23 Variations upon Ut. re. mi, fa.
Ml, la.' « Chappell, pp. 171,772,
9 Ibid. pp. 173, 708, 772. lo Ibid. pp. 196, 773
II Burney says this is the same as 'The Marche before the Batell'
ftt fol. 13 b of Lady Nevell's Book.
12 In the margin is written ' Vied P. rhillppl scrp. la medesima fuga,
pag. 158.' The sutject is the same as that of Philips' Fantasia (No. 84).
Against the third line is written ' . . . . (Ulegible) Is fuga e fuggira.'
P-o'- Tr
Deseriplion.
The Duchesse of Bruns-
wick's Toye.
AToye
Corranto
Corranto Lady Bicha .
Corranto. . . . . .
AGigge
AToye
ThePrimerose . . .
The Fall of the Leafe .
Farnaby's Conceit . .
Allemanda
Pauana. Canon. 2 parts
in one.
PescoddTime. . . .
Pauana Delight . . .
Galiarda ,
Miserere, 3 parts . . .
Tell mee. Daphne . .
Mai Sims
Munday's Gioy . . .
Bosseter's Galiard . .
The Flatt Pauan . .
Fauana ......
Whyaskeyou. . . .
Farmer Pauen . . .
Dalling Alman . . .
The Old Spognoletta .
Lachrimae Pauan . .
Meridian Alman . . .
Fauana
Muscadin
Lady Montegle's Pauen
Galiarda. 5
Fantasia
Hanskin
Composer.
Giles Farnaby.
Martin Peerson.
Martin Peereson.
Giles Farnabye.
Wm. Byrd.
EdwardJohnson. Sett
by Will. Byrd.
Edward Johnson. Sett
by Wm. Byrd.
Dr. Bull.s
Giles Farnaby .4
I. i> '
Munday.
Sett by Giles Farnaby.«
Giles Farnaby.
Giles Farnaby.
J.D. Sett by Giles Far-
naby.
Sett by Giles Farnaby.*
Orlando Gibbons.
Giles Farnaby.io
Wm. Byrd.
Wm. Tisdall.
Giles Farnaby.
Bichard Farnaby. U
The music ends on p. 418. At the end of the
volume is an index of the contents sio^ned ' Henry
Smith Richmond, scripsit, from a MS. Index in
the Possession of Mr. Bartleman. 24 March,
1 816.' In this pieces, copies of which occur in
Lady Nevell's book, are marked with an asterisk.
2. My Ladye Nevelh Bodke. This valuable
collection of Byrd's Virginal music belongs to
the Marquess of Abergavenny, in whose family
it has remained since it was written. It is an
oblong folio volume, beautifully bound in mo-
rocco enriched with gold, green, and red, and
lined with blue watered silk. On the title-page
is an illuminated coat of arms and the monogram
* H. N.' The music is written on a 6-line stave
in square-headed notes, and was copied by John
Baldwin of Windsor, a fine volume of whose
transcribing is preserved in the Queen's Library
at Buckingham Palace. Hawkins, who alludes
to this MS. in vol. iii. (p. 288) and vol. iv. (p. 386)
of his History of Music, states that the book was
given by Byrd to his scholar, Lady Nevill, but
there is no evidence in support of this assertion.
The MS. was examined by Mr. Chappell when
1 In Ward's List. A copy is in Cosyn's Book, p. 199.
2 Chappell, p. 196. Same air as No. 59 (p. 108). See Lady Xevell'i
Book, fol. 46.
« In Ward's List. « Chappell, p, 168. 8 Ibid, pp, 177, 789.
« Rossiter published a volume of 'Consort Lessons ' in 1609.
7 In the margin is written ' Vedi Mor. 287.' This refers to a curious
piece of plagiarism, section 3 of Morley's Pavan, on p. 287, being
nearly Identical with section 3 of Farnaby's on p. 400.
8 At p. CO of Cosyn's Book is a setting of this air signed 'B.C.,' and
at fol. 95 h of Add. MSS. 30,485 is another by Bull. Vide iupra, p. 279.
9 Vide supra. V. ^232.
10 The air of this Is the same as that of No. 19.
11 Chappell, p. 23.
VIRGINAL MUSIC.
VIRGINAL MUSIC.
311
writing his work on English Music, in which
volume it is frequently referred to. The follow-
ing is a list of its contents : —
"cr
Name.
Folio.
Compo$er.
1
My Ladye Nevel's grownde .
1
Mr.W.Blrde.
2
Qui passe: for my Ladye Nevel
8
M N
S
The Marche before the bat-
tell.i
136
4
The Souldlers Bommons: the
Marche of Footemen.
U
The Marche of Horsmen . .
20
Now foloweth the Trumpetts :
21
the Trumpetts.
The Irishe Marche . . . .
226
The Bagpipe
21
And the Drone
24
The Flute and the Droome .
25
The Marche to the Figbte . .
28
The Eetreat. Now foloweth
a Galliarde for the Victorle.
6
TheGalliarde
32
Mr. W. Blrde.
6
The Barelye Breake ....
31
Mr. W. Birde Gentle-
manofHerMaiestie's
Chappel.
7
A Galliards Gygge
43
Mr. W. Birde organiste
of Her Malestie's
Chappell.
8
The Huntes Upp
46
Mr. W. Birde. Laus sit
Deo.2
9
10
Utremlfasolla
The First Pauian
466
586
} Finis Mr.W.Blrde.
11
The Galliard foloweth . . .
616
•1 » II
12
Then Pauian
63
13
TheGalliarde
65
» M f>
14
The ni Pauian
67
It M II
15
The Gallarde to the same . .
696
16
The nn Pauian
716
17
The Galliard heer followeth .
736
Mr. W. Birde. Homo
memorabilis.
18
The y Pauian
756
) Mr.W.Blrde. Laudes
j" Deo.
19
TheGalliarde
786
20
Paiiana the VI. Klnbrugh.
Goodd.
806
Mr. W. Birde.
21
The Galliarde folows . . . .
84
Laus sit Deo. Mr. W.
Birde.
'J2
The Seventh Pauian ....
86
Mr. W. Birde Gentle-
man of the Chappell.
23
The Eighte Pauian ....
&9
Mr. W. Birde of the
Chappell.3
21
The passlnge mesures Pauian
ofMr.W.Birdes.
92
Mr. W. Birde.
25
The Galliarde foloweth. The
996
Mr. W. Birde of the
Galliarde.
Chappell.
26
A Voluntarle for my Ladye
Nevell.
1056
Finis Mr. W. Birde.4
27
WIU you walke the woods so
109
Finis Mr. W. Birde.
wylde.
Anno 1590.
28
The Maidens songe . . . .
113
Mr. W. Birde.5
29
A Lesson of Voluntarle . . .
1196
Finis. Mr. W. Birde.
30
The Seconde Grownde . . .
126
Mr. W. Bird.
31
Haue with you to Walsing-
135
Finis Maister W.
hame.
Blrde.8
32
AUtaagardengrine. . . .
1426
Mr. W. Bird.7
33
Lord WlUobies welcome home
1466
Finis Maister Willm.
Blrde.8
34
The Carman's Whistle . . .
149
Finis Maister WUlm.
Birde.9
35
Hugh Astons Grownde . . .
1536
Mr. W. Birde.w
as
Afancle
161
37
Bellinger's Rownda . . , .
1666
Finis. Mr. W.Blrde-n
I A copy of numbers 8, 4, and 6 Is In the Christ Church Library,
Oxford. This curious piece was known as ' Mr. Byrd's Battle." At
fol.296 occur the words: 'Tantara tantara, the battels be joyned.'
See vol. 11. p. 422 a ; vol. 111. pp. 35 6 and 644 a. Hawkins, vol. It. 386.
3 Queen Elizabeth's Virginal Book, no. 59.
8 Forster's Virginal Book, p. 217. Queen Elizabeth's Book, no. 56.
■• Queen Elizabeth's Book. no. 67.
5 A copy of this is in Add. MSS. 31,403.
« Queen Elizabeth's Book, no. 68. Forster's Book, p. 74. Add.
MSS SO 485.
7 On fol. 145 6 Is vnitten : * Here Is a falte, a polnte left out wch ye
shall flnde prickte, after the end of the nexte songe, upon the 148
leafe.' Queen Elizabeth's Book, p. 194.
8 Forster's Book, p. 22.
9 Queen Elizabeth's Book, no. 58. "Forster's Book p. 130. Add.
MSS. 31.403, and 30,485.
10 Queen Elizabeth's Book, no. 66.
II Queen Elizabeth's VtrKinal Book. p. 120.
Num-
ber.
Name.
Folio.
88
Munser's Almaine ....
1736
39
The Tennthe Pauian: Mr.W.
Peter.
1806
40
The Galliard
1346
41
AFancie
1866
42
A Voluntarle
191
Composer.
Finis. Mr.W.Blrde.i
Finis. The Galliarde
followeth.
Finis Mr. W. Birde.
Finis Mr." W. Blrde.
Gentleman of the
Queen's ChappeU.
At the end of the volume is * The Table for
this booke,' after which is the following colo-
phon : • Ffinished and ended the leventh of
September in the yeare of our Lorde God 1591
and in the 33 yeare of the raigne of our sofferaine
ladie Elizabeth by the grace of God queene of
Englande, etc. By me Jo. Baldwine of Windsore.
Laudes Deo.*
3. Will. Forster's Virginal BooTc. This vo-
lume, which belongs to Her Majesty the Queen,
is preserved at Buckingham Palace, and consists
of 238 octavo folios ruled in 6-line staves. The
water-marks are a shield surmounted by a coro-
net, bearing a fleur-de-lis on the escutcheon, and
a pot with the initials * E. O. R.' The book pro-
bably belonged to Sir John Hawkins, and has
been bound in modern times in half red morocco
and paper boards. At the beginning is a * Table
of the Lessons,' written in the same hand as the
rest of the book, and signed *3i Januarie 1624.
Will. Forster.' The following is a list of the
contents of the volume : —
1 A Grounde of Mr. Bird's . .
2 I. The French Coranto . . .
3 The Second French Coranto .
4 The 3rd French Coranto . .
5 ALevolto2
6 Lo. Wlllobles wellcome home
7 FellxNunquam3
8 A Home pipe
9 Eapasse
10 Wilson's Wilde*
11 An Almaine
12 Aslwentto Walsinghams .
13 Galllardo
14 QuadroPavine
15 Almayne .
16 Pavin
17 The Wood soe wylde 8 . . .
18 Pavin
19
20 Parludam
21 A Galliard
22 The New Medley
23 3 voc. Praise the Lord.
Psalme 103.
24 The Lord, executeth righte-
ousness, k 3 voc.
25 For looke howe highe. Ji 3 voc.
26 The Dales of Man. h. 3 voc. . .
27 The Lord, k 3 voc
28 Have Mercle. & 3 voc
I Forster's Book, p. 366. A different setting In Queen Elizabeth's
Book, p. 114. 2 i, e. a Lavolta.
3 This composition Is attributed In Queen Elizabeth's Book to
Tallis, and dated 1564 : the name should be ' Felix Namque.'
4 The first note only has been written In. In the Table of Lessons,
this composition Is attributed to Byrd.
6 In the ' Table ' called * Wilsingham' only.
< A mistake Is made In the pagination here. Pages 118 and 119 are
the same.
7 In the Table this Is called * Ground.' It Is the well-known ' Car-
man's Whistle.*
8 • The 5th and last of the 103 Psalme.'
• 'The 1 of the 51 Psalme.'
Page.
Composer.
2
Byrd.
14
„
16
18
20
22
24
50
63
Byrd.
70
"
72
74
Byrd.
88
Thomas Morlejr.
96
II »»
110
114
Byrd.
118
127
Byrd.
130
7
136
137
143
150
John Ward.
152
» „
154
•I M
156
158
160
„ „ 9
312
VIRGINAL MUSIC.
■ar
JTanu.
Pag4.
162
Composer.
29
Behoald
» »
JW
Tnrne Thye Face
.. ft
SI
Deliver mee
32
The Marchanfs Dreame . .
170
33
84
n S ....
182
3!5
186
<
86
188
Byrd.
37
196
EngUtt.
38
The Quadrant Pavln ....
202
Bull.
39
Fassa Measures Pavin . . .
217
Byrd.
40
Passa Measures Galllard . .
230
„
41
Mr. Bird's Gallard
240
„
42
Mounser's Alman
S44
„
43
Fortune. ........
252
258
44
AQrounde
„
45
A Ground
263
„
46
Parsons Innominey (sic) . .
272
,.
47
Johnson's dellghte
276
48
The Galllard to the PaTin
aforesaid.
am
-
49
Quadrant Pavln. . . . . .
288
n
60
The Galllard
802
61
Pavln
811
n
6ii
The Galllard
819
M
63
A Galllard
822
t.
64
Go6 from my Wlndoe . . .
324
..
66
Lachramle
331
66
A Pa van
S40
57
68
Doctor Bull's Galldard). . .
347
352
860
866
BulL
69
60
Mounser's Alman
Byrd.
61
Harding's Gall(lard) ....
888
62
AParludam
886
Byrd.
63
AGrounde
890
••
64
A Pavln
404
65
Galllard
412
416
66
An Alman
67
A pavln
420
68
The Galllard
426
69
Bobbin Hood
430
70
If my Complaints, or Py-
per's Galllard.
442
71
The King's Hunt
447
Bull.
72
456
458
73
Praeludiam
74
WatklnsAle
460
75
462
7«
464
77
The same a noate lower . .
466
78
468
4. Benjamin Cosyn's Virginal Book. This
fine folio volume, like the last-mentioned collec-
tion, is the property of Her Majesty, and is pre-
served at Buckingham Palace. The binding is
of English workmanship, and contemporary with
the MS. It consists of calf with gold tooling.
The letters ' B. C are stamped both on the front
and the back, and part of the tooling has been
stamped above the letters ' M. O.' — ^probably the
initials of an earlier owner. The book has been
shut by brass clasps, but these are now broken
off. At the beginning is an index, divided into
* A Table of these Lessons followinge made and
sett forth by Ben Cos,' ♦ A Table of these Les-
sons followinge made by Mr. Docter Bull,' 'A
Table of these Lessons following made by Mr.
Or. Gibbons,' * These lessons following are made
by Tallis and Byrd,' after which comes a list of
six services contained in the same volume, at the
end of which is written * These are y* six services
for the Kings Royall Chappell.' The same page
also contains 'A Catch of 9 parts in one,' *Let
VIRGINAL MUSIC.
us goe pray for John Cook's soul,' and * A Table
of all these lessons generally contained in this
Booke are in Nomber: 96. By me Beniamin
Cosyn Right owner of this Booke.* Hawkins
(History, vol. iii. p. 421) says that Benjamin
Cosyn was *a famous composer of lessons for the
harpsichord, and probably an excellent performer
on that instrument,* that he flourished about the
year 1600, and that ' there are many of his les-
sons extant that seem in no respect inferior to
those of Bull.' The last statement looks as if
Hawkins had been acquainted with the Virginal
Book, for many of the lessons in it against which
Cosyn's name appears, are undoubtedly the
compositions of Bull and of other authors : indeed
it is probable that further research would show
that Cosyn had very little to do with any of the
compositions in the book. His name is found in
no other collection, and who he was is not known.
A John Cosyn is mentioned by Anthony k Wood
(Bodleian Library, Wood, 19 D. (4) 106) as
organist of Charterhouse.
The following is a complete list of the contents
of the volume : as the old pagination is in places
irregular, the pages have been numbered freshly.
The titles in the index are sometimes different
from those in the body of the book : when these
variations occur, they have been noted in the
last column : —
1 •2ofye61Psalme.'
t 'Marcthant's Dreame ' (Table).
s A Pavan.
f 'Lacfaramy ' (Table).
> 'The last of the 51 Psalme.'
< 'Byrd '(Table).
• 'The Qalliard to It' (Table).
1
Namt.
Composer.
1 TUle in Index.
A Prelude
1 BenJ. Cosyn
2
A Pavln
2
n n
[In E, La, Mi.
J
The Galllard to Itt . .
6
In A, Be.
4
Lacrlme Pavln . . .
8
6
The Galllard to Itt . .
12
» M
6
A Pavln
15
The Lo. Lumlye's Pavln
•!
The Galllard to Itt . .
19
»
fi
A Grounde
22
w »
In A. Re.
9
A Grounde
29
In Gam, Ut
10
SermoneBlando. . .
38
11
A Galllard
42
„ „ .InFf.fii.ut.
12
„
48
„ „ 1 In D, sol, re.
13
Paklnton's Pownde. .
46
» » 1
14
AGalUard
49
1 A cross-handed Galllar.l.
15
Dum Aurora . . . .
64
I
16
Whleaskeyou . . .
59
„ „ ''Whyaskeyu*.
17
The Queene's Com-
62
Orl. Glbbons'ln the Index attributed
mande.
to Cosyn.
18
Filllday Floutes me .
64
BenJ. Cosyn
18. 'Fillida.'
19
My Self
20
Miserere
21
What you Will . . .
VI
^
22
A Galllard
tf M
•My Lo. Blch. his Gal-
llard.'
23
The Kings Hunt . . .
75
24
Thomas Lupoes Gal-
llard.
w n
25
My Lo. Burrows Gal-
llard.
80
m H
26
Ut, re. ml. la, sol. la .
82
Orl. Gibbons
In the Index attributed
to Cosyn.
27
AGalliard
Ben). Cosyn
•6r Robert Southwell'*
Gall.'
28
Mr. Stroude'8 Galllard
90
29
The Galllard to Doct.
Bulles Fantastick
Pavin.
91
m m
SO
Preludiem
93
Doctor Bull
* A Prelode In Gamut.'
31
The Quadren Pavln. .
94
32
The Galllard to itt . .
101
S3
Pavana
106
•Finis. Doct.
Bulles Ffen-
tasticall Fa-
vine'
'The Pbantaiticall Pa-
vln.
34
APavlnInA.». . .
110
Doctor Bull
85
The Galllard to itt . .
113
86
Pavana
114
• A Pavin in D, sol, re.'
87
Qalliard
114a
'The Galllard to itt.'
VIRGINAL MUSIC.
VITTORIA.
313
Brunswick's Toy . .
Tavana
lialliardo ....
Pavana ■
TheGalliard . . . .
Wake Galliard. . .
Docter BuUe's Jewell
Duretto
A Galliard . , , .
A Prelude
A Galliard
Fantasia
Pavana
The Galliard to itt . .
As I went to Wallslng-
ham.
Felix Kamque. . . .
Gee from my windoe .
1. Gall tarda. . . . .
3. A Maske .
4. Galliard ,
6. A Fancy .
7. A Toy . ,
8. Galliard .
9. Almaine
10. Almaine
11. AUmaine
12. Fantasia
Galliard . .
The Goldfinch .
Pavana . . .
Pavana . . .
Allmaine
Galliard ......
Fantasia
Prelludem . . . . .
Fantasia
In Nomine
Fantasia
An Allmaine . , . .
Allmaine
80 A Fancy for a Double
Orgaine.
Fantasia
9i
95
Pavana
Composer.
Thos. TallU
Will. Byrd
Orl. Gibbons,
' Bachellor
ofMusIk.'
Orl. Gibbons
Orl. Gibbons
Benj. Cosyn
Doctor Bull
Mr. Yves sett
forth by B,
Cosyn
Orl. Gibbons
TheVautlng Galliard.'
In Nomine
Dr. BuUes Greefe . .
Galliard
Mr. Sevan's Morning
and Evening Service.
O my Sonne Absolon .
Morning and Evening
Service in D.
Morning and Evening
Service in D.
Morning and Evening
Service in D.
gr, Venite In F
97 1 Morning and Evening
Service In F.
98 1 Morning Service in F.
Her Majesty the Queen has graciously allowed
the writer to examine and describe the two
1 Cosyn's name does not occur In the Index: no. 96 consists of
a Te Deum, Benedlctus, Kyrle, Oreed, Magnificat, and Nunc DimittU,
and the whole service is attributed to Gibbons.
Strogers
Byrd
Benj. Cosyn 1
Orl. Gibbons
Title in Index.
'The Duke of Bruns-
wick."
' The Trumpet Pavln.*
' The Galliard to it.'
' The Lo.Lumlies Pavln.*
'The Galliard to it.'
' Wake's Galliard.'
' The Lo. Hunsden's Gal-
liard.'
In ff, fa, ut.
The Galliard to Pavan
no. 70.
•A Fancy.'
• The MallincholyPavin.'
The Hunt's up.'
The La. Batten's Gal-
liard.'
Attributed to Orlando
Gibbons in the Index.
' The Ffrench Allmaine.'
• Another Allmaine.'
• A Fancy.'
•Sir BIchard Latener's
Galliard,'
'A Pavln in Gamut flatt.'
• Mr. Yves his Allmaine.'
The Coranto to itt.'
A Fancy.'
A Prelude.'
A Fancy.'
A Fancy.'
A Fancy In Gamut
flatt.'
■ A Fancy In C, fa, ut.'
Another Fancy in C,
fa, ut.'
A Fancy In A, re.'
The Galliard to no, 87,
The La. Lucie's Gal-
liard.'
Queene Elizabeth's Pa-
vln.'
collections of Virginal Music at Bucldngham
Palace ; his thanks are also due to the Marquess
of Abergavenny, for permission to examine and
describe Lady Nevell's Virginal Book, preserved
at Bridge Castle ; to Mr. E. Maunde Thompson,
Dr. Charles Waldstein, Mr. W. G. Cusins, and
particularly to Mr. Bertram Pollock and Mr.
Birkitt, who have respectively been of great
assistance in different points which have arisen
with respect to this article. [W.B.S.]
VIRTUOSO. A term of Italian origin, ap-
plied, more abroad than in England, to a player
who excels in the technical part of his art. Such
players being naturally open to a temptation to
indulge their ability unduly at the expense of
the meaning of the composer, the word has ac-
quired a somewhat depreciatory meaning, as of
display for its own sake. Virtuositat — or vir-
tuosity, if the word may be allowed — is the
condition of playing like a virtuoso.
Mendelssohn never did, Mme. Schumann and
Joachim never do, play in the style alluded to.
It would be invidious to mention those who
do. [G.]
VITALI, ToMASO, an eminent violinist and
composer, was born at Bologna about the middle
of the 1 7th century. He appears to have held
appointments as leader of orchestras at Bologna
and Modena successively, and, according to
F^tis, published 5 sets of Sonatas for i and 2
Violins with Bass. His name has in our days
again been made known to the general public by
aChaconne with variations, which was edited by
F. David (* Hohe Schule ') and has frequently
been played in public by Mme. Neruda and
others. This work, which has rightly been de-
scribed as a worthy precursor of Bach's famous
Chaconne, proves Vitali to have been a musician
of great skill and remarkable talent. [B.D.]
VITTORIA, ToMMASO Ludovico da — or, to
give the name in its Latin form, Victoria,
Thomas Ludovicus de — is, next to Palestrina,
the greatest musician of the Roman school of
the T6th century. Though Vittoria is assigned
to the Roman school, that must not be under-
stood as if he ever became a mere follower or
imitator of Palestrina, as he is sometimes con-
sidered. He was Spanish by birth, and always
remained Spanish in feeling ; but, like Escobedo,
Morales, Soto, etc., he made Rome the principal
sphere of his activity. It is perhaps on this
account that it is not usual to reckon a distinct
Spanish school of music, as well as on account
of the general affinity of style of these Spanish
composers to their Roman contemporaries. We
should not however forget that the Roman school
itself was partly formed and largely influenced
by these Spanish musicians. Palestrina, in whom
the Roman school is practically summed up, must
have learnt as much from his Spanish predeces-
sors who held office in the Papal chapel, Escobedo
and Morales, as from his immediate master
Goudimel. If from Goudimel and older Nether-
landers Palestrina learned his science, his fami-
liarity with all the technicalities of his art,
314
VITTORIA.
and if firom Arcadelt he caught the gift
of sweet and natural expressiveness, from the
Spanish masters he acquired something of that
depth of feeling which is their special charac-
teristic. Proske, speaking of the Spaniard Mo-
rales, says ' the reform of the pure church style,
which was afterwards perfected by Palestrina,
is happily anticipated in many parts of the
works of Morales, for his style is noble and
dignified, and often penetrated with such depth
of feeling as is hardly to be found in any other
master ' (Musica Divina, III. xiv.). Ambros too
acknowledges that already in Morales * there is
developed out of the vigorous stem of Netherland
art, that pure bloom of the higher ideal style,
which we are accustomed to call Eoman ' (Bd. iii.
588). If it were not that Palestrina has so
much overshadowed his predecessors and con-
temporaries, it would perhaps be more correct,
especially when we take Vittoria into account,
to speak of the Hispano-Roman school. We
shall not be far wrong in attributing to Spanish
influence that particular cast of the religious
spirit which breathes out of Palestrina's music,
and in considering generally that to the happy
commixture of Spanish seriousness and gravity
with Italian grace, softness and sweetness, is
due that peculiar impression of heavenliness and
angelic pvirity which has so often been noted
as characteristic of the Palestrina style in its
perfection. In connexion with this, we may also
note the fact that it was the Spanish bishops, at
the Council of Trent, who by their resistance to
the exclusion of polyphonic music from the ser-
vices, obtained the appointment of that celebrated
commission which gave occasion to the composi-
tion of Palestrina's Missa Papae Marcelli.
It might almost be considered as a symbol
of the close connexion of the Spanish music of
the 1 6th century with Spanish religion that
Avila, the birthplace of Saint Teresa, the most
striking embodiment of the Spanish religious
spirit, was also the birthplace of Vittoria, the
noblest representative of Spanish music. The
mystic-ascetical spirit peculiar to Spain is com-
mon to both. It is the expression of this spirit
in Vittoria's music that vindicates his claim to
an independent position of his own beside Pales-
trina, and redeems him from being considered
a servile follower or imitator. In the preface
to his edition of Vittoria's Missa pro Defunctis
h 6^ Haberl casts doubt on the usually re-
ceived opinion that Vittoria was born at Avila.
Though Abulensis (t. e. of Avila) is found after
Vittoria's name on the title-pages of all his
published works, Haberl conjectures this to in-
dicate that Vittoria was a priest of the diocese
of Avila — Presbyter Abulensis — and that his
real birthplace is Vittoria, whence he took his
name, as Palestrina took his from Praeneste.
But the cases are not parallel, for Palestrina's
name in all Latin titles and dedications always
appears as Praenestinus, whereas Vittoria's name
never appears as Victoriensis, but always T. L. de
Victoria Abulensis. The cases are only parallel
i F. X. H«b«rl, DomkftpeUmelflter of BatUbon.
VITTORIA.
if we interpret Abulensis as we interpret Prae-
nestinus, as signifying the place of birth ; every-
thing rather points to the conjecture that he was
ordained priest in Rome. It is better therefore
to adhere to the received opinion that he was
bom at Avila.^
The precise date of Vittoria's birth has not
been ascertained, but the known facts of his life
lead us to place it about 1 540. The first authentic
information we have regarding him is his ap-
pointment in 1573 as Maestro di Cappella to the
Collegium Germanicum, on its reorganisation un-
der Gregory XIII. It is evident however that
he must have been in Rome for some years pre-
viously. There can be little doubt that his whole
musical training, as a composer at least, was re-
ceived there. There is no trace of his having had
to work himself free from the trammels of Nether-
land scholasticism, the stiffness of the earlier
style, and what Baini calls the 'fiammingo
squalore,' as Morales and even Palestrina had
to do. He appears at once to have entered
into the heritage of the new style, indicated by
Morales, but first completely won by Palestrina
in his Improperia and Marcellus mass. A preg-
nant remark by Ambros (iv. 71), implying that
Palestrina owed his very superiority to the fact
of his having had to struggle out of the Nether-
land fetters, suggests that it would perhaps have
benefited Vittoria also to have passed through
this experience. It gave Palestrina so thorough
a command over all the resources of counter-
point, canon and imitation, as enabled him to
move with the most sovereign ease and bold-
ness, and to give full rein to his imagination,
in the midst of the most elaborakte complexity
of parts. Palestrina, starting from science,
learned to make all science subservient to the
expression of the religious feeling ; Vittoria, start-
ing from the religious feeling, and from the
vantage-grovmd won by Palestrina, only used
that amount of science which was necessary to
give expression to his own religious earnestness.
In comparison with Palestrina there is thus a
certain limitation in his talent ; he has not the
same immense variety, boldness, and originality as
Palestrina, though there is often a greater depth
of individual expression. We do not know who
was Vittoria's immediate master in composition ;
he was no pupil of Palestrina in the ordinary
sense, but Palestrina was his only real master,
and we know that he was bound to him in ties
of close friendship and the greatest admiration.
By this he must have largely profited. The
artistic relation of the two might in some
respects be considered parallel to that of Schubert
and Beethoven. Vittoria is a sort of feminine
counterpart of Palestrina, just as Schubert is of
Beethoven. But the parallel does not hold good
in other respects. There is nothing in Vittoria's
case to correspond with the immense productivity
of Schubert, unless MS. works of his should
a There Is howerer the case of one prominent musician which
would lend some support to Haberl's coitjecture If there were any
other evidence in support of It. It has been recently ascertained
that the real name of Ludovlco Vladana was Ludovlco Grossi, and
that be was bom at Vladana, and not at Lodi as hitherto assumed.
VITTORIA.
VITTORIA.
315
still be lying hid. Vittoria's first publication
was (according to Haberl) in the year 1572, and
consisted of a book of motets for 4 to 8 voices
(Venice, Ant. Gardane). This is not often re-
ferred to, because its contents were afterwards
reprinted with additions in 1583. Fetis does not
mention it, but mentions instead a publication of
1576 to which I can find no other reference. The
title as given by him is 'Liber primus, qui
Missas, Psalmos, Magnificat, ad Virginem Dei
Salutationes, aliaque complectitur 4, 5, 6, 8 voc.
Venetiis, apud Angelum Gardanum 1576.' One
would be inclined to think there is some con-
fusion here, as two other books of Masses which
appeared later, are entitled Liber Primus and
Liber Secundus. It is possible that this publica-
tion may contain works afterwards republished
in separate collections. Albert von Thimus, in
making a score of Vittoria's 8-part motet * Ave
Regina,' for Schlesinger's *Musica Sacra,' states
that he could not find a copy of this publication
in any German or French library.
To keep to chronological order, we should
mention that in 1575 Vittoria was appointed
choir-master of St. Apollinaris. According to
Haberl however this was no new appointment
(as represented in Proske and Ambros) ; the
church being given for the use of the Col-
legium Germanicum. This post Vittoria ap-
pears to have held till 1589, during which
time he published the following works : (i) A
set of Magnificats with Antiphons B. V. M.,
Rome 1 581 ; original title, • Cantica B. V.
vulgo Magnificat 4 voc. cum 4 Antiphones
B. V. per annimx 5 and 8 voc' (2) A book of
hymns for 4 voices to which is appended four
Psalms for 8 voices, Rome 1581 ; original title,
*Hymni totius anni secundum S. Rom. Eccl.
consuetudinem qui quatuor concinuntur vocibus,
una cum quatuor Psalmis pro praecipuis festi-
vitatibus, qui octo vocibus modulantur.* This
was dedicated to Gregory XIII, and would
appear to have been the first comprehensive
work of the kind, preceding by several years
Palestrina's book of Hymns, which was published
in 1589. Proske gives five of these Hymns in
the third volume of Musica Divina. If anything
distinguishes Vittoria's Hymns from Palestrina's,
it is a peculiar tenderness of expression with less
elaboration. Perhaps Palestrina was stimulated
to the composition of his Hymns by the example
of Vittoria ; the task must have been congenial
to Vittoria, requiring strict subordination to the
liturgical melody, with sufficient opportunity for
free subjective expression. (3) A book of Motets
for 4, 5, 6, 8 and 12 voices, Rome 1583. The
original title would seem to show that this book
contains all that was in the early publication of
1572 with much else, ('quae quidem nunc vero
melius excussa, et alia quamplurima adjuncta
noviter sunt impressa '). This book was reprinted
several times. (4) Another book of Motets for
all the feasts of the year was published at Rome
in 1588. Editions of both appeared later as
'Cantiones Sacrse' at Dillinger and Frankfort.
The second volume of Proske's Musica Divina
contains fourteen of these Motets, with the addi-
tion of one which had remained in MS. Ambros
remarks on the striking .similarity ('doppelgan-
gerische Aehnlichkeit ') of many of Vittoria's
Motets to those of Palestrina on the same texts,
and yet with an essential difierence. . He notes
in them, as Proske does, a certain passionate-
ness of feeling, kept in check by devotion and
humility. This passion is not always marked,
as in the instance referred to by Ambros, by
the almost immediate entrance of a counter-
subject at the beginning of the piece, but its
influence may be traced generally in the less
strict adherence to exact imitation of parts, and
a looser texture generally of part-writing. On
the other hand there are none of those semi-
dramatic traits and outward illustrations of
words or ideas which are to be found in
Palestrina. Vittoria is too much concerned
with the expression of inward feeling, to care
about the outward illustration of words or ideas.
It may be said generally that in Vittoria there
is a more complete subordination to purely
liturgical considerations, while Palestrina has
in view more general religious and artistic con-
siderations, and hence in Vittoria there is no-
thing corresponding to Palestrina's Motets from
the Song of Songs, or to that more animated
style ('genus alacrior') which Palestrina pro-
fessed to employ in these and other works.
To return to the enumeration of Vittoria's
works; we have, (5) A First Book of Masses,
published at Rome, 1583, dedicated to Philip
II. of Spain, and containing nine masses —
five h, 4, two k 5, and two k 6. Of these,
two four-part masses have been published by
Proske, viz. ' 0 quam gloriosum ' and * Simile
est regnum'; and one by Eslava, 'Ave Maris
Stella.' (6) 'Officium Hebdomadse Sanctae,'
Rome 1585, containing settings of the Impro-
peria, the Lamentations, and the ' Turbse ' of the
Passion. From this book are taken the eighteen
Selectissimse Modulationes published in vol. 4 of
the 'Musica Divina.' The works above mentioned
were published during Vittoria's stay in Rome.
Until recently it was not known for certain that
he had ever left Rome or given up his appoint-
ment there. Fdtis indeed conjectured, on the
ground of his last work being published in Ma-
drid, that he had actually returned there.^ But it
has since been ascertained from the Archives of
the Royal Chapel at Madrid that in 1589 Vittoria
was appointed Vice-Master of the Chapel (just
established by Philip II.), under the Fleming
Philip Rogier. Perhaps before leaving Italy,
Vittoria had prepared for publication his second
book of Masses, which appeared in 1592, It
was dedicated to Cardinal Albert, son of the
Empress Maria,, and in the dedication the com-
poser expresses his gratitude for the post of
Chaplain to the Imperial Court. This book con-
tains two masses h, 4 with a 4-part 'Asperges'
iand ' Vidi Aquam,' two Masses h, 5, one k 6, one
k 8, and one Requiem Mass k 4. Of these, the
1 Ambros attached no value to this conjecture (see note at foot of
p. 72, Band IV).
316
VITTORIA.
4-part * Quarti toni,' the 5-part ' Trahe me post
te,' the 6-part * Vide Speciosam ' are given by
Proske, as also the two Antiphons. These Masses
are on a smaller scale, and far less elaborate in
technique than the more celebrated of Pales-
trina's. A good example for the comparison of
technique is afforded by the 6-part * Vidi Spe-
ciosam ' of Vittoria and the * Tu es Petrus ' of
Palestrina, the opening subjects of both, found
also in the other movements, being so similar.
Of Vittoria's Masses generally we may simply
repeat the judgment of Proske — work and
prayer, genius and humility are blended in them
to perfect harmony.
The date of Vittoria's death is uncertain. He
held his post in the Boyal Chapel until 1602,
when he was succeeded by Bernard Clavijo, a
celebrated organist. He can scarcely have died
in that year, since he wrote funeral music for
the Empress Maria, who died in 1603. The
title of this his last important work is : —
'OflBcium Defunctorum sex vocibus, in obitu
et obsequiis Sacrae Imperatricis,' Madrid 1605.
It was dedicated to the Princess Margaret,
daughter of the Empress, and consists of a
6-part 'Missa pro defunctis,' a 6-part 'Versa
est in luctum,' a 6-part Responsorium, • Libera,*
and a 4-part Lectio ♦ Taedet anima.' This work
is universally described as the crown of all
the works of the master, * the greatest triumph
of his genius.' [See further. Requiem, vol. iii.
p. 109 6.] Though all the movements are based
on the liturgical Canto Fermo, the music has a
surprisingly modem character, its effect depend-
ing more on the succession of powerful and ex-
pressive harmonies than on the mere melodious
movement of the parts. Technically considered, it
is a marvellous blending of old independent move-
ment of parts, with modem dissonances and pro-
gressions. Spiritually considered, it is a wonderful
expression of poignant personal sorrow, chastened
by religious contemplation and devotion. It is
the spirit of devout mourning, holy fear, reli-
gious awe before the Divine Judge, which here
comes to expression. There is no attempt to de-
pict realistically the outward terrors of the last
day, as in some modern Requiems.^ In Vittoria's
work it is simply the individual soul realising
its dependence on the Divine mercy. We may
suppose him to have composed it in something
of the same spirit in which the Emperor Charles
V. in his cloister, assisted at his own obsequies.
From this profound religious realism may have
come the unusual animation of style specially
noticeable in the Offertorium, the Cum Sanctis,
and the Trio of the Libera, 'Tremens fisictus
sum' — the animation of the deepest religious
earnestness ; and it is perhaps characteristic of the
difference between Palestrina and Vittoria, that
in the one case it was the composition of the
Song of Songs, in the other of the Requiem,
1 We are net disparaging the more realistic tendency of modem
art, for the sake ot exalting the purer Idealism of ancient art ; for
even realism may l>e sublimed into the highest i4eallsm, as in the
case of Beethoven's Mlssa Solennis. On the other hand, in all pro-
gress of art, there is a loss as well as a gain— a fact which is too
often forgotten by the leaders of so-called progressive art.
VIVACE
which called forth a similar change of style in
the two composers. Ambros says this sublime
funeral music vindicates for Vittoria the nearest
place to Palestrina, but the effect of this judg-
ment is somewhat neutralised by his afterwards
bracketing him with Anerio and Soriano, as all
much on the same level below Palestrina. It
is a mistake perhaps to arrange composers simply
up and down, in a straight line as it were, of
merit. Some composers, who come short of the
universality of spirit of the very greatest com-
posers, may yet have some conspicuous points
of superiority of their own, may contribute some
new elements to the spiritual side of art, if not to
the technical, which warrant their being classed
with the greatest. If Palestrina is superior to
Vittoria, as Beethoven is to Schubert, yet as
Schubert has many points of excellence which
form a fitting complement to those of Beethoven,
so Vittoria has certain points of excellence
more characteristic and more valuable than
those of Anerio and Soriano, which mark him
out as the fitting complement to Palestrina.
If Vittoria has not the science, the variety, the
boldness, the perfect originality of Palestrina,
yet in him depth of feeling comes to more direct
and immediate expression. In Palestrina there
may be said to be the perfect equilibrium of art
and religious feeling — an equilibrium outwardly
manifested in the natural flow of his melody, the
pure diatonic character of his harmony, and the
consummate art of his part-writing — all con-
veying the impression of passionless purity. In
Vittoria this equilibrium is slightly disturbed in
favour of religious feeling ; as if in the Spaniard,
feeling must manifest itself, even when it sacri-
fices itself to art and to religion. The result is
an impression of tender earnestness, so that if,
as Ambros says, the strains of Palestrina are
messengers from a higher and eternal world, the
like strains of Vittoria are rather the responsive
utterances of saintly souls on earth. [J.R.M.]
VIVACE (VIVO, VIVACISSIMO), 'Lively,
in the liveliest manner possible.* A direction
used either alone, and indicating a rate of speed
between Allegro and Presto, or as qualifying
some other direction, as Allegro or Allegretto.
Allegro vivace will be taken quicker than Allegro
by itself, but not so quick as Allegro assai. [See
Allegro.] It occurs constantly in Beethoven's
works in every class, and the same composer
uses the less common 'Allegretto vivace' in the
scherzo of the Sonata in Eb, op. 31, no. 3, The
word applies not only to speed, but to the manner
of interpreting the music. The metronome marks
over two movements, one labelled ' Allegro agi-
tato,' and the other, ' Allegro vivace,* might be
exactly of the same value ; the difference be-
tween the two would be entirely one of style.
The Vivace in the latter case would imply an
absence of passion or excitement, an even rate
of speed, and a bright and cheerful character.
The direction used by itself at the beginning
of a movement is time-honoured ; it occurs fre-
quently in Bach and the composers of his time.
In the 'Confiteor' of Bach's Mass in B minor
VIVACE.
VIVALDI.
317
he uses the expression * Vivace e (sic) Allegro '
at the wonderful point beginning with the
words *Et expecto resurrectionem mortuorum.'
In this passage there is a slight discrepancy
in the MS. authorities, which leads to con-
siderable differences of rendering. After the
first delivery of these words, Adagio, the quick
movement starts with three repeated notes in
the first soprano part, beginning at the half-bar.
In one of the two chief MSS. the direction
Vivace occurs at the beginning of the bar in
the middle of which this phrase begins, and in
the other it appears over the beginning of the
next bar. This latter reading has been accepted
by the editors of the Peters edition, but the
Bach-Gesellschaft editors are doubtless right in
placing the direction over the half-bar, so that
the alteration of time takes place simultaneously
with the soprano lead. This reading has been
followed in the performances of the Bach Choir.
Schumann used the terms Vivo and Vivace
interchangeably, as is shown in his 6th and
8 th Novelettes, at the head of which the two
words stand, both being translated by *Sehr
lebhaft.' Other instances of his use of the two
words are found in the • ]&tudes symphoniques,'
where also there occurs an example of Schu-
mann's peculiar use of the direction, viz. as
applied not to an entire movement, indicating
its speed, but to a passage in a movement, re-
ferring to the manner of its execution. In the
fourth vai-iation the bass alone of the third bar
is labelled *sempre vivacisaimo/ and no doubt
the composer's intention was that the part for the
left hand should be much emphasised and its
animated character brought out. The same
direction, applied in much the same way, occurs
more than once in the Sonata in Fj minor, and
in the Scherzo of that work a staccato passage
for the left hand is marked * Bassi vivi.' In the
Overture, Scherzo, and Finale, the same com-
poser inscribes the second movement * Vivo.'
Beethoven uses the word • Vivacissimamente'
for the finale of the Sonata in Eb, 'Les Adieux,
L* Absence, et le Retour,' op. 8i a. [J.A.F.M.]
VIVALDI, Antonio, surnamed 'il prete
rosso,' was the son of Giovanni Battista Vivaldi,
a violinist in the ducal cappella of St. Mark's at
Venice, and bom some time in the latter half of
the 17th century. Like Steffani and Lotti he
first sought his fortune in Gennany. He entered
the service of the landgrave of Hesse-Darmstadt,^
doubtless in the capacity of violinist. On his
return to his native city in 1713 Vivaldi was
appointed maestro de' concerti at the Ospitale
della Pietk, a post which he held until his death
in 1743. The institution, which was a foundling-
hospital for girls, possessed a choir and a good
orchestra composed entirely of females. Vivaldi's
own instrument was the violin, for which he
wrote very lai-gely; he is stated also to have
contributed something to the development of its
1 The prince's name Is generally given as Fhilipp ; but Fhlllpp yraa
ofHesse-Fhllippsthal. Presumably Ernst LudTrlg Is meant. E6tla
gives the impossible combination of 'liUcteur Philippe de Hesse-
Darmstadt ' : rol. viii. 968 b.
technical manipulation. [See p. 291a.] The pub-
lications on which his fame rests are all works in
which the violin takes the principal part. Fetis''
enumerates the following : —
Op. 1. 12 trios for 2 violins and
violoncello. Paris, 1737.
Op. 2. 12 sonatas for violin solo
with bass.
Op. 5. Sonatas for the «ame.
Op. 3. ' Estro armonico, ossla 12
concerti a 4 violinl, 2 viole,
violoncello, e basso continue
per r organo.'
Op. 4. ' 12 concerti a viollno solo,
2 violinl ripienl, viola, e basso
per I'organo.'
Op. 6, 7. Each consisting of 6 con-
cert! for same Instruments.
Op. 8. 'Le quattro staggioni, ov-
vera il Clmento dell' armonia
e deir Invenzlone, in 12 con-
cert) a quattro e cinque.'
Op. 9. ' La cetra, ossia 6 concerti '
for the same.
Op. 10. 6 concerti for flute, violin,
viola, violoncello, and organ.
Op. 11, 12. Each consisting of •
concertos for the same instru-
ments, with the addition of
the violoncello.
Besides these ^ works, 28 operas by Vivaldi
are named, and a few cantate and even motets
will be found scattered in various manuscript
collections.
As a writer for the violin Vivaldi held apart
fi*om the classical Roman school lately founded
by Corelli. He sought and won the popularity
of a virtuoso ; and a good part of his writings is
vitiated by an excessive striving after display,
and effects which are striking simply in so far
as they are novel. His ' stravaganze ' for the
violin solo, which were much played in England
during the last century, are, according to Dr.
* Bumey, nothing better than show-pieces. The
' Cimento ' (op. 8) illustrates another fault of the
composer : * The first four concertos,' says Sir
John Hawkins, ^ ' are a pretended paraphrase in
musical notes of so many sonnets on the four
seasons, wherein the author endeavours, by the
force of harmony and particular modifications of
air and measure, to excite ideas correspondent
with the sentiments of the several poems.' Vi-
valdi in fact mistook the facility of an expert
performer (and as such he had few rivals among
contemporaries) for the creative faculty, which
he possessed but in a limited degree. His real
distinction lies in his mastery of form, and in
his application of this mastery to the develop-
ment of the concerto. It is thus that we find
his violin concertos constantly studied in Ger-
many, for instance by Benda and ' Quantz ; and
the best proof of their sterling merits is given
by the attraction which they exercised upon
Sebastian Bach, who arranged sixteen of them
for the clavier and four for the '^ organ, and
developed one into a colossal concerto for four
claviers and a quartet of strings. ^
Bach however used his originals, it should
seem, principally as a basis of study ; as subjects
to which to apply his ingenuity and resource,
rather than as models for his own art to follow.
a F^tls, vol. vlil. p. 869 a.
8 A concerto and a sinfonia In 8-5 parts for viola d'amore and lut*
also exists in manuscript. A transcript Is in the British Museum,
Add. MS. 81,805, f. 10.
4 History Hi. 561 ; 1789. « History, etc., 11. 837 j ed. 1875.
6 Burney, Present State of Music In Germany, 11. 134, 166; 2nd ed.
1775.
7 One of these. No. 4, is an arrangement of the same work as the
clavier concerto No. 13.
8 This has commonly been mistaken for an original work of Bach's ;
see Forkel. ' Life of Bach,' p. 99, English translation. 1820. Fdtis says
that he possessed the manuscripts of two other arrangements by
Bach, namely, of two concerti In the ' Estro armonico,' for clavier,
2 violins, alto, and bass. These do not appear in the catalogue of th*
F^tU Library.
318
VIVALDI.
His arrangements belong to his educational
apparatus; although, by the process to which
he subjected them, he transformed works of a
comparatively limited interest into pieces which
may almost deserve a place among his own pro-
ductions. The means by which he succeeded in
infusing a new vitality into his arrangements
vary according to the instruments for which he
adapted them. In the clavier concertos he re-
stricted himself for the most part to internal
change. He strengthened and enlarged the
structure of the bass, and modified the upper
accompaniments with much freedom and often
with the licence of an original composer. The
melody in slow movements he ornamented by
trills, mordents, etc. ; and above all he gave
solidity and sometimes an entirely new character
to a movement by writing a complete melodious
middle part of his own. Of this last method no
more perfect example can be found than that
presented by the treatment of the largo in the
second concerto, in G major. The organ con-
certos display a different sort of versatility.
Here Bach has not limited himself to merely
internal development : he expands and lengthens
his originals, maturing forms which Vivaldi had
only suggested, and giving a 'roundness and
symmetry ' ^ to the whole. Lastly, in the con-
certo for four claviers, which was written perhaps
mainly as an exercise in the composition of
obbligato parts on a large scale. Bach has not
only added episodes, as in the organ concertos,
but also considerably augmented the contra-
puntal work of the original.'' [R.L.P.]
VIVE HENRI QUATRE. [See Henri
QUATRE, vol. i. p. 728.]
VIVIER, EugIine LfoN, remarkable horn-
player, born at Ajaccio, 1821. His father was
a tax-collector, and intended him for a similar
career, but his passion for music made him throw
aside all restraints and go to Paris. He knew
enough of the horn to gain admittance to the
orchestra of the Italiens, and then of the Opdra,
and after some instruction from Gallay ap-
peared at concerts as a solo-player. His extra-
ordinary humour and imagination soon showed
themselves, and endeared him to society, in the
best circles of which he mixed largely. He was
also master of a curious discovery or trick upon the
horn, the secret of which he has never divulged,
by which he can produce three, and even four,
notes at once, so as to play pieces for three horns,
with full, sonorous triads, and chords of the 6
and 6-4 from the one instrument. Vivier soon
made his entrance at Court, and his horn in E,
with which he used to play before Louis Phi-
lippe at the Chateau d'Eu, is still preserved at
the Conservatoire. From this time forward his
fame steadily increased at home and abroad.
Among other artistic toumies he came several
times to England after 1844, and was a great
1 Spltto, ' J. 8. Bach.' 1. 415, English translation.
2 See Professor Spltta's treatment of the whole subject, I.e., vol. L
411-416 ; vol. iii. 149, which is to some extent more complete than
that contained in the original German edition (Band i. 409-414;
IL 628). [See alw Abbanqement, vol. 1. 89 6.]
VOCAL CONCERTS.
favourite in London for his drollery as much as
his music. As a practical joker he had no equal,
and good stories might be told of him enough to
fill a volume. His powers of mimicry, especially
mimicry of sound, were extraordinary. He
would make an English or German speech with-
out saying a word of either English or German,
yet so correct as to accent that his hearers were
puzzled to know why they could not follow his
argument. His published songs with pianoforte
accompaniment, lead one to believe that if he had
cultivated composition he might have reached a
high rank. His pieces for the horn are still un-
printed, and he seems to have given up the
career of a virtuoso. It is now more than 15
years since we heard him play ; he then had still
a fine tone, made his instrument sing charmingly,
and fascinated his audience, though keeping to a
very restricted scale and avoiding difiiculties.
As one of the favourites of Napoleon III, Vivier's
position since 1870-71 has been rather isolated,
but he retained many friends, including the late
Victor Mass^ and M. Philippe Gille. The latter
wrote the preface for Vivier's pamphlet, *Un
peu de ce qui se dit tons les jours' (Motteroz),
printed in green and black, and now extremely
scarce. It was a collection of the ready-made
phrases which it is so difficult to avoid, and
which are the bane of ordinary conversation.
Man being, according to Diderot, a mass of con-
tradictions, Vivier, who thoroughly appreciates
family life, and is an excellent son, lives alone
with no companion but a pigeon ! His friends,
however, have still attractions for him, and this
cause has induced him during the last few years
to spend the winter at Nice. [G.C.]
VIVO. [See Vivace.]
VOCAL ASSOCIATION. Established in
1856 at a meeting at Store Street Music Hall,
attended by about 300 amateurs, with the view
of founding in England an association answering
to the German ' Gesang-verein.' Many of the
original members had sung at the concerts given
shortly before by Mme. Goldschmidt at Exeter
Hall, under the direction of Sir Julius (then Mr.)
Benedict, and he was unanimously elected con-
ductor of the new association, Mr. William
Lockyer being elected secretary, and Mr. J. Rix
treasurer. Mr. Chas. E. Horsley subsequently
shared the duties of conductor. In 1857 the
Society gave a series of concerts at the Crystal
Palace, including Mendelssohn's ' First Walpur-
gis Night,' and it subsequently gave perfonn-
ances at St. James's Hall, at one of which the
conductor's opera, ' The Lily of Killamey,' was
sung. The concerts included vocal and instru-
mental solos, and occasionally there was an or-
chestra, the choir usually numbering 200 voices.
Among the works given by the Association for
the first time were Spohr's * Ode to St. Cecilia,'
and Challoner Master's operetta, * The Rose of
Salency.' The Association has ceased to exist
for some years. [CM.]
VOCAL CONCERTS. These concerts, the
first of which was given on Feb. 11, 1792, ori-
VOCAL CONCERTS.
ginated in the secession of Mr. Harrison from
the Ancient Concerts in 1789, after having been
a member of the chorus from their commence-
ment fourteen years before. Harrison was joined
by Miss Cantelo, whom he subsequently mar-
ried, and in 1791 by Bartleman, and at the close
of that year they circulated proposals for the
new concerts, which were commenced at Willis's
Rooms under the management of Messrs. Har-
rison and Knyvett senior. The performances
at first were on a humble scale, the accompani-
ments being furnished by the pianoforte, at
which the elder Knyvett presided as conductor,
and a quartet of two violins, viola, and cello,
led by Fran9ois Cramer. Mr. and Mrs. Harrison
and Bartleman were tlie principal singers, and
were assisted in the glees, which formed the
principal feature of the concerts, by Mr. Blnyvett,
jun.. Master W. Knyvett, and others. The pro-
gramme of the opening concert, which may be
accepted as a fair sample of the schemes of the
first three seasons, included Atterbury's glee,
*Come, let us all a maying go'; Arne's glee,
' Where the bee sucks ' ; CaUcott's * Peace to the
souls of the heroes'; Stevens's glee, 'To be
gazing on those charms,' and some songs, duets,
catches, and rounds. The chief vocal writers
of the day — including Callcott, Crotch, SpofForth,
Dr. Clarke, and Stevenson — contributed new
works to the programmes, and Italian music
was added. In 1793 Mme. Dussek and Miss
Poole (afterwards Mrs. Dickons) joined the
vocalists, and the brothers Leander, then the
most celebrated horn-players in Europe, were
added to the little band. The concerts, ten of
which were given each season, were abandoned
at the end of 1794, the subscription having
fallen off, and Harrison and his wife and Bar-
tleman returned to the Ancient Concerts, the
cause of their failure being the competition of
Saloman's concerts (with Haydn's music, and
Mme. Mara among the singers), the Profes-
sional Concerts (with Pleyel and Billington),
and the Ancient Concerts, rather than any
lack of excellence either in the programmes or
their execution. In 1801, when the Ancient
Concerts alone remained in the field, the Vocal
Concerts were revived with the additional attrac-
tions of a complete orchestra and chorus. The
band was led by Cramer; Greatorex was organist
and general conductor ; and among the principal
singers, beside the two directors, Harrison and
Bartleman, were Mrs. Harrison, Mrs. Bianchi,
Miss Parke, Miss Tennant, and Mr. W. Kny-
vett. The programmes provided a wider variety
of excellent music than has ever been given in
a single series of concerts, the best specimens of
ancient work, English and foreign, being inter-
spersed with the compositions of the best con-
temporary writers. In 1802 Mrs. Harrison
retired from public engagements, and the Kny-
vetts withdrew firom the management, although
they still assisted in the concerts, and in 1803
Mrs. Billington was engaged, the attraction of
her name bringing a iMJge accession of support.
On her retirement Mrs. Vaughan, Miss Stephens,
VOCAL SCORES.
319
and Mrs. Salmon succeeded as principal English
singers, whilst Catalani, Bellochi, Fodor, and
Camporese were heard on the foreign side.
Braham sang for one if not two seasons after
Harrison's death in 181 2, and Tramezzani, Nal-
di, Fischer, and Ambrogetti played in the
orchestra. The death of Bartleman and the de-
creasing popularity of the vocal part-music of
the English school, added to the increasing
attractions of the Philharmonic Society's Con-
certs, gradually reduced the subscription to the
Vocal Concerts, and after trying the effect of
reducing the number of concerts and the amount
of the subscription, they were finally abandoned
in 182 1. As an episode in their history it may
be mentioned that an opposition series, under the
name of ' Messrs. Knyvett and Vaughan's Vocal
Subscription Concerts,' was begun in 181 1 with
six or seven hundred subscribers, including the
Dukes of Kent, Sussex, and Cambridge ; the
programmes of 18 12 included the first acts of
'Don Juan* and 'Figaro,' the finale to the
second act of *Don Juan' and other pieces
from Mozart's operas; but in 1812 the death
of Harrison led to a union of the two schemes,
which was accomplished in 1813. [CM.]
VOCAL SCORES. One of the admirable
collections of the late Mr. John Hullah. It is
printed in type in ordinary music size, and was
published by John W. Parker in monthly niun-
bers, one sacred and one secular, beginning on
Jan. I, 1846. Its contents are as follow: —
I. SACRED.
Crotch. Motet, Methinks I hear.
Telemann. Motet, Amen, Bless-
ing and Glory. 2 Choirs.
McMurdie. Canon, Quis est Kex?
4 in 2.
H«ser. Hymn. Oht remember.
d,5.
T. F. Walmisley. Hymn, Lord of
all Lords, k 6. •
Palestrina. Gloria In Excelsls. 4.6.
Klein. Anthem, Like as the hart.
Leisring. Hymn. Redeemer 1 now.
2 Choirs.
G. Gabrieli. Hymn. Benedlctus.
8 Choirs.
J. C. Bach. Chorale, 0 Sing unto
God I k5.
Anon. Anthem, O Lord grant the
King, a 4.
Palestrina. Sacred Madrigal, Why
art thou? k5.
Graun. Motet, Lift up your heads.
b.i.
Callcott. Canon, Thou, Lord, hast
been. 4 in 2.
Palestrina. Collect, 0 Saviour of
the world, k 4.
Lotti. Credo. ^4.
Aldrich. Anthem, O give thanks.
k6.
F. Schneider. Motet, All thy
works, k 5.
Eolle. Motet. The Lord is king.
ki.
Byrd. Anthem. Sing unto God.
k5.
Croce. Motet, 0 that I had wings!
ki.
T. A. Walmisley. Canon, Praise
the Lord. 4 in 2.
Carissimi. Motet. O be Joyful in
God. ks.
T. A. Walmisley. Hymn, Hail
gladdening Light, k 5.
Palestrina. Hymn, I will call. 44.
Marcello. Psalm, We have heard.
4 4.
McMurdie. Canon. Agne Del.
4 in 2.
Weelkes. Anthem, All people,
clap, k 5.
Croft. Anthem, O give thanks.
2 Choirs.
Zingarelll. Motet, Haste Thee O
God, ki.
Anon. Canon, Sing, sing aloud
unto God. 3 in 1.
McMurdie. Canon, Hallelujah.
4 in 2.
O. Gibbons. Anthem. Hosanna,
k6.
Nares. Anthem, Blessed is he. k5.
Spohr. Fugue, O magnify, k 4.
De Gouy. Psalm, O God of Jacob.
i4.
Homilius. Pater noster. k 4.
Palestrina. Motet. Merciful Lord.
ki.
Ives. Canon, Si Deus nobiscum.
Sinl.
HSser. Motet, Put me not to re-
buke, k 5.
[Nares.] Anthem, O Lord grant.
k5.
Tye. Gloria in excelsls. k 6.
Graun. Chorus. Thou art the
King. k4.
T. F. Walmisley. Canon. I will
praise. 4 in 2.
Arne. Canon, Help me 0 Lord.
Sinl.
Foggia. Motet, I will magnify
thee, it 4.
O. Gibbons. Anthem, O Lord in-
crease my faith, ki.
John Bishop. Hymn, When
brightly shines, k 4.
Allison. Psalm. Ye children, i 4.
Tallis. Anthem, Hear the voice
and prayer, ki,
Farrant. Anthem, Call to re-
membrance, k 4.
W.Lawes. Psalm. Sing to the
king of kings. kS.
Wlllaert. Canon, Amen. 4 In 2.
Byrd. Anthem. Sing joyfully. k6.
820
VOCAL SCORES.
11.
Wilbje. Madrigal. Sweet honey
sucking bees, k 5.
Horsley. Glee, Cold Is Cadwallo's
tongue, k 6k
Weelkes. Madrigal. Three wood-
land nymphs, i, 4.
Stevens. Glee, Sigh no more ladies
45.
Callcott. Glee. 0 snatch me swift.
k5.
Stevens. Glee, O mistress mine.
Mendelssohn. Fart-song, For the
woods, ii 4.
Wilbye. Madrigal. Fly Love
aloft. &3.
J.Bennet. Madrigal, All creatures
now. k 5.
Webbe. Glee. When winds breathe
soft. &4.
Wilson. Part-song, From the fair
Lavlnian. kS.
Horsley. Glee. See the chariot,
&4.
Morley. Ballet, Now is the month
of Maying, k 5.
J. Stafford Smith. Part-Song,
Hark the hollow. k4.
Croce. Madrigal. Cynthia thy
song. k6.
McMurdie. Glee. By the dark
rolling waters, k 4.
J. S. Smith. Glee, Blest pair of
Sirens, k 5.
Hallah. Madrigal. Wake now my
Love, k 6.
Arne. Part-song, Where the bee
sucks, k*.
Morley. Ballet, Fire, Fire! my
heart, k 5.
O. Gibbons. Madrigal, O that the
learned poets, k 5.
Webbe. Glee, Glorious Apollo.
SECtJLAB.
Hayes. Bound, May doth every.
kS.
Hutchinson. Madrigal, Betum
my lonely maid, k 4.
Ward. Madrigal, Die not fond
man. k 6.
Momington. Madrigal, As It fell.
k*.
Stevens. Glee, O Nightingale. 4 5.
Corfe. Part-song, The yellow-
haired laddie, k 4.
Macfarren. Fart-song, There was
a man. k 4.
Converso. Madrigal. When all
alone, k 5.
Corfe. Part-song, How blithe each
morn, k 4.
T. F. Walmisley. Glee. From
flower to flower, k 5.
SpofTorth. Glee, Health to my
dear. ii4.
J. Bennet. Madrigal. Sing out ya
nymphs, ki.
S.Bennett. Part-song. Come
live with me. k 4.
Wilbye. Madrigal. Lady when I
behold. k6.
Webbe. Elegy, The death of fair
Adonis. k5.
Rock. Glee, Beneath a church-
yard yew. k 4.
Anon. Canon, Summer Is a com-
ing in. k 6.
J. S. Smith. Canzonet, Stay shep-
herd stay, k 4.
Pilklngton. Part-sons, Best sweet
nymphs, k 4.
Danby. Glee, WTien Sappho tuned.
kS.
Tieck. Part-song. Softly, softly.
a 4.
McMurdie. Bound, The daisies
peep. kS.
Dowland. Fart-song, Best awhile.
k5.
Mozart. Bound, Come follow me.
k3.
Este. Madrigal, How merrily we
live. kS.
T. F. Walmisley. Round, O'er the
glad waters, in 4.
HuUah. Part-song, Song should
breathe, k 4.
Byrd. Fart-song, My mind to me.
k6.
Cobbold. Madrigal, With wreaths
of rose, k 5.
Morley. Ballet, Sing we and chant
it. k6.
Anon. Ode, Daughter of heaven.
ki.
[G.]
Do. do. k 3.
Btr J . L. Rogers. Fart-song, Hears
not my Phillis. k6.
Dr. Cooke. Glee, As now the
shades of eve. k4.
Callcott. Glee, Who comes so
dark. kS.
Hilton. Madrigal. Gifts of feature.
a 3.
Wilbye. Madrigal, Flora gave me.
k5.
Horsley. Ode. Daughter of faith.
2 Choirs.
BattishiU. Glee, Amidst the myr-
tles. k5.
O. May. Part-song, Come follow
me. k 4.
Gibbons. Madrigal, The silver
swan, k 5.
VOCAL SOCIETY, THE. Establi.shed 1832
' to present the vocal music of the English school,
both ancient and modem, including that of the
church, the chamber, and the theatre, with the
addition of foreign compositions of excellence,' the
promoters of the society urging among other rea-
sons in favour of their enterprise, not only that
the compositions of native musicians were at the
time nearly banished from the concerts of the
metropolis, but that the regulations of the exist-
ing societies for the cultivation of glee-singing
precluded the presence of ladies, and were at-
tended with considerable expense wholly uncon-
nected with their musical objects. In other
words, the Society aimed at giving concerts of
English vocal solos and part-music. Its first
programme at the King's Concert Rooms, Hano-
ver Square, on Monday, Jan. 7, 1833, included
the sestetto and chorus from Webbe's * Ode to
St. Cecilia ' ; Benet's madrigal, * All creatures
now'; Attwood's glee, 'In this fair vale';
Cooke's glee, * Deh dove ' ; Bishop's serenade,
'Sleep, gentle lady'; Webbe's catch, 'Would
VOCALION.
you know'; solos from Haydn, Hummel, Mo-
zart, and Purcell, and an instrumental quintet of
Beethoven's. Mr, T. Cooke was leader ; at the
organ and pianoforte were Messrs. Turle, Goss,
and Homcastle ; and the vocalists included Miss
Clara Novello, Mrs. Bishop, Miss George, and
Messrs. Bennett, Parry, Phillips, Hobbs, and
Braham. The affairs of the Society at its com-
mencement were managed by a committee con-
sisting of Messrs. Bellamy, T. Cooke, Homcastle,
Hawkins, C. Taylor, E. Taylor, and Turle. The
original intention of presenting mainly English
music was departed from in the first year of the
Society's existence, for we find in its programmes
the names of Palestrina, Pergolesi, Bononcini,
Beethoven, Mozart, and other foreign composers,
and from a notice of the last concert given in
1838 we learn that, *with the exception of three
glees and a madrigal, the performance consisted
entirely of the works of foreign artists.' In
1837 the Society gave the first performance in
this country of Spohr's oratorio, *The Cruci-
fixion,' with Mrs. Bishop, Mrs. Seguin, Miss
Hawes, and Mr. Balfe as principal vocalists, and
Mr. Turle at the organ. On another occasion
Beethoven*s Choral Fantasia was performed, with
Mrs. Anderson at the piano. [C.M.]
VOCALION. An * organ * or instrument of
the free-reed kind, exhibited by James Baillie
Hamilton, Esq., in the International Inventions
Exhibition, London, 1885. The first patent was
taken out Nov. 13, 1872, by John Farmer (of
Harrow), for a combination of reed with string
or wire — either as a continuation of the reed or
as a coil fastened to the back thereof — and was
succeeded by many more, taken out in the names
of Mr. Hamilton and others. The first attempts
gave a beautiful and very peculiar quality of sound,
but by degrees the combination of reed and
string from which this proceeded has had to be
given up, for practical and commercial reasons,
and the instrument as now exhibited is virtually
a Harmonium with broad reeds, giving great
rigidity of action and therefore purity of tone, and
large channels, and acted on by high pressure of
wind — not suction. A main peculiarity of the
Vocalion is that the reeds are placed above the
pallets and below the slides, and that though the
sliding • plug * of three reeds is only of the width
of the groove, the cavities are more than twice
as wide. This is expressed in Mr. Hamilton's
latest patent (U.S.A., March 25, 1884) as *the
combination of pallets, soundboard, and reeds
with cavity-boards, one above the other, the
lower one containing the nostrils and the upper
one the mouths, and an intermediate controlling
slide.'
The result of this is a charming variety and
purity of tone, especially where the music is not
in too many parts; and also great force and
richness of sound. This is well expressed by
Sir Arthur Sullivan in a letter dated New York,
July 3, 1885, as follows :— * You have achieved
an instrument which shall possess all the power
and dignity of an organ, without the cumbersonae
and expensive aid of pipes. And in doing this^
VOCALION.
you have obtained a totally different tone from
that of Harmoniums and other reed organs. I was
particularly struck with the nobility and purity
of the sound, and also with the great variety in
the timbre which the instrument displayed.*
The Vocalion exhibited is 6 ft. square, and
stands on a somewhat larger pedestal, contain-
ing the bellows, wind-chest, etc. It has three
Manuals, denominated Choir, Great and Swell ;
two stops in the pedals and three in each
manual, as well as three extra ones of lighter
quality, called 'complementary.' In the suc-
cessive steps of the invention since 1874, it is
understood that Mr. Baillie Hamilton has been
much assisted by the practical knowledge and
skill of Mr. Hermann Smith. [G.]
VOCALISE and VOCALIZZO are the French
and Italian terms for an exercise or piece of music
to be vocalised. [H.C.D.]
VOCALISE, TO; VOCALISATION. To
vocalise is, as its name implies, to sing upon a
vowel, whether one note or a series of notes, in
contradistinction to singing to separate syllables.
Vocalisation is therefore one part of the operation
of pronunciation, the other being articulation.
Perfect vocalisation involves purity of whatever
vowel-sound is at the moment being sung, and
this purity of course requires that only those
parts of the organs of speech be called into action
that are absolutely necessary to bring about the
position of the resonance chambers proper to its
formation.
This sounds like a truism too obvious to re-
quire statement, but it must be remembered that
it is quite possible to bring into play or convulse
parts of the mechanism that are not necessary,
without altering the vowel-sound, though the
quality of the voice, the production, suffers, and
will be tonguey, throaty, palatal, or veiled, ac-
cording to the part thus unnecessarily brought
into play. In such cases, if the resonance-pitch of
the vowel-sound could be ascertained, it might be
found to be preci sely the same und er these different
conditions, while the tone of voice, pure in the
one case, might be very bad in the other. No
special organ or mechanism should present itself
to the mind of the hearer. So far as to the pro-
duction of a single note. In a succession of notes,
whether slow or quick, the passage from note to
note should take place without the smallest
change either of vowel-sound or of tone-quality,
and without the slightest escape of useless breath,
and consequent cessation of vocal sound between
the notes, or evidence of mechanical effort. The
passage must in fact be a portamento or carrying
of the voice, but so quickly executed that the
notes shall be perfectly distinct and the porta-
mento unrecognisable, except where in slow
passages it is required for special expression.
Passages of agility {fioritura, coloratura) executed
in the manner above indicated give that gorgeous
flood of musical sound which was one of the many
gifts of the great soprano Jenny Lind. [H.C.D.]
VOCE DI PETTO, Chest voice (Ger. Brust-
stimme) ; VOCE DI TESTA, Head voice {Kopf-
VOL. IV. PT. 3.
VOCE DI PETTO.
321
stimme). Terms applied in some cases to certain
registers or series of notes produced by a special
mechanism or state of the voice organs ; in others
to a different mode of producing the same notes.
Nearly the whole question of registers, and in
great part of quality or timbre, is involved in
uncertainty — indeed, it is scarcely too much to
say, mystery. All voice is produced in the
larynx. The sound thus given forth can be
modified both in pitch and quality by numerous
pairs of intrinsic and extrinsic laryngeal muscles,
muscles acting upon the trachea or windpipe, on
the pharynx, on the soft palate, on the throat,
tongue, and nostrils, front and back, on the lips
and cheeks. All these parts are concerned in the
formation of the resonance chambers. The bare
fact that the voice is produced in the larynx is
ascertainable by anybody through the medium
of the laryngoscope, but to arrive only thus far
the throat has to be forced into a position directly
antagonistic to the production of those very qua-
lities of tone that form the subject of desired
investigation. Open chest voice, there is every
reason to believe, is in great part produced by
the drawing down of the larynx by means of the
stemo-thyroid muscles, so that it becomes part
of a compact mass of bone, tissue, and cartilage
all vibrating together. This arrangement of
parts is aided by the elasticity and compress-
ibility of the windpipe ; and since the lowering of
the larynx (carrying down with it, as it does, a
considerable portion of the root of the tongue),
brings about a corresponding lengthening and
enlargement of the throat, the vibration of the
chest, and the sonority imparted to the sound by
the resonance chambers above the larynx, go to
make up together what we call the open chest
register. The second, or close chest register, next
comes into play. This is a register common to
all voices, male and female, and is called by
Manuel Garcia, Falsetto. The third register.
Head-voice, is, in the male, generally known by
this term falsetto, the third register of the female
voice being called Head-voice, and it is difficult
to understand on what ground Garcia (the pioneer
of close investigation of the physiology of the voice-
organs) applies the term to the middle register.
It is perhaps somewhat bold to combat the opinion
of this eminent man, but falsetto (a word in general
use in Italy as well as in England) seems very
appropriate to that register which in the male
seems to be scarcely natural, but to belong to
another individual, and even to another sex.
The above-mentioned middle register corre-
sponds to Randegger's 'upper series of chest
notes,' and the 'closing* for the formation of
this series of notes is a point of the highest im-
portance with Visetti and all foremost Italian
and other teachers.
Unfortunately it is not possible to point out
exactly how the operation is performed. It
can only be arrived at by numerous ideal ex-
planations, and by imitation. In using this
middle register, the chest is still felt to vibrate,
thus justifying the use of the term close chest
notes, but not quite in the same degree as in the
322
VOCE DI PETTO.
open register. This is possibly due to the fact that
the vibrations are quicker, on account of higher
pitch, and therefore less easily felt. But the
important diflference between the two is chiefly
brought about by changes in and about the
larynx itself, as well as by some modification of
the pharynx. It is most important to observe
that there is no hard and fast line to be drawn
as to the exact part of the scale upon which the
change (the closing, It. chiudere) is to take
place. It is upon much the same part in all
voices, male and female, but not the same under
all circumstances. It is possible to produce
many notes in both ways, and this is the basis
of the all-important operation of blending the
registers, an operation requiring in some cases
an almost incredible amount of patience on the
part of both instructor and instructed ; and very
frequently voices are ruined, either by their
being in the hands of those who have not the
necessary knowledge or patience, or far more
frequently by the singer himself or herself work-
ing alone in the dark. It is a much greater
fault to carry a lower register too high than
to bring a higher register too low. The term
* Head-voice ' in the male is very frequently ap-
plied to a mixed voice (It. voce mista) ; that is
to say, a voice in which close chest and falsetto
are blended ; and if the blending is perfect (the
result of much work, and much exercise of the
reflective powers), it is not only a legitimate use
of the voice, but very beautiful in its eflPect,
being chiefly brought into play in piano passages
upon high notes. The mixed voice, as its name
implies, is, as we have said, not a register, but
the union of two other registers, and the power
of using it well shows vigilant training. In the
mixed voice the larynx is low; in the falsetto,
high. There are some few heaven-bom artists
who instinctively blend all the registers, so that
the whole voice becomes one homogeneous wave
of sound.
A new nomenclature for the various registers
is proposed by an earnest investigator, Herr
Behnke, but this does not help matters. There
is indeed frequently much diflficulty amongst
experts in deciding between mixed voice and
falsetto (in its ordinarily accepted sense). At a
meeting which took place between an eminent
throat physician and some professors of singing
of good repute, for the express purpose of arriving
at conclusions, the want of unanimity of opinion
on this head formed the great obstacle to the
satisfactory settlement of the questions at issue.
But besides the close union of sternum and
larynx in the formation of open chest voice,
there is of course a certain condition of the vocal
cords themselves, this condition changing in each
successive register. In producing open chest
notes it is probable that the whole volume of the
vocal cords or bands will be found to vibrate.
In this state they are susceptible of a certain
amount of tension, and will give therefore a cer-
tain number of notes. When the maximum of
tension is reached, the vocal cords or bands,
acted upon by muscles within the larynx, are
VOCES HAMMERIAN^.
reduced in volume. The same tension as before
will produce a higher series of notes, the prin-
ciple being to a great extent that of adopting
strings of different thickness upon stringed in-
struments— that is to say, bowed instruments, on
which different notes have to be made upon the
same string. Then in the male head-voice, or
falsetto, the thin edges only of the vocal cords
are set in vibration. The theory would quite
well explain difference of pitch, and to some
extent modifications of quality ; but then how is
the blending of the registers, that most im-
portant, and in many cases most diflBcult part
of the art of managing the voice, to be ex-
plained? We know that the notes about the
changes of register have to partake of both qua-
lities. Can the vocal cords be in two conditions
at the same time ? We may conclude, however,
that it will be only a question of time to dis-
cover what is at present so diflBcult to fathom.
Is it to be wondered at that a set of small com-
plex organs, in great part out of sight, which
give to man one of the chief powers (if not the
chief of all powers) that distinguish him from
the mere animal, and which is capable of pro-
ducing the infinite number of shades of sound in
the numerous languages of the world, and the
marvellous faculty of giving expression to the
feelings in song, should for a long time baflSe the
researches even of the most earnest and scientific
investigators ? The theory formerly advanced,
that the female voice is only a reproduction of
the male voice an octave higher in pitch, is at
once set aside by the clearly observable fact of
the middle register being common to all voices,
male and female. The peculiarity of the female
voice is the possession of a large range of fine
head-notes in the place of the male falsetto ; and
of the male voice the possession of a large range
of open chest notes. [H.C.D."]
VOCES ARETIN^. A name given to the
syllables, Ut, Re, Mi, Fa, Sol, La ; first used by
Guido d'Arezzo for the purpose of Solmisation,
in the early part of the nth century. [See Sol-
misation.] [W.S.R.]
VOCES BELGIC^. A name given to the
syllables Bo, Ce, Di, Ga, Lo, Ma, Ni, proposed
by the Flemish Composer, Huberto Waebant,
about the middle of the i6th century, as a sub-
stitute for the syllables used for the purpose of
Solmisation by Guido d'Arezzo. As the word
• Solmisation ' was incompatible with the use of
the newly-invented formula, it was replaced by
the terms * Bocedisation,' or * Bobisation ' ; but
the system was not destined to survive the cen-
tury which gave it birth, [See Solmisation.]
A similar attempt was made, at Stuttgart, by
Daniel Hitzler, who, early in the 17th century,
used the syllables La, Be, Ce, De, Me, Fe, Ge,
under the name of Bebisation.
A century later, Graun, under the name of
* Danienisation,* used Da. Me, Ni, Po, Tu,
La, Be. [W.S.R.]
VOCES HAMMERIAN^. A term applied
to the syllables Do, Re, Mi, Fa, Sol, La, Si— the
VOCES HAMMERIAN^.
modern amplification of the series used, in the
iith century, by Guido d'Arezzo. The name is
of German origin ; and was invented in honour
of Kilian Hammer, Organist of Vohenstraus,
■who first introduced the amplified system to
German Musicians, about the middle of the 1 7th
century. [See Solmisation.] [W.S.R.]
VOGL, Heinrich, bom Jan. ig, 1845, at Au,
near Munich, received instruction in singing
from Franz Lachner, and in acting from Jenk,
stage manager of the Royal Theatre, Munich,
where he made his dihut on Nov. 5, 1865, as
Max, in • Der Freischtitz.* His success was im-
mediate, and he has since been permanently
engaged at the above theatre, where he is the
favourite tenor, making the usual tours in Ger-
many and Austria in comjmny with his wife,
whom he married in 1868 (see below). He
excels pre-eminently in the operas of Wagner,
and played Loge and Siegmund on the pro-
duction respectively of 'Rbeingold' (Sept. 22,
1869) and * Walkyrie' (June 26, 1870) at Mu-
nich. On the production of the 'Trilogy' at
Bayreuth in 1876 he again played the part of
Loge, and made a great hit by his fine declamation
and admirable acting. On May 5, 1882, he made
his first appearance in England at Her Ma-
jesty's in the same part, and subsequently in
Siegfried. He was unanimously praised for his
admirable presentment of these characters, and
on May 18 was heard with pleasure in songs
by Franz, etc., at a * Symphony Concert ' at St.
James's Hall. In 1871 he was tenor singer at
the Beethoven Centenary Festival. His wife,
Therese Vogl, whose maiden name was
Thoma, was born Nov. 12, 1846, at Tutzing,
Lake Starnberg, Bavaria, learnt singing from
Hauser at the Munich Conservatorium, and in
1865 first appeared in opera at Carlsruhe, In
Dec. 1866 she made her dihut at Munich as
Casilda (Auber's *Part du Diable'), and has
been permanently engaged there ever since,
where she is very popular as a dramatic soprano.
She was the original Sieglinde at Munich. On
May 6, 1882, she made her first appearance in
England, at Her Majesty's, as Brunnhilde, and
played the p.art throughout the trilogy with great
success. In the second * cycle ' of performances
she played with equal success her old part of
Sieglinde, having resigned Brunnhilde to Mme.
Reicher-Kindermann (since deceased), who had
been the Fricka in the first cycle. [A.C.]
VOGL, JoHANN Michael, distinguished opera-
singer, and, with Baron von ^ SchOnstein, one
of the principal interpreters of Schubert's songs,
born Aug. 10, 1768, at Steyer in Upper Austria.
A chorister in his native town at seven, he was
systematically grounded in singing, theoretically
and practically, and thus early acquired flexibility
of voice and purity of intonation. He had his
general education in the monastery of Krems-
miinster, and took part there in little Singspiele
by Siissmayer, giving considerable promise both
as singer and actor. He next went to the
>6eeTOl.iU.p.2S8.
VOGL.
82S
University of Vienna, and was about taking s
permanent post in the magistracy of the City
when Siissmayer engaged him for the Court-
opera. He played with the German Opera Com-
pany formed by Siissmayer in the summer of
1794, and made his d^but as a regular member
of the Court Opera in the following May. From
that period till his retirement in 1822 (his last
appearance was inGrdtry's * Barbe-bleue,' 182 1),
he was a great favourite, and held an important
position as a singer and an actor in both German
and Italian opera. Gifted with a baritone voice
of sympathetic quality, his method was excellent,
and his phrasing marked by breadth, intelligence,
and great dramatic expression. Such parts as
Oreste (Iphig^nie en Tauride), Jakob (Schweizer-
familie), Count Almaviva (Le Nozze di Figaro),
Micheli (Deux Journdes), Kreon (M^d^e), Telasco
(Ferdinand Cortez), and Jacob (M^hul's Joseph),
show the range of his powers. He became ac-
quainted with Schubert somewhere about 181 6,
through the latter's friend Schobeb,^ and the two
quickly learned to appreciate and esteem each
other. Vogl recognised Schubert's genius, urged
him to produce, and did his best to make him
known by singing his songs both in public and
private. The ' Erl-Konig ' was first introduced
by him to the general public at a musical enter-
tainment at the Karnthnerthor Theatre (March
7, 1821), though it had been sung before at a soiree
of the Gesellschaft der Musikfreunde (Jan. 25) by
Herr von Gyranich, an excellent amateur. Vogl
in his diary calls Schubert's compositions * truly
divine inspirations, utterances of a musical 'clair-
voyance,' and Schubert, writing to his brother
Ferdinand, says, ' when Vogl sings and I accom-
pany him we seem for the moment to be one,
which strikes the good people here as something
quite unheard of.' In the summer of 1825 the
two fi-iends met at Steyer, and made a walking
tour through Upper Austria and Styria, singing
Schubert's songs like a couple of wandering
minstrels at all their resting-places, whether
monasteries or private houses. Schubert pub-
licly testified his esteem by dedicating to Vogl
3 Lieder (op. 6), published in 1821.
Vogl's early conventual education left its
traces in his fondness for serious study, to which
all his spare time was devoted, his favourite
authors being Goethe and the Greek classics.
In 1823 he went to Italy, and on his return in
the following spring astonished his friends by
announcing his marriage with the daughter of
the former director of the Belvedere, whom he
had long treated as a sort of pupil. One of hia
last appearances in public was at a soiree of the
Gesellschaft der Musikfreunde in 1833, when he
sang the * Wanderer.' His last years were
passed in great bodily suffering, cheered only by
intellectual occupation. He died in 1840, Nov. 19,
on the same day on which his friend Schubert had
departed 12 years before, and was buried in the
churchyard of Matzleinsdorf, where rest Gluck
and his wife (1787), Salieri (1825), and the
eminent singer Forti (1859), Staudigl (1861),
> See Tol. Ui. p. 256. S27 ft. > See Tol. »i. p. 327.
Ya
92i
VOGL.
and Ander (1864). The inscription on his tomb-
stone runs —
Here lies Job. Michael Vogl,
the German minstrel,
bom 10 Aug. 1768, died l!» Nov. 1840.
To the revered and tenderly loved
Husband and Father. [C. F. P.]
VOGrLER, Geouge Joseph, the Abbe, is one
of the most curious and striking figures in the
annals of music. He was born at Wiirzburg
on June 15, 1749, and evinced from an early
age a religious cast of mind and an aptitude for
music. His attachment to the organ dated from
his tenth year. Both his father and his step-
father, one Wenceslaus Stautinger,* were violin-
makers. While learning the organ his step-father
let him have a pedalier attached tohisharpsicherd,
and Vogler practised with such determination all
night that no one would live on the floor below.
At the same time his independent turn of mind
exhibited itself. He elaborated a new system of
fingering," and contrived to learn the violin and
other instruments without a teacher; and even
while a pupil at the Jesuits' College he played
much in the churches, and made a name for him-
self in the contrapuntal preludes which were
regarded as the test of an organist's skill.^ How
long this sort of life lasted is not very clear,
but Vogler himself declares that he was at Wiirz-
burg as late as 1769.
His departure must have taken place very
shortly after this. He proceeded in the first
place to Bamberg to study law. In 1771 he went
from Bamberg to Mannheim, then one of the chief
musical centres of Germany, and obtained permis-
sion to compose a ballet for the Court Theatre,
which produced such an impression that the
Elector, Karl Theodor, was led to provide him
with funds to go to Bologna and study counter-
point under Padre Martini. Starting about the
beginning of 1773 Vogler travelled by way of
Venice. He there met Hasse, and also a pupil
of Padre Valotti, from whom he first heaid of the
system of harmony that he subsequently advocated
with such vehemence.* The original object of
his journey was not achieved, for, though kindly
received by Martini, they speedily conceived a
repugnance for each other. Vogler could not
tolerate a slow and graduated course of counter-
point ; and Martini complained that his pupil
had neither perseverance nor .aptitude. Vogler
soon abandoned the trial, and repaired to Padua
with a view of studying for orders, and learning
composition from Valotti, who had been for nearly
filty years musical director of San Antonio. But
the old organist's method of teaching was wholly
distasteful to his disciple, and in five months
Vogler went on to Home, where he was ordained
1 or Voglert famllr wo only hear farther that poor relatives were a
drain on his purse. Chrlstmann speaks of him as improTerished by
thi.s circumstance Id 1781—2, and Gfinsbacher malies the same
statement in 1808,
'<! Muzart describes this system as ' miserable.* Letter Jan. 17, 1778.
3 See also the Graduale (De ProfundU) of the Missa rastorlcia.
, '* The account In the text follows the statements usually made
with reference to Vogler's proceedings at Bologna and Fadua. But in
the Mustlcalische Correspondenz of Spires for 1790, No lH, Professor
Chrlstmann asserts that the Elector Palatine himself directly recom-
uieuded Vuisler to Valotti.
VOGLER.
priest at the end of 1 773.' In the Papal city he
was made Apostolic Protonotary and Chamberlain
to the Pope, knight of the Order of the Golden
Spur, and member of the Academy of the Arca-
dians. He also found time to gain some instruc-
tion from the Bohemian musician Mysliweczek,
and armed with these ecclesiastical credentials
and musical experience he returned in 1775 to
Mannheim.^ The Elector at once appointed him
Court Chaplain, and he proceeded forthwith to
compose a ' Miserere ' with orchestral accompani-
ments, and was made second Kapellmeister, a
result partly owing to the influence of some ladies
of the court, if Mozart may be trusted.^ The
Mannheim orchestra was then the finest in
Europe, and it was there that Vogler obtained
his knowledge of orchestral effect. It was there
also that he first put himself forward as a teacher,
and established the first of his three schools.
He maintained that most previous teachers had
pursued erroneous methods, and promised to
make his pupils composers by a more expeditious
system. Into this task he threw himself with
the greatest energy, publishing expositions of his
theory (see list of works), and editing a monthly
magazine which recorded the proceedings of the
school. All this naturally provoked much opposi-
tion, but, to judge by its fruits, his school must
have had some merits, for amongst those who
were actually students or came directly under
its influence were Winter, Hitter, Kraus, Danzi,
and Knecht — an ardent disciple. At Mannheim
Vogler made enemies as well as friends, and it
is probable that when Mozart visited Mannheim
in the winter of 1777 he fell into that section of
the musical world there. On no other supposition
can we fully explain the tone in which he speaks
of Vogler in his letters, which will not concede
to the Ahh6 a single redeeming feature. Vogler
at any rate was studiously attentive to Mozart,
and after having several times in vain invited
Mozart to call on him, put his pride in his pocket,
and went to call on the new-comer.* During
Mozart's visit the Elector-Palatine became
Elector of Bavaria, and in the same year (1778)
removed the Court to Munich. Vogler's devo-
tion to his school kept him at Mannheim, and
he did not, in all probability, go to Munich
till 1780. His five years at Mannheim are
marked by other achievements than the Ton-
schule. At the end of 1 777 we find him opening
a new organ built after his design at Frank-
fort. The next year, in all likelihood, he
was summoned to Darmstadt by the heir ap-
parent— the Prince who provided him with a
home in his last years— to compose the musio
for a melodrama called * Lampedo * (or * Lam-
predo').* Another work was the overture and
entr'actes to 'Hamlet,' brought out at Mannheim
in 1779. These were succeeded by an operetta,
*Der Kaufmann von Smirna,' written about 1780
for the theatre at Mayence.
8 A. M. Z. vol. Tl. p. 250.
6 According to a statement In his • Choral System' (p. 6) It was ta
this year that he learnt the basis for his system from Valotti.
7 Letter, Nov. 13. 1777. « Mozart's Letter olJan. 17, 1778.
• For a detailed account see the A.M. Z. toI. i. uus. 23 and 24.
VOGLER.
The next twenty years of Vogler's life present
great difficulties to his biographer. Although
nominally settled at Stockholm from 1786 or 87
to 1 799, he was really constantly travelling, and
the records of his journeys are so fragmentary
and contradictory, that it is impossible to con-
struct a complete narrative. Thus, though he
undoubtedly extended his travels to Spain, Por-
tugal, Greece, and Africa, nay even to Armenia
and Greenland,* the authorities are by no means
agreed as to when he went. One writer' gives
it in 1783-1786, another' in 1792, while the
dates at which he appears in other distant spots
make it difficult to understand how such an
extensive tour could have been managed at all.
We shall therefore only give some idea of his
wanderings and proceedings by noting detached
occurrences.
About 1780 Vogler followed the Electoral
Court to Munich. He there employed himself
in perfecting the education of the celebrated
singer Madame Lange, in teaching composition
to B. A. Weber, and in composing an opera
in five acts entitled 'Albert III. von Baiern,'
which was represented at the Court Theatre in
1781. It did not prove successful, and disgust
at the want of appreciation that he found in
Germany seems to have induced him to appeal
to foreign musicians. With this view he sub-
mitted an exposition of his system to the Aca-
ddmie Roy ale des Sciences, probably in 1781,
and to the Royal Society in 1783.* In 1782
he was in Paris' and the next year perhaps
crossed the Channel to England.' Returning
from England, if indeed he really visited it at
this time, he again attempted to obtain success
as an opera composer. But his comic opera
*La Kermesse,' produced at the ThdS,tre de la
Comddie Italienne on Nov. 15, 1783, proved a
dead failure, and could not even be finished. An-
other efibrt in Germany was crowned with suc-
cess. * Castor and Pollux,' produced at Munich
in 1784, was not only received with applause but
continued a favourite for years.' The close of
1784 and commencement of 1785 appear to have
been occupied with the journey to Africa, Greece,
and the East. At all events the next definite
trace of him is on Nov. 22, 1785, at a great
organ recital in Amsterdam, for which no fewer
than 7000 tickets were sold.' In the next year
he entered the service of tlie King of Sweden
as Kapellmeister, resigning his posts at Munich,
where he had become chief Kapellmeister on
the death of Holzbauer in 1783.* At Stockholm
1 A. M. Z. TOl. in. p. 268 ; vol. Ix. p. 386.
a F^tis. 3 A. M, Z. Tol. xxlH. p, 257.
4 Choral System pp. 1—6. The records of the Royal Society afford no
trace of a communication from Vogler or anything else bearing on the
question. The Journal des Sfavans for 1782 has an anonymous article
comparing the Tonometers of Pythagoras, the Greeks, and the Abb6
Vogler. which states that his Instrument had been presented to the
Acad(5mie Eoyale des Sciences together with the Inventor's new
musical syjitem. which he proposed to publish shortly.
s So at least we may infer from the date of his ' Essai de diriger le
(oflt,* etc. published in I'aris.
« Choral System, p, .">.
7 F6tls assumes that ' Castor and Pollux' was produced at Mannheim
In 1791, but contradicts himself elsewhere (see his accotint of Mile.
Kreiner). For the date here given see A. M. Z. vol. viii. p. 318.
8 A. M. Z. vol. i. p. 575.
• VitiM speaks as if Vogler resigned his Bavarltui appointments ia
VOGLER.
826
he established his second Tonschule, but neither
that nor his official duties put much check on
his roving propensities. He signalised his arrival
with a French opera, *Egle,' produced in 1787,
but the next year he is at St. Petersburg,"
and in November 1789 at Amsterdam. He ar-
rived in London at the beginning of 1790, and
was very successful. His performances were
applauded and he was entrusted with the
reconstruction of the organ in the Pantheon.
According to Gerber " he introduced organ pedals
I into this country, and their introduction by the
organ-builder England certainly belongs to the
year of his visit.*'' His last performance at the
Pantheon took place on May 31, and the pro-
ceeds of his visit amounted to £1000 or £1200.
One of his most admired performances was 'The
pastoral festival interrupted by a storm,' which
seems to be the piece by Knecht which was the
precursor of Beethoven's Pastoral Symphony.
[See Knecht, vol. ii. p. 66 a ; and Programme
Music, vol. iii. p. 39 a.] He went to the Handel
Festival in Westminster Abbey ,^^ but was not
much impressed. He complains that the chorus
was too loud, that the performers were too
numerous for any music but Handel's, and that
no light and shade could be obtained. But he
admits that the effect was sometimes great, and
he did homage to the memory of Handel in a
characteristic manner, by composing a fugal piece
for the organ on the themes of the Hallelujah
chorus. The Festival ended on June 3, and he
next appears at Warsaw, writing to invite the
organ-builder Rackwitz of St. Petersburg to join
him. Rackwitz complied, and the two proceeded
to Rotterdam to place some free-reeds in an organ
there. In the early part of September he was
giving concerts at Coblenz, Mayence, and Frank-
fort. From thence he journeyed on, through
Worms, Carlsruhe, Durlach, and Pforzheim, to
Esslingen, where the enthusiastic inhabitants
presented him with the * wine of honour,' usually
reserved for sovereigns.^* Rackwitz remained
at Frankfort, making a free-reed stop for the
Carmelite church,*^ but Vogler probably rejoined
him in time for the coronation of Leopold II. on
Oct. 9. The Abbe now began to be held in honour
in his own country. At Frankfort his 'Halle-
lujah' fugue fairly astonished b6th friends and
enemies.** It was at this time he projected a
return to London with the view of establishing
a manufactory of free-reeds." This intention was
not carried out : he returned to Stockholm, and
was followed by B. A. Weber, who gave up his
position as conductor at Hanover to obtain further"
instruction from his old master. The early part
of 1 791 was employed in the composition of
1782. This is at variance with the title-page of Knecht's ' Portrait
Musical • [for which see Programme-Music, vol. HI. p. 39 a], published
in ]7«4 [see Knecht, vol. il. p. 66 a]. Moreover Winter, who succeeded
Vogler as Kapellmeister, obtained the post in 1788. (A. M. Z. vol.
xxviil. p. 358). 10 A. M. Z. vol. xxv. p. 152.
" Lexicon der TonkQnstler. J2 See ORGAN, vol. H. p. 598 6.
13 On Vogler's performances in London see ' The Gazetteer and New
Daily Advertiser ' for May 8, 22, and 29, 1790.
M Christmann and Schubart in Musik. Correspondenz for 1790. Nos.
15, 16.
w Compare with the authorities Just quoted A. M. Z. vol. xxv. p. 153.
u Christmann and Schubart. I c, give several Instances.
n Obristmanu.
826
VOGLER.
•Athalie' and 'Gustav Adolf,' and in September
he was giving organ recitals in Hambui^. The
assassination of Gustavus Adolphus III., whom
he liked and respected,* on March i6, 1792, only
a few days after the production of his opera,
started him oflf with Weber on another long tour
through Sweden, Norway, Denmark, and the
Netherlands.' In the next year^ he undertook
a course of lectures on Harmony, and in 1794
betook himself to Paris to hear the choruses ac-
companied by wind-instruments with which the
new-bom Republic solemnised its ffites, and add
the result of his observations to his *Polymelos
or characteristic music of divers nations.' At
St. Sulpice he gave an organ performance for the
poor, the receipts of which were 15,000 livres.
On his return he gave a second course of lectures
in 1795,* and in 1796^ erected his orchestrion
at Stockholm. About this time his ten years' en-
gagement as Royal Music-director came to an
end, and he proposed to leave Sweden. But his
school was considered so successful* that the
Regent prevailed on him to prolong his stay till
the spring of 1799.^ In that year he received
from the Swedish Court an annual pension of
500 dollars, departed for Denmark, and made an
unusually protracted stay in the Danish capital,
during which he brought out an important work
for the church, and another for the stage. The
former was his 'Choral-System,' in which he
reviewed Fux, Kimberger, and Rameau, and pro-
fessed to demonstrate that all the Protestant
chorale-melodies were written in the Greekmodes.
Of this work the Danish government ordered 100
copies for distribution gratis to organists. The
latter was the music to • Hermann von Unna.*
This, though originally written to a Swedish
libretto by Spoldebrand, had not been performed
in Sweden. It now proved a great success.
Though the ticket oflBce did not open till 4 in
the afternoon, people began to assemble round
it at 6 a.m. After these achievements Vogler
proceeded, in the summer of 1800, to Berlin.
There he gave * Hermann' several times in Ger-
man by way of attracting the general public,
appealed to the savants by his ' Data zur Akustik,'
and to the religious world by his proposals to
reduce the cost of organ-building. He was en-
trusted with the reconstruction of the organ in
St. Mary's,' and gave a performance on it on
Nov. 28, 1800. The King of Prussia commis-
sioned him to build an organ at Neu-Ruppin.
But this did not keep him in Prussia. He set
1 Christmann. > To this date some assign his tntrels In the East.
8 F6tl8 says 1792.
* This Is explicitly stated by hlmselt See 'Intelllgenx Blatt'
atUched to A. M. Z. of June 25, 1800. < A. M. Z. toI. zzr. p. 153.
6 B. A. Weber Is the only musician of note who studied under
Vogler at Stockholm. The school in 1796 consisted of 17 pupils, while
the orchestra of the Academy consisted of twenty-eight Swedes. Four
of these Swedes, whose total ages did not exceed 36 years, executed one of
Vogler's quartets in public, while mere children of the singing school
performed several entire operas ! Perhaps Vogler did more real service
to Swedish music by giving excellent performances of Gluck's music
(A. M. Z. vol. xxlli. p. 2ff7.)
7 He was at Stockholm April 28, 1799 (A. M. Z. I. p. 692). In July
he was travelling between Copenhagen and Hamburg (see his attack
on Mailer in A. M. Z. vol. i. Intell. Blatt. xviii. p. 95), and was at
Copenhagen on Nov. 1, 1799 (A. M. Z. vol. ii. Intel). Blatt. vi.)
8 Tiie specification of this organ may be found in the IntelUgea*-
Blatt attached to the A. M. Z. for Feb. 4, ItJOU
VOGLER.
off to Leipzig, gave three oi^an recitals in the
spring of i8oi, and then went on about June to
Prague. At Prague he was received with great
honour, and made governor of a musical school.
His introductory lecture treated the question
•What is an Academy of Music?" and the interest
he excited was shown in the crowded audiences
that attended his course on the theory of music.
The orchestrion was again erected, and after eight
months' delay, and two disappointments, was
heard on Easter Sunday, 1802. The Bohemians
do not seem to have thought much of it, and it
may have been in consequence of this failure that
he left Prague for Vienna, arriving about the end
of i8oa.' He was reported to be invited to
Vienna to write an opera, and rumours of the
forthcoming work were constant throughout 1803.
•Samori,' however, did not actually appear tUl
May 17, 1804, at the Theatre an-der-Wien, after
more than fifty rehearsals. It enjoyed a mo-
derate success, but on the course of operatic
history at Vienna it exercised no influence at all.
Two other of Vogler's works were given there,
•Castor and Pollux' (with additions and alter-
ations), in a concert-room on Dec. 22 and 23,
1803, and 'Athalie' at the Redoutensaal in Nov.
1804. Neither made much impression. While
at Vienna, Vogler celebrated the thirtieth anni-
versary of his ordination. An interesting cir-
cumstance connected with his stay there is his
meeting with Beethoven, and their extemporising
in turn on the piano. [See vol. i. 183 a.] An-
other is that here Gansbacher and, through him,
0. M. von Weber, ^* became his pupils. Weber
made the PF. arrangement of * Samori.* Vogler
had now been more than two years in Vienna,
and his wandering instincts revived. He spent the
summer of 1805 at Salzburg, en route to Munich.^^
There he gave organ recitals, and at Christmas had
his Pastoral Mass performed in the Court Chapel.
When Napoleon, on his return from Austerlitz,
paused at Munich to celebrate the marriage of
Eugfene Beauharnais with the Princess Au-
gusta of Bavaria, the Abb^ was the musical
hero of the hour, and ' Castor and Pollux' was
performed on the wedding day, Jan. 14, i8o6.**
He made some little stay in Munich, occupying
himself as usual in simplifying organs and pub-
lishing theoretical works. In September 1807
he turns up at Frankfort, and shortly after-
wards^' received an invitation from the Grand
Duke of Darmstadt, Louis I., for whom he had
written *Lampedo' nearly thirty years before,
to settle in that town. The Duke gave him a
salary of 3000 florins, a house, with dinner and
supper every day from his own kitchen, four
wax candles a day and firewood ad libitunit
the titles of Kapellmeister, and Privy Councillor
for Ecclesiastical Affairs, and the order of Merit
• This date Is taken from A.M. Z. vol. T. p. 374. The Blogranhle
O&nsbacher states that Vogler came to Vienna about the end of 1803.
10 Life of 0. M. v. Weber, by his son. Gansbacher (Blographle) says
that he first made acquaintance with Weber at Vogler's house.
11 F^tls's statement that Vogler left Vienna In consequence of the
war is refuted by dates.
12 One of the pieces in ' Polymelos ' is written ii» commemoration of
this marriage. . „ , „»v
I* Vogler U found in Darmstadt in 1806. (A, M. Z. vol. xxv, p. 153.)
VOGLER.
of the first class. In return for these honours
and emoluments he was not expected to per-
form any duties, or to take part in the opera unless
at the performance of one of his own works.
The Duke thought himself well repaid by the
mere presence of such a celebrity.
Here then, at last, this musical Odysseus found
a resting-place. Here he opened his last and most
successful Tonschule; and in the remaining six
and a half years of his life became very fond of
the dull old town. It contained, in fact, every-
thing necessary to make it a haven of rest. The
accusations of charlatanism that he had so often
combatted down to 1802,* at any rate did not
penetrate to Darmstadt. The musicians of the
place held him in honour; he was surrounded
by admiring and brilliant pupils, and his vanity
rejoiced in the sunshine of Court favour. When
the old love of change returned on him he could
vary his routine of teaching and composing by
short trips in the neighbourhood. Munich and
its organs were a favourite haunt,'' especially in
autumn. In 1 8 10 he visited Frankfort, May ence,
Hanau, and Offenbach, with Weber, and made
another visit to Frankfort for the production of
his pupil's opera *Sylvana' on Sept. 17, Two
years later he journeyed through Munich to
Vienna, where it was noticed that he 'preserved
his long acknowledged mastery ' of the organ . B e
employed himself in composing for stage, concert-
room, and church, and his best work, the Requiem,
was the occupation of his last days. On May 4,
1814, his friend Gottfried Weber visited him on
passing through Darmstadt and remained till mid-
day on the 5th. The Abbd was as lively and genial
as ever. The two friends analysed music together,
and talked of the principles of art and especially
of music. Vogler expressed his hopes of being
permitted to celebrate the fiftieth anniversary
of his ordination. The following day (May 6),
at half past four in the morning, the old musician
died of apoplexy. He was buried on the evening
of the 7th, quietly, amid tokens of respect and
grief from those who knew him, from his old
scholar, the Grand Duchess, downwards. Wherever
one of his numerous pupils was to be found, the
intelligence came like a heavy blow, for it an-
nounced the loss of a musician zealous for his art
and of a man devoted to his friends.^
Vogler was short in stature, and latterly
became corpulent. His arms were of great
length, his hands enormous, and his general
aspect has been described as that of a large
fat ape. His singular character was strongly
tinged with vanity, and not without a touch of
arrogance. He delighted to array himself in his
purple stockings and gold buckles, with his black
silk ecclesiastical mantle and the grand cross of
the Order of Merit given him by the Grand Duke
1 See the preface to the ' Handbuch zur Harmonie Lehre.'
2 He did not confine his attention to the organs however, as we find
bim buying kettledrums of an improved model in Munich. (A. M. Z.
»oi. xiv. Intell. Blatt. xv.)
8 See the touching letters of Gottfried and 0. M. y. Weber on reoelT-
tag the news of Vogler** death. In the former, by the way, Vogler's
ftge seems wrongly given. In 1845 the Historical Society of Wurzburg
placed a tablet in the house in which Vogler was born, with th«
inscription 'Geburtshaus des Tonkanstlers Georg Joseph Vogler,
geboren den 15. Juni 1749. gestorbeu den 6. Mai 1814.'
VOGLER.
827
of Hesse.* He would take his prayer-book with
him into society, and often kept his visitors
waiting while he finished his devotions. Be-
neath his quaint exterior lay remarkable mental
gifts, a great insight into character, and a power-
From a portrait in the Hope Collection, Oxford.
ful memory. Nor were his egotism and affecta-
tion without counterbalancing excellences. He
was always anxious to avoid a quarrel, ready to
acknowledge the merits of brother artists,^ and
to defend them, even if they had opposed him,
provided their music was good. The civility
which he showed to Mozart is in marked contrast
to Mozart's behaviour towards him. Moreover,
his vanity did not blind him to his own defects.
He was well aware that harmony, not melody,
was the department in which he excelled. *Had
I your flow of melody,' he said to Sterkel, * and
you my science, we should be both great men.*
An enthusiastic contemporary^ calls him 'an
epoch-making man.' The expression is too strong,
but as a musical iconoclast Vogler certainly did
excellent service. His incessant attacks on the
pedantic methods of musical instruction and
systems of harmony in vogue, and on the old
methods of organ-building, were often extrava-
gant and untrue, as, for example, the statement
that Bach did not know what a chorale was. But
all reformers are betrayed into exaggeration,
and such utterances must not make us overlook
the benefits that flowed from his demolition
of musical fetishes. His attacks on rooted pre-
judices stimulated not only his pupils Weber and
Meyerbeer, but acted indirectly on a wide circle.
As a composer it was his aim to retain the
simple and severe beauty of the old church
music and yet enrich it with the wealth of har-
mony at the command of modern music. He was
thus most happy in his treatment of a canto fermo.
He brought to this task a facility in vocal counter-
point gained in the ecclesiastical schools of Italy,
* The analysis prefixed to ' Die Scala* has a sort of facsimile of
Vogler's signature attached to it. The autograph Is as eccentric as th«
man, being encircled with the most comical flourishes.
s See Christmann's report of a conversation with Vogler.
6 Schubart, Aesthetik.
828
VOGLER.
and an intimate acquaintance with the resources
and effects of an orchestra acquired as Kapell-
meister at Mannheim.* As a composer for the
theatre he did not attain any great good fortune.
Against the success of 'Castor and Pollux,' and
'Hermann von Unna,' must be set very many
failures. * Samori, ' on wh ich he spen t the greatest
pains, pleased for a while, in spite of its weak
libretto and often laboured music ; but Vogler's
influence on opera at Vienna was in reality nil.
The overture to * Hamlet,' on the other hand,
was the forerunner of the programme overture
now almost too common. We are told ' that in
composing this work Vogler hit on an idea, then
new, viz. he first studied the tragedy and then
arranged his composition so as to express the
principal scenes in music. His clavier music,
though perhaps useful as exercises, is unim-
portant, and his organ music has not borne the
test of time. [Pbogbahhb Music, vol. iii., p.
39 a.] His Symphony in C and his Requiem are
his best w(Mrks, and contain original and striking
music. The former was played at the Gewand-
haus under Mendelssohn in 1838 and 1839, ^^^ ^Y
the Euterpe in the season 1844-5. The overture
to * Samori,' whose insignificant themes and fine
development make it a type of its composer, was
performed later still, in 1 847, and the characteristic
Pastoral Mass was both popular and impressive.
A striking success was achieved by the Psalm
*Ecce quam bonum' at Choron's first Sacred
Concert at Paris in 1827, and though the pro-
gramme included works by Scarlatti, Marcello,
Handel, Haydn, and Mozart, we are told that the
honours rested with Vogler.*
But it was as an organist and theorist that
Vogler made most stir. It would be difficult to
find an important town in Central Europe in
which he had not performed on the organ. He
could stretch two octaves with ease, and practice
had turned this natural advantage to such good
use that he was indisputably the first organist of
his age. His quaint eccentricity shows itself here
as elsewhere. He would travel about playing in
the most ad eaptandum style such things as
•Cheu-Tew, a Chinese song,' 'a Hottentot melody
in three notes,' • The Fall of the walls of Jericho,'
'Thunder-storms,' and the like,* as if with the
design of concealing his complete command of
the highest ranges of organ-playing. His ex-
tempore playing never failed to create an im-
pression, and in the elevated fugal style he easily
distanced all rivals. 'One was amazed at his
performance in the severe style,' says Rink;
and his study of the construction of the organ
gave him an unerring instinct in the selection
of stops. The illnatured criticism of Mozart in
his letter to his father of Jan. 17, 1778, is by no
means generally endorsed by other contem-
» Chrlstmann mentions that In an orchestra arranged on Vogler's
princip'es four double basses were used and tuned in four different
ways, by which ingenious device an open string was obtained for
erery note. In ' Die Scala ' two pairs of Icettledrums are used to play
a scale passage— probably the first instance of the employment of four
drums. |Cp. Drum, vol. i. p. 461 a ; Tihbales, vol. iii. p. 116.]
2 hchubart. Aesthetik. 3 a. M. Z. voi. xxlx. p. 668.
* Christmann mentions a performance intended to represent ' The
Last Judgment urcordiny lo liulien*.' Pictorial Music has p«rhaps
uever been pushed beyond this.
VOGLER.
porary writers. They declare that in transpos-
ing and accompanying, Vogler had remarkable
readiness and skill, and that as a reader at sight
he ' was perhaps unsurpassed and unique.* ^
In organ building,' his firat practical efforts
were made in 1784. Five years later he com-
pleted an instrument which he called the Orches-
trion, and gave performances on it at various dates
at Amsterdam, London, Stockholm, and Prague.
It is described as being 9 feet square, 6 feet
high on each side, and 9 in the centre. This
box contained about 900 pipes, and had shutters
for crescendos and diminuendos. The reed-stops
were Free Reeds, and variety of power in
their case was gained by three canvas screens
in the windtrunk. As to the effect produced,
opinions were much divided. At Amsterdam
it was asserted to be the non plus ultra of organ-
building, at Prague it was declared a failure.
Vogler was also prepared to 'simplify' old
organs. He claimed to work such a metamor-
phosis in an instrument in three weeks that its
effect would be largely enhanced, though many
of the old pipes were removed. The cost of an
organ on his system was alleged to be a third
of that of one built in the old way. Such pre-
tensions were sure to provoke keen opposition.
At Berlin he was charged with stealing the pipes
removed in 'simplifying' tlie organ in St. Mary's
Church. The falsity of the charge was demon-
strated, but it shows the feeling against him.
His proposals were four- fold: viz. (i) To
avoid the use of expensive large pipes; (2) To
introduce Free Reeds; (3) To arrange the pipes
in a different order on the windchest, and (4)
To remove Mutation Stops.
(i) The means by which the cost of organs
was diminished without depriving them of
their resources lay in Tartini's theory that just
as a note gives certain harmonics, so the har-
monics of a note if combined give the funda-
mental note. The first harmonics of a pipe of
32 feet would be represented by pipes of 16 feet
and of I of feet. It was therefore possible by
employing a pipe of 16 feet and a pipe of io|
feet together to obtain a 32-feet sound without
having to use a 32-feet pipe. Time appears, on
the whole, to have decided in favour of Tartini
and Vogler on this point. It is true that some
organ-builders and organists still hold that the
' third sound ' is but a poor apology for the real
pipe-produced sound, and that every organ of any
pretensions still contains large pipes. On the
other hand, a Quint on the Pedal Organ is un-
doubtedly coming into great favour as an adjunct
to or substitute for the 32-feet stop. The reader
will find instances of the 'Trias Harmonica'
either with or without a 32-feet stop at St.
Michael's, Tenbury, Cutler's Hall, Sheffield (Ca-
vailld-Coll), Sheffield church (Brindley & Foster),
» Once, at least, Vogler met Beethoven, viz. at Sonnleithner's bouse
In the winter of 1803-4. | See Beethoven, vol. I. p. 183 a.] Gftnsbaclier,
who then heard both extemporise for the first time, admired Bee-
thoven, but was perfectly enchanted with the Adagio and Fugus
thrown off by Vogler. So excited was he that he could not go to
bed after it. and knocked up his friends at unseasonable hours to
quiet his excitement by describing what he had heard. (Biographie.)
< ' Data zur Akustik.'
VOGLER.
the Bow and Bromley Institute, the Temple
Church (Schulze), the Free Trade Hall, Manches-
ter (Kirtland & Jardine), and York Minster.
(2) The free-reed was derived from a Chinese
organ, and was applied about 1780 to organ
reed-stops by a Copenhagen organ-builder named
Kirsnick, who had settled at S. Petersburg.
Vogler was so impressed with Kirsnick's experi-
ment that he induced Rackwitz, Kirsnick's as-
sistant, to follow him to Stockholm, and make
several stops on this principle. When Vogler
returned to Germany in 1799 ^® carried the
invention with him wherever he went, and it
was through his advocacy that people first
realised its capabilities. To this initiative must
be attributed not only the free-reed stops in
organs, but also the Harmonium and its varieties.
(3) Vogler arranged the pipes of an organ in
semitonal order — the large pipes at the left end
of the soundboard, and the small pipes at the
right end. Most organ-builders adhere to the
old system ; but Vogler's arrangement has found
adherents, amongst whom maybe noted the cele-
brated Schulze of Paulinzelle (who built his organ
for the Exhibition of 1851 on this principle),
Walcker of Ludwigsburg, and Messrs, Kirtland
& Jardine and Forster & Brindley in England.
(4) On the fourth point Vogler has achieved an
undoubted success. The Mixtures still found in
organs, are not the overwhelming ones that he
Skssailed, and further modifications in this respect
are possibly still to come. Outside the particular
questions raised by Vogler, his influence on organ-
building was considerable, and much of the im-
provement therein in the last seventy years may
be ascribed to his attacks.
As a theorist Vogler developed the tenets of
Valotti, His system of harmony was founded
on acoustics, and its fundamental principle was
that not only the triad (common chord), but
also the discords of the seventh, ninth, and
eleventh could be introduced on any degree of the
scale without involving modulation. He went
even beyond this, and allowed chromatically
altered forms of these chords and inversions of
them. But his system never took much root.
According to Knecht, its most ardent advocate,
it was full of practical advantages, placed in a
clear light the formation of the scales, simplified
figuring and thorough-bass, and got rid of all sorts
of meaningless and confusing terms, * dominants
that do not dominate, Vorschlags, Nachschlags,
etc.* Two other writers have founded their sys-
tems on that of Vogler, F. J. C. Schneider and
Jelensperger ; but it has passed into oblivion.
It is as a teacher that Vogler has most
claims on posterity, for no musician has ever
had so many remarkable pupils. As a teacher of
singing he was in great request, and the cele-
brated Madame Lange (Aloysia Weber) owed
almost everything that was admirable in her
singing to his instruction.' It was, however, to
the teaching of composition that he directed his
greatest efforts ; and from his Schools at Mann-
heim, Stockholm, and Darmstadt came forth
> Schubart, \estb»tik. p, 13&.
VOGLER. 329
Winter,^ Ritter, Kraus, Danzi, Komacher, B. A.
Weber, Baron von Poisel, Gansbacher, C. M. von
Weber, and Meyerbeer. Sterkel also received
lessons from Vogler, and Knecht the organist
and Gottfried Weber were very directly influenced
by him. His pupils conceived the deepest regard
for him. • Mere association with him,' says Gans-
bacher, * was a kind of school.' Vogler was not
only a most judicious and sagacious teacher,' he
was also the kindest and most generous of friends,
and he reaped the reward of his kindness by
finding that his old pupils after passing into the
world were ever ready to return to his side.*
Few scenes of artistic life are more charming
than the picture of the details of Vogler's
last Tonschule at Darmstadt. After the Abb^
had said Mass, at which one of his scholars
played the organ, all met for a lesson in coun-
terpoint. Then subjects for composition were
given out, and finally each pupil brought up his
piece to receive the criticism of his master and
fellow-pupils.' Every day a work of some
great composer was analysed. Sometimes the
Abb^ would propound a theme for improvisation.
Not unfrequently he would play himself, as he
never played except when alone with his ' three
dear boys,' in the empty church. From the mind
of one of these *boys,' the impression of these
performances was never effaced, for Weber always
described them as a thing not to be forgotten.
Anon we get glimpses of VVeber at work on 'Abu
Hassan ' or on ' Papa's ' biography, while the ' old
gentleman * looks on, and advises or composes,
consuming • enormous quantities of snufF.' By
way of varying the regular routine the master
would take his scholars with him to organ recitals
in neighbouring towns. The pupils, in their turn,
would diversify the common round by writing an
ode to celebrate * Papa's' birthday,^ A happier
household can hardly be imagined. When the
master died, his pupils felt as if they had lost a
father, * Reiner . . announced to me yesterday,'
wrote Weber to Gansbacher (May 13, 1814), ♦ that
on the 6th our beloved master Vogler was sud-
denly snatched from us by death . . . He will
ever live in our hearts.'
A list of Vogler's works in various departments
is appended.
OPKRATIC WORKS,
arranged as far as possible in chronological order, vilth the places
where tbey were first performed.
Ino, cantata by Ramler, Darmstadt. 1779.
Lampedo (or Lampiedo). a melodrama. Darmstadt, about 1779.
Hamlet, overture and entractesfor the play of. At Mannheim, 1779.
Der Kaufmann von Smirna, operetta. At Mannheim. 1771,
Albert III von Baiern. opera In 5 acts. At Munich, 17^0.
La Kermesse, opera. At the Com^dle Itallenne in I'aris, Sov. 15, 1783,
2 Winter afterwards objected to be called a pupil of Vogler, appa-
rently without good reason. Compositions of his appear lu the ' Mauu-
heimerTon.schule.'
8 As for instance when he made C. M, v, Weber go back to the
study of the great old masters in 1803.
* E. g. Kraus in 1779. B. A. Weber In 1790, 0. M. von Weber in 1809,
Gfinsbacher in 1810.
4 Gansbacher tells us that Moses Mendelssohn's Translation
of the Psalms was a favourite text-book for the dally exercise
at Darmstadt. "At first," he adds, ' we took the exercises In the after-
noon, but the Abb6, who almost daily dined with the Grand Duke,
used to po to sleep, pencil in hand We therefore agreed to take
our exercises to him heno«torward in the morning."
6 In isio. Weber wrote the words, GSnsbacher two solos, Meyerbeer
ft terzetaud chorus.
330
VOGLER.
Le PatrioUsme, opera. Versailles, •on occasion of Siege of Gib-
raltar.' 1783.
Castor and Pollux, opera In 3 acts. At the Italian Opera in Munich,
during the Carnival of 1784.1
Egle, French opera. At Stockholm, 1787.
La Patriotisme, opera. Written for the Paris Academle In 1788,
but rejected or, at all events, not performed.
Athalle. choruses In Baclue's play of. At Stockholm, 1791.
Giistav Adolf, Swedish opera. At Stockholm, March, 1792.
Hermann von Unna, overture, choruses, dances, and one song. At
Copenhagen, in the early part of 1800.
Die Husslten vor Naumburg im Jahr 1432, ' Schluss-Chor * to
Kotzebue's drama of. At Leipzig, September, 1802.
Samorl, opera in 2 acts, words by F. X. Huber. At the Theatre
an-der-Wien, Vienna, May 17. 1804.
Der Admiral, comic opera. Darmstadt, 1810.
Epimeiiides.— Erwin und Elmire.— Der gewonnene Proress.— Les
Rendezvous de Chasse.— Die Kreuzfahrer ; overture.— Der Eremit auf
Forraentarra, ditto.— Prolog, ComOdle.— Scena da Fulvia.— JSger-
ballet.-Scbmled-baUet.
Also probably a number of similar works, par-
ticulars not now attainable. Certainly an overture
for a play called ' Die Kreuzfahrer,' and either an
opera called 'Agnes Bernauerin' or incidental
music to a play of that name. A letter of Weber,
Jan. i8ii, says 'Papa is composing a little opera
... it will be ready in a few days.'
OHUBOH MUSIO.
1. Masses.
No. 1. Missa aolennis In D mtn. for 4 Voices, Orchestra, and Organ.
No. 2. Missa pastorlcia In E. for 4 Voices, Orchestra, and Organ.
Missa de Quadragesima in F, for 4 Voices and Organ ad lib.
Missa pro Defunctls (Bequiem) in Bb for 4 Voices and Orchestra,?
Missa Agnus Del.
German Mass for 4 Voices and Organ (about 1778.)
German Mass for 4 Voices and Orchestra.
2. Psalms and Motets.
P<alm«.— Psalmus Miserere decantandus a quatuor Tocibus cum
Orgaiio et basis, S. D. Pio VI. Pontlflcl compositus (about 1777).
Miserere in Eb for 4 Voices, Orchestra, and Organ.
Miserere, • Ps. 4.'— In exltu, ' Ps. 5.'
Memento Domlne, orch.— Psalm, 'Jehova's MalestSt.'
Davids Buss-Psalm, nach Moses Mendelssohn's Uebersetzung Im
Choral-Styl. For 4 real parts, one, the Tenor, ad lib. (about 1807).
Ecce quam bonum (133rd Psalm) for 4 Men's Voices with PF. ad lib.
MoteU .— Susceplt Israel (composed for Concert Splrltuel at Paris)
apparently before 1780).
Borate Coeli, for 4 Voices with PF (ed. by G. Weber, with
German words ; with English and Latin words In Vocal Anthology,)
Ave Begina, for 4 Voices with Org. or PF. (Latin and German words.)
Cantate Domino, for 4 Voices with Org. or PF. (Ditto.)
Laudate, for Soprano solo, chorus. Organ obbligato and Orchestra.
Fostquam Impleti (Sereniss. Puerperss sacrum), 4 Voices and Orch.
3. Hymns, etc.
Te Deum In D, for 4 Voices and Orchestra.
Kyrle, with Orch. (Oct. 1776).
Magnificat, vtith Orch. (1777).
Stabat Mater, with Orch. ace.
Ecce panis angelorum (about 1777).
Ave Marls Stella, and Crudelis Herodes for 2 Choirs with Org. orPF.s
Venl Sancte Splritus, Graduate in Bb, for 4 Voices, Orchestra, and
Organ.
Beatam me dicent, Orch.
Alma Eedemptoris, Orch.
Jesu Kedemptor, Orch.
Begina coell and Laudate Domlnam, Orch.
Ave Begina, Org.
Salve Begina InF, for 4 Voices with Org. or PF. ad lib.
Salve Begina, Ave Begina, and Alma Bedemptoris, for 4 Voices with
Org. or PF. ad lib.
Cantus processlonalls pro festo corporis Cbristl.
Vesperae de Paschale (14 Apr. 1805).
Vespers chorales modulis muslcls ornatee, with Orch. ace. [These
Vespers may be Identical with the work next mentioned.]
Vesper» chorales 4 Vocum cum Organo.
4 Latin Hymns, for 4 Voices with PF. ad lib.
1 This was one of Vogler's most successful works. The chorus of
Furies was sufficiently popular in 1821 to lead an unscrupulous
manager at Munich to introduce it Into the ^na^e of the second act of
• Don Giovanni ' !
2 The composition of this Bequlem for himself occupied most of
Vogler's later years. It was esteemed his finest work, and is a very
striking composition. Besides the ordinary constituents of a requiem.
It contains two Agnuses, a ' Libert me, Domlne.' In 4 movements, and
an ' Absolutio ad Tumbam.'
» In the library at Darmstadt Is a 'Crudel Is Herodes,' with orch.,
dated Jan. 1776, and also a ' Uymnus Ave Maris Stella, a 4 vocibus
•euza instromenti,' possibly Identical with the works in the text.
VOGLER.
6 Hymns for 4 Voices with Org. or PF. ad lib. (Latin and German
words— ed. by Gottfr. Weber.)
12 Church Hymns for 3, 4, or 8 Voices unacc. (First Series).
6 „ „ „ (Second Series).
« M M .. (Third Series).
6 „ H „ (Fourth Series).
6 „ „ „ (Fifth Series).
3 Hymns, for 4 Voices with PF. ad IU> :— Delectlo tenult (F mln.);
Deus carltas est (A) ; O Salutaris (0 )
Heillg (1809).-Chorale (1813).-0 God vi lofre dig. Orch.-Hesslsche
Vater unser, Orch.
4. Miscellaneous.
Die Auferstehung Jesu.
Paradigma modorum ecclesiasticorum (about 1777).
Fugues a 4, on themes of I'ergolesi's Stabat Mater (about 1777).
S. Killau's Lied (for 2 Choirs).*
INSTBUMENTAL MUSIC.
Op. 1. 6 Trios, PF. Violin, and Bass. — Duos for Flute and Violin.
Op. 2. 6 easy Sonatas, PF.
Op. 3. 6 easy Sonatas, PF. and Violin.
Op. 4. 6 Sonatas , in the form of Duets, Trios, and Quartets, PF.
Violin, Viola, and Bass.
Op. 5. 6 Concertos. PF. (in two books, each containing 3 pieces).
Op. 6. 6 Trios, PF. Violin, and Bass.
Op. 7. 6 Trios, PF. Violin, and Bass.
Op. 8. 12 easy Divertissements of national character, PF.^two books,
six In each).— Concerto, PF. (played before the Queen of France).
Op. 9. 112 easy Preludes for Organ or PF. (about 1804).
Concerto PF., printed with a Concerto by Kornacher, about 1784.—
Nocturne, PF. and Strings.^— Quatuor Concertante, PF, Violin, Viola,
and Bass.-6 Sonatas for 2 PF.s (1794).— Sonata. PF. (4 hands).—
Sonata (Der ehellche Zwlet), PF. with Strings. C.-P16ces. PF.-Alr
de Marlborough, var. PF.-March with var. PF.— 15 Var. (Lied aua
dem LQgner) PF.-16 Var PF, F.-Pastorella, PF. (about 1807).—
Canzonetta Veneziana vari^ (about 1807).— Var. (March and Swedish
air) PF. (about 1812). «— Polonaise favourite, PF. D. (about 1812).—
5 Var. on March from Samori. PF. Viol., and Cello. F.— 6 Var. on Duo
(Was brauchen wlr) In Samorl, PF., Violin, and Cello. D.— 6 Var. on
Duo In Samorl, PF. Viol, and Cello. G.— 6 Var. on Trio (Sanfta
Hoffnung) In Samori, PF., Violin and Cello. A.— 7 Var. on Theme
from the Overture to Samori, PF., Violin, and Cello. 0.
Polymelos. or characteristic music of different nations, PF. and
Strings. (1792?)— Polymelos, a characteristic organ-concert, arranged
for PF. with Violin and Cello ad lib. (1806 ?)7
Var. PF., with Orch. ace— Var. on • Ah que diral-Je Maman,' PP.
with Orch. ace— Symphony in G (1779).— Do. in D mln.— Do. in 0.»—
Baieriscbe Natlonalsymphonie.— Llnvocazlone, for Guitar. •
THEOEETIOAL WOBKS.
Tonwlssenschaft und Tonsetzkunst. Mannheim. 1776.
Stlmmbildungs kunst. Mannheim, 1776.
Cburpfaizische Tonschule. JIannhelm, 1778.W
Mannheimer Tonschule. Offenbach.n
Betrachtungen der Mannheimer Tonschule. Spire," (1778—80),
Essai de dirlger le goat des amateurs de muslque. Paris, 1782.
Introduction to the Theory of Harmony (Swedish). Stockholm, 1795.
Method of Clavier and Thorough Bass (Swedish). Stockholm. 1797.
* A. M. Z. 1820. Beylage V. June 21.
6 G&nsbacher says that ' Vogler's Quintet * was played at the soiree
In Sonnlelthner's house at which Vogler and Beethoven met. [See vol.
1. p. 183 a.] This Nocturne is perhaps meant.
8 The march is described as 'd. I'ordre d. Seraphins,' but this
appears to be only a short way of putting • marche des Chevaliers
de I'ordre des Seraphins.' The Seraphin is the oldest Swedish Order.
7 It is quite possible that the staple, at any rate, of the two works
styled Polymelos is the same. The latter originated from, and is prac
tlcally the substance of an organ recital given by Vogler at Munich
on March 29 and 31, 1806. Its contents consist of sixteen numbers,
viz. No. 1. Volkslied ; No. 2, Swedish Air ; No. 3, Bavarian Vater
Unser : No. 4, Venetian Barcarolle ; No. 5, Volkslied ; No. 6, Swiss
Banz des Vaches ; No. 7, An African Air ; No. 8.— No. 9. Bavarian
Volkslied : No. 10, Scotch Air; No. 11, Jan. 14— A Bridal Song; No.
12, A Cosack Air j No. 13, The Betum of the Wounded Bavarian
Knight; No 14, Moorish Air; No. 16, Greenland Air; No. 16,
Chinese Air. Each of these appears to have had variations appended,
and the variations on Nos 2 and 15 were published separately. Tha
' Greenland Air ' is said to have been noted down by Vogler In that
country, while the seven Bavarian Volkslleder were the Abba's own
composition ; No. 11 is a piece commemorative of the marriage of
Eugene Beauhamals with the Princess of Bavaria on Jan. 14, 1805,
and No. 13 was published separately as In ' Ode.'
8 The last movement In this Symphony is called " the Scala.' The
Symphony was not published till after Vogler's death. At Knyvetfs
concert in Willis's Booms on Feb. 25, 1811, the Second Part opened
with a 'New Symphonle for 2 clarinets. 2 oboes, 2 flutes, 2 horns,
and trumpet (obbligatl)'—' never performed In this country'— by
Vogler, but what this was It seems Impossible to ascertain.
8 This may be the work of some musician of like name. Christ*
mann also speaks of a Sonata for Harp, with accompaniment for
Flutes and Ceill. Blnk, in hisAutobiography, mentions Variations for
Clavier on a Swedish March In E major.
10 This embodies the last-named work.
n This embodies the three preceding works.
n A magazine recording the progress of the school 1776— 1779 1
VOGLER.
Organ School (Swedish). Stockholm, ITST.
Choral System. Copenhagen, 1800.
Data zur Akustik. Offenbach, 1800.
Handbuch zur Harmonie Lehre, und General-Bam. Prague, 1802.»
Aeusserung Qber Hrn. Knecht's Harmonik. Prague, 1802.
ErklSrung der Buchstaben die in Grundrlss der . . . neu zu erbau-
enden S. Peter's Orgel In Mttnchen vorkommen. Munich, 1806.
Vergleichungsplan der vorigen mlt der nun umgeschaffenen Orgel
In Hofbethause zu MQnchen. Munich, 1807.
Ueber die harmonische Akustik. Munich, Offenbach, 1807.
Grundliche Anleitung zum Clavlerstimmen. Stuttgart, Vienna.
1807.
Deutsche Klrchenmusik die Tor 30 Jahren zu 4 SIngstlmmen und
der Orgel herauskamen, und mlt einer modemen Instrumentalbe-
g'.eltung berelchert. Munich, 1807.
System fur den Fugenbau. Offenbach, 1811.2
Ueber Chorale und Kirchengesfinge. Ein Beltrag rurGeschlchteder
Tonkunst in 19th Jahrhundert. Munich, 1814.
To this class of works the following may also be fitly assigned :—
Verbesserung der Forkelschen VerSnderungen (of * God save the
King'?), 1793.
32 Preludes for Organ In every key, with an analysis. Munich, 1806.
12 Chorales of J. S. Bach (arranged by Vogler and analysed by C. M.
T.Weber). Leipzig, about 18ia
Amongst Vogler's contributions to current
musical literature may he noticed, besides those
which were reprinted separately, and have been
already mentioned : —
Several short notices In the Wetzlarlsohen Conzertanzelgen (1779—
1780).
Von der Musik in Frankreich, in Kramer's Magazln der Musik.
Antwort auf verschledene seln SIstem betreffende Fragen in Musik.
Korrespondenz No. 2. 1790.
Bemerkungen aber die der Musik vortheilhafteste Bauart eines
Musikchor, in Journal von und fOr Deutschland, No. 2. 1792.
The following treatise not improbably belongs
to this class : —
Aesthetlsch-kritische Zerglledening des wesentllch vierstimmlgen
Singesatzes des vom Knecht in Musik gesetzeu ersten Psalms.
Lichtenthal also ascribes to Vogler the article
* Ueber den Choralgesang der Bohmischen Kirche
zu Johann Hussens Zeiten,* in the A.M.Z. for
April 6, 1803.
MISCELLANEOUS WORKS.
Die Scala Oder personiflcirte Stimmbildungs- und Slngkunst, for
Soprano Solo, Chorus, and Orchestra.s
Der Bhelniibergang der Allilrten am Neujahrstag, 1814. Cantata
with accompaniment for full Orchestra.
Teutonia oder Kriegslied, 1814, with Orch. ace.
Trichordium und Trias Harmonica oder Lob der Harmonic.^
Frohe Empflndungen bei der Zuruckkunft eines Vielgellebten.
Chorus, with Orch. ace.
WIelands Grab, gedichtet von Ch. Westphalen. Chorus for 4 voice*.
Empflndungen en des Hessen an 14 Juni. Chorus for 4 voices.
Der Altarberg. For 4 voices, with PF. ace.
Sangstycke fOr d. 19 Augusti. Drottingholm, 1786.
8angstucke.
L'Invocazione del Sole alia mezza notte In Laponla.*
Friedenslied, (about 1807)— Der schone Morgen ; Die voile Uonds-
nacht. Two songs with PF. accompaniment.
Hessischer Kriegertraum. Song with PF, accompaniment.*
* Declamatorium '— ' Tulskon 1st erwacht.T
As much of what is stated in this article is
novel, it may be well to specify the sources from
VOGLER.
331
1 A translation from the Swedish.
» F^tis declares that this work was not published till after the
author's death. The preface, however, is dated ' Darmstadt, 1811.'
[For the incident in which it originated see Meterbeek, vol. ii.
p. 321 a.]
8 The analysis prefixed to this work, after stating that it was finished
at Darmstadt on August 25, 1810, declares that the author had in 1777
offered a prize of 100 Louis d'or for the discovery of a device by which
4 voices should each sing a scale up and down in only 16 chords, and
that no one had been able to find out the secret. The solution given
in ' Die Scala ' Is certainly Ingenious.
* A cantata for Voices and Full Orchestra to words by Professor
Meissner. Bousseau's air of three notes is used as the foundation of
the whole composition, which extends to eleven numbers. Vogler
made use of this air as the theme of a piece of considerable dimen«
sions at a concert in Stockholm April 28, 1799, and published it in
five real parts in the A. M. Z. for June 12 In the same year.
5 A terzetto published !n the A. M. Z. for June 12, 1799.
« The publisher's advertisement gives * Treue' for 'Traum.'
7 This piece, an orchestral accompaniment to a declaimed poem,
was probably one of Vogler's last works, as It was brought out at
Mannheim early in 1814. The poem was by Madame Bilrger.
which it has been derived. Besides the ordinary
biographical notices in various Dictionaries, which
in this case seem to have been written with
unusual independence, use has been made of the
monograph on Vogler by Th. Nisard (the Abb^
Normand), and of the Life of C. M. v. Weber by
his son. The vast mass of information relating to
Vogler and his views contained in the * AUge-
meine Musik alische Zeitung' has been carefully
sifted. Much has been gained from the articles
in Nos. 15 and i6 of the 'Musikalische Correspon-
denz ' for 1790 by Christmann and Schubart. By
the kindness of Dr. Gansbacher of Vienna the
writer has been able to consult the MS. * Bio-
graphic Gansbacher' in his possession, from which,
and from the letters of Vogler belonging to him,
many interesting details have been gained. In
one of Weber's letters to Gansbacher he states
that he was working hard at Vogler's biography,
but the result of his work seems to have completely
disappeared. Special thanks are due to Herr
Becker, Librarian of the Ducal Library at Darm-
stadt ; to Baron von Weber ; to Herr Max
Friedlander ; to Prof. Schaf hautl of Munich ;
to Mr. Walter White, of the Royal Society, and,
on the matter of ' the simplification -system* to
the Rev. Sir F. A. G. Ouseley, Bart., to Messrs.
Thorold & Smith (successors of Kirtland & Jar-
dine), and to Messrs. Brindley & Foster; also to
the organist of All Saints', Northampton, for a
careful minute on the Schulze organ in that town.
Amongst the curiosities of Vogler literature
must be placed Browning's poem on * Abt Vogler,*
and its Greek version in ' Translations into Greek
and Latin Verse, by R. 0. Jebb, M. A.' [J.H.M.J
VOGT, GusTAVB, French oboe-player, bom
at Strassburg, March 18, 1781, studied at the
Paris Conservatoire under Sallantin, and took
the first oboe-prize in 1799. While in Rey's
class, he began to play in public, and was ap-
pointed oboe-solo at the Opera Italien in 1801,
and co-professor at the Conservatoire in 1802. In
1805 he entered the band of the Imperial Guard,
was present at Austerlitz, and during the occu-
pation of Vienna made the acquaintance of
Haydn and Beethoven. After the peace of
Tilsit he returned to Paris, and never left it
again for any distance. After some time at the
Theatre Feydeau, he succeeded his friend and
master Sallantin as first oboe at the Op^ra
(1814), and professor at the Conservatoire,
where he taught with marked success from
Apr. I, 1816, to Nov. I, 1853. His fame spread,
and in 1825 the Philharmonic Society invited
him to London, and he played in their concerts.
His tone was thought to be thin, harsh, and
forced, but his execution was astonishing,* and he
was engaged again in 1828. He was an original
member of the Socidtd des Concerts du Conserva-
toire, and played there regularly till his resignation
in i844,often producing with success compositions
of his own. As first oboe in the Chapelle du Roi
from 1815 to 1830 he received the Legion of
Honour in 1829. He formed many talented
1 ' Harmonlcon.' 1825.
332
VOGT.
pupils, including Brod,» Vinit, Verroust, Barr^,
Lavigne, Delabarre, Cras, Colin, Berth^lemy, and
Bruyant, some of whom still speak of him with
respect and gratitude. He lived to be 98, and
died in Paris May 30, 1879. Vogt left a con-
«iderable number of pieces for the oboe. His
best works are his concertos, solos (written for
the examinations at the Conservatoires), * M^lo-
die Anglaise' ('Home, sweet home'), and his
duet for two oboes, all with orchestra. The
library of the Conservatoire has the MS. of his
'Method for the Oboe,' and the Museum contains
his oboe, cor anglais, and baryton. [G.C.]
VOICE — i. e. Singing voice ( Voce ; Sinff-
Btimme', La Voix). Sound produced by the pass-
age of air through the glottis, or chink formed by
the apposition, without contact, of the vocal cords,
bands, or ligaments, the air impelled by the lungs
causing them to vibrate. The precise amount of
approximation of the vocal cords is only to be
secured alter considerable patient practice, as
much mental as physical, as indeed all true prac-
tice must be; in other words, patient «<ii<iy. With
too close a chink the tone will be harsh and
thin; if too wide, it will be flaccid and woolly.
With a well-arranged glottis all the other parts
of the voice-organs must be so placed as to
favour the utmost amount of reverberation. The
respiration has a great deal to do, immediately,
•with this important part of voice-production, as
the bones and tissue of a well-inflated chest
vibrate in sympathy with the vocal cords ; and
the various resonance chambers, the pharynx,
«ofl palate, hard palate, cheeks and lips, head,
even the nasal passages (closed, however, by the
internal muscles, except during the formation of
nasal consonants), all lending their aid and form-
ing a series of complicated sounding-boards.
Birds, and nearly all animals, with the exception
perhaps of fish, have their voice-registers, not
all so musical as the human voice, but subject
to the same laws. When a bull bellows, the
•break,' or change from chest-voice to falsetto,
is distinctly heard. In the neighing of a horse
the change is usually from falsetto to chest. In
the crowing of a cock the two registers are
plainly perceivable, as also in the barking of
dogs. With close attention even the notes in
the musical scale which are touched can be
recognised, whilst among birds there are some
•whose notes are quite distinct. Of course to
produce a note the voice must remain station-
ary long enough for the ear to appreciate its
place in the scale. [See Singing.] To find a
hard and fast line where voice ceases and noise
(howling or shrieking, grunting or growling)
begins, is scarcely necessary. The distinction
will be more or less clear according to the
sensitiveness of the ear and mind. But almost
every one will have a sufficiently clear idea,
without technicalities, of the difference between
the one and the other.
1 Henri Brod, « great French oboe placer, bom 1799, died 1899.
'Maltre, Brod est mort,' said a pupil to Gberublnl. ' Ab,' replied the
•tern old Italian, ' petit ion, petit lou.'
(&)-«=-
VOICE.
The known extent of the human singing voice
— that is, of all the different classes of voice put
together — is very great.
From the lowest note of
a Russian Cathedral bass-
singer (a) to the highest
note of a soprano Agujari (b)
[see vol. i. p. 456], there is
'"^ ^ a range of five octaves and
three notes. The average, however, of the larger
number of great singers put together is about
^ four octaves. Many indivi-
duals are able to sound three
octaves, but a compass of two
really good octaves is a very
bountiful gift of Providence.
It is usual to divide the voice into six classes
— three female. Soprano, Mezzo-Soprano, and
Contralto ; and three male, Tenor, Baritone, and
Bass. [See the articles under these heads.] There
are, however, distinctly two classes of Mezzo-
Soprano, the one tending to soprano, and singing
moderately high soprano music at times, and the
other decidedly tending to contralto both in
quality and compass, and able to sing moderate
contralto music very creditably. It would be but
reasonable to call the latter Mezzo-Contralto.
There is also considerable diff'erence between
Tenore leggiero andTenore robusto, but this exists
less inactual character and compass than in volume
and force. There are various characters of tenor
voice besides those named. [See Tenok.] The
French term, Basse-taille, or low-tenor, applied to
baritone is not correct, as the baritone is un-
doubtedly a high bass.
In the interests of the voice the apparent
decline of the Italian Opera is much to be
deplored. The modem instrumentalist, and un-
fortunately in many cases the modern composer,
avows his contempt for singing. But as surely as
singing— that is, the Italian School of singing — is
allowed to die out, its decease will react upon
instrumental music. Instrumental music gets
its legato and the more subtle parts of its art
of phrasing from the singer; while the singer
owes his precision and more musicianly quali-
ties to the instrumentalist. The two branches
help one another, and while the vocalist acknow-
ledges his obligation to the instrumentalist it is
rank ingratitude on the part of the instrumen-
talist not to be equally candid. If persisted in,
his ingratitude will be suicidal. The conductor
of an opera or a choral class is too often unaware
of the danger of an arduous rehearsal of two,
three, or four hours' duration to so delicate an
instrument as the human throat. By such an
amount of practice the voice becomes utterly
fatigued. If the muscles of the larynx are
strong, the fatigue shows itself in hoarseness,
or a difficulty in making the voice speak readily,
the delicate white membrane which lines the
vocal cords becoming slightly abraded. Then
the voice must be forced to make it sound. If
this membrane is capable of supporting a good
deal of ' leathering,' then the muscles will first
show the fatigue, and the voice will not be
VOICE.
able to keep in tune. If both muscles and
membrane are strong, the chest will feel the
fatigue, even the ribs getting tired, and head-
ache will set in. If these local signs of distress
are absent, general fatigue of the whole physique
will come on. Every organism has its alloted
amount of energy, and no more. If the abrasion
of the white membrane is frequently renewed,
cicatrisation will be the consequence, and then
good-bye to all sweetness. We may get loudness,
much more than we want — that is, if extinction
of the voice has not taken place — but no manage-
ment, no control ; and we shall have a tone that
nobody wishes to hear a second time. This
statement is not in the least degree overdrawn.
The difficult question of the mode of forming
the different registers is occupying investigators,
and will continue to occupy them for some time
to come. For the essential differences between
the speaking and singing voice, as also for
details of registers and other important matters,
see Singing, Alto, Mezzo-Sopbano, Soprano,
Counter-Tenor, Tenor, Barytone, Bass Voice,
and Voce di Petto. [H.C.D.]
VOICES. Though the human voice, in so
far as its tone and capabilities are concerned, is
naturally independent of changes like those
through which every Orchestral Instrument
must necessarily pass before it arrives at its per-
fect condition, it has none the less witnessed
changes of treatment at least as noticeable as
those of the Instrumental Orchestra itself.
The Madrigalists and Ecclesiastical Composers
of the 1 6th century wrote for a far greater
variety of voices than those now generally recog-
nised;^ and distributed them on principles which
experience has proved to be incompatible with
the essential characteristics of modern Music.
Their system was based upon the division of all
Voices into two great classes — the Acute, and
the Grave. The Acute class comprised the Voices
of Boys, in their unbroken condition— that is to
say, before the change of timbre and compass
which has already been described in the article
Mutation ; the rare high natural Voices of adult
male singers, which are still occasionally heard
in Italy and Spain ; and the almost innumerable
varieties of Soprano and Contralto Voices pro-
ducible by artificial means. The Grave class re-
presented the adult male Voice, in all its natural
varieties : — Tenors, of every species. Basses, and
even Contra-Bassi, of immense profundity, like
those still cultivated in Russia, and some other
European countries. Female Voices were not
admitted into the Church Choir, and therefore
found no place in the system adopted by Eccle-
siastical Composers.
For Voices of the Acute class, five Clefs were
used ; the G Clef, on the first and second lines ;
and the C Clef, on the first, second, and third.
For Grave Voices, the C Clef on the third,
fourth, and fifth lines, and F Clef, in the same
three positions; the F Clef on the fifth line
1 For a description of the peculiarities of each Individual Voice, the
reader will consult the articles Soprano, Alto, Contbalto, Temob.
Babyton, and Bass.
VOICES.
333
being appropriated to the Contra-Basso, and
the C Clef on the fifth line, to the Contra-Tenore
— a very low Tenor Voice bearing no resem-
blance whatever to the • Counter-Tenor ' of our
English Composers.
This formidable array of Clefs was, however,
accompanied by a very simple form of nomen-
clature; the terms Cantus, Altus, Tenor, and
Bassus, being used to designate Voices of every
possible variety. When Acute Voices only were
employed, they were described as Cantus I and
II, and Altus I and II ; and the Composition
was then said to be vsrritten for Acute Equal
Voices. In this case, the lowest Voice permis-
sible was an Alto, sung by a Boy, or by an
adult singer, or an artificial Voice. In Composi-
tions for Grave Equal Voices, the highest part
was sung by the natural Voice of an adult Alto—
an organ now very rarely heard — or by a high
Tenor ; the lower parts by ordinary Tenors and
Basses. When Acute and Grave Voices were
employed together, the Composition was said
to be for Mixed Voices. In Compositions of
this kind, the lowest part was described as the
Bassus, even when written in the Tenor Clef.
In like manner, a middle part was frequently
labelled Tenor, though written in the Alto, or
even in the Mezzo-Soprano Clef; while Baritone
parts, written with the F Clef on the third line,
were invariably labelled Bassus. Parts written
with the C Clef on the first line were labelled
Cantus, or Altus, according to their position
with regard to the other Voices ; the term
Cantus being usually applied to them when they
occupied the highest position in the harmony,
and Altus, when the G Clef was used for a still
higher part, written above them. Parts written
with the C Clef on the second line — the Mezzo-
Soprano of modern Music — were almost always
labelled Altus.
The selection of Clefs was governed, partly by
the compass of the Voices, and partly by the
nature of the Mode in which the Composition
was written. The number of Clefs employed
arose from the repugnance of Composers to
ledger-lines, with which they were not altogether
unacquainted, though they avoided them, as
much as possible, by selecting Clefs which enabled
them to write the whole of a vocal part within
the limits of the Stave — an easy matter, with
Polyphonic Composers of the best period, who
frequently confined whole parts within the range
of an Octave, as in the ' Missa Papae Marcelli,'
in which, by writing the Cantus part in the
Treble (G) Clef, the Altus in the Mezzo-Soprano,
the two Tenors in the Alto, and the two Basses
in the Tenor, Palestrina has avoided the use of a
single ledger-line, from beginning to end.
The connection of the Clefs with the Mode
was a more complicated matter. Certain com-
binations were used for the Modes, at their
natural pitch (the Chiavi naturali) ; and certain
others for the transposed Modes {Chiavi tras-
portate, or Chiavette)? These however were
3 Examples of some of these combinations may be seen in vol. iilt
p. 429 a.
334
VOICES.
chiefly used for Mixed Voices. In Compositions
for Equal Voices, whether Acute, or Grave, the
arrangement of the Clefs was more frequently dic-
tated by the compass of the Voices, than by the
transposition, or nontransposition of the Modes.
The terms Cantus, Altus, Tenor, and Bassus,
sufficed for Compositions written for any number
of Voices. In the * Missa Papae Marcelli,' and
innumerable like Compositions, we find parts for
Tenor I and II, and Bassus I and II. In these
cases, the second Voice is always of exactly the
same compass as the first ; and, instead of sing-
ing constantly below it — as it certainly would
now — sustains an equally important part, con-
tinually repeating the same passages, and crossing
above, or below, its fellow-part, without reserve.
Another common arrangement, in Compositions
for more than four Voices, was to label the fifth
Voice, Quintus, or Pars Quinta, and the sixth,
Sextus, or Pars Sexta ; and this, without re-
ference to the nature of the Voice : consequently,
in old Part-Books, we constantly find, in the
volume labelled Quintus, parts for Cantus, Altus,
Tenor, and Bassus, all indiscriminately mingled
together. But here, again, the arrangement was
governed by a law as strict as that which regu-
lated the conduct of Tenor or Bassus I and II.
The Quintus and Sextus were exact duplicates
of two other parts, with which they corresponded,
throughout, both in compass and importance ;
so that, in fact, it was a matter of absolute in-
difference whether parts then associated were
labelled Altus and Quintus, or, Altus I and
Altus II. And the constant crossing of the
parts, to which this arrangement gave rise, was
used as a means of producing the most varied
and beautiful effects. They used the device with
unlimited freedom ; frequently making one Voice
cross over two — as in Palestrina's ' Missa brevis,'
where the Altus crosses below the Tenor and
Bassus, and sings the lowest part of the harmony.
The following example will show the immense
advantage derivable from the distribution of
certain passages between two Voices of strongly
contrasted timbre,
^ Cantus.
In ex . ctf
Altus.
^ — f^ ''■^—
- ila.
^
«z •
eel - lU.
i— r -
In ez • eel
1 , Tenor E.
— l—
. sU.
In
-^^L.
• eel - >U.
l—4-f-^-
-f —
In ez - eel -
Bassus.
■li.
in
eel - ilf.
^ '1 '] "-
.. ') 'J
1
In ex - eel -
■Is.
In
ez •
L-25 fi^-J
eel • sU.
Crossing their Voices thus, the Polyphonic
Composers frequently wrote passages, which,
had the parts been arranged in the ordinary
manner, would have exhibited glaring cases of
VOICES.
Consecutive Fifths and Octaves, but which,
thanks to this device, enriched their harmonies
with indescribable beauty. The practice how-
ever died out with the School of Palestrina;
and in modem Music the parts rarely cross, to
any serious extent.
The opening of the 1 7th century witnessed a
radical change in the distribution of Voices, as
well as in all other matters connected with the Art
of Composition. Except in Italy, artificial
Soprani and Contralti were heard only at the
Theatre. The beauty of the female Voice was
universally recognised, both in its Soprano and
Contralto registers ; and cultivated with assiduity.
In Germany, Boys were taught, as now, to sing
both Soprano and Contralto parts, with equal
success. In England, a different plan was adopted.
After the Great Rebellion, the difficulty of obtain-
ing Choir-Boys was so great, that Treble parts
were either summarily dispensed with, or played,
as a pis aller, upon Cornets, Adult Voices were,
however, more easily attainable; and adult singers,
learned to execute Alto, and even low Treble
parts, in Falsetto. And thus arose the cultiva-
tion of the peculiar form of Voice now called the
Counter-Tenor ; an unnatural register which still
holds its ground in English Cathedrals, with a
pertinacity which leads to the lamentable neglect,
if not the absolute exclusion, of one of the most
beautiful Voices in existence — the true Boy Con-
tralto. This sweeping change in the constitution
of our Cathedral Choirs naturally led to a change
of corresponding magnitude in the character of the
Music written for them. In the Verse- Anthems
of Humfrey, Wise, Blow, Purcell, and other
Masters of the School of the Restoration, the
Falsetto part, under its title of Counter-Tenor,
holds a very important position indeed ; and still
more prominent is the rdle accorded to it by Croft,
Boyce, and other writers of a later generation.
In truth, the new Voice, at first an unavoidable
necessity, soon became the prevailing fashion ;
and Music was written for it, even at the time
when the Chapel Royal at Whitehall was graced
with the most talented and accomplished staff of
Choir- Boys on record. So general was the custom
of confiding the Alto part to Counter-Tenor
singers, that it was adopted, even at the ' Ora-
torio Concerts' of the i8th century. The Alto
parts in Handel's Choruses were sung chiefly, if
not wholly, in Falsetto. It was not until 1773
that Dr. Ame first had the hardihood to employ
female Voices in the Choruses of his Oratorio,
•Judith'; and it is doubtful whether, even then,
they were entrusted with the Alto parts. Happily
for Art, the value of the female Contralto is now
no less freely recognised in England than in
other countries; and it is only in Cathedral Choirs,
and Choral Societies connected with them, that
the Falsetto Counter-Tenor safely holds its ground.
In Germany, the Falsetto Voice has always
been held in very low estimation indeed ; while
the true Boy-Contralto has been almost as exten-
sively cultivated as the rich low tones of the
deeper female register.^ We have heard the
1 Spohr. on bU first visit to tbls country, expressed the grefttest
VOICES.
most excellent effect produced, at the Thomas-
Schule, in Leipzig, and at the Cathedrals of
Cologne, Mayence, and Kegensburg, by unac-
companied Choirs, in which the Alto parts
were entrusted entirely to the fresh young Voices
of a well-trained body of Boy-Choristers, whose
lower registers were cultivated, with success,
for some considerable time after they were pre-
vented, by the approach of the inevitable muta-
tion, from singing Treble.* Such Voices cannot
be effectively used in combination with the Fal-
setto Counter-Tenor ; but they combine perfectly
with the rich female Contralto, with which they
may be profitably associated, in Choral Music of
all kinds.
This extensive modification in materials was
followed by a corresponding modification of treat-
ment. Acute Equal Voices are now understood
to mean the Voices of Women and Children ;
and Grave Equal Voices, those of Men. When
the two classes are employed together, each main-
tains its own accustomed level, in the distribution
of the general harmony, more strictly, by far,
than was the case under the older system. The
contrast between the timbre of a Tenor, and that
of a Contralto, is too great to allow the two to
work together in the intimate association which
formed so marked a feature in the Polyphonic
Schools ; and even when two Voices of the same
class are employed, they seldom correspond
exactly in compass. The Second Soprano really
sings a second part, and only rises above the
first in very exceptional cases ; while the Second
Bass is always understood to be responsible for
the lowest sounds in the harmony. This dispo-
sition of the parts accords perfectly with the
timbre of the Voices employed ; and has been
proved, by long experience, to be more perfectly
adapted than any other to the requirements of
modern Music, which, during its progress towards
perfection, has demanded, from time to time,
changes in the arrangement of the Vocal Orches-
tra little less revolutionary than those effected in
the Instrumental Band. [W.S.R.]
VOICING. A term used in organ-building
to express the method of obtaining a particular
quality of tone, in an organ pipe, and of regu-
lating a series of pipes so that their tone shall be
uniform throughout. The quality of the tone
of Flue-pipes is mainly dependent on (i) their
general shapis, (2) their scale; but, after the pipe-
maker has turned out a set of pipes of true propor-
tion, the ' voicer ' can produce a great variety of
qualities by regulating (i) the quantity of wind
admitted to the pipe, (2) the thickness of the
'sheet of wind,' (3) the angle at which it im-
pinges on the upper lip, (4) by imparting a
special surface to the edge of the lip itself or
by cutting it higher; and in other ways. The
voicing of Reed pipes is dependent chiefly on
(i) the quantity of air admitted, (2) the shape
dislike to our English Counter-Tenors ; and it may possibly have
been a similar experience nhich induced Mendelssohn to inaugurate,
in his ' St. Paul,' the practice of writing Oratorio Choruses for Soprano
1 and II. instead of Soprano and Alto.
. 1 The great Lablache sang, as a boy, with an exquisitely beautiful
Vniceof this kind.
VOIGT.
335
and thickness of the tongue, (3) its position,
(4) the relation between the length of tube and
the pitch of the note produced.
Voicing thus requires both a delicate ear and
skilful hand ; it is, in fact, the most artistic part
of an organ-builder's work. But few are equally
good voicers both of reed and flue-pipes, and
better voicing is obtained from a specialist than
from a 'general' hand. In testing the voicing of
an organ-stop, an opinion should first be formed as
to the merit of the particular quality selected hy
the voicer ; next, the pipes should be consecu
tively sounded in order to trace whether the
quality of tone is uniform. This applies both to
flue and reedpipes. [J.S.]
VOIGT (pronounced Vogt), Henriette, nee
Kunze, born in 1809, a distinguished German
amateur musician, and prominent figure in the
musical life of Leipzig.
She was the pupil of L. Berger, and became a
remarkable performer, and the warm friend
of her teacher.^ Schumann was introduced
to her by Ludwig Schunke, who almost lived
in the Voigts* house before his early death,
and their intimacy became very close. A cha-
racteristic story illustrating this is told in the
article on Schixmann in this Dictionary, vol. iii.
p. 389 and we may here quote Schumann's own
expression — *Ich dichte, wenn ich an Sie denke,'
which may be rendered 'The thought of you
inspires me.' He alludes to her occasionally in
his * Davidsbtindler ' articles under the name of
• Eleonore ' ; and his entry in her album was
very characteristic, consisting only of a huge
crescendo mark -^ ' ^ reaching across the
whole page, with his name below it. This, on
enquiry, he explained to predict the continual
increase of their friendship. Mendelssohn's con-
tribution to her album was the first sketch of the
Gondellied in FjJ minor (op. 30, no. 6); and
though there is no mention of her either in his
collected Letters or in the 'Familie Mendels-
sohn,' there is ample testimony to his esteem for
her talents and her person in his 'Eight Letters'
to her, published in 1871.^ Hauptmann^ and
C. Lowe have also left the most appreciative refer-
ences to her ability and taste : indeed she was,
with Madame Frege, at the head of the amateurs
of Leipzig in that most brilliant time.
Her husband, Carl Voigt, to whom she was mar-
ried in Nov. 1830, was a Leipzig merchant, and as
great an enthusiast for music as herself. He died
June 15, 1881, in his 76th year, leaving 300Z. to
the Gewandhaus Concerts for a performance of
Beethoven's Ninth Symphony evei-y year, or at
the least every two years. A few words about
that Symphony, attributed to him, wiU be found
in Schumann's 'Ges. Schriften,' 1st ed. i. 27.
Madame Voigt died on Oct. 15, 1839, i^ ^f^
3 1 St year. Schumann gave a sketch of her in
the 'Neue Zeitschrift fiir Musik' for the 15th
of the following November, under the title of
1 See his letter ofl836, given by Schumann, N. Z. M. xi. 159.
2 Acht Briefe und eln Facsimile, &c. Leipzig, Grunow, 1871. Trani-
lated by M. E. von G. in MacmiUan's Magazine, No. 140.
s Letters to Hauser, No. 43.
836
VOIGT.
•Erinnerung an eine Freundin,' which is re-
printed in his 'Ges. Schriften,' and contains
some charming extracts from her journal, giving
a high idea of the range of her knowledge and
the depth of her sensibility.
See Jansen's 'Davidsbiindler*— a very interest-
ing book (Breitkopf & Hartel, 1883). [G.]
VOIX CELESTES, VOX CCELESTIS, VOX
ANGELICA, UNDA MARIS. An organ stop
with two ranks of pipes, one tuned about three
beats a second sharper than the other. The
pipes are sometimes of the Dulciana type ; some-
times (generally in the case of French organ-
builders) two small Gambas. and occasionally the
ranks are dissimilar, one a Keiaulophon, and one
a Dulciana. The custom is to tune one rank
with the organ and one sharper, but this has
the effect of making the organ sound disagree-
ably flat after using the stop, and the plan ad-
vocated by Mr. Sedley Taylor of tuning one rank
slightly above and one below the general pitch of
the organ is no doubt preferable, though it pre-
cludes the use of either alone, or in combination
with the other stops. The Voix Celestes has its
proper place in the swell organ, and in large build-
ings its wavy floating effect is not unpleasing.
Like other 'fancy' stops it should be used with
reserve. The name Vox Angelica is ambiguous,
some builders make it a synonym for Voix Cd-
lestes, and others for the rank of pipes which is
tuned to the rest of the organ. [W.Pa.]
VOLKMANN,Friedrich Robert, bom April
6, 181 5, at Lommatsch in Saxony. His father,
cantor and schoolmaster of the town, taught the
boy music, with such effect that by the time he
was twelve he took the services in church. He
then had instruction from Friebel, the 'Town
musician,' in violin and cello, and from
Anacker, music - director of the Seminary at
Freyberg. In 1836 he went to Leipzig, to
study systematically, and made the acquaintance
of 0. F. Becker, and also of Schumann, who
exercised great influence on him ; in 1839 ^^
published his first work, *Phantasiebilder in
Leipzig.' His next step was to visit Prague
and enter on the career of teacher and composer.
From 1854 to 1858 he resided at Vienna, but
ended by taking up his permanent quarters in
Pesth, where his piincipal. works have been com-
posed. These comprise 2 Symphonies, in D minor
(op. 44), and Bb (op. 53), a Festival overture in
F ^ (op. 50), 2 Serenades for Strings, ops. 62, 63 ;
Concertos for Cello in A minor (op. 33), and PF.
in C (op. 42); 2 PF. trios in F (op. 3), and Bb
minor (op. 5) ; String Quartets in A minor and
G minor (op. 9), in G major (op. 14), in E minor
(op. 34), in C minor (op. 35), and in Eb (op.
37), and many works for piano, both 4 hands
and solo. His vocal compositions are also nu-
merous:— 2 Masses for maJe voices (op. 28, 29) ;
3 sacred songs for mixed choir (op. 38) ; old
German hymn for 2 choirs of male voices (op.
64) ; ' Sappho,' dramatic scene for soprano solo
i Fla; ed at Crystal Palace. Oct. 8. 1MB.
VOLKSLTED.
and orchestra (op. 49) ; * An die Nacht,* for alto
solo and orchestra ; songs for solo voice and
piano, etc. The overture to his 'Music to
Shakespeare's Richard the Third' (op. 73), was
performed at the Crystal Palace Oct. 30, 1875 —
the Scotch air 'The Campbells are coming' being
introduced as 'an old English war-song.' A
later composition is a ' Schlummerlied * for
harp, clarinet and horn, which is mentioned as
op. 76 in Hofmeister's List for 1883.
As a pianoforte composer Volkmann belongs
to the romantic school. His compositions often
bear fanciful titles, but they are poetical, and
moreover so strongly marked with Hungarian
characteristics that he may tr«ly be said to have
borrowed colour, rhythm, and embellishments
from his adopted home. His two Symphonies,
his Quartets in G minor and A minor, his PF.
Trio in Bb minor, have been acknowledged in
high terms by critics in Germany. His Cello
Concerto is also a favourite and excellent work.
In England he is little known, though his G
minor Quartet has been given at the Monday
Popular Concerts, and his two Overtures at the
Crystal Palace, and sundry of his PF. pieces by
different artists in their recitals. [G.]
VOLKSLIED, or the early Song of the Ger-
man people, has already been treated, with
regard both to its development and its influence
on the history of music, under the head of SoNG.
[See vol. iii. p. 617.] It remains, however, to
mention the principal existing collections of
Volkslieder, whether in manuscript or print, in
public or private libraries ; and a list of them is
here appended. Some collections of Minne-
singers' and Meistersingers' melodies, and likewise
some collections of chorales must be included
in the list ; because, as the article referred to
shows, these different forms of the Song are
borrowed from one another and have melodies
in common. Collections bearing the names of
particular composers must also be mentioned,
because many apparently original melodies of
composers of the i6th and 17th centuries are
in reality well-known Volkslieder, merely har-
monised or treated with contrapuntal devices.
The list cannot therefore be limited to collec-
tions of Volkslieder proper, but care has been
taken to enumerate only such as offer examples
of the pure Volkslied, melody or verse.
For convenience of reference, the best works
on the subject will be included in the last
section of the list, viz. Modem Collections of
Volkslieder.
Collections op Volkslieder.
A. MSS. from the 10th to the nth century.
1. The Wolfenbttttel MSS. (10th century) ; preserved
in the Ducal Library of WolfenbUttel, and containing
some of the oldest secular songs in Germany.
2. The S. Gall Cod. Lat., No. 3)3 (11th century).
3. Nithart's Song-MSS. with melodies (lath century) i
in the possession of Prof von der Hagen, and printed by
him in his work on the Minnesingers.
4. The Limburg Chronicle (1347 to 1380) ; preserved
in the Limburg Library. This MS. (which has been
reprinted in 1617, 1720, 1826 and 1860) contains few real
Volkslieder, but many knights' and monks' songs.
VOLKSLIED.
5. The Jena Minnesinger Codex, with melodies (14th
century) ; preserved in the University Library at Jena.
6. Sporl's Song-book (latter part of 14th and beginning
of 15th cent.) ; Imperial Library, Vienna.
7. The Prague MS. (early in the 15th century) ; in the
University Library, Prague ; entitled 'Einmusikalischer
Lehrcompendium des H. de Zeelandia.' Contains many
fine Volkslieder of the 14th cent.
8. The Locheim Song-book (1452-60); In the Ducal
Library, Wernigerode. Has been edited by Arnold and
Bellerman, with a most interesting preface.
9. The Dresden Minnesinger MS. (15th century) ; in
the Boyal Public Library at Dresden. A miscellaneous
volume, of which the more interesting portions are
some mystical hymns to the Virgin by Michael Behaim.
10. The Vienna Song-book (1533) ; in the Imperial
Library, Vienna. Consists of five part-books, with both
sacred and secular words and music.
11. Werlin's Song-book of 1646 ; Eoyal State Library,
Munich. Contains many thousand melodies to sacred
and secular words ; some are genuine Volkslieder of
15th and 16th cent, others later and more artificial.
B. Printed Collections.
L Secular Song-books of the 16th and 17th centuries.
1. Johann Ott, 121 Songs, in 6 parts ; Nuremberg,
1534. A perfect copy of this valuable song-book in the
Libraries at Munich and Zwickau.
2. Heinrich Finck's Songs, in 4 parts ; Nuremberg,
1536. Contains 55 sacred and secular songs, not all com-
posed by Finck. Perfect copies in Munich and Zwickau
Libraries ; an imperfect one in British Museum.
3. Forster's Song-books ; Nuremberg, 1539 to 1556.
Five numbers, containing altogether about 380 songs in
several parts. Many scattered copies in the Munich,
Zwickau, Berlin, Leipzig, and GOttingen Libraries. In
the B. M. an imperfect one, 1549.
4. G. Bhaw's 3-part Song Collection ; Wittenberg,
1542. A copy at Gottingen.
5. G. Bhaw's 2-part Songs'; Wittenberg, 1545. Copies
in the Berlin and Vienna Libraries, and B. M.
6. Joh. Ott, 116 Songs, in 4, 6, and 6 parts; Nurem-
berg, 1644. Of this valuable collection only two copies
known, one in the Berlin Library, and one in the B. M.
7. Orlando Lasso. Several collections of songs (dating
respectively 1567, 1572, 1583, and 1590), in 4, 5, and 6
parts, in the Eoyal Library, Munich.
8. Jac Beynart's Villanelle ; Nuremberg, 1574. 67 songs
for three voices in Sonnet form, which were very popular
and widely sung during Beynart's lifetime. Copies in
Berlin and Munich Libraries.
9. Joh. Eccard. Two collections in 4 and 6 parts ;
MUlhausen and KCnigsperg, 1578 and 1589 ; an imper-
fect copy of the latter is in the B. M.
10. Hans Leo Hassler. Two collections of songs in
4, 6, 6. and 8 parts after Italian models, Nuremberg 1600,
and Augsburg 1596. A copy 1596 is in the B. M.
11. Melchior Franck's Song-collections. 16 in number,
printed either at Nuremberg or Coburg between 1602
and 1623. Each collection contains a variety of songs
for 4 or more voices. A copy in the Berlin Library.
Another (Coburg, 1623) in the B. M.
n. Sacred Song-books of the 16th and 17th centuries.
(1) Luthercm.
1. Walther's Hymn-book, 1524. The first hymn-book
written in parts. Contains 32 German and 5 Latin hymns.
Copies in Vienna, Berlin, Munich, and Zwickau Li-
braries.
2. Souterliedekens; Antwerp, 1540. Free metrical ver-
sions of the Psalms, set to secular melodies, chiefly
North German and Flemish Volkslieder, and French
Chansons. A copy in the Boyal Library, Dresden.
3. Luc. Lossius Psalmodia ; Wittenberg, 1552. Several
later editions of this work have appeared, and a copy
of the 1569 edition is in the Library at Wernigerode.
It contains 429 Latin and 9 German hymns in 4 and
5 parts. Copies of 1563, 1661, 1669, and 1571 in B. M.
4. Triller's Song-book ; Breslau, 1669. Contains many
Yolkslieder in their earliest form, but arranged for
several voices. Copies in the Berlin and Wernigerode
Libraries.
6. Keuchenthal's Hymn-book ; Wittenberg, 1573. The
richest collection of the 16th century iu melodies. Copy
in Berlin Library.
VOL. IV. PT. 3,
VOLKSLIED.
837
6. Mich. FrsBtorius, 'Mussa Sioniss ; for 4 to 8 voices
in 9 numbers, 1605 to 1610. A perfect copy in Boyal
Library, Berlin. Nos. from 1605 to 1609 in B. M.
(2) Roman Catholic
1. Beuttner's Hymn-book ; Gratz, 1602 and 1660. 154
hymns and 89 tunes. A copy in University Library,
Breslau.
2. Corner's Hymn-book of 1631; Nuremberg. Melodies
partly collected from previous song-books and partly
taken down from the mouths of the Austrian peasants.
Copies in the WUrzburg and Vienna Libraries.
0. Modem Collections of Volkslieder and Chorales, and
Works relating to them, alphabetically arranged.
1. W. Arnold: 'Deutsche Volkslieder.' Elberfeld.
(In ten numbers with a well-arranged PF. part.)
2. 0. F. Becker: 'Lieder und Weisen vergangener
Jahrhunderte.' Leipzig, 1843-58. (A small collection
of early Volkslieder ; words and melodies taken from
the original, but the melodies in modern notation.)
3. 0. F. Becker: 'Die Tonwerke des 16ten und 17ten
Jahrhundert.' Leipzig, 1854.
4. Franz M. Bohme: ' Altdeutsches Liederbuch aus
dem 12ten bis zum 17ten Jahrhundert.' Leipzig, 1876.
The best work existing on the Volkslied. Has an in-
valuable preface on the form and the history of the
Volkslied, and a very large collection of old melodies,
with words, and trustworthy history of each.
5. Franz M. Bohme: ' Volkslieder f. Mannerstimmen.'
6. E. de Coussemaker: 'Chants populaires de Fla-
mands de France.' Ghent, 1856. (Many N. German and
Flemish Volkslieder being identical, this collection is
named.)
7. F. W. Ditfurth : ' Volks- und Geaellschaftslieder des
16ten, 17ten und 18ten Jahrhundert.' Stuttgart, 1874.
(Many songs in this collection contain no music.)
8. E. Eitner : ' Das deutsche Lied des 15ten und 16ten
Jahrhundert in Wort, Melodic, und mehrstimmigen
Tonsatz.' Berlin, 1876. (A trustworthy collection.)
9. LudwigErk: 'Die deutschen Volkslieder mit ihren
Singweisen.' Berlin, 1838-45.
10. L. Erk : 'Deutsches Liederhort.' Berlin, 1856.
11. L, Erk : 'Deutschen Volksgesangbuch : 1 Germania.*
Berlin, 1868. (Erk's collections are not always genuine.)
12. G. W. Fink: 'Musikalischer Hausschatz der
Deutschen.' Leipzig, 1843, 1862, and 1878. (Contains
more 'Volksthtimliche^ Lieder 'than real Volkslieder.)
13. Prof, von der Hagen : • Die Minnesinger.' (In 4
volumes, the last containing the melodies in old and
modem notation. A standard work.)
14. Hoffmann von Fallersleben and Ernst Bichter :
' Schlesische Volkslieder mit Melodien aus dem Munde
des Volkes gesammelt.' Leipzig, 1842.
16. W. Irmer: 'Die deutschen Volkslieder mit ihren
Singweisen.* Berlin, 1842.
16. ' Leipziger Commers-Buch.' Leipzig, 1860. (This
volume contains a large number of Students' songs.)
17. B. von Liliencron and W. Stade : ' Lieder und
SprUche aus der letzten Zeit des Minnesanges.' Wei-
mar, 1864. (Melodies arranged for 4 voices.)
18. B. von Liliencron ; 'Die historischen Volkslieder
der Deutschen vom 13ten bis 16ten Jahrhimdert, gesam-
melt und erlilutert.' Leipzig, 1866-69. (An admirable
work. The melodies are given in an appendix.)
19. Severin Meister : ' Das katholische deutsche
Kirchenlied in seinen Singweisen von frllhester Zeit
bis gegen Ende des 17ten Jahrhundert' Freiburg,
1852. (A useful collection.)
20. F.L.Mittler: 'Deutsche Volkslieder.'. Frankfurt-
on-the-Main, 1865.
21. Aug. Beissmann: 'Das deutsche Lied in seiner
historischen Entwickelung.' Also :
22. 'Geschichte des deutschen Liedes.* Berlin, 1874.
(See especially the early chapters in both works.)
23. Aug. Saran : ' Eobert Franz und das deutsche
Volkslied.' Leipzig. (Contains interesting information
on the formal structure of the Volkslied.)
24. K. Schneider: 'Das musikalische Lied in ge-
schichtlicher Entwickelung.' Leipzig, 1863. (See espe-
cially vols. 1 and 2.)
26. F. L. Schubert: 'Concordia; Anthologie Klas-
1 Sm Sons, voL ill. p. 621. moU.
B88
VOLKSLIED.
Bischer Volkslleder mit Clavierbegleittmg.' Lelprig,
1863-67. (A very large but untrostworthy colleotioiL)
26. F. SUcher: ♦ Deutsche Volkslleder.' Tttbingen
1827-40. (Many of these Silcher composed himself ; but
they are now considered regular Volkslleder.)
27. A. Vilmar: ' HandbUchlein fUr Freunde des
deutschen Volksliedes.' Marburg, 1867-68. (TJsefaL)
28. Philipp Wackernagel : ' Das deutsche Kirchenlied
von Luther bis auf Nic. Hermann.' Stuttgart, 1841.
29. Philipp Wackernagel : ' Das deutsche Kirchenlied
von <ester Zeit bis zu Anfange des 17ten Jahrhun-
dert' Leipzig, 1868-76. (An important work.)
30. 0. von Winterfeld : * Dr. Martin Luther's deutsche
oeistliche Lieder, nebst den w&hrend seines Lebens
dazu gebrauchlichen Tonsatzen Uber dieselben von
Meistem des 16ten Jahrhundert.' Leipzig, 1840.
31. C. von Winterfeld: 'Der evangelische Kirchen-
und sein Verhaltniss zur Kunst des Tonsatzes.'
ipzig, 1842-47. (A standard work.) [A.H.W.]
VOLKSTHUMLICHES LIED. For the
explanation of this term see Song, pp. 62 1-5. To
the examples there cited another very good one
may be added, taken from a sketch-book * of Bee-
thoven's of 1 81 5 and 1 816; and remarkable for
freshness, melody, and fitness to the words.
gesang
Leipzit
■iDg ans dankbarem Gemflth tnein Uorgen und m«ln Abendlied.
The words of the song are by J. M. Miller.
It is entitled • Di^ Zufriedenheit,' and has been
set also by Mozart and 0. Q. Neefe.
The term Im Volkston, applied by Schumann as
a title to his five pieces for Violoncello and Piano,
op. 102, signifies that these pieces are of a popu-
lar or volksthUmliches cast. [A.H.W.]
VOLLWEILER, G. J., bom 1770, an es-
teemed professor of music in Frankfort, where
he died Nov. 17, 1847. He was the author of
two instruction-books, one in PF-playing, and
one in singing for schools; both published by
Schotts. Vollweiler was the teacher of two re-
nowned musicians, Aloys Schmitt and Ferdinand
Hiller. His son Cabl was bom 181 3, and died
at Heidelberg, Jan. 27, 1848, after a long and
varied musical career in Germany, Austria, and
Russia. [G.]
VOLTA, PRIMA, SECONDA — First, or
second time ; more commonly seen in the abbre-
viated forms, • ima,' ' 2da,* or with the numerals
alone — an indication that the portion of an in-
strumental movement which is to be repeated, is
to undergo certain modifications at the close of
its second repetition, instead of being repeated
exactly. In the earlier development of the
sonata-form it was soon found that when the first
part of the movement closed on the dominant,
1 Nottebohm. In • Kui. WoebenUitt.' Hot. 81 1S78.
VOLTI.
or — ^in the case of a movement in a minor key-
on the relative major, it was convenient to make
the transition back to the tonic, or to the open-
ing subject, by means of some short and obvious
figure, which without disturbing the rhythm of
the music should prepare for the return to the
beginning. In cases where the second half of
the movement began, like the first, in the tonic,
the transitional figure could of course be retained
without alteration, but where the second half
began in the dominant or any other key, the
transitional figure had, so to speak, to change
its direction, so as to lead into such other key;
or it might be omitted in cases where the close
of the first half and the beginning of the second
were in the same key. The transitional figure
occupied generally not more than part of a bar;
and where it had to be altered, both versions
were written side by side, one immediately be-
fore the repetition mark, and the other imme-
diately after it. A line was drawn above both,
and the words 'Prima volta,* or the figure i,
placed over the first version, and • Seconda volta,*
or simply 2, over the second. At first the player
goes straight on to the repeat, but at the second
repetition he passes from the beginning of the
line where * Prima volta' stands, to the double
bar, so that the portion after the double bar
is played instead of that before it. Two very
good instances of this simplest form of transition
are the Gavotte in Bach's 3rd (G minor) Eng-
lish Suite, and the first movement of his son
Emanuel's beautiful Sonata in F minor. In the
Scherzo of Beethoven's 7th Symphony, the only
difierence between the prima and seconda volta
is one of force ; both consist simply of a long-
held A, but the first time it is held out for-
tissimo^ and at the second, there is a diminuendo
to the piano with which the trio begins. But
as the development of the form went on, the
transitional figure followed the example of all
the other parts and became longer and more
elaborate, often occupying so many bars that
the rhythm is no longer strictly adhered to, but
is held in abeyance till the transition has been
made. [J.A.F.M.]
VOLTE, a kind of ancient dance, in three-
time, so called from the figure containing many
turns (volti). Thoinot Arbeau, in his 'Orche-
sographie ' gives the following air of a Volte.
VOLTI, VOLTI SUBITO — 'Turn over,'
*Tum over quickly.' This direction, or the
initials V.S. — an exact musical equivalent to
* P.T.O.' — is used in manuscript and old printed
music, at the bottom of a page where, without it,
it might be supposed, for one cause or another,
that the piece had come to an end. For in-
stance, where a double bar closes the bottom line.
VOLTI.
and the music is continued overleaf, tlie direc-
tion serves to remind the performer that it is
not the end. It was not an uncommon practice,
in writing out instrumental music, if a conve-
nient pause, in which the player could turn
over, happened to come not far &om the end
of a page, to leave the rest of the page blank
and put the direction or the initials after the
pause. This practice is still retained in orches-
tral parts, where the copyists always take ad-
vantage of a few bars' rest to give the player the
opportunity of turning over for himself. In
more recently printed music for pianoforte the
direction is hardly ever found, as it is supposed
that if the player cannot manage to turn over,
help will be found. In such things as string
parts of chamber music, the engraver generally
manages that the end of a movement, or else a
few bars' rest, shall come at the end of a page.
In the appendix to vol. i, of C. H. Bitter's Life
of J. S. Bach, part of a song, • Bist du bei mir,'
from the music-book of Anna Magdalena, Bach's
second wife, is given in facsimile of the com-
poser's writing. A double bar closes the page,
but evidently the song does not end there ; the
composer, to prevent any mistake, has added
the words 'Volti cito,' the meaning of which is
precisely the same as the more usual version of
the direction. [J.A.r.M.]
VOLUME, when applied to the sound of an
instrument or voice, is the quantity, amount, or
fullness thereof. The word has acquired this
meaning since the time of Johnson. In Rous-
seau's Dictionary, Volume is explained to mean
Compass — *the extent or interval between the
highest and lowest sounds.* [G.]
VOLUMIER.i Jean Baptists, a Belgian
musician, chiefly remembered for his accidental
connexion with John Sebastian Bach, said to
have been born in 1677, in Spain, and brought
up at the French Court.'' He entered the
Electoral Chapel of Prussia Nov. 22, 1692,
and soon became Maitre de Concert and Direc-
tor of the dance music at the Berlin Court,
and was renowned for his Ballets. On June 28,
1709, he was appointed Concertmeister to the
Court of Dresden. Here he kept up his former
reputation for dance music and divertissements,
but was also celebrated as a violin-player, es-
pecially of French compositions, and a performer
on an instrument of the Hackbrett kind, of his
own invention. He was on friendly terms with
Bach and an enthusiastic admirer of his genius,
and it was during his residence at Dresden, and
also at his instigation, that the famous match
was arranged between Bach and Marchand the
French player, which resulted in the flight of
the latter. Volumier died at Dresden Oct. 7,
1728. (See Furstenau, *Zur Geschichte Musik
... am Hofe Dresdens'; Matheson, 'Ehren-
pforte' ; Forkel, • J. S. Bach.') [G.]
VOLUNTARY. The name given to the pieces
of organ-music played before, during, and after
> The nam« is said to luiTe been originally Woulmjrer.
VORSCHLAG.
839
Divine Service ; and possibly derived from the
fact that from their not forming a part of the
regular service, it was optional with the organist
to play them or not. These took the form of
highly embellished versions of Hymn-tunes,
Diapason piece, Trumpet voluntary. Introduc-
tion and fugue, Cornet voluntary, with half-
comic 'ecchoes* on the 'Swelling Organ.' The
voluntary proper flourished chiefly between 1720
and 1830. Croft, Greene, Boyce, Keeble, Battis-
hill, Kelway, Beckwith, Bennet, S. Wesley, Rus-
sell, and T. Adams were all writers of voluntaries.
Many of their compositions have a tranquil grace
which is not unpleasing, but they are too small
in plan and too artless in execution to make
themselves heard against 19th century bustle.
Those by Russell ought not so to die. They are
almost in suite -form and generally contain a
melodious fugue with clever modulation and
climax. Handel's airs and choruses (not always
sacred by the way — * Wretched Lovers ' being a
great favourite), scraps of symphonies andquartets,
even songs without words, gradually crowded out
this gentle music, not always to the advantage
of art. Now again better taste seems to have
brought in real organ works. Not to mention
the greatest composers, Wesley, Smart, Hopkins,
Best, and a large number of good German writers,
have been encouraged to write suitable music.
Some day we may hope to hear the best of all —
John Sebastian Bach's wonderful settings of the
Chorale. [W.Pa.]
VORSCHLAG (Ger.), an ornament made at
the commencement of a note, and therefore the
opposite of the Naohsohlag, which is placed at
the end. It usually consists of a note one degree
above or below the principal note, as the note
which it embellishes is called (Ex. i), though it
may be more distant from it (Ex. 2), and it may
also consist of more than one note (Ex. 3), in
which case it has a special name. [Slide, Doublb
Appoggiatuba].
1. Written.
^
The Vorschlag is written as a small note or
notes, and is not accounted for in the time of the
bar. In order to make room for it, the principal
note is slightly curtailed and its entrance de-
1 layed, as is shown in the above examples. Thia
Za
ZiO
VORSCHLAG.
VOX HUMANA.
is in accordance with a rule which ia insisted
upon by all the best authorities, at least so far
as regards the works of great masters, namely,
that all graces must fall within the value of their
principal note. Ttirk (jClavierschule) mentions
with disapproval the custom of playing it before
the beat, and therefore within the time of the
preceding note, which method of rendering he
describes as 'in the French style,' though it does
not appear to have been universal among French
musicians, for Boyvin, an eminent French organ-
ist, in his 'Premier Livre d'Orgue' (1700), ex-
plicitly directs that the Vorschlag shall be struck
exactly with the bass.
The Vorschlag in its ordinary form, consisting
of a single note one degree above or below the
principal note, is of two kinds, long and short.
The long Vorschlag, generally known by its
Italian name of Appoggiatura, has a definite
proportional value, which varies with the length
of the principal note, being one-half of a simple
note (Ex. 4), two-thirds of a dotted note (Ex. 5),
or the whole value of the principal note when-
ever the latter is tied to another of the same
name (Ex. 6). The written length of the
Vorschlag, as may be seen from the examples,
bears no exact relation to its actual length in
performance, though it is customary in the case
of the Vorschlag to a simple note to write it of
its precise value, as in Ex. 4.
4. Written.
The short Vorschlag, also called unverdnder-
lich (unchangeable) because its value does not
vary with that of the principal note, is made as
short as possible, and the accent is thrown on
the principal note. Like the Appoggiatura, it
is written as a small note, usually a quaver
(a difference which produces no corresponding
diversity in the rendering), and in order to dis-
tinguish it from the long Vorschlag it became
customary about the middle of the last century
to draw a small stroke obliquely across the hook
of the note, thus f ^. This sign, though highly
practical and valuable, has unfortunately been
so irregularly and unsystematically employed by
composers, and so frequently abused by engravers
and printers, that it is at present unsafe to trust
to the appearance of the Vorschlag as a guide to
its length, which has rather to be governed by
considerations of musical effect. This is espe-
cially the case with modem editions of classical
compositions, both instrumental and vocal, in
which it is quite usual to meet with the cross
stroke in cases where the long Appoggiatura is
imperatively demanded by good taste. For a
fuller description of both long and short Vor-
schlag see Appoggiatdra. [F.T.]
VORSPIEL. (Germ.), a Prelude— a piece
played before something else, as a piece played
after is called a Nachspiel or Postlude. In the
sense of an introduction or first movement to a
fugue the terms Prelude and Vorspiel have been
already examined. [See vol. iii. p. 28.] Bach's
Choral- Vorspiele have not however been touched
upon. There are organ pieces apparently in-
tended as an introduction to the singing of the
hymn — in which the chorale is taken as the
basis of the piece, the treatment being either by
florid and imitative accompaniments to the air
in the treble, or in some inner part, in canon or
otherwise, or in the bass, or as a fughetta, or in
any other way which occurred to the genius and
knowledge of this mighty master. Peters's The-
matic Catalogue of Bach's works contains 126 of
such Vorspiele, besides 32 ' Choral- variationen' on
4 Chorales. [G.]
VOX HUMANA, VOIX HUMAINE. An
organ stop of 8-feet tone and of the reed family,
but with very short capped pipes, which there-
fore reinforce only the overtones of the funda-
mental. The pipe for the CC note, which would in
the case of an ordinary reed-stop be nearly 8 feet
in length, is here often only 1 3 inches. The pipes
vary little in length, and there are perceptible
breaks in the timbre. As its name implies, the
stop is supposed to resemble the human voice.
Bumey (Tour through Germany, vol. ii. p. 303),
speaking of the specimen in the Haarlem organ,
says, 'It does not at all resemble a human
voice, though a very good stop of the kind : but
the world is very apt to be imposed upon by
names ; the instant a common hearer is told that
an organist is playing upon a stop which resem-
bles the human voice, he supposes it to be very
fine, and never enquires into the propriety of the
name or the exactness of the imitation. How-
ever, I must confess, that of all the stops I have
yet heard which have been honoured by the ap-
pellation of Vox humana, no one, in the treble
part, has ever yet reminded me of anything
human, so much as of the cracked voice of an
old woman of ninety, or, in the lower parts, of
Punch singing through a comb.* This more
than century-old description is by no means out
of date. In acoustically favourable buildings*
and when only just audible, the stop has some-
times a weird effect which is not unimpressive,
but distinctness is quite fatal. The Vox humana
should be placed in a box of its own inside the
swell box. It is nearly always used with the
tremulant. Opinions differ as to its capacity for
combining pleasantly with other registers, and
this depends upon the kind of stop. There are
instances where it gives a piquant quality to
other light stops. Its voicing is very delicate
and soon gets out of order. [W.Pa.}
VROYE.
VROYE, Theodore Joseph de, Belgian
writer on music, bom Aug. 19, 1804, at Villers-
la-Ville, between Ottignies and Fleurus (Bel-
gium), was ordained priest in 1828, and has de-
voted all his spare time to the study of plain-
song and the liturgical singing of the church.
In 1835 he was appointed Canon and Precentor
of the Cathedral of Lifege, and conducted the
services with a care and taste which produced
remarkable results. He published a * Vespdral '
(1829), a * Graduel ' (1831), and a 'Procession-
ale' (1849), which have passed through many
editions in Belgium; also, a *Traitd du Plain-
Chant' (1839), and a *Manuale Cantorum'
(1849). His last work, *De la Musique Religi-
euse' (1866), written in conjunction with the
Chevalier Van Elewyck, is a collection of docu-
ments and observations relating to the Congresses
of Paris (i860) and Mechlin (1863-64) on service
music. De Vroye died at Lifege, July 29, 1873.
He must not be confounded with A. de Vroye,
a clever flute-player, who has played in Paris
every winter for the last dozen years, but of
whose history nothing can be discovered. [G.C.]
VUILLAUME, a family of French musical
instrument makers, originally from Mirecourt.
As far back as the first half of last century there
was a Jean Vuillaume established in this small
town among the Vosges mountains, but it is
doubtful whether he was any relation of Claude
Vuillaume, born 1771, died 1834, maker of
cheap violins, and head of the family afterwards
90 well known. Claude had four sons, who all fol-
lowed in the same line of business. The eldest,
Jean Baptiste, was bom at Mirecourt, Oct.
7, 1798, and apprenticed to his father, but find-
ing nothing further to learn in his native town,
went to Paris in 181 8. His first master was his
fellow-townsman Fran9ois Chanot, who with his
guitar-shaped violin expected to revolutionise the
art of violin-making. [Chanot, vol. i. p. 355 «•]
In this he was mistaken, but he was of great
service to Vuillaume by leading him to more
scientific methods of working than the old-
fashioned rule of thumb. In 1821 he left Cha-
not for L^t^, an organ-builder at Payonne. L^t^
was son-in-law to Pique, an excellent workman,
who saw at once the value of the new partner,
who for his part learnt much from Pique, and
retained through life a grateful recollection of
him, and of the experiments they made together.
In 1825 L^t^ set up with Vuillaume at No. 30,
Rue Croix des Petits Champs. Vuillaume's
marriage in 1826 brought him into the society
of several influential people, including, amongst
others, F^lix Savart, the professor of acoustics,
intercourse with whom gave a fresh turn to his
studies. Henceforth his chief aim was to discover
the secret of the old Italian masters, and the cause
of the superiority of their violins. Becoming his
own master in 1 82 7, he removed to 46,^ Rue Croix
des Petits Champs, where he lived till i860,
and tumed out many instruments now of great
value. The style of his workmanship was speedily
1 Altered in 1848 to 42.
VUILLAUME.
341
recognised, and he gained silver medals at the
Paris Exhibitions of 1827 and 1834, and gold
medals at those of 1839 and 1844. He sent his
'Octobasse,' and his splendid imitations of old
Italian instruments to the Paris Exhibition of
1849, b"* ^is name does not appear in the re-
port of the jury. At the London Exhibition of
1 85 1 he had a glass case containing two quartets
of stringed instruments, and his perfected ' Octo-
basse,' for which he was awarded the Grand
Council medal, a distinction acknowledged at
home by the Legion of Honour. At Paris in
1855 he obtained the M^daille d'honneur, and
since then has been considered entirely above
competition. To reach this high position he
spared neither pains nor expenditure, making
long journeys after special qualities of wood, and
going frequently to Italy, where he discovered
documents relating to Stradivari hitherto un-
known. In January, 1855, he spent 80,000
francs (£3,200) on the purchase of 250 instru-
ments, collected by Tarisio, including the splen-
did Strad violin, called *Le Messie,' because it
was never allowed to be seen, though always
talked about. Having made his fortune, Vuil-
laume might have retired to his fine house at Les
Ternes, and his family, but work was to him a
prime necessity, and the successes of his son-in-
law, Delphin Alard, only stimulated him to
further exertions. Several specimens of his in-
ventions may be seen in the Museum of the Paris
Conservatoire, one being a violin of a new and
shortened form made for JuUien, a rebec of his
own design, an alto, an octobasse, a bow with
fixed head, others in hollow steel, etc., all show-
ing considerable ingenuity and great manipu-
lative skill. He was an ardent devotee of Antonio
Stradivari, and virtually dictated F^tis's biography
of him. For the last ten years of his life he oc-
cupied himself especially with studying effects of
sonority, and means of acquiring perfection of
tone. He invented a new mute, which he called
the sourdine instantanie, and fancied he had
discovered a way of making strings perfectly
cylindrical, so that they were never out of tune.
He died in his Paris house, No. 3, Rue Demours,
Feb. 19,^ 1875- He left nearly 3,000 instru-
ments, a certain number of which he had made
entirely with his own hands. His price was
300 francs (£12) for a violin, and 500 francs
(£16) for a cello. Each is now worth double,
but his instruments vary considerably and care
is necessary in distinguishing between the dif-
ferent kinds. He was fond of trying different
ways of drying wood, and imparting to it^ the
qualities of age, experiments which often failed,
and impaired the durability of his instmments.
He cannot be said to have turned out nothing
but chefs-d'ceuvre, but nevertheless he stands
with Lupot at the head of French musical in-
stmment makers of the 19th century. The
second son of his brother, Claude Vuillaume,
Nicolas bom 1800, died 1871, passed his
life at Mirecourt, excepting the period between
2 Vidal, Pougln. and others, give the date March 19, but thli to
wrong.
842
VUILLAUME.
1833 and 1842, when he was working with Jean
Baptiste. He made cheap violins only, and took
a bronze medal at the Paris Exhibition of 1855
for a pattern which he called the *Stentor.' The
next brother,
Nicolas Francois, bom at Mirecourt May
13, 181 2, apprenticed to his father, and after-
wards a pupil of Jean Baptiste, settled at Brus-
sels in 1828. The instruments he sent to the
Exhibitions at Brussels in 1835 and 1841 re-
ceived silver medals. Having been appointed
maker to the Conservatoire, and become intimate
with F^tis, he exhibited at London, Paris, and
Dublin, and was awarded medals of the first
class. Maintaining a constant intercourse with
his brother, the writer met him frequently, and
found him to have a special knowledge of the old
Italian instruments, which he repaired with
great skill. In 1873 he showed at the Vienna
Exhibition a double quartet which gained a
WACHT AM RHEIN.
medal of the first class, a success rewarded by the
King of the Belgians with the Order of Leopold.
He died at Brussels of apoplexy Jan. 14, 1876.
Another brother,
Claude FRANfOis, bom 1807, and also ap-
prenticed to his father, took to organ-building,
and ended a chequered existence as a maker of
violin cases. His son,
Sbbastian, bom 1835, died 1875, a pupil of
his uncle Jean Baptiste, tumed out some good
work, and took a bronze medal at Paris in 1867,
and a silver one at the Havre Exhibition of 1868.
He is however best known as a maker of bows.
Thus the family of Yuillaume is now extinct.
Its principal member too died without having
carried into effect his favourite project of found-
ing with his brothers a museum at Mirecourt,
wherein should be deposited the best types pro-
duced by all native artificers of this cradle of
French musical instrument makers. [G.C.]
VIARD-LOUIS, Jenny, nSe Martin, bom
September 29, 1 83 1 , at Carcassonne. She learned
the piano first at the Conservatoire, Paris, where
she obtained the first prize, and afterwards &om
Madame Pleyel. In 1853 she married Nicolas
Louis, composer, and after his death in 1857
devoted herself to a complete study of the great
masters. In 1859 she married M. Viard, a
merchant of Paris, and in 1864-65 undertook a
tour through Austria and Germany, where her
performance of Beethoven's works obtained the
approval of various good judges, contemporaries
of the great composer. On returning to Paris
she gave concerts, at which the chamber music
of Brahms and Baff was first introduced to
French audiences. In 1874 a reverse of fortune
obliged her to come to London for the purpose
of teaching, and on March 4, 1876, she made her
first appearance, at the Alexandra Palace, in
Beethoven's Choral Fantasia. In the spring of
1878 she gave orchestral concerts at St. James's
Hall, in which she played various pieces, classical
and modem, including for the first time in public
a MS. Fantasia of Cherubini's. She was compelled
to abandon this enterprise, and devote herself
solely to teaching ; but since 1883 she has given
various concerts devoted to the chamber music of
Beethoven for piano solo, or piano and other
instmments. These are still in progress. Mme.
Viard-Louis has recently published a work en-
titled * Music and the Piano ' (London, Griffith
and Farran, 1884). [A.C.]
W.
WACHT AM RHEIN, DIE (The guard
of the Rhine.) A modem German Volks-
lied, which during the Franco-Prussian
war of 1870-71 was so popular as to become a
national song.
Allegro marcato.
wiU de* Stro - met Ha - ter
nj r rir
V» - t«r-land.
^^
fe=:=F=^
ru • hitr sein, lieb* Va • teMand, magst
r'e r .r^=f^^^^
hlg aein;
fbst steht and tren die Waoht, die
* " ,.3 AAA m
Wacbt am Bhelnt
Wacbt am Bbeinl
fett tteht und trea die Wacbt, dla
The poem is by Max Schneckenburger, a
manufacturer, born Feb. 17, 1819, at Thalheim
in Wiirtemberg, and died May 3, 1849, at Burg-
dorf near Berne. It had its birth in 1840, when
WACHT AM RHEIN.
the left bank of the Rhine was threatened by
France, and was soon seized on by composers : —
F. Mendel of Berne (1840) ; Leopold Schroter of
Worlitz (1853) ; and F. W. Bering of Strassburg,
and lastly by Carl Wilhelm, the author of the
melody given above, bom at Schmalkalden in
18 1 5, pupil of Aloys Schmidt, Anton Andr^, and
Spohr, and from 1840 to 1865 conductor of the
Liedertafel in Crefeld. The song was composed
by him as a part-song for men's voices, March
14, 1854, was first sung on the nth of the fol-
lowing June, and quickly found its way into
print. In 1 871 Wilhelm received a pension of
£150 a-year from the Emperor, but did not long
survive his good fortune, as he died Aug. 16,
1873, in his native town, where a monument has
been erected to him.
The * Wacht am Rhein* is the subject of the
femous 'National Denkmal' near Bingen, by
Johannes Schilling, the sculptor, which was un-
veiled by the Emperor in 1883. It must not be
confounded with another Rhine-song (poem by
N. Becker) of equal popularity in its time —
Sie fioUen ihn nicht haben,
Den freien deutsoben Bbein,
which was set to music by Kreutzer and many
more, and sung everywhere in 1 840 and 41. The
Bong is sharply criticised by Mendelssohn in his
letters of Nov. 18 and 20, 1840, and Feb. 27,
1 841, and was answered by Alfred de Musset in
the well-known *Nous I'avons eu, votre Rhin
allemand.' [M.F.]
WACHTEL, Theodor, bom March 10, 1823
or 1824, at Hamburg, the son of a stable-keeper,
began Hfe by driving his father's cabs. He learnt
to sing from Mme. Grandjean, and obtained
operatic engagements at Schwerin, Dresden,
Hanover (1854), Berlin, Darmstadt, Vienna,
etc. On June 7, 1862, he made his dibut in
England at the Royal Italian Opera as Edgardo
in ' Lucia,' and failed completely. He sang there
again in the seasons of 1864 and 1865 with better
results; and indeed obtained a certain popu-
larity, more on account of his fine and powerful
voice than from any artistic use he made of it.
His principal attraction was the way he pro-
duced a C in alt direct from the chest instead of
by the customary falsetto ; he brought out the
note with Stentorian vigour and great success,
especially when he played Manrico or Arnold.
Of his other parts may be named Stradella on
the production of Flotow's opera of that name
at the Royal Italian Opera, June 4, 1864, and
Vasco de Gama on the production of *L'Afri-
caine' in England, July 22, 1865. Here-appeared
in 1870 and again in 1877 at Her Majesty's.
In 1869 he sang in Paris with very indifferent
results, but has been successful in America both
in German and Italian opera. Two of his most
popular characters in Germany are George
Brown (*Dame Blanche') and Chapelon ('Pos-
tilion '), especially the latter, in which he affords
great delight to his audiences by the dexterous
manner in which he cracks a coachman's whip
in the Postilion's song. His son, Th£odob«
WADE.
843
began life as a clockmaker ; and at one period
of his life was a tenor singer of the same calibre
as his father. He died of consumption in Jan.
1871, aged 30. [A.C.]
WADE, Joseph Augustine, bom in Dublin
at the close of the last or beginning of the present
century. Not only is the date of Wade's birth
doubtful, but his parentage also. According to
surviving members of his own family, he was
of gentle blood, but Dr. Richard R. Madden
(his schoolfellow), the generally trustworthy bio-
grapher of the 'United Irishmen,' tells us that
his origin was humble, his father being a dairy-
man near Thomas Street, Dublin. A similar
uncertainty surrounds the place of his maturer
education. The tales of his presenting himself
at the gate of the University of Dublin, and
addressing the porter in Latin are wild fictions,
for the books of the L^niversity (called Trinity
College, Dublin) reveal the fact that Wade was
never a member of the place. He is said to
have entered the 'Irish Record Office' as a
junior clerk, when little more than 16, but no
record remains of the fact in the books of the
office. Wade soon quitted Dublin, and married
a lady of fortune, Miss Kelly of Garnavilla, near
Athlone. The first recorded essay of his muse
is the words and music of a song, * Lovely Kate
of Garnavilla.' His bliss was however but short-
lived, for he grew weary of the young lady,
returned to the Irish metropolis, and is said to
have acquired considerable skill as an anatomist
and surgeon, but the books of the Irish College
of Surgeons contain no mention of his name.
About this time he published, through Thomas
Cooke & Co. in Dublin, a ballad, of which both
words and music were his own, 'I have culled
ev'ry flowret that blows' ; and made the ac-
quaintance of Sir J. Stevenson, who finding in
him literary and melodial gifts, and — what was
then extremely rare amongst amateurs — an ex-
tended knowledge of harmony and the theory of
music, strongly advised Wade to apply for the
University chair of music, dormant since I774>
when the Earl of Mornington, appointed in
1 764, had resigned the office. It was necessary
however to matriculate and become a member
of the University, and the matter fell to the
ground. After this, surgery was abandoned, and
Wade became a poet-musician. At this time
he was of mild and gentlemanlike manners, and
appeared about 25 years of age : it is possible
that it was now, and not during his boyhood,
that he and William Rooke found employment
in the Record Office in Dublin. However, his
restless disposition induced him to migrate to
London, where his talents soon brought him
into notice. From intercourse with orchestral
performers, he acquired sufficient confidence to
undertake to conduct the Opera during Mr.
Monck Mason's regime, a position he did not
long retain. In fact, he made but a poor pro-
fessor, the poverty of his orchestration being not
more remarkable than the antiquated style of
his melody. He had been engaged by the firm
of Chappell to make himself generally useful;
844
WADE.
but he made no use of his gifts as poet, musi-
cian, and scholar, and the house reaped little
advantage from him. He frequented taverns,
drank to excess, and has been known to drink
all his companions under the table and finish
the night with the landlord. His Irish wife
having died childless, he seems to have formed
some fresh matrimonial connexion, judging by
an appeal made after his death for aid to his
wife and destitute children. His downward pro-
gress was rapid, and for the last few years of his
life he was unknown. He only once returned to
his native city — in Dec. 1840, travelling with
Lavenu's touring party. It included Liszt,
Bichardson the flautist, the Misses Steele and
Bassano, John Parry, and J. P. Knight ; two or
three of Wade's concerted pieces were included
in the concerts, at which however he did not
appear, even as accompanyist. He wandered
about for some weeks, visited one or two re-
latives, and returned to London, where he died,
July 15, 1845, at his lodgings in the Strand.
There is little doubt that Wade was a man
of remarkable gifts and acquirements. His
personal appearance was much in his favour ; he
was witty and quick in perception, and had ac-
quired some knowledge of the Latin classics, as
well as of one or two modem languages, and
also had a smattering of anatomy. His memory
was retentive in the extreme. Above all, he
possessed a gift for creating melody : add to this
fair skill as a violinist, and a trifle of orches-
tral knowledge, and what might not Wade have
accomplished but for incredible indolence and
folly? It remains but to add a list of his works,
with their approximate dates : — • The Prophecy,'
an oratorio (Drury Lane 1824);' The two Houses
of Granada ' (ib. 1826) ; * The pupil of Da Vinci '
(operetta by Mark Lemon); 'Polish Melodies'
(words and music) 1831 ; • Convent Belles ' (with
Hawes) 1833; *A woodland life* (polacca in-
terpolated in *Der Freischiitz' and sung by
Braham) ; • Meet me by moonlight alone * (sung by
Vestris) ; the duet * I've wandered in dreams,'
and other vocal pieces. This last obtained a popu-
larity equalling the preceding ballad, which had
the good fortune to be further immortalised
in the pages of Frazer's Magazine for October
1834, by the witty Father Prout, in French attire.
val-Ion an dair d«
It should be said that Wade was associated
with Mr. G-. A. Macfarren as pianoforte arranger
of the earlier issues of Mr. Wm, Ohappell's
National English Airs. [R.P.S.]
WAELRANT, Hubbbt, one of the most
distinguished of the second generation of the
great Flemish masters, was born about 15 18 at
Tongerloo/ in the district of Kempenland (North
WAGENSEIL.
Brabant). An old tradition relates that he went
in his youth to Venice, and there studied under
the guidance of his great fellow-countryman,
Adrian Willaert; but this lacks confirmation,
and may very possibly be as apocryphal as the
similar story usually told with reference to
Sweelinck's sojourn at Venice, and the lessons
he had from Zarlino later on in the century. [See
SwEELiNCK.] Be this as it may, Waelrant is
found in the year 1544 established in Antwerp,
as a singer in the choir of the chapel of the
Vu-gin at Notre Dame. Three years later he
had a school of music there, where he introduced
a new method of solmisation, that known as
bocedisation or the voces Belgicce? [See Sol-
misation ; Voces Belgic^.] He is said now to
have entered partnership with J. de Laet as a
publisher of music ; but this was more prob-
ably not until 1554.' The association lasted
until 1567, when de Laet retired or died. Wael-
rant was twice married, first in 1551, and again
before 1568 ; by his first wife he had six children.
He died at Antwerp in his seventy-eighth year,*
Nov. 19, 1595.
Among contemporaries Waelrant was held in
very high repute, not only as a teacher of music,
but more especially as a composer, chiefly of
madrigals and motets. Guicciardini, in his
•Descrittione di tutti i Paesi bassi '« includes
him in a list of the greatest living musicians of
his time. His first musical works were ' Chan-
sons' published by Phalesius at Lou vain, 1553-
1554, and *I1 primo Libro de Madrigali e Can-
zoni francesi a cinque voci; Anversa, Huberto
Waelrant e J. Latio, 1558.* It is remarkable
however that of the numerous volumes of music
which he published — Psalms, * Cantiones Sacrae,'
•Jardin musiqual,' etc. — only two (of the
* Jardin *) include compositions by himself. He
seems in feet to have preferred to publish either
by Tylman Susato or Phalesius. Seven of the col-
lections of the latter contain works by Waelrant.
One of these was also edited by him under the
following title, ' Symphonia angelica di diversi
eccellentissimi Musici, a quattro, cinque, e sei
voci: Nuovamente raccolta per Uberto Wael-
rant, 1 565.'* [R.L.P.]
WAERT, DE. [See Webt, De.]
WAGENSEIL, Geobo Christoph, born Jan.
I5» 1 715* in Vienna, where he died March i,
1777.' He studied the clavier and organ with
Woger, and the science of composition with
Fux and Palotta, the former of whom recom-
mended him foi< a Court scholarship in 1736, and
1 The discoTerjr of Waelrant's birthplace is due to the researches
of M. A. Goovaerts, Hlstoire et Bibliographle de la Typographie
muslcale dans les Pays-bas, pp. 38-40, Antwerp 1880. A confusion
with a namesake had led to the opinion preTlously universally
accepted, that the musician was a native of Antwerp : see F^tis, t.v. ;
Mendel and Belssmann, Musilcallsches ConversaMons-Lexlkon, zi.
233, 2nd ed. 1880 ; and also E. vander Straeten, La Muslque auz Fays-
bas, ill. 201-201, 1879.
2 See F. Sweertlus, Athense BelsrtcsB p. 350, Antwerp 1628, foUo ;
vander Straeten, i. 62, 1867 ; Mendel and Belssmann. zl. 231.
> Goovaerts, p. 42. « Sweertlus, Ijb.
» Page 42, ed. Antwerp, 1588 folio.
• For the complete bibliography see the Goovaerts, p. 203-277.
7 He was thus in his 63rd year at the time of his death, and not 92
as Gerber states (vol. 1.), and after him F6tis. Neither waa he 86, aa
Burner supposed when be visited bim ia 1778.
WAGENSEIL,
as Court composer in 1 739, a post which he re-
tained till his death. He was also organist to
the Dowager Empress Elizabeth Christine from
1741 to her death in 1750, and music-master to
the Empress Maria Theresa and the Imperial
Princesses, with a life-salary of 1500 florins.
Among his pupils were Stefian, then Court
Capellmeister, and Leopold Hoffmann, after-
wards Capellmeister of the Cathedral. When
Mozart, a little boy of 6, was playing before the
Court in 1 762, he enquired • Is not Herr Wagen-
seil here? he knows all about it,' and when the
latter came forward, he said, *I am playing a
concerto of yours ; you must turn over for me.'
In old age Wagenseil suffered from sciatica, which
confined him to his room, and nearly lost the use
of his left hand from gout. Nevertheless when
Burney visited him he managed to play several
of his compositions * in a masterly manner, and
with great fire.' ' In his day he was a favourite
composer for the clavier with both amateurs and
artists. He modelled his church music after
Hasse and Scarlatti, his dramatic music after
Leo, and his instrumental after Eameau. Of the
latter many pieces were engraved in Paris, Lon-
don, Amsterdam, and Vienna. There are several
MS. works of his in the Court Library, and in the
Archives of the Gesellschaft der Musikfreunde in
Vienna, both vocal (cantatas, Italian arias, etc,)
and instrumental (trios, quartets, divertimenti,
symphonies, etc.). Operas by him are also men-
tioned. Of permanent value are * Sua vis artifi-
ciose elaboratus, etc' in 6 parts (Bamberg, 1 740) ;
• Tre Divertimenti per Cembalo ' (Vienna, 1 761) ;
•Divertissement musical,' 6 sonatas for clave-
cin, op. I (Nuremberg, Haffner) ; and 4 nos.,
each containing • VI Divertimenti da Cembalo,'
dedicated to his pupils the Archduchesses Mari-
ana, Marie Cristina, Elizabeth, and Amalia (all
1760), finely engraved on copper by Giorgio
Nicolai for Agostino Bernardi the Viennese pub-
lisher. The theme of Handel's * Harmonious
Blacksmith ' is often said to be taken from one
of Wagenseil's pieces, but it has not yet been
identified. [C.F.P.]
WAGNER, Johanna, niece of Richard Wag-
ner, was bom at Hanover, October 13, 1828,
daughter of Albert Wagner, a dramatic tenor.
He married Elise Gollmann, with a voice of the
abnormal compass of three octaves and two
notes, who in her very short career is said to
have sung the parts of Tancredi and of the Queen
of Night, with equal ftdness of tone.
Richard Wagner and his brother Albert lived
together in Wiirzburg during the whole of 1833.
•Johanna, then only five, sang everything she
heard; and her uncle, in after years, would often
quote her childish version of the words of operas.
She appeared at six as Salome in the 'Donau-
weibchen.' In 1843 her uncle heard her sing
the part of Myrrha in Winter's • Unterbrochene
Opferfest,' and in May 1844 obtained a temporary
engagement for her at the Royal Opera at Dres-
den, where he was preparing the first performance
1 Present ' State of Music in Germany,' p. 230.
WAGNER.
845
of his * Rienzi.' Though but sixteen she had such
success as Irma in ' Maurer und Schlosser,' and
Agathe in the ' Freischiitz,' that she was not
only engaged for three years, but the manage-
ment paid the fine necessary to release her from
her contract at the Ducal Theatre at Bemburg.
She spent the summer with her uncle near
Dresden, studying his Tannhauser, scene by
scene, as he composed it, and had the honour of
creating the part of Elizabeth when only seven-
teen. Her uncle had intended the first perform-
ance to take place on her seventeenth birthday,
but the illness of a singer postponed it until
Oct. 21, 1845. However, when his friends as-
sembled at his house for supper that night,
Johanna found, hidden under her napkin, a little
gold bracelet engraved with her name and the
date, a proof of his satisfaction with her per-
formance which will always be her greatest
treasure. Such hopes were founded upon the
talents of the young singer that the King of
Saxony sent her to Paris to study under Garcia.
She left Dresden Feb. i, 1847, accompanied by
her father, who until then had been her in-
structor. Returning in six months she appeared
as Norma, singing in Italian, her uncle conducting.
She now added to her repertoire Fidelio, Valen-
tine, Adriano, Susanna, Reiza, Favorita, Donna
Anna, Recha, Euryanthe, Emani, Sextus, Weisse
Dame, etc. Her uncle's part in the revolutionary
troubles of 1849, ^^^ consequent exile, making it
unpleasant for her to remain in Dresden, she
accepted an engagement at Hamburg ; there
she created the first German Fides in the * Pro-
ph^te,' and sang it fifty times in succession. In
1850 she was permanently engaged at the Royal
Opera House in Berlin, with an exceptional con-
tract giving her six months leave each year. King
Frederick William IV. and his Queen thoroughly
appreciated her talent, and she frequently sang
for them in private, accompanied by Meyerbeer,
whose faithful friendship she enjoyed from the
day he first heard her sing.
In 1852 she came to England, but owing to
a lawsuit concerning her contract, she was pre-
cluded from singing at either of the opera-houses.
In 1856 she appeared at Her Majesty's Theatre,
as Tancredi, Lucrezia Borgia, and Romeo. Of the
latter, Mr. Lumley, in his * Reminiscences,* writes:
— * Was it possible to listen and not feel every
hostile feeling crushed ? Gifted with a voice com-
bining the resources of soprano and contralto in
one — or rather with two voices (wrote one able
critic) ; a well-accentuated style of declamation ;
endowed with a grace which made every attitude
a pictorial study, no wonder that Mile. Johanna
Wagner took the house by storm.'
In 1859 8^6 married Herr Landrath Jach-
mann, and two years later had the misfortune to
lose her voice suddenly and completely. She then
bravely entered upon a second artistic career,
as an actress, her very exceptional gifts en-
abling her to do so with brilliant success. This
lasted for eleven years, at the same Theatre at
Berlin. Her new repertoire included Marie
Stuart,Queen Elizabeth, Lady Macbeth, Antigone,
SI6
WAGNER.
Phaedra, Isabella (Bride of Messina), Maid of
Orleans, Hennione, Medea, Sappho, etc. In
1870-71, at the request of Grafinn von Roon,
wife of the Minister for War, she joined the
Red Cross Society, and spent nine months in
tending the wounded in Uie State Hospitals at
Berlin. In 1873 she took leave of the stage as
Iphigenia, amidst many honours; the Emperor
in person presenting her with the Gold Medal
for Arts and Sciences. Meantime her voice had
returned to a great extent, and on May 22, 1872,
at her uncle's request, she went to Bayreuth,
to take part in the performance of Beethoven's
Ninth Symphony, which he gave to celebrate the
laying of the first stone to his theatre there. She
sang the solo alto part, as she had done on Palm
Sunday twenty-six years before, at his perform-
ance of the same Symphony at Dresden. In
1876, at the opening at the Wagner Theatre at
Bayreuth, she took the minor parts of Walkure
and Norn, only regretting she was not able to
serve her uncle in a greater part.
However, in 1882 a new sphere of artistic use-
fulness was opened to her. Baron von Perfall,
Intendant of the Royal Opera at Munich, ofiered
her the Professorship of Dramatic Singing, in the
Royal School of Music there. This appointment
she accepted (to quote her own words) * in the
hope of training young artists in the spirit and
traditions of her uncle, to be worthy interpreters
of his works.' [M.B.]
WAGNER, WiLHELM Richard, born May
22, 1813, at Leipzig; died Feb. 13, 1883, at
Venice; interred Feb. 18, 1883, at Bayreuth.
The materials of the following article have
been thus arranged: I. Biographical, personal.
n. Literary. III. Musical. IV. Chronological
Lists.
I. Wagner's ancestors were natives of Saxony,
foirly well educated and fairly well to do. The
grandfather, Gottlob Friedrich Wagner, who
died in 1795, was Accisassistent, and later on
Kurfurstlich Sdchsischer Generalaccisemnehmer
(Receiver-general of excise), in plain words
Thonchreiher (clerk at the town-gates of Leip-
zig) ; he married in 1 769 Johanna Sophia Eichel,
daughter of Gottlob Friedrich Eichel, Schulhalter
(keeper of a school). Of their children, two
sons and a daughter, the eldest son, Carl Fried-
rich Wilhelm Wagner, bom 1770 at Leipzig,
was the father of the poet-composer. He is
described as Actuarius bei den Stadtgerichten
(clerk to the city police-courts) ; a ready linguist,
whose command of French stood him in good
stead during the occupation of Leipzig, when
Davoust made him chief of police ; fond of
poetry, and of theatricals, in which he occasion-
ally took an active part — as, for instance, in the
private performance of Goethe's * Die Mitschul-
digen,' given by Leipzig dilettanti in Thome's
house, near the famous Auerbach's Keller, facing
the Marktplatz. He married in 1798 Johanna
Rosina Bertz (bom at Weissenfels, died Feb.
1848), by whom between 1799 and 181 1 he had
nine children.
WAGNER.
1. Albert "Wagner, 17D9-1874, studied medicine at the
University of Leipzig; actor and singer at WUrzburg
and Dresden; finally stage manager at Berlin;
father of Johanna Jachmann-Wagner the well-
known singer.
2. Carl Gustav Wagner, 1801, died early.
3. Johanna Rosalie Wagner, distinguished actress (Frau
Dr. Gotthard Oswald Marbach), 180a-1837.
4. Carl Julius Wagner, 1804, became a goldsmith, died
at Dresden.
5. Loise Constanze Wagner (Frau Friedrich Brock-
haus), 180&-1870.
6. Clara Wilhelmine Wagner (Frau Wolfram), a singer,
1807-1875.
7. Maria Theresia Wagner 1809, died 1814.
8. Wilhelmine Ottilie Wagner (Frau Professor Her-
mann Brockhaus i), 1811-1883.
9. WiLHBLM BiCHARD Wagnbr, May 22, 1818.
The last of these dates* is inscribed on a
white marble slab between the first and second
stories of a quaint old house, Der lomse und
rothe L'owe, in the Briihl at Leipzig, now No. 88,
where the poet-composer was bom. After the
battle of Leipzig, October 16, 18, and 19, 18 13,
an epidemic fever, attributed to the carnage,
fell upon the town, and just five months after
Richard's birth, on November a a, the 'Herr
Actuarius' died of it. His widow was left in
sad straits. The eldest son was but 14; she
had no private means, and her pension was
small. In 1815 she became the wife of Lud-
wig Geyer (bom January 21, 1780, at Eisleben),
actor, playwright, and amateur portrait- painter.
He had formerly been a member of * Seconda's
troupe,* which used to give theatrical perform-
ances altemately at Dresden and Leipzig. At
the time of the marriage he was a member of
the Konigl.-Sacbs-Hoftheater, and accordingly
the family removed to Dresden.* Richard Wag-
ner frequently spoke of him with affectionate
reverence, treasured his portrait by the side of
that of his mother, and was delighted at the sur-
prise performance of one of Geyer's little plays,
* Der Bethlehemitische Kindermord,' which was
privately got up at Bayreuth in celebration of
his 60th birthday, 1873. 'My schoolbooks at
the Dresden Kreuzschule,' Wagner said to the
writer, ' were marked Richard Geyer, and I was
entered under that name.'
Geyer* wanted to make a painter of me, but I was
very unhandy at drawing; I had learnt to play *Ueb'
immer Treu und Kedlichkeit ' and the ' Jungfernkranz '
(Freyschtltz) which was then quite new. The day
before his death (30th Sept., 1821) I had to play these to
him in an adjoining room, and I heard him faintly
saying to my mother, *Do you think he might have a
gift for music ? '
In Dec. 182a (set. 9) Richard had begun to
attend the Kreuzschule, a ' classical school.' He
did well there, and became the favourite of Herr
Sillig, the professor of Greek, to whose delight
(set. 13) he translated the first twelve books of the
Odyssey outof school hours. His progress in Latin
1 Hermann Brockhaus, the well-kaown orientalist and translator of
Soma-deva, etc. . _ . ^ ^ ^
2 At Wagner's birth Beethoven was 42 years old. Spohr 29. Weber
27. Marschner 17, Bpontlnl 38. Rossini 21, Auber 29, Meyerbeer 22.
Bellini 11, Berlioz 10, Mendelssohn and Chopin 4, Schumann S,
3 There was also a child of the second marriage, Caecllle Geyer,
who appears as Frau Avenarlus In Wagner's correspondence.
« Autobiograpbtsche Skizze, 1842.
WAGNER.
to have been comparatively slow, atill his
gifts attracted attention. * I was considered good
in Utteris.' At German verses he was unusually
quick. The boys were asked to write commemora-
tive verses on the death of a schoolfellow, and
after the removal of much bombast Bichard's
were printed (set. 1 1). 'I was now bent upon be-
coming a poet ; I sketched tragedies in Greek form
in imitation of Apel's • Polyeidos,' ' Die Aeto-
lier,' etc. I attempted a metrical translation of
Romeo's monologue, by way of learning English,
etc.' German versions of Shakespeare were then,
as now, much read. The boy's fancy was excited,
ttnd he secretly began a grand tragedy (aet. 14).
It was made up of Hamlet and Lear, forty-two
men died in the course of it, and some of them
had to return as ghosts so as to keep the fifth act
going. Weber*s music also took hold of him.
He knew the airs from Der Ereyschutz by heart,
and played the overture * with atrocious finger-
ing.'— 'When Weber passed our house on his
way to the theatre, I used to watch him with
something akin to religious awe.'
It appears that Weber now and then stepped
in to have a chat with the delicate-featured and
intelligent Frau Geyer. ' Her sweet ways and
lively disposition had a special charm for artists.'
But the pleasant life at Dresden was not to last
long. Geyer's salary had been a small one,
and soon after his decease pecuniary troubles
arose. Three of the grown-up children took to
the theatre, and when the elder sister Rosalie
got a good engagement as * erste Liebhaberin' at
Leipzig, the mother followed with the younger
members of the family. Richard attended the
Kreuzschule till the autumn of 1 82 7, and entered
the Nicolaischule at Leipzig early in the following
year (aet. 15). The change proved unfortunate.
He had sat in • Secunda ' at Dresden, and was
now put back to * Tertia ' ; his feelings were
hurt, and he came to dislike the school and
the masters. ' I grew negligent, and scamped
the work ; nothing interested me except my big
tragedy.' At the Gewandhaus Concerts he first
heard Beethoven's symphonies, and the impres-
sion upon him * was overwhelming.' Music such
as that to Egmont appeared to be the very
thing needful for the tragedy. He found a copy
of Logier's 'Thorough-bass' at a circulating
library, and studied it assiduously; but some-
how the 'System' could not be turned to
account. At length a master was engaged,
Grottlieb Miiller, subsequently organist at Alten-
burg; Richard composed a quartet, a sonata,
and an aria, under his guidance ; but it does not
appear how far Miiller was really responsible
for these pieces. The lessons did not last long.
Miiller thought his pupil wilful and eccentric,
and in return was accounted a stupid pedant.
The ferment in Richard's mind now took a
literary direction. The writings of E. T. A.
Hoffmann engrossed his attention, and it is
curious to note that so early as in his i6th year
he became acquainted with some of the subjects
which he treated later on. Thus, Hoffinann's
'Serapions Briider,' in vol. ii., contains a story
WAGNER.
847
about the legendary contest of ' Meistersin-
ger ' (Hoffman s misnomer for 'Minnesinger ') at
Wartburg (2nd Act of Tannhauser) ; and sundry
germs of Wagner's ' Meistersinger ' are to be
found in Ho£&nann's * Meister Martin der Kiifer
von Nurnberg.' — Ludwig Tieck's narrative poem
'Tannhauser' was read at the same time.— ^
A performance of Beethoven's Pastoral Sym-
phony led to an attempt at a musical pastoral,
the dramatic aspect of which was suggested by
Goethe's 'Laune des Verliebten.' — In 1829-30
Richard attended the 'Thomasschule' with re-
sults little more satisfactory than at the 'Nicolai.'
Practically his philological studies went no-
further ; * I chose to write overtures for grand
orchestra, and to bluster about politics with
young litterati like Heinrich Laube.' An over-
ture (in Bb, 6-8) was performed under H. Dorn
at the theatre between the acts of a play
(1830, set. 17). 'This was the culminating point
of my absurdities. The public was fairly puzzled
by the persistence of the drum-player, who had
to give a tap fortissimo every four bars from be-
ginning to end ; people grew impatient, and
finally thought the thing a joke.'^
When he matriculated at the University of
Leipzig (1830), Wagner had the good luck to
find a proper master, Theodor Weinlig, Cantor
at the Thomasschule, an admirable musician-
and a kindly intelligent man, who at once
gained his pupil's confidence and led him in the
right direction. Wagner felt deeply indebted
to Weinlig, and held his memory in great
esteem. In 1877 he spoke at length about the
lessons : —
Weinlig had no special method, but he was clear-
headed and practical. Indeed you cannot teach com-
position, you may show how music gradually came to
be what it is, and thus guide a young man's judgment,
but this ia historical criticism, and cannot directly
result in practice. All you can do is, to point to some
working example, some particular piece, set a task in
that direction, and correct the pupU'a work. This ia
what Weinlig did with me. He chose a piece, gener-
ally something of Mozart's, drew attention to its con-
struction, relative length and balance of sections, prin-
cipal modulations, number and quality of themes, and
general character of the movement. Then he set the
task :— you shall write about so many bars, divide into
so many sections with modulations to correspond so and
ao, the themes shall be so many, and of such and such
a character. Similarly he would set contrapuntal ex-
ercises, canons, fugues — he analysed an example mi-
nutely and then gave simple directions how I was to go
to work. But the true lesson consisted in his patient
and careful inspection of what had been written. With
infinite kindness he would put his finger on some
defective bit and explain the why and wherefore of the
alterations he thought desirable. I readily saw what
he was aiming at, and soon managed to please him.
He dismissed me, saying, you have learnt to stand on
your own legs. My experience of young musicians
these forty years has led me to think that music should
be taught all round on such a simple plan. With
singing, playing, composing, take it at whatever stage
you like, there ia nothing so good as a proper example,
and careful correction of the pupil's attempts to follow
that example. I made this the basis of my plan for the
reorganisation of the Music-school at Munich, etc.*
The course with Weinlig lasted barely six
1 AntobloKraphische Sklzze.
2 These and other words of Wagner's, printed In small type, and
not otherwise authenticated, were uttered In conversation with th»
writer In the spring aud summer of 1877, and are here first mad»
publio.
348
WAGNER.
months. A Sonata in 4 movements Bb, op. i,
and a Polonaise for 4 hands m D, op. 2, were
printed at Breitkopf & Hartel's — straightfor-
ward music, solid schoolwork, without a trace
of Wagner. A Fantasia in Fj minor, where
Weinlig's controlling hand is less visible,
remains in MS.
Whilst this musical work was going on, philo-
logy and aesthetics, for which his name was set
down at the Qniversity, were neglected. He
plunged into the gulf of German students'
dissipations (curious details are given in the
privately printed *Lebenserinnerungen'),but soon
felt disgusted, and worked all the more steadily
at music. In the course of 1830 he made a
pianoforte transcription of Beethoven's Ninth
Symphony, which was ofiFered to Messrs. Schott
in a letter dated Oct. 6. In 183 1, feeling siure of
his competency to do such work, he addressed a
letter in very modest terms to the Bureau de
Musique (Peters) offering his services as * cor-
rector for the press and arranger.' * Dom (in a
<»ntribution to Schumann's ' Neue Zeitschrift,'
1838, No. 7) gives a pleasant account of his en-
thusiasm for Beethoven in those early days. • I
doubt whether there ever was a young musician
who knew Beethoven's works more thoroughly
than Wagner in his i8th year. The master's
overtures and larger instrumental compositions
he had copied for himself in score. He went to
sleep with the quartets, he sang the songs and
whistled the concertos (for his pianoforte-playing
was never of the best) ; in short he was possessed
with a faror teutonicus, which, added to a good
education and a rare mental activity, promised
to bring forth rich fruit.' A ' Concert-overture
mit Fuge' in C (MS.) was written in 1831 ; and
another MS. Overture in D minor (Sept. 26,
amended Nov. 4) was performed Dec. 25, 183 1.
In 1832 (aet. 19) he wrote a Symphony in 4
movements (C major). * Beethoven,' he says of it,
•and particular sections of Mozart's C major
Symphony were my models, and in spite of sun-
<iry abeiTations, I strove for clearness and power.'
In the summer of this year, he took the scores
of the Symphony and the Overture in C to the
* Music-town,' Vienna — probably with a view to
some small post. He found Herold's 'Zampa ' and
Strauss's 'Potpourris' from *Zampa' rampant
there, and beat a hasty retreat. On the way home
he stopped at Prague, and made the acquaint-
ance of Dionys Weber, director of the Conserva-
torium, whose pupils rehearsed the Symphony.
The score was then submitted to the Directors
of the Gewandhaus Concerts at Leipzig. The
managing director, Hofrath Rochlitz, editor of
the 'Allgemeine Musicalische Zeitung,' an au-
thority in musical matters, invited the composer
to call. * When I presented myself to him, the
stately old gentleman raised his spectacles, saying,
**You are a young man indeed I I expected an
^Ider and experienced composer." He proposed
a trial performance at the meetings of a junior in-
stitution, the " Euterpe," and a fortnight after-
1 Herr Tappert. In his admirable brochure 'Richard Wagner, leln
lieben und seine Werke,' gives the entire letter (Aug. 6, 1831).
WAGNER.
wards (Jan. lo, 1 833) my Symphony figured in the
programme of a Gewandhaus Concert.' The
sequel of the story of the work is as follows.
In 1834-35, Wagner being on a visit to Leipzig,
presented the score to Mendelssohn," who was
then conducting the Gewandhaus Concerts ; or
rather, he forced it upon him in the hope of
getting a critical opinion, and perhaps another
performance. Mendelssohn, though repeatedly
meeting Wagner later on, never mentioned the
score, and Wagner did not care to ask him about
it. After Mendelssohn's decease the MS. appears
to have been lost, and inquiries proved fruitless.
In 1872 an old trunk was discovered at Dresden
which had been left by Wagner during the dis-
turbances of 1849. I* contained musical odds
and ends, together with a set of orchestral parts
almost complete, which proved to be those of
the missing Symphony in the handwriting of a
Prague copyist of 183a. A new score was com-
piled from these parts, and after nearly half
a century a private performance of the work
was given by the orchestra of the Liceo Marcello
at Venice on Christmas Eve 1882, Wagner con-
ducting. Apart from its biographical interest
the symphony has few claims to attention. In
1883, 'for the benefit of the curious,' Wagner
quoted a fragment of the Andante, and then
dismissed the whole as • an old-fashioned ouvrage
Whilst at Prague (summer of 1832) he wrote his
first libretto for an opera, * Die Hochzeit.' ' It was
of tragic import. A n infuriated lover climbs to the
window of the bedroom of his beloved, who is his
friend's bride. She is awaiting the arrival of the
bridegroom. The bride wrestles with the madman,
and precipitates him into the courtyard below.
At the funeral rites the bride, with a wild cry,
falls dead over the corpse.' On his return to
Leipzig he began writing the music. There was
a grand septet, which pleased Weinlig ; but
Wagner's sister Rosalie disapproved of the story,
and the verses were destroyed. An autograph
presentation copy to the * Wiirzburger Musik-
verein ' consisting of the introduction, chorus and
septet (not sextet), 36 pages, is extant.
With the year 1833 (set. 20) begins Wagner's
career as a professional musician. The elder
brother Albert, who had a high tenor voice,
was engaged at the theatre of Wiirzburg as actor,
singer, and stage-manager. Richard paid him a
visit in the summer, and was glad to take the
place of chorus-master with a pittance of ten
florins per month. Albert's experience of thea-
trical matters proved useful; the Musikverein
performed several of Richard's compositions ; his
duties at the theatre were light, and he had
ample leisure to write the words and music to an
opera in 3 acts, • Die Feen.' The plot of this opera
is constructed on the lines of 'Gozzi's *La donna
» Details in 'Ges. Schriften," vol. x. 'Berlcht fiber die Weder-
aufnibrung eines Jugendwerkes,' pp. 399-405.
8 • Berlcht ttber die Wlederauffiihrung eines Jugendwerkes,' pp.
« Carlo Gozzi (1722-1806) Venetian playwright ; his pieces, based
on fairy tales, were admired by Goethe, Schiller, Sismondi, etc.
•Be Turandotte' was translated and adapted for the Weimar stagt
by Schiller; Weber wrote music to it In 1809.
WAGNER.
serpente, Fiaba teatrale in tre atti/ with a
characteristic change in the denouement In Gozzi*s
play a fairy is ready to forgo her immortality for a
mortal lover, but she can do so only under certain
conditions. The lover shall not disown her, no
matter how unworthy she may happen to appear.
The fairy is turned into a snake, which the lover
courageously kisses. Wagner alters this : the
fairy is not changed into a snake, but into a
stone, and she is disenchanted by the power of
music. * Beethoven, Weber, and Marschner were
my models. The ensemble pieces contained a
good deal that seemed satisfactory, and the finale
of the second act especially promised to be
effective.' Excerpts were tried at Wurzburg in
1834. ^^ ^^s return to Leipzig Wagner offered
the opera to Ringelhardt, the director of the
theatre, who accepted but never performed it.
The autograph score is now in the possession of
the King of Bavaria.
In the spring of 1834 Wilhelmine Schroeder-
Devrient appeared at Leipzig. Her performances
both as actress and as singer gave a powerful
impulse to Wagner's talents. Her rare gifts
appear to have suggested to him that intimate
union of music with the drama which he after-
wards achieved. During six important years
(1843-48 and 49), when she was engaged as prin-
cipal singer and he as Kapellmeister at Dresden,
he was in almost daily communication with her.
As late as 1872 he stated that her example had
constantly been before him : ' whenever I con-
ceived a character I saw her* In 1834 she
sang the part of Romeo in Bellini's 'Mon-
tecchi e Capuletti,' The young enthusiast for
Beethoven perceived the weakness of Bellini's
music clearly enough, yet the impression Mme.
Devrient made upon him was powerful and
artistic. The Leipzig theatre next brought out
Auber's *La Muette de Portici' (Masaniello).
To his astonishment Wagner found that the
striking scenes and rapid action of this opera
proved effective and entertaining from beginning
to end, even without the aid of a great artist
like Mme. Devrient. This set him thinking.
He was ambitious, and longed for an inmiediate
and palpable success ; — could he not take hints
from Bellini and Auber, and endeavour to com-
bine the merits of their work ? Heroic music
in Beethoven's manner was the true ideal;
but it seemed doubtful whether anything ap-
proaching it could be attained in connection
vnth the stage, — The cases before him showed
that effective music can certainly be produced on
different lines and on a lower level; the desi-
derata, as far as he then saw them, were, to con-
trive a play with rapid and animated action ;
to compose music that would not be difficult
to sing and would be likely to catch the ear of
the public. His sole attempt in such a direc-
tion— ' Das Liebesverbot,' an opera in two acts
after Shakespeare's ' Measure for Measure ' (the
part of Isabella intended for Mme. Devrient) —
has not had a fair chance before the footlights.
He sketched the libretto during the summer
holidays, and worked at the score in 1835 and 36.
WAGNER.
349*
Details of the plot and the rather licentious
tendency of the whole are described in his Ges.
Schriften, vol. i. The music is curiously unlike
his former models ; and it is easy to trace the in-
fluence of *La Muette,' and even of *I1 Pirata*
and 'Norma.'
In the autumn of 1834 Wagner undertook the
duties of Musikdirector at the Magdeburg thea-
tre. The troupe of actors and singers, mostly
young people, was not a bad one; they liked
him, and the curious life behind and before the
scenes afforded interest and amusement. At
concerts under his direction the overture to * Di&
Feen ' and a new overture to Apel's play * Colum-
bus ' (1835) were performed ; he wrote music for
the celebration of New Year's Day 1835, songs to
a fantastic farce ' Der Berggeist,' etc., and came
to be liked by the public as well as the artists.
In the summer of 1835 he went on a tour to find
new singers, and was promised *a benefit per-
formance ' as a set-off against expenses. During
this tour he again met Mme. Schroeder-Devrient
when she appeared at NUmberg as Fidelio, and
as Emmeline in Weigl's * Schweizerfamilie.' The
theatre at Magdeburg was supported by a small
subvention from the Court of Saxony , and managed
by a committee. But in spite of such assist-
ance and supervision the worthy Director, Herr
Eethmann, was ever on the brink of bankruptcy.
He had a habit of disappearing when pay-day
came round, and the troupe was in a bad plight
during the spring season of 1836. 'We meant
to close,' writes Wagner, 'towards the end of
April with my opera, and I worked hard to get
score and parts finished in good time. But as
early as March the leading members threatened
to leave ; for my sake they agreed to remain till
the end of the month and to study my work. This,
however, was not an easy task. No Singspiel^
but music after the manner of La Muette ! Herr
Bethmann represented that he would be put
to sundry expenses for stage properties, etc., and
claimed the first night for his benefit. I was
to profit by the second.* There were twelve
days left, and the preparations went on inces-
santly; rehearsals at the theatre, rehearsals at
every private lodging ; all Magdeburg excited ; yet
no man knew his part, and the ensembles were
hopeless. At the general rehearsal Wagner'a
conducting, gesticulating and prompting, kept
things together somehow. Not so at the per-
formance (March 29, 1836) — a crowded house,,
and utter chaos. The repetition for the com-
poser's benefit was duly announced, but col-
lapsed ere the curtain could rise — few people
in the auditorium, and a free fight behind the
scenes!"
Wagner had many debts and no means to pay.
He repaired to Leipzig, hoping that the long
connection of members of his family with the
theatre there would smooth the way for 'Das
Liebesverbot.' He was advised to offer the part
of Marianne to the daughter of the director ; but
> See SiNOSPiEL, vol. 111. p, 616,
a For a droll account of the performance, Mfl 'Berlcht uber •in*'
enta OperaauffilbrunK.' 6ei, Scbriften, toL i.
850
WAGNER.
Herr Ringelhardt, after perusing the libretto,
stated that his paternal conscience would not
permit him to sanction the appearance of his
daughter ' in a piece of such frivolous tendency.*
Wagner next applied to the Konigstaedter
Theater at Berlin — equally in vain. Penniless,
he left Berlin for the Prussian town of Konigs-
berg, where colleagues from Magdeburg — ^Frau
Pollert the prima donna, and his special friend
Wilhelmina or • Minna' Planer, the actress (erste
Liebhaberin) — had found engagements. With a
view to the conductorship he arranged concerts at
the Schauspielhaus, at one of which an overture
of his, presumably ' Columbus, ' was performed. —
At length the appointment as conductor was
promised; and he forthwith married Fraulein
Planer (Nov. 24, 1836) — the third daughter of
the • Mechanicus ' G othilf Planer of Dresden. • I
wasted a year at Konigsberg amid petty cares,
worrying myself and others. An overture " Rule
Britannia " is the only thing I wrote.' How to
get out of this groove of mecUocrity 1 He longed
for Paris. In those days success in the operatic
world began in France. Had not Meyerbeer
recently cleared 300,000 francs by • Les Hugue-
nots' 1 Wagner sent sketches for an opera in four
acts — • Die hohe Braut,' after a novel of Heinrich
Konig's — to Scribe the librettist, hoping thus to
approach the Parisian Op^ra.^ Of course Scribe
took no notice. — About Michaelmas the Director
at Konigsberg followed Herr Bethmann's ex-
ample, and declared himself bankrupt.
Wagner eagerly grasped at a chance which
presented itself from the Russian side of the Baltic.
A theatre was about to be started under Karl v.
Holtei at Riga. On the recommendation of Dorn,
who had gone thither some years befoi», Wagner
was chosen 'First Musikdirector,' and his wife,
and her sister, Therese Planer, were engaged
for the * Schauspiel.' As compared with Magde-
burg or Konigsberg, Riga was a wealthy place,
and the salaries were liberal. Wagner found all
that was needful to attain good performances, and
set to work energetically. During the winter sea-
son he conducted orchestral concerts ; his over-
tures 'Columbus' and *Rule Britannia' were
played ; he wrote various arias for the vocalists ;
and the text to a comic opera in two acts, ' Die
gluckliche Barenfamilie.'' Dec. i ith is the date
of a * Benefizvorstellung von Bellini's Norma,
fiir Herrn Musikdirector Wagner.' — During the
summer of 1838 he rehearsed M^hul's • Joseph*
' with great love and enthusiasm for the work ' —
and completed the book of ' Rienzi.'
When in the antamn I began the masio to Eienzi,
my sole care was to do justice to the subject. I had
BO laid it out that a first performance would be impos-
sible at a second-rate theatre. I had Paris in view.—
The thought of conscious triviality, even for a single
bar, was intolerable. The character of Bienzi, ardent,
1 In 1842 these sketches were carried ont In light Terse to oblige
Capellmeister Eetsslger, Wagner's colleague at Dresden. In 1848 the
opera, entitled (Bianca und Giuseppe, or) 'Die Franzosen InNlzza,'
in 4 acts, and with sundry alterations enforced by the Austrian
censorship, music by Kapellmeister J. F. Kittl, was performed at
Prague with considerable and lasting success.
2 h. Nohl found the MS. at BIga In 1872, together with sketches for
bits of the music— 'a la Adam.' These an auoted in Neue
Zeitschrift (1884, p. 244).
WAGNER.
aspiring, amid barbarous surroundings, interested me.
I approached it by way of the grand opera ; still my
first care was to depict it in accordance with my
feelings.*
In the spring of 1839, ** *^® termination of
his contract, the first two acts were finished.
He returned to Konigsberg (July 1839), paid
his debts, repaired to the port of PiUau, and
took berths, on board a sailing vessel bound for
London, for himself, his little wife, and a huge
Newfoundland dog, en route for Paris. • I shall
never forget the voyage : it lasted three weeks and
a half, and was rich in disasters. Three times
we suffered from the effects of heavy storms.
The passage through the Narrows made a won-
drous impression on my fancy. The legend of
the * Flying Dutchman ' (he had read it in
Heine's Salon) 'was confirmed by the sailors,
and the circumstances gave it a distinct and
characteristic colour in my mind. We stopped
eight days in London to recover from the trying
effects of the voyage. I was interested above
all things in the aspect of the town and the
Houses of Parliament ; of the theatres I saw
nothing.'*
At Boulogne he made the acquaintance of
Meyerbeer, and remained four weeks to cultivate
it. How far the music to ' Rienzi ' pleased Meyer-
beer does not appear, and the saying attributed to
him that 'Rienzi is the best opera-book extant*
is not suflBciently authenticated. Meyerbeer
provided Wagner with letters of introduction
to the Directors of the Op^ra and the Theatre
de la Renaissance, to Schlesinger the music*
publisher and proprietor of the 'Revue et Gazette
Musicale,' and to M. Gouin his agent, *V alter
ego du grand maltre.' Assertions in German
journals that Wagner was then or at a later
period under pecuniary obligations to Meyerbeer
are groundless, and have been publicly contra-
dicted. The true relations of the two men will
be described further on.
Pabis. Wagner arrived in Paris in September
1839, ^^^ remained till April 7, 1842 (set. 26-29).
His hopes and plans were not realised ; yet, for
the growth of his power as an artist this was an
important and eventful time.
Except for the sake of my poor wife, whose patienee
was sorely tried, I have no reason to regret the adven-
ture. At two distinct periods we felt the pinch of
poverty severely— actually suffered from cold and hun-
ger. I did a good deal of work, mere drudgery for the
most part, but I also studied and VTote assiduously, and
the performances of Beethoven at the Conservatoire
were invaluable to me.
They found lodgings in an out-of-the-way
quarter. Rue de la Tonnellerie, *au fond d'un
appartement garni d'assez triste apparence,' in
an old house which claims to have been the
birthplace of Molifere. Patronised and intro-
duced by Meyerbeer, Wagner was received
* See 'Elne HItthellung an melne Freunde.*
* They lodged for a night at the Hoop and Horseshoe, 10 Queen Street,
Tower Hill, still existing ; then stayed at the King's Arms boarding
house. Old Compton Street, Soho ; from which place the dog dis-
appeared, and turned up again after a couple of days, to his master's
frantic Joy. Wagner's accurate memory for localities was puzzled
when he wandered about Soho with the writer in 1877 and failed to
find the old bouse. Mr. J. Cyrlax, who has zealously traced every
step of Wagner's in London. 183», 66, and 77, states that the premiSM
have been pulled down.
WAGNER.
with marked politeness, * L^on Pillet, Director
of the Op^ra, at that time called *Acad^mie
royale de musique' [see vol, i. p. 6] lui tend
les bras, Schlesinger lui fait mille offres de
service, Habeneck (Conductor at the Op^ra and
the Conservatoire) le traite d'6ga,l k ^gal.' But
he soon found that fine speeches meant anything
rather than help or goodwill. In fiftct, Meyer-
beer's intervention seems to have told against,
rather than for him. ♦Do you know what
makes me suspicious of this young man ? * said
Heine ; * it is that Meyerbeer recommends
him.* * When told of Wagner's antecedents and
his sanguine hopes of success, Heine devoutly
folded his hands in admiration of a German's
faith. — There was no chance whatever for
* Kienzi * at the Op^ra. * Quand il lui d^-
taille les merveilles de son Bienzi, le directeur
de Tacad^mie enveloppe sa phrase laudative
d'^pithfetes plus rdservees: quand il insiste et
demande ime audition k jour fixe, son interlo-
cuteur recule visiblement, et redouble d'amenit^s
oratoires pour ^viter un engagement formel.' A
writer for the * Vari^t^s ' undertook a transla-
tion of the libretto of * Das Liebesverbot ' for
the Theatre de la Kenaissance. Three numbers
were tried and found acceptable. ' Wagner quitte
k la hate la rue de la Tonnellerie, trop Eloign ^e
de ce monde d'artistes avec lequel il va se
trouver joumellement en contact. II achate
des meubles et s'dtablit triomphalement rue du
Holder.' On the very day of his removal M.
Joli the Director failed, and the doors of the
theatre were closed. Wagner attempted to gain
a footing at one of the Boulevard theatres.
There was a talk of his setting a vaudeville of
Dumanoir's, • La Descente de la Courtille,' and
a beginning was made. *Malheureusement, les
choristes du thd^tre ne sMtaient pas aguerris en-
core k cette ^poque avec la musique de La Belle
SiUne, et, aprfes quelques repetitions derisoires,
on ddclara celle du jeune Allemand parfaitement
inex^cutable. On en conserva seulement une
chanson : " Aliens k la Courtille ! " qui eut son
heure de cfel^brite.' * Wagner ofiered himself as
a • choriste ' at a still smaller Boulevard theatre.
*I came off worse than Berlioz when he was in
a similar predicament. The conductor who
tested my capabilities discovered that I could
not sing at all, and pronounced me a hopeless
case all round.'
He tried song-writing with a view to the
Salons. A French version of Heine's • Die bei-
den Grenadiere ' was made for him, and he set
it, in 1839, introducing the * Marseillaise' at the
close — a rather difficult and not altogether
satisfactory composition, refused by professional
singers with sufficient reason. It appears strange,
however, that neither singers nor publishers
would have anything to do with three other
simple and lovely songs to French words: the
» On the authority of Theodor Hagen, late editor of the New York
Muslkzeltung. No other well-authenticated utterance of Heine's
regarding Wagner has come to light. The so-called letter to Laube
vrhich recently appeared In ' Das Orchester ' (Dresden), and was re-
printed by Herr Kastner in 'Parsifal,' Is not a letter at all, but a
concoction made up of Laube's words.
> Guporini, 'B. Wagner,' p. 27. The cbansoa has not been traced.
WAGNER.
351
delicious little, Berceuse, 'Dors, mon enfant,'
Ronsard's * Mignonne,* and Victor Hugo's * At-
tente.' These were, literally, too good for the
market. For * Mignonne' Wagner in the end got
a few francs when the song was printed in the
music pages of a French periodicaL Subsequently
(1841-42) it appeared together with *Attente*
and 'Dors, mon enfant,' in the 'Beilagen' to
Lewald's *Europa.' April i, 1841, is the date
of a touching letter to the editor of • Europa,' to
whom Wagner submits the three songs, request-
ing speedy payment of the * maximum ' fee paid
for such contributions, since prices are known
to vary from 5 to 9 fiorins (about io-i8«.),
*Ein Schelm, wer sich besser giebt, als er ist :
mich hat man hier so zugerichtet I '
On Feb. 4, 1840, the score of a superb orches-
tral piece, published 15 years later as 'Eine
Faust Ouvertiire,' was finished. This is the first
work that has the true stamp of Wagner. It
was conceived after a rehearsal of Beethoven's
Ninth Symphony at the Conservatoire in the
winter of 1839 (aet. 26), and is in some sense
a piece of autobiography written in music. As
originally planned it was to form the first
movement of a Faust Symphony. — After a trial
performance at Dresden, July 23, 1844, it was
laid aside till 1855, when a revised version
was published bearing a motto from Goethe's
•Faust'—
Und BO ist mir das Dasein eine Last,
Der Tod erwUnscht, das Leben mir verhassti
It is a masterpiece of construction and instrumen-
tation. The influence of Beethoven is apparent
in the concise power of the themes, and the plain
direct manner in which they are set forth, yet
the work is Wagner's own from beginning to end.
Performances in Paris were not so good as he
had anticipated, * The Acad^mie savours of me-
diocrity ; the mise en sdne and decorations are
better than the singing. — At the Opdra Comique
the representations have a completeness and a
physiognomy of their own such as we know nothing
of in Germany, but the music written for that
theatre is perhaps the worst that has yet been
produced in these days of decadence. The miser-
able quadrille rhythms which now (1842) rattle
across the stage have banished the grace of
M^ul, Isouard, Boieldieu, and young Auber.
For a musician there is but one thing worth atten-
tion— ^the orchestral concerts at the Conservatoire ;
but these stand alone, and nothing springs from
them.' His remarks about the stars at the Opera
— Duprez, Dorus-Gras, Rubini 'with his sem-
piternal shake' — are rarely without a sting. —
The facile success of virtuosi annoyed him. —
Liszt, with whom he was to be so closely con-
nected in after days, and who was then at the
height of his fame as a virtuoso, appeared quite
antipathetic. Wagner called once only at Liszt's
lodgings, and left them in a state of irritation.
' Take Liszt to a better world and he will treat
the assembly of angels to a Fantaisie siur le
Diable.' — Paris at the time harboured many
Germans — artists, savants, literati — ^in needy
852
WAGNEB.
circumstances for the most part, but warm-
hearted and impulsive. In such circles Wagner
found congenial associates. * I met with many
proofs of true friendship in Paris' — and the words
may be taken to explain how it was that he and
his 'bildhiibsche kleine Frau'* did not actually
starve during that first winter. The dog was
stolen before they left the Rue de la Tonnel-
lerie.
Having no immediate prospects, he set to
work to complete the music to ' Rienzi,* and for
its ultimate performance cast his eye on Dres-
den, where his name might be supposed to
have some little weight. On Nov. 19 the score
was completed, and on Dec. 4 he dispatched it
to Herr v. Liittichau, the Intendant. In the
meantime, to keep the wolf from the door, he
did all manner of odd work for Schlesinger,
reading proofs, arranging rubbish for various
instruments — the comet-k-piston among the
number — making 'partitions de piano of operas,
etc. In 1 84 1 he began to write for the * Gazette
Musicale.' A clever novelette, 'Une visite k
Beethoven,' * fut trfes remarqu^ par Berlioz, qui
en parla avec dloge dans le Journal des Dihats.^
Such things improved his position in the estima-
tion of musicians, and preserved his self-respect.
But the pay was small and partly absorbed by
the expenses of translation; for Wagner, like
most Germans, knew enough French for every-
day purposes, but could not write the language
eflTectively. His contributions to the Gazette
were — to give their German titles: — *Der
Virtuos und der Kiinstler,* * Der Kiinstler und
die Oeffentlichkeit,' 'Ein glucklicher Abend,'
•Der Freyschiitz,* *Eine Pilgerfahrt zu Bee-
thoven,' 'Das Ende einea deutschen Musikers
in Paris.' The original German of the two latter
has been preserved in the 'Dresdener Abend-
aeitung ' of Theodor Hell (Hofrath Winkler) for
1 841 ; the other articles have been translated
back into German by Frau Cosima Wagner.
Further articles written in Paris which the author
thought worth reprinting are : — Rossini's 'Stabat
Mater,' dated Dec. 15, 1841, and signed H.
Valentino (Schumann's *Neue Zeitschriffc fur
Musik'), *LeFreyschutz,* *BerichtnachDeutsch-
land ' (Ges. Schrift. vol. i.)," * Ueber die Ouver-
tflre ' (ditto, do.). A series of gossiping articles
in Lewald's *Europa,' signed V. Freudenfeuer,
and styled 'Pariser Amusements' and *Pariser
Fatalitaten fur Deutsche,' also the correspondence
written for the Dresden Abendzeitung — 'Nach-
richten aus dem Gebiete der KUnste und Wis-
eenschaften,' have been cancelled — with the one
exception of an article on Hal^vy's • Reine de
Chypre,' Dec. 31, 1841 (Ges. Schrift. vol. i.).
On Feb. 4, 1841, Wagner's overture 'Colum-
bus* was performed at the annual concert to
which the publisher Schlesinger used to invite
the subscribers to the Gazette musicale. This,
by the way, was the only performance of one
of Wagner's works at Paris during his first resi-
» 80 dMCribed bj Friedrich Pecht. the painter.
* According to Kastner, this waa a contribution to the 'Augt-
bnrger Abendzeitung '-on Wolzogen'a authority it iboald bei>r«#-
itmtt AbeadMituug, mi.
WAGNER.
dence there. Score and parts disappeared at that
time, and have not yet been found.
When Meyerbeer returned in the summer of
1840, Wagner was in great distress. Meyerbeer
again introduced him to the Director of the Op^ra,
M. Pillet. This time it was a personal introduc-
tion, and the reception accordingly was still more
polite and encouraging. On Meyerbeer's ad-
vice Wagner submitted detailed sketches for the
libretto to an opera, 'Der fliegende Hollander,*
with the proposal that a French text-book should
be prepared for him to set to music. Wagner
had come to an understanding about the treat-
ment of the story with Heine, who had a claim to
be consulted, inasmuch as it was Heine who had
recently related it and had suggested a new and
touching denouement which Wagner wished to
adopt. In Heine's 'Memoiren des Herm von
Schnabelewopski,* the imaginary hero witnesses
the beginning and end of a play about the 'Ahas-
uerus of the ocean ' at some theatre at Amsterdam,
and reports that in the course of that performance
the salvation of the doomed captain was brought
about by the devotion of a woman • faithful unto
death.' ' Matters at the Op^ra apparently pro-
gressed just as Wagner desired. His sketches
were accepted, and the names of various arran-
geura were mentioned. Meyerbeer again left
Paris, and soon after his departure M. Pillet
astonished Wagner by telling him that he had
taken a liking to *Le Vaisseau-FantQme,* and
was therefore anxious to dispose of it in favour
of a composer to whom he had long ago promised
a good libretto. Wagner refused to listen to any
such proposition, and demanded his manuscript
back. But this again did not suit M. Pillet,
and so the matter remained in abeyance, Wag-
ner consoling himself with the hope that Meyer-
beer would ultimately set it straight. In the
spring of 1841 Wagner, pressed by creditors,
sub-let his rooms in the Rue du Helder, and took
lodgings in the suburbs, at Meudon. Accidentally
he heard that the plans for the * Hollander ' had
been handed to M. Paul Foucher for versification,
and that if he did not choose to give his consent^to
what was going on, he might be left in the cold
altogether. Protests proved useless, and in the
end M. Pillet paid £20 by way of compensation ! *
Wagner lost no time in completing his own
poem and setting it to music. In seven weeks the
score of the entire opera, except the overture,
was finished. But £20, even at Meudon, cannot
last for ever. Before Wagner could find leisure
to write the overture he had to do two months
more of journeyman work (Partitions de piano
of Haldvy's ' Guitarrero,* ' La Reine de Chypre,*
etc.). *I did it all cheerfully eijough, corre-
sponded with the artists at Dresden, and looked
forward to my deliverance. I offered the book
> It was however not a Dutch play at Amsterdam, but, as Dr. Francis
Hueffer has shown, an English play of Fltzball's at the Adelphl la
London which Heine witnessed in 1827, and which furnished him
With the outlines of the itory. Still the ingenious denouement is
Heine's own.
4 -Le Valsseau-Fantome.' libretto by Foucher and Eeroll, on
Wagner's plan, but with sundry Interpolations of the conven-
tional sorti music by Pierre Louis Philippe Dieisch (chorusmaster
and subsequently conductor at the 0p6ra. bom 1808 at DlJon, died
1863 »t Pari!), wa* performed Kor. 9, 1812.
WAGNER.
of the Hollander to the managers at Munich
and Leipzig; they refused it as unfit for Ger-
many. I had fondly hoped it would touch
chords that respond quickest with Germans ! '
At Berlin a word from Meyerbeer sufl&ced to
get it • accepted,' but without prospect of imme-
diate performance.
After the composition of the * Hollander ' he
cast about for other subjects. During a course
of historical reading he met with the story of the
conquest of Apulia and Sicily by Manfred, son
of the Emperor Friedrich II. The picturesque
semi-oriental circumstances of the story attracted
him, and he sketched a libretto, 'Die Sarazener,'
in which a prophetess, Manfred's half-sister by
an Arabian mother, kindles the enthusiasm of
the Saracens and leads to victory and to Man-
fred's coronation. Mme. Devrient, to whom
some years later he submitted the fully deve-
loped plan, objected to the denouement, and it
was dropped altogether.
By a lucky chance, the popular version (Volks-
buch) of the story of Tannhauser now came into
his hands and took possession of his fancy. It
has already been said that he was familiar
with the subject; in early youth he had read
Tieck's rhymed 'Erzahlung' of Tannhauser, and
Hoffmann's novel *Der Sangerkrieg ' ; he was
also aware that Weber had planned an opeia
on the legend of Tannhauser. ' When I re-read
Tieck's altogether modern poem, I saw clearly
why its mystical coquetry and frivolous Catho-
licism had formerly repelled me. The Volks-
buch and the plain Tannhauser-Lied ^ present
the figure of Tannhauser in far clearer and
simpler outlines.' He was especially struck by
the connection of Tannhauser with the contest
of Minnesanger at Wartburg, which the Volks-
buch establishes in a loose sort of way. There-
npon, he endeavoured to trace the story of the
* Sangerkrieg ' to its source. A German philo-
logist of his acquaintance happened to possess
a copy of the mediaeval German poem. It in-
terested him greatly, and he was tempted to
pursue the subject further. — One of the MS.
copies of the 'Wartburgkrieg'^ introduces the
poem of * Loherangrin.' " Wagner was led to
the study of Wolfram von Eschenbach's ' Parzi-
val' and 'Titurel'; 'and thus an entirely new
world of poetical matter suddenly opened before
me.' —
Dresden (1842-49, set. 29-36). Before the
ensemble rehearsals for * Eienzi ' began in July,
Wagner made an excursion to the Bohemian
hills, and at Teplitz completed the sketches
for the book of 'Tannhauser.* 'Rienzi' had
found friends in the person of Herr Fischer
the chorusmaster, and of Josef Tichatschek the
tenor, who felt sure that his 'trumpet tones'
would tell in the title-r61e. Mme. Schroeder-
Devrient, in spite of her contowra tant soit peu
1 For the original ' TannhSuserlled ' «ee Uhland's ' Alte boch- nnd
nleder-deutsche Volkslieder,' Bk. v, p. 297.
2 See Slmrock's edition of 'Der Wartburgkrleg ' (1R58) and his
Terslon Into modern German of Wolfram von Eschenbach's ' Parzival
and Tlturel ' (xvl. Loherangrln. 8rd edit. 1857).
* Printed by GOrres in 1813, and in 1858 again edited bf Backert.
VOL. IV, PT. 3.
WAGNER.
853
matemeh* would make the most of Adriano.
There was ample opportunity for novel scenic
effects, dumb show, and the display of choral
masses. The chorus-master and the stage-mana-
ger were ready to make special efforts; Reissiger,
the conductor, was well disposed, and had a
good orchestra ; in short, the night of Oct. 20,
1842, proved a memorable one. The perform-
ance began at 6, and came to an end just before
midnight, amid immense applause. ' We ought
all to have gone to bed,' relates a witness, ' but
we did nothing of the kind.' Early next morn-
ing Wagner appeared in the band-room to make
excisions. In the afternoon he re-appeared to
see whether they had been properly indicated in
the parts ; the copyist excused himself on the
plea that the singers objected ! ' Ich lasse mir
nichts streichen,' said Tichatschek, * es war
zu himmlisch ! ' During the next ten days two
repetitions were given to crowded houses at in-
creased prices. When Reissiger, after the third
performance, offered Wagner the baton, the
enthusiasm redoubled. Wagner was the hero
of the day. By and by Rienzi came to occupy
two evenings : acts i and 2 — and 3, 4, 5. The
attraction at Dresden has continued more or
less ever since. But it was five years before the
work was performed at Berlin, Oct. 26, 1847;
it was produced at Hamburg, 1 844 ; at Kbnigs-
berg, 1845; at Munich and Cassel, 1870; at
Vienna, 1871.
Nov. 26, 1842, a soiree' was given at the
Gewandhaus, Leipzig, by Sophie Schroeder, the
tragedian (Mme. Devrient's mother), at which
Tichatschek sang Rienzi's prayer and Mme.
Devrient the air of Adriano. Wagner's lite-
rary friend Laube (*Der sich gar nichts daraus
machte wie etwas klang ') mistook a duet from
Marschner's '.Templer und Jlidin' for another
extract from 'Rienzi,* and reported that the three
pieces 'were rather dry and poor in thought.'
Laube was about to assume the editorship of the
'Zeitung fur die elegante Welt,' and asked
Wagner for materials towards a biographical
article. This was the origin of the ' Autobio-
graphische Skizze,' repeatedly quoted above, and
reprinted in vol. i. of Wagner's collected writ-
ings. It was printed verbatim in the 5th and
6th numbers of that journal, Feb. i and 8,
1843, and was accompanied by a portrait ' after
Kietz.'
The managers of the Dresden theatre were
now eager to bring out 'Der fliegende Hollander.'
The opera was hastily prepared, and Wagner
conducted the first performance on Jan. 2, 1843
(Senta, Madame Schroeder-Devrient). ' I had
aimed at presenting the action in its simplest
traits, and at avoiding needless details and every-
thing that might flavour of intrigue; the inci-
dents of the story were to tell their own tale.'
The public had expected a second 'Rienzi,'
and were disappointed. It was by no means
a failure, nor was it a succ^s d'estime: some
* Berlioz, M^molres, 274.
» Mendelssohn (who conducted his overture to 'Euy Bias') wrote
about it to his mother, Nov. 28.
Aa
854
WAGNER.
were deeply touched, others simply aston-
ished. Schumann's Zeitschrift reported that
Mme. Devrient's Senta ' was the most original
representation she has perhaps ever given.'
Wagner's own words tend to show that she made
too much of her part ; the rest, especially the
representative of the Hollander, Wachter,
too little, and that in spite of applause and
recalls the performance was unsatisfactory. The
work was repeated in due course, and never
quite disappeared from the r^pertoire.^ The poem
was submitted to Spohr, who pronounced it
*a little masterpiece,' and asked for the
music, which he conducted at Cassel June 5,
1843. Wagner wrote a warm letter of thanks,
and a pleasant correspondence ensued. Alto-
gether Spohr appears to have been the only
eminent musician of an earlier generation who
cordially held out his liand to young Wagner.
Spohr's 'Selbstbiographie' (ii. 272) contains ex-
tracts from a letter to his friend Liider, written
whilst the rehearsals were going on : ♦ Der
fliegende Hollander interests me in the highest
degree. The opera is imaginative, of noble inven-
tion, well written for the voices, immensely diffi-
cult, rather overdone as regards instrumentation,
but full of novel eflfects; at the theatre it is
sure to prove clear and intelligible. ... I have
come to the conclusion that among composers
for the stage pro tern Wagner is the most
gifted.'
The 'Hollander' was originally meant to be
performed in one Act, as a 'dramatic Ballade.'
A reference to the score will show that the
division into three Acts is made by means of
crude cuts, and new starts equally crude. The
first reading should be restored.
When ' ilienzi ' was produced, the death of
Capellmeister Morlacchi (1841) and of Musik-
director Rastrelli (1842) had left two vacancies
at Dresden. The names of Schindelmeisser,
Glaser, and Wagner were put forward as candi-
dates. Wagner appears at first to have tried for
the lesser post of Musikdirector, with a salary of
1200 thalers (£180). But Herr von Luttichau
the 'Intendant' supported him, and in the end he
was appointed Hofcapellmeister with a salary
of 1500 thalers (£225).'' Jan. 10, 1S43, he gave
the customary * trial performance * by rehears-
ing and conducting Weber's ' Euryanthe * ; and,
whilst the rival candidate, Schindelmeisser, was
busy with Spontini's ' La Vestale,* he repaired to
Berlin to press forward * Rienzi * and the * Hol-
lander.' But it appeared that the managers of
the Royal Prussian Opera did not care to risk a
performance of either work just then, their
acceptance of Wagner's libretti having been a
mere act of politeness towards Meyerbeer.
Before the end of January Wagner's appoint-
ment at Dresden was ratified by the authorities.
The ceremony of installation took place on Feb.
2 — the day after Berlioz's arrival — and it was
1 On M&7 22. 1843. It w&s given at Riga ; in 1844 at Berlin.
2 At court theatres in Germany the title Hof-Capellmelster usnally
Implies an appointment for life, with a retiring pension In propor-
tion to salary and duration of service.
WAGNER.
the first of Wagner's official acts to assist
Berlioz at the rehearsals for his concerts.^
Wagner had scruples as to whether he would
prove the right man for the place. With every
appearance of reason his wife and friends urged
that no one in his circumstances could afford to
slight a permanent appointment with a fixed
salary. No doubt he would have been the right
man if the 'Konigliche sachsische Hof-Opern-
theater ' had in reality been what it professed to
be — an institution subsidised for the sake of art.
But the words * Operatic Theatre, Royal and sub-
sidised' or otherwi.se, and 'Ai-t for Art's sake,'
convey widely divergent notions . Wagner had
experience enough to know as much. He held his
peace, however, and accepted — * froh und freudig
ward ich koniglicher Kapellmeister.' The duties
were heavy : performances every evening all the
year round — at least three plays, and generally
three, sometimes four operas per week — besides the
music at the Hofkirche and occasional concerts at
Court. The Musik-director led at the plays, and
looked after the church-music on week-days;
the two Kapellmeisters conducted at church on
Sundays and festivals, and each was responsi-
ble for certain operas. During his seven years'
service Wagner rehearsed and conducted Eury-
anthe, Freyschiitz, Don Juan, Zauberflttte, Cle-
menza di Tito, Fidelio ; Spontini's La Vestale,
Spohr's Jessonda, Marschner's Hans Heiling
and Adolf von Nassau, Winter's Unterbrochenes
Opferfest, Mendelssohn's Sommemachtstraum
and Antigone, Gluck's Armida, etc. He made a
special arrangement of Iphigenie in Aulis, per-
formed Feb. 2 2, 1847, i^ which he revised the
text, retouched the instrumentation, condensed
certain bits, added sundry connecting links, and
changed the close. The arrangement has been
published, and is now generally adopted. At the
' Pensionsconcerte ' given by the 'Hofcapelle'his
reading of Beethoven's Symphonies, Eroica, C
minor, A major, and F major, and particularly of
the Choral Symphony, attracted much attention.
• It was worth while to make the journey from
Leipzig merely to hear the recitative of the con-
trabasses,' said Niels Gade, concerning the last.
Wagner had not much to do with the music
at the Hofkirche, but he detested the routine
work there. The Catholic Court chose to have
none but Catholics in the choir, women's voices
were excluded, and the soprano and alto parts
were taken by boys. All told, the choir consisted
of 24 or 26 — 14 men and lo or la boys. The
accompaniments were played by a full orchestra,
on festive occasions as many as 50 performers,
including trumpets and trombones ! • The
echoes and reverberations in the building were
deafening. I wanted to relieve the hard- worked
members of the orchestra, add female voices,
and introduce tme Catholic church-music a
capella. As a specimen I prepared Palestrina's
Stabat Mater, and suggested other pieces, but
my efforts failed.' *
1 Bee Berlioz's letter to D'Ortlgne Feb. 28, 1843 (Oorrespondenee
and Memoires), Lettre k Ernst.
* In conversation with the writer. The German translation of tlM
SUbat Mater given in Wagner's edition is by the late C. Biedel.
WAGNER.
There was an odd relic of bygone days there, a musico,
% great fat soprano. I used to delight in his extreme
conceit and silliness. On holidays and festivals he re-
fused to sing unless some aria was especially set apart
for him. It was quite wonderful to hear the ancient
colossus trill that florid stuff of Hasse's : a huge pud-
ding, with a voice like a cracked cornet k piston. But
he had a virtue for which we may well envy him ; he
could sing as much in one breath as any normal singer
I ever met with in two.*
Wagner became leader of the * Liedertafel * (a
choir of male voices established 1839) and was
chosen conductor of the ' Mannergesangfest '
which took place in July 1843, and for which he
wrote * Das Liebesmahl der Apostel ' — eine bi-
blische Scene. This work requires three separate
choirs of male voices, which begin d capella and
are ultimately supported by the full orchestra.
It is dedicated to Frau Charlotte Weinlig, * der
Wittwe seines unvergesslichen Lehrers.'
In 1844 the remains of C. M. v. Weber were
exhumed and brought from London to Dresden.
AVagner had taken an active part in the move-
ment; and the musical arrangements for the
solemn reception of the body and the interment,
Dec. 14, were carried out under his direction.
Meantime Tannhauser was completed (April
13, 1844; first revision, Dec. 23; further revi-
sion of close. Sept. 4, 1846). He bad worked
at it arduously, and finished it with the greatest
care ; so much so that he ventured to have
the full score lithographed from his manu-
script. In July 1845 he forwarded a copy to
Carl Gaillard at Berlin with a long and in-
teresting ' letter : — * Pianoforte arrangement,
etc., has already been prepared, so that on the
day after the first performance I shall be quite
free. I mean to be lazy for a year or so, to
make use of my library and produce nothing
.... If a dramatic work is to be significant and
original it must result from a step in advance in
the life and culture of the artist ; but such a
step cannot be made every few months ! * He
desired to rest and read; but he returned
from Teplitz after the summer holidays with
sketches for 'Die Meistersinger ' and 'Lohen-
grin.' The first performance of ' Tannhauser '
took place at Dresden Oct. 19, 1845. It was not
an unqualified success — even the executants con-
fessed themselves bewildered. Tichatschek sang
' the part of Tannhauser, Mme. Devrient that
of Venus, Johanna Wagner (Richard Wagner's
niece) that of Elizabeth, Mitterwurzer that of
Wolfram. The scene in the Venusberg fell flat.
• You are a man of genius,' said Mme. Devri-
ent, 'but you write such eccentric stufi', it is
hardly possible to sing it.* The second act, with
the march, fared best ; the third act, with the
* pointless and empty recitation of Tannhauser '
(i. e. the story of the pilgrimage to Rome which
now holds people spellbound) was pronounced a
bore. Critics discovered that Wagner had no
melody, no form; 'this sort of music acts on
the nerves.' * A distressing, harassing subject *
1 Inquiries at Dresden show that this Soprano, Mose Tarqulnlo,
was a member of the • KOnlgl. Sflchss. musical. Kapelle ' till April 30,
184S ; also that Angelo Ciccarelli. another musico, acted as instructor
to the choirboys, under Wagner. (This is due to the kindness of Herr
Moritz Farstenau, custos of the Koyal Library of Music at Dresden.)
3 Quoted by Tappert in Musicalisches Wochenblatt, 1877. p. 4X0,
WAGNER.
355
— 'art onght to be cheerful and consoling' —
* why should not Tannhauser marry Elizabeth ?'
The Intendant explained to Wagner that his
predecessor, 'the late Kapellmeister' Weber,
had managed matters better, 'since he under-
stood how to let his operas end satisfactorily ! '
The public was fairly puzzled. ♦ A feeling of
complete isolation overcame me,' writes Wagner.
' It was not my vanity — I had knowingly de-
ceived myself, and now I felt numbed. I saw a
single possibility before me: induce the public
to understand and participate in my aims as an
artist' And this is the root of his subsequent
literary and theoretical efforts.
Liszt conducted the overture to Tannhauser at
Weimar Nov. 12, 1848, and produced the entire
work Feb. 16, 1849. Other leading theatres fol-
lowed at intervals — Wiesbaden 1852, Munich
1855, "Berlin 1856, Vienna ('Thalia theater'
and 'Theater in der Josefstadt ' 1857), 'Hofopern-
theater' Nov. 19, 1859; Paris March 13, 1861.
Spohr brought out 'Tannhauser' in 1853.'
* The opera,' he wrote, ' contains much that is
new and beautiful, also several ugly attacks on
one's ears ... * A good deal that I disliked at
first I have got accustomed to on repeated
hearing — only the absence of definite rhythms
(das Rhythmuslose) and the frequent lack of
rounded periods (Mangel an abgerundeten Perio-
den) continue to disturb me,' etc. Mendelssohn
witnessed a performance, and said to Wagner
'that a canonical answer in the adagio of the
second finale had given him pleasure.' Moritz
Hauptmann (Weinlig's successor at the Thomas-
schule) pronounced the Overture 'quite atrocious
(ganz grasslich), incredibly awkward, long and
tedious.'* Schumann (who settled in Dresden
in the autumn of 1844) wrote to Heinrich Dorn,
Jan. 7, 1846, 'I wish you could see Tannhauser ;
it contains deeper, more original, and altogether
an hundredfold better things than his previous
operas — at the same time a good deal that is
musically trivial. On the whole, Wagner may
become of great importance and significance to
the stage, and I am sure he is possessed of the
needful courage. Technical matters, instrumenta-
tion, I find altogether remarkable, beyond com-
parison better than formerly. Already he has
finished a new text-book, Lohengrin.'*
About 1845-46 pecuniary troubles again began
to press upon Wagner. The success of ' Rienzi '
had naturally led him to hope that his operas
would soon find their way to the leading theatres.
To facilitate this he had entered into an agree-
ment with a firm of music-publishers (C. F.
Meser, Dresden) to print the pianoforte scores of
Rienzi and the Hollander. The pianoforte arrange-
ment and the full score of Tannhauser were now
» Belbstblographlo, II. 856.
* Letter to Hauptmann, ibid.
» Letter to Spohr, April 21, 1846.
« It is curious to compare with these Just and generous words the
following extracts from a letter of Schumann's written some years
later (1&t3) and quoted by Herr Kastner (Bichard Wagner Katalog).
'Wagner is, if I am to put it concisely, not a good musician (kein
guter Musiker) ; be is wanting In the proper sense for form and for
beauty of sound. . . . Apart from the performance the music is poor
(gering) quite amateurish, empty, and repelling (gehaltlos und
wlderwSrtiK), etc
AA 2
856
WAGNER.
added to these. The conditions of the contract
have not been made public; the results, however,
proved disastrous. Issued at high prices, and by
publishers whose business relations were not very
extensive, the editions did not sell well, and
"Wagner became liable for a considerable sum. His
professional duties, too, began to grow irksome.
He had gradually drifted into the position of
an agitator and a party leader. The more
gifted among his musical colleagues admired and
liked him, but to the majority his excitable
temperament was antipathetic ; and his rest-
less activity was found inconvenient. No one
disputed his personal ascendancy, yet he was
made to feel the effects of jealousy and ill-will.
The press did its best to confuse matters, and to
spread damaging gossip. The accredited critic at
Dresden, Reissiger's friend J. Schladebach, was
the champion of existing usages, which he chose to
call classical traditions. A person of some educa-
tion and an experienced writer, Schladebach can-
not be accused of having treated Wagner unfairly,
as journalism goes. At first he was inclined to
be rather patronising ; in course of time he took
care to minimise whatever might tell in Wagner's
favour and to accentuate everything that looked
like a tleparture from the beaten tracks. Unfor-
tunately he was the principal Dresden corre-
spondent of the musical and literary journals of
Leipzig, Berlin, etc. Thus the effect of his
reports was more detrimental to Wagner's pros-
pects than perhaps he intended it to be. Mana-
gers of theatres and German musicians generally
took their cue from the journals, and in the end
Wagner came to be regarded as an eccentric and
unruly personage difficult to deal with. The
libretti and scores he submitted were hardly
glanced at ; in sundry cases indeed the parcels
were returned unopened I
Except the performance of Gluck's Iphigenia
in Aulis,^ arranged by Wagner, and of Bee-
thoven's Choral Symphony, which was repeated
at the Pensionsconcert, there was nothing
remarkable in the musical doings of 1847. —
Wagner led a more retired life than hereto-
fore, and worked steadily at Lohengrin. On
the 28th August the introduction was written,
and the instrumentation of the entire work com-
pleted during the winter and early spring. He
knew that he had made a considerable step in
advance since Tannhauser, but he was also con-
scious of having moved still further away from
the standards of contemporary taste. It is enough
to state that whilst he was writing Lohengrin,
the repertoire at Dresden consisted in a large
measure of Donizetti. A letter written early in
1847 exhibits an almost apologetic tone: 'I am
inclined rather to doubt my powers than to
overrate them, and I must look upon my present
undertakings as experiments towards deter-
mining whether or not the opera is possible.'
The management at Dresden did not care for
such experiments, and indefinitely put off the
I For details concerning Wagner's reading of the OTftrture, and for
a description of his 'arrangement' of the eatlre opera, see Qe9.
Schrift. T. 143, and Ulaseaapp.p. 226.
WAGNER.
production of Lohengrin ; so that the finale to
the first act, which was performed on the 300th
anniversary of the Kapelle, Sept. 2 a, 1848, was
all he heard of the work.
At Berlin Tannhauser had been refused as
* too epic,' whatever that may mean. After six
years' delay preparations were begun there for
Rienzi, and the King of Prussia's birthday, Oct.
5, 1847, was fixed for the first performance.
When Wagner arrived to superintend rehearsals
he was received in a singularly lukewarm man-
ner; personal attacks and injurious insinua-
tions appeared in the local journals, and it soon
became evident that Rienzi was foredoomed.
The management discovered that political catch-
words, * liberty,' * fi-atemity,' and the like, could
be culled from the libretto ; another opera was
chosen for the royal fete, and Rienzi postponed
till October 26, when the court did not attend,
and 'General-Musikdirector Meyerbeer thought
fit to leave town.' A large miscellaneous au-
dience applauded vigorously, but the success
proved ephemeral and Wagner's hopes of better-
ing his pecuniary position were disappointed.
In 1848 the universal distress and political
discontent told upon musical matters at Dresden
as it did elsewhere. The repertoire showed
signs of rapid deterioration. Flotow's 'Martha*
attracted the public. With the exception of
three subscription concerts given by the orches-
tra, at the first of which, in January, Wagner
conducted Bach's 8-part motet 'Singet dem
Herrn ein neues Lied,' nothing of interest was
performed. Towards the end of March, when the
instrumentation of Lohengrin was finished, his
restless mind had already begun to brood upon
new subjects. Sketches for ' Jesus von Nazareth *
— a tentative effort in the direction of Parsifal
— were laid aside, as he failed to find a satis-
factory mode of treating the subject. For the
last time the conflicting claims of History and
of Legend presented themselves — Friedrich der
Rothbart on the one side, and Siegfried on the
other. The former subject would have been
particularly opportune at a time when the name
of the great emperor was in everybody's mouth;
but Wagner's historical studies regarding Bar-
barossa had no other result than a curious essay ,
treating of that vague borderland which separates
historical fact from mythical tradition, entitled
Die Wibelungen, Weltgesehiehte aus der Sage. It
was written in 1848, and printed in 1850." Tq
students for whom the growth of a great man's
mind is almost as interesting as the ultimate
result, this essay presents many points of in-
terest; to others it cannot be attractive, except
as evidence of Wagner's peculiar earnestness of
purpose and his delight in hard work.
He decided to dramatise the myths of the
Nibelungen, and made his first grip at the sub-
ject in a prose version (1848) 'Der Nibelungen-
Mythus als Entwurf zu einem Drama.'' This
was immediately followed by * Siegfried's Tod,' *
in three acts and a prologue (autumn, 1848),
written in alliterative verse, and subsequently
a Ges. Scbrift. li.
I Ibid.
WAGNER.
incorporated with many additions and emenda-
tions in 'Gotterdammerung.' Sundry germs of
the music, too, were conceived at this early
period.
Wagner entertained hopes that the general
desire for political reform might lead to a better
state of things in musical and theatrical matters.
Accordingly he wrote out an elaborate plan for
the organisation of a ' national theatre.' His
objects were: — thorough reform of the theatre
at Dresden ; amalgamation of the existing art
institutions of Saxony, with headquarters at
Dresden ; increase of efficiency and reduction of
expenditure. Supported throughout by detailed
statements of facts and figures, his proposals
appear eminently practical, and might have
been carried out entire or in part with obvious
advantage. The new liberal Minister of the
Interior, Herr Oberlander, sympathised with
Wagner, but had little hope of surmounting
the initiatory difficulty, viz. to detach the
finances of the theatre from those of the court,
and get an annual grant of public money in
place of the subsidies from the king's privy
purse. Derisory pencil notes on the margin of
the manuscript showed that it had been read
by certain people at court, but no action was
taken by the Ministry ; and the political catas-
trophe of May 1849 ®^® ^'^^S P"^ ^^ ^^^ ^0 all
projects of reform, social or artistic.^
Wagner was less concerned with politics proper
than is generally supposed. The speech — one
of two — which he delivered in the * Vaterlands-
verein,' a political club, June 14, 1848, and
whicli was then reported in full in the * Dresden
Anzeiger,' has been unearthed and reprinted by
Herr Tappert (R. W, p. 33-42). Its tone is
moderate enough ; and it had no further con-
sequences than a reprimand from the police
authorities, who thought it undesirable that a
•koniglicher Kapellmeister' should speak in
such a place. In May 1849, when the court of
Saxony fled, and Prussian troops were despatched
to coerce the rioters at Dresden, Wagner was
nmch excited ; but the tale of his having carried
« red flag, and fought on the barricades, is not
corroborated by the * acts of accusation ' preserved
in the Saxon police records. Alarming rumours,
however, reached him that a warrant for his
arrest was being prepared, and he thought it
prudent to get out of the way and await the turn
of events. He went quietly to Weimar, where
Liszt was busy with Tannhauser. On tlie 19th
May, in course of a rehearsal, news came from
Dresden that orders for Wagner's arrest as a
* politically - dangerous individual ' had been
issued. There was no time to lose ; Liszt pro-
cured a passport, and escorted Wagner as far as
Eisenach on the way to Paris.
Exile (1849-6 i, aet. 36-48). 'It is impossible
to describe my delight, after I had got over the
immediate painful impressions, when I felt free
at last — free from tlie world of torturing and
I Extracts, ' Sittlicta« Stellung der Muslk zum Staat,' ' Zahl der
Theatervorstellungen,' ' Die kathoHsche Kirchenmuslk,' were com-
municated by Theod. Uhllg to the Neue Zeltschrlft fttr Muslk, vol.
xxxlTn aod the entire document i< given in Ges. Scbriften, vol. ii.
WAGNER.
357
ever-unsatisfied wishes, free from the annoying
surroundings that had called forth such wishes.'
The hopes which Liszt indulged, that Wagner
might now be able to gain a footing in Paris,
proved futile. Wagner's desire to publish a series
of articles in a French periodical *on the pro-
spects of art under the revolution' met with no
response. Paris, said the editor of the Journal
des D^bats, would laugh at any attempt to
discuss the notions of a Gennan musician about
the relation of art to politics. — Music altogether
was at a low ebb in France, and no one cared
to risk the production of a tragic opera.
In June, 1849, Wagner went to Zurich,
where several of his Dresden friends had found
refuge, and where his wife joined him. In Oct.
1849, 1^6 became a citizen of Zurich. The first
years of his residence there are marked by a long
spell of literary work : 'Die Kunst und die Re-
volution,' 1849 5 * ^^^ Kunstwerk der Zukunft,'
'Kunst und Klima,' *Das Judenthum in der
Musik,' 1850 ; ' Ueber die Goethe Stiftung,' ' Ein
Theater in Zurich,' • Erinnerungen an Spontini,'
1851 ; • Ueber die Auff'uhrung des Tannhauser,'
'Bemerkungen zur AufFiihrung der Oper Der
fliegende Hollander,' * Oper und Drama,' 1852.
' My mental state,' writes Wagner, looking back
upon these books and essays, * resembled a
struggle.^ I tried to express, theoretically, that
which under the incongruity of mj' artistic aims
as contrasted with the tendencies of public art,
especially of the opera, I could not properly
put forward by means of direct artistic pro-
duction.'— An account of the main contents of
these writings belongs to Part II of this article,
and it will suffice here to touch upon a few minor
points which are of biographical interest.
Too many side issues have been raised with
regard to ' Das Judenthum in der Musik,' an
article which first appeared in the Neue
Zeitschrift under the pseudonym K. Freigedank.
It is a far less intemperate and injudicious pro-
duction than might be supposed from the succes
de scandale it met with when Wagner signed
and republished it with additions nineteen years
later. In spite of his belief to the contrary, it
did not at first attract much attention ; the
Zeitschrift, then edited by Franz Brendel, had
only a few hundred subscribers, and no other
German journal, as far as the writer is aware,
reproduced it. The only immediate eff'ect was
a vindictive feeling in musical circles against
Brendel. Eleven masters at the Leipzig Con-
servatorium, where Brendel was engaged as
lecturer on the History of Music, signed a
letter^ requesting him either to give up his post
or to divulge the name of the writer. Brendel
refused to accept either alternative. Wagner's
authorship, however, was suspected, and the
attitude of many professional journalists towards
him grew bitterly hostile. When he issued the
augmented edition in 1 869 dozens of articles and
pamphlets appeared in reply ; yet none of these
attempted to deal with the artistic questions
* 'The Music of the Future,' p. SZ
3 Written bj Julius Bietz, and printed In Moscheles' Leben. li. 217.
558
WAGNER.
WAGNER.
he had raised. Tlie actual contents of the
article were ignored ; but Wagner was persist-
ently reproached with having attempted a dis-
graceful defamation of rival composers * because
of their Hebrew origin 'I It remains significant
that amongst his staunchest and most intelli-
gent friends there were then, and there are still,
many of Jewish descent, who may have wished
he had let the subject alone, but who nevertheless
see no reason to disagree with him in the main.
The noise in the newspapers had an odd result :
other writings of his, hitherto a drug on the
market, suddenly began to sell, and have con-
tinued to do so.
With regard to the fierce attack upon Meyer-
beer in * Oper und Drama,* it should not be
overlooked that Wagner's strictures concern
Meyerbeer the musician, not Meyerbeer the man.
The following extracts from a private letter of
1847 comprise everything Wagner thought fit to
state publicly later on.
I am on a pleasant footing with Meyerbeer, and have
every reason to value him as a kind and amiable man.
But if I attempt to express all that ia repellent in the
incoherency and empty striving after outward effect in
the operatic music of the day, I arrive at the conception
♦Meyerbeer.'
Wh(
'hoever mistakes his way in the direction of triviality
uas to do penance towards his better self, but whoever
oonsciously seeks triviality is lost.
Did Wagner really act as an ungrateful and
ill-conditioned person towards Meyerbeer ? The
two men never were friends in the true sense
of the word. The time they actually spent
together can hardly amount to a hundred
hours. 1839-43 at Boulogne and Paris, Meyer-
beer the senior by 22 years, was the patron,
and Wagner the client; and for the next de-
cade this state of things apparently continued.
Meyerbeer had spoken well of Wagner, and in
return it was expected that Wagner should make
himself useful as a partisan. But this Wagner
would not and could not do ; the broadest hints
produced no effect upon him. — When Wagner
sought Meyerbeer's acquaintance the latter was
surrounded by a host of literary adherents;
willing champions in the press, with whom his
agent and his publisher could manoeuvre as
they pleased. But the support of real musicians
was wanting. Masters like Spohr and Marsch-
ner, Mendelssohn and Schumann, pronounced
Meyerbeer's music an ingeniously contrived
sham, and would have nothing to do with it ;
they attributed a good deal of the success of
* Robert,' etc. to Meyerbeer's business talents and
to the exertions of his literary • bureau.' * Thus
to secure the services of a promising young
musician was a matter of some moment, and
Wagner was regarded as the right sort of man
to enlist. What did Meyerbeer do by way
of patronage ? He wrote a letter introducing
Wagner to M. Fillet, fully aware that there
was not a ghost of a chance for an unknown
German at the ' Op^ra.* To foist Wagner, with
his • Liebesverbot,' upon Antenor Joly and the
Theatre de la Renaissance, was, in the eyes of
Parisians, little better than a practical joke; twice
1 Concerning tha ' bureau ' aee H. Laabe's ' Erlnnemngen.'
or thrice in the year that rotten concern had failed
and risen again : ' mon theatre est mort, vive
mon theatre,' was M. Joly*s motto. Meyerbeer
introduced Wagner to his publisher Schlesinger.
And this is all that came to pass at Paris —
unless the fact be taken into account that
Scribe imitated an important scene from Rienzi
in Le Proph^te' without acknowledgment. At
Dresden a letter from Meyerbeer to Herr v.
Liittichau, dated March 18, 1841,* turned the
scales in favour of Rienzi, and both Rienzi and
the Hollander were accepted (but not performed)
on his recommendation at Berlin. After the
surprising success of Rienzi, open hostility was
shown by certain sections of the press. As time
went on, Wagner traced some queer attacks to
their source, and came upon members of Meyer-
beer's * bureau ' ! No one who is aware of the
large and complicated interests at stake with
regard to the success or failure of a grand opera,
will be surprised at the existence of press scandals,
and it is of course impossible to say at present
whether or not Meyerbeer was personally con-
cerned. Wagner certainly thought he was, but
chose to remain silent. It was not until 1850-52
that Meyerbeer's people came to know in their
turn whom they were dealing with. By this time
when Le Prophfete was pitted in Germany against
Lohengrin, the words 'friendship' or 'personal
obligation' cannot have conveyed the usual mean-
ing to Wagner's mind; yet there is little that
savours of revenge or recrimination in 'Oper und
Drama* and ' Das Judenthum.' Serious questions
of art are treated, and Meyerbeer's works are
quoted as glaring examples of operatic good and
evil.
Besides the vast mass of theoretical and critical
writing, Wagner got through much other woi'k
during the first two years at Zurich. He
completed the prose version of a drama in
three acts ' Wieland der Schmiedt * (meant to be
carried out in French verse with a view to per-
formance in Paris), conducted orchestral concerts,
superintended the performances at the Stadt-
theater (where his young disciples, Carl Ritter
and H. von Biilow acted as conductors),* lec-
tured on the musical drama (reading the poem
of Siegfried's Tod by way of illustration), and
kept up a lively correspondence with German
friends.
The first performance of Lohengrin took place
under Liszt at Weimar, Aug. 28, 1850. The
date chosen was that of Goethe's birth and of
the inauguration of the statue to Herder ; Liszt
had invited musical and literary friends from all
parts of Europe, and the work, performed (for
once) without cuts, made a powerful impression.
From that memorable night dates the success
of the Wagner movement in Germany.' The
reception of Lohengrin by the musical profession,
the press, and the general public, resembled that
of Tannhauser described above. It is not worth
while to give details here. The following worda
s See Oper und Drama. I, in Get. Sohrlften. 111. 873, etc
3 Printed In Tappert, p. 20,
< ISes BiJLOW, vol. 1. p. 280.]
s On Liszt's relations to Wagner [see LiazT, vol. U. p. 148.]
WAGNER.
of Wagner's are strictly applicable, not only to
Lohengrin, but to the first performances of every
subsequent work of his : * Musicians had no ob-
jection to my dabbling in poetry, poets admitted
my musical attainments ; I have frequently been
able to rouse the public ; professional critics have
always disparaged me.' Lohengrin was given at
Wiesbaden, 1853 ; at Leipzig, Schwerin, Frank-
furt, Darmstadt, Breslau, Stettin, 1854; at Co-
logne, Hamburg, Riga, Prague, 1855 ; Munich,
Vienna, 1858; Berlin, Dresden, 1859. The full
score, and the Clavierauszug (by Th. Uhlig)
were sold for a few hundred thalers to Breitkopf
& Hartel, and published in 1852.
Wagner fitly closed the literary work of this
period with the publication of a letter to the
editor of the Neue Zeitschrift *Ueber musicalische
Kritik,* and of ' Eine Mittheilung an meine
Ereunde * (1853). Written simultaneously with
• Oper und Drama,' the latter production forms
the preface to three operatic poems ('Hollander,'
• Tannhauser,' and 'Lohengrin'); it is a fasci-
nating piece of psychological autobiography, in-
dispensable for a right knowledge of his character.
His magnum opus, ' Der Ring des Nibelungen '
now occupied him entirely.
When I tried to dramatise the most important moment
of the mythos of the Nibelungen in Siegfried's Tod, I
found it necessary to indicate a vast number of ante-
cedent facts so as to put the main incidents in the proper
light. But I could only narrate these subordinate
matters— whereas I felt it imperative that they should
be embodied in the action. Thus I came to write
Siegfried. But here again the same difficulty troubled
me. Finally I wrote Die Walktlre and Das Rheingold,
and thus contrived to incorporate all that was needful
to make the action tell its own tale. *
The poem was privately printed early in 1853.
'During a sleepless night at an inn at Spezzia
the music to ' Das Rheingold ' occurred to me ;
straightway I turned homeward and set to
work.'^ He advanced with astonishing rapidity.
In May 1854 *^® score of 'Das Rheingold' was
finished. In June he began ' Die Walkure,' and
completed the composition all but the instru-
mentation during the winter 1854-55. The full
score was finished in 1856. The first sketches of
the music to ' Siegfried ' belong to the autumn
of 1854. In the spring of 1857 *^® ^"^^ ^^^^^ ^^
Act I of Siegfried, and of the larger part of Act II,
was finished.
Up to this point there has been but few inter-
ruptions to the work, viz. rehearsals and per-
formances of Tannhauser at Zurich, Feb. 1855 ;
an attack of erysipelas, May 1856; a prolonged
visit from Liszt' (at St. Gallen, Nov. 3, 1856,
Wagner conducted the Eroica, and Liszt his
Pofemes symphoniques, Orphde, and Les Pre-
ludes) ; and the eight concerts of the Philhar-
monic Society in London, March to June 1855.
In Jan, 1855, Mr. Anderson, one of the directors
of the London Philharmonic Society, arrived at
1 The same thing is said more explicit! j in ' Eine Mittheilung an
meinA Freunde."
J Letter to Arrigo Bolto, Not. 7, 1871.
3 In a private letter to Dr. Gllle of Jena referring to a subsequent
visit (Lucerne, 1857) Liszt writes: 'I am with Wagner all day long—
tkis Nibelungen music is a glorious new world which I have long
wished to know. Some day the coolest persons will grow enthu-
siastic about It.' And again (1875, letter to Herr Gobbi of Festh),
* The Ring of the Nibelungen rises above and dominates our entire
art-epoch, as Mont Blanc dominates the surrounding mountains.'
WAGNER.
359
Zurich to invite Wagner to conduct the coming
seasons* concerts. The society, it appeared, was
at its wits' end for a conductor of reputation —
Spohr could not come, Berlioz was re-engaged
by the New Philharmonic, and it had occurred
to the directors that Wagner might possibly be
the man they were in want of. Mr. Davison, of
the ' Times ' and the * Musical World,' and Mr.
Chorley, of the * Athenaeum,' thought otherwise.
Wagner arrived in London towards the end of
February. The dates of the concerts he con-
ducted are: — March 12 and 26, April 16 and
30, May 14 and 28, June 11 and 25, 1855.
A magnificent orchestra as far as the principal mem-
bers go. Superb tone — the leaders had the finest instru-
ments I ever heard— a strong esprit de corps— but no
distinct style. The fact is the Philharmonic people-
orchestra and audience— consumed more music than they
could possibly digest. As a rule an hour's music takes
several hours' rehearsal — how can any conductor with a
few morning hours at his disposal be supposed to do
justice to monster programmes such as the Directors put
before me ? two symphonies, two overtures, a concerto,
and two or three vocal pieces at each concert ! The Direc-
tors continuously referred me to what they chose to call
the Mendelssohn traditions. But I suspect Mendelssohn
had simply acquiesced in the traditional ways of the
society. One morning when we began to rehearse the
Leonora overture I was surprised; everything appeared
dull, slovenly, inaccurate, as though the players were
weary and had not slept for a week. Was this to be toler-
ated from the famous Philharmonic Orchestra ? I stopped
and addressed them in French, saying I knew what
they could do and I expected them to do it. Some
understood and translated— they were taken aback, but
they knew I was right and took it goodhumouredly.
We began again and the rehearsal passed off well. I
have every reason to believe that the majority of the
artists really got to like me before I left London.
Among the pieces he conducted were Beetho-
ven's 3rd, 4th, 5th, 6th, 7th, 8th, and 9th Sym-
phonies; Overture Leonora, no. 3, the 2nd PF.
Concerto in Bb and the Violin Concerto; Mozart's
Symphonies in Eb and C, and Overture Zauber-
flote ; Weber's Overtures Oberon, Freyschiitz, Eu-
ryanthe. Ruler of the Spirits, and Preciosa ; Men-
delssohn's ' Italian ' and ' Scotch ' Symphonies,
the Overtures ' Isles of Fingal,' and ' A Mid-
summer Night's Dream,' and the Violin Concerto ;
Spohr's Symphony in C minor, Potter's in G
minor ; * the Overture to Tannhauser (twice),
and a selection from Lohengrin (Introduction,
Bridal procession, Wedding music, and Epitha-
lamium). He occupied rooms at 31 Milton
Street, Dorset Square, and at 22 Portland
Terrace, Regent's Park, at which latter address
a large portion of the instrumentation to * Die
Walkiire ' was completed. Karl Klindworth,^
who had settled in London the previous year,
and with whom Wagner became intimate, now
began his pianoforte scores of the Nibelungen.
Whilst at work upon Die Walkiire (1854)
the stories of * Tristan und Isolde ' and of * Par-
sifal ' had already taken possession of Wagner's
mind, and the plan for Tristan was sketched.
In the summer of 1857 he resolved to put aside
Die Nibelungen and to proceed with Tristan.
Various causes contributed to this resolution.
He was tired *of heaping one silent score upon
the other,' tired of the monotony of the task too
— if he lived to finish it, how should his colossal
* Chas. Lucas conducted his own symphony at the fourth concert.
« [See Klimdwokth, vol. li. p. 64.1
860
WAGNER.
work ever be performed ? He longed to hear
something of his own, he had moreover pecu-
niary needs, which made it desirable that he
should again write something that stood a chance
of performance. Finally a curious incident con-
cluded the matter. A soi disant agent of the Em-
peror of Brazil called : would Wagner compose
an opera for an Italian troupe at Rio Janeiix) ?
would he state his own terms, and promise to
conduct the work himself? Much astonished,
Wagner hesitated to give a decisive answer ; but
he forthwith began the poem to Tristan ! *
Wagner looked upon ' Tristan ' as an accessory
to the Nibelungen, inasmuch as it presents cer-
tain aspects of the mythical matter for which in
the main work there was no room. He was
proud of the poem, proud of the music :
I readily submit this work to the severest test based
on my theoretical principles. Not that I constructed it
after a system— for I entirely forgot all theory— but be-
cause I nere moved with entire freedom, independent
of theoretical misgivings, so that even whilst I was
writing I became conscious how far I had gone beyond
my system.* There can be no greater pleasure than an
artist's perfect abandonment whilst composing— I have
admitted no repetition of words in the music of Tristan
— the entire extent of the music is as it were prescribed
in the tissue of the verse— that is to say the melody (i. e.
the vocal melody) is already contained in the poem,
of which again the symphonic musio forms the sub-
stratum.*
The poem was finished early in 1857 ; i°. the
winter of the same year the full score of the
first act was forwarded to Breitkopf & Hartel
to be engraved. The second act was written at
Venice, whei:e Wagner, with the permission of
the Austrian authorities, had taken up his re-
sidence, and is dated Venice, March 2, 1859 5 ^^^
third, Lyons, August 1859. In connection with
Tristan, attention must be called to the stroncj
and lasting impression made upon Wagner's mind
by the philosophical writings of Schopenhauer.
Tristan represents the emotional kernel of Scho-
penhauer's view of life as reflected in the mind
of a poet and a musician. Even in Die Meister-
singer (Hans Sachs's monologue, Act III) there
are traces of Schopenhauer, and the spirit of
his Buddhistic quietism pervades Parsifal. The
publication of Schopenhauer's 'Parerga und Para-
lipomena' in 185 1 took the intellectual public
of Germany by surprise, and roused a spirit of
indignation against the oflScial representatives
of • Philosophy ' at the Universities and their
journals, who had secreted Schopenhauer's ' Die
Welt als Wille und Vorstellung' (1818 and
1844). The little colony of refugees at Zurich
was among the first to hail Schopenhauer's
genius as a moralist. Wagner accepted his meta-
physical doctrine, and in 1854 forwarded to Scho-
penhauer at Frankfurt a copy of Der Ring des
Nibelungen as a token of 'thanks and veneration.'
Wagner adhered to Schopenhauer's teaching to
the end, and has even further developed some
of its most characteristic and perhaps question-
able phases.* It will be seen in the sequel that
> The offer from Rio appears to have been gennlne ; the Emperor
of Brazil subsequently became a patron of the theatre at Bayreuth
and witnessed a performance of The Elng; there.
a ' The Music of the Future," pp. 36. 87. s ibid.
* Soi 'Beethoven.' particularly the supplement to the English
traudatio.t : also ' Beligloa and Kunst,' 1880-81.
WAGNER.
Wagner had more trouble in connection with the
performance of Tristan than with any other of
his works. At first the difficulty was to get
permission to return to Germany ; even the
solicitations of the Grand Dukes of Weimar and
of Baden in his favour had no eflfect upon the
court at Dresden. Projects for producing Tristan
at Strassburg and Karlsruhe came to nothing.
Paris, In September 1859 (»*>• 4^) Wagner
again went to Paris, with a faint hope of pro-
ducing his new work there with the help of
German artists, or perhaps getting Tannhauser
or Lohengrin performed in French. M. Car-
valho, director of the Th^atre-Lyrique, seemed
inclined to risk Tannhauser. 'II avait t^-
moign^ a Wagner le d^sir de connaitre sa
partition.' TJn soir, en arrivant chez lui Rue
Matignon j'entends un vacarme inusite. Wag-
ner etait au piano; il se d^battait avec le
formidable finale du second acte; il chantait,
il criait, il se ddmenait, il jouait des mains,
des poignets, du coude. M. Carvalho re-
staib impassible, attendant avec une patience
digne de I'antique que le sabbat fftt fini. La
partition achevee M. Carvalho balbutia quelques
paroles de politesse, tourna les talons et dia-
parut.* Determined to bring some of his music
forward, Wagner made arrangements for three
orchestral and choral concerts at the Theatre Im-
perial Italien,* Jan. 25, Feb. i and 8, i860. The
programme, consisting of the overture to Der Hol-
lander, 4 pieces from Tannhauser, the prelude to
Tristan, and 3 numbers from Lohengrin, wasthrioe
repeated. *De nombreuses repetitions furent
faites h, la salle Herz, h, la salle Beethoven, oti
H. de Bulow conduisait les choeurs.' * Un
parti trfes-ardent, trfes-actif, s'^tait form^ autour
de Wagner; les ennemis ne s'endormaient pas
davantage, et il etait Evident que la bataille
serait acharnee.' The performances conducted
by Wagner made a great sensation — * Wagner
avait r^ussi h, passionner Paris, k dechalner la
presse' — but the expenses had been inordinate,
and there was a deficit of something like £400.
which he had to meet with part of the honorarium
paid by Messrs. Schott for the copyright of
Der Ring des Nibelungen. Two similar pro-
grammes were conducted by him at the Brussels
Opera house in March i860, also, it would seem,
with unsatisfactory results.
Unexpected events, however, sprang from the
exertions at Paris. *Sur les instances pres-
santes de Mme. de Mettemich, I'empereur avait
ordonnd la mise h. I'etude de Tannhauser k
I'opera.' A substantial success seemed at last
within Wagner's reach. Preparations on a vast
scale were begun. Edmond Roche and Ch.
Nuitter translated the text; the management
met every wish of Wagner's; sumptuous scenery
and stage properties were prepared ; Wagner
was invited to choose his own singers, and to
have as many rehearsals as he might think
fit. He chose Niemann for Tannhauser, Mile.
s Gasperini. p. 63.
6 This was the old Salle Ventadour. at which, as the Th^itre da la
Benaissance, 'Das Liebesverbot ' was to have been ^ven twenty
years previouslj. It is now a Bureaa d'escompte. LSee Ventapodb.]
WAGNER.
Saxe for Elisabeth, Mile. Tedes0o for Venus,
Mile. Reboux for the shepherd, Cazaux for the
*Landg)af,' and Morelli for Wolfram. The
number of rehearsals, according to the official
record, was 164 : — 73 at the pianoforte, 45
choral, 27 with the vocalists on the stage but
without orchestra, 4 for scenic changes, and 14
full, with orchestra.^ The total costs appear
to have amounted to something like £8000.
Wagner entirely rewrote the opening scene in
the Venusberg, and made a number of minor
changes. On the advice of M. Villot (curateur des
musses imp^riaux), he also published 'Quatre
poemes d'operas traduits en prose franjaise, pr^-
c^dds d'une lettre sur la musique,' giving a resum4
of his aims and opinions.'* After numerous in-
terruptions, misunderstandings and quarrels, in-
cluding a complete rupture with the conductor
Dietsch — the quondam chorusmaster and com-
poser of • Le Vaisseau fantdrae,' who proved
incompetent, and whom Wagner could not get
rid of — the performances began March 13, 1861.
* Une cabal e trfes-active, trfes-puissante, trbs-deter-
minde, s'^tait organis^e de bonne heure. Un
certain nombre d'abonnds de I'op^ra, qui savaient
que la pibce n^avait pas de ballet,^ etc. — The
scandal need not be repeated here. — After the
third performance Wagner withdrew his work.
The less said the better as to the complicated causes of
the disaster. But it was a blow to me : everybody con-
cerned had been paid per month ; my share was to con-
sist in the usual honorarium after each performance,
and this was now cut short* So I left Pans with a load
of debt, not knowing where to turn.— Apart from such
things, however, my recollections of this distracting
year are by no means unpleasant.
On Wednesday evenings the little house * he
inhabited with his wife in the rue Newton, near
the Arc-de-Triomphe, welcomed many remark-
able Parisians, — 'c'est ainsi,' reports Gasperini,
*que j'ai vueM. Villot (to whom Wagnerdedica ted
his ' Music of the Future '), Emile OUivier, Mme.
Ollivier (Liszt's daughter), Jules Ferry, Leon
Leroy ; et Berlioz, et Champfleury, et Lorbac, et
Baudelaire, etc' ^
Princess Mettemichs' enthusiasm had a fur-
ther result : whilst at work upon the additions
to Tannhauser, permission arrived for Wagner ' to
re-enter German states other than Saxony.' It
was not till March 1862 {i.e. after thirteen years)
that the ban was completely raised ; and he
got leave, in truly paternal phrase, * to return to
the kingdom of Saxony without fear of punish-
ment.'
Return to Germany, 1861 (set. 48). — ^The
disaster in Paris produced a strong reaction.
Wagner was received with enthusiasm wherever
he appeared. Yet the three years to come until
1864, when he was suddenly called to Munich,
1 'Les 164 repetitions et les 3 representations du TannhSuser k
Paris,' par Ch. Nuitter. (See • Bayreutber Festbiatter ' for 1884.)
2 See the English translation : 'The Music of the Future.'
8 The customary remuneration for each performance of a new
opera at Paris was 500 francs, so that ISOO francs would have been
Wagner's share for the three evenings ; but it had been arranged
tliat for the first 20 performances half of the remuneration was to be
paid to the translators of the libretto : thus 750 francs was the sum
Wagner received fur something like a year's work.
* Now demolished.
* Ch. Baudelaire's article in the • Bevue Europeenne,* augmented
•nd reprinted as a pamphlet, April 1861, ' Richard Wagner et Tann<
r.' is a masterpiece.
WAGNER.
361
must be counted among the most distressing of
his entire career. His hopes and prospects lay
in a successful performance of Tristan, and all
his eflforts to bring about such a performance
failed. At Vienna, after 57 rehearsals, Tristan
was definitely shelved, owing to the incom-
petence, physical or otherwise, of the tenor Ander;
at Karlsruhe, Prague and Weimar, the negotia-
tions did not even lead to rehearsals. He found
it impossible to make both ends meet, and had
to seek a precarious subsistence by giving concerts.
A few words will explain this strange state
of things at a time when his works were
so unmistakeably popular. The customary hon-
orarium on the first performance of an opera
in Germany varied from 10 to 50 or 60 Louis d'or
(£S to £48) according to the rank and size of
the theatre. On every subsequent repetition the
author's share consisted either of some little sum
agreed upon or of a small percentage on the
receipts — generally five per cent, occasionally
seven — never more than ten per cent. As most
German towns possess a theatre, a successful
opera on its first round may produce a consider-
able amount ; but afterwards the yield is small.
It is impossible to run the same piece night after
night at a court or town theatre, the prices of
admission are always low, and the system of
subscription per season or per annum tends to
reduce the number of performances allowed to
any single work.
My operas were to be heard right and left ; but I could
not live on the proceeds. At Dresden Tannhauser and
the Hollander had grown into favour; yet I was told
that I had no claim with regard to them, since they
were produced during my Capellmeistership, and a
Hofcapellmeister in Saxony is bound to furnish an
opera once a year I "When the Dresden people wanted
Tristan I refused to let them have it unless they agreed
to pay for Tannhauser. Accordingly they thought they
could dispense with Tristan. Afterwards, when tlie
public insisted upon Die Meistersinger, I got the better
of them.
On May 15, 1861, Wagner heard Lohengrin for
the first time at Vienna. Liszt and a large circle
of musicians welcomed him at the Tonkiinstler
Versammlung at Weimar in August. His long-
cherished plan of writing a comic opera was now
taken up. He elaborated the sketch for * Die
Meistersinger von Nurnberg,* which dates from
1845, and was intended to be a comic pendant
to the contest of Minnesingers in Tannhauser.
The poem was finished during a temporary stay
at Paris in the winter of 1861-62. Messi's.
Schott of Mayence secured the copyright, and
the poem was printed in 1862 for private cir-
culation." Wagner settled opposite Mayence at
Biebrich-am-Rhein to proceed with the music.
On the ist November of the same year (1862) he
appeared at a concert given by Wendelin Weiss-
heimer in the Gewandhaus at Leipzig, to conduct
the overture to Die Meistersinger, — ^The writer,
who was present, distinctly remembers the half-
empty room, the almost complete absence of
professional musicians, the wonderful perform-
ance, and the enthusiastic demand for a repeti-
tion, in which the members of the orchestra took
part as much as the audience.
• The final veniOD differs oontiderftbly from thia.
862
WAGNER.
That curious concert at Leipzig was the first of a
long series of such absurd undertakings to which my
straitened means led me. At other towns the public at
least appeared en viaase, and I could record an artistic
success ; but it was not till I went to Russia that the
pecuniary results were worth mentioning.
Dates of such concerts, at which he conducted
Beethoven Symphonies, fragments of theNibelun-
gen and Die Meistersinger, etc., are Dec. 26,
1862, and first weeks in Jan. 1863, Vienna; Feb.
8, Prague ; Feb. 19, March 6, 8, St. Petersburg ;
March, Moscow ; July 23, 28, Pesth ; Nov.
14, 19, Karlsruhe, and a few days later Lo wen-
berg ; Dec. 7, Breslau. Towards the end of Dec.
1863, at a concert of Carl Tausig's, he astonished
the Viennese public with the true traditional
reading of the overture to * Der Freyschittz.' |
In Ids 50th year (whilst living at Penzing
near Vienna at work upon Die Meistersinger)
Wagner published the poem to Der Ring des
Nibelungen, 'as a literary product.' *I can
hardly expect to find leisure to complete the
music, and I have dismissed all hope that I may
live to see it performed.' His private affairs went
from bad to worse. In the spring of 1864 his
power of resistance was almost broken ; he deter-
mined to give up his public career, and accepted
an invitation to a country home in Switzerland.
Munich and Lucerne, 1864-1872 (aet. 51-56).
The poem of Der Ring des Nibelungen, with its
preface, must have got into the hands of the young
King Ludwig II. of Bavaria. The King was ac-
quainted with Beethoven's Symphonies, and in
his 16th year had heard Lohengrin. One of the
first acts of his reign was to despatch a pjivate
secretary to find Wagner, with the message, 'Come
here and finish your work.* Wagner had already
left Vienna in despair — ^had passed through
Munich on his way to Zurich — and for some
reason had turned about to Stuttgart. The
secretary tracked and there found him. In May
the Augsburger Allgemeine Zeitung brought the
news that King Ludwig had allowed to the
composer Richard Wagner a ' Sustentationsgehalt
von 1 200 Gulden aus der Kabinetscasse ' (a sti-
pend of about £100, from the privy purse).
Here was relief at last. Wagner's hopes revived,
his enthusiasm returned and redoubled.
Mv creditors were quieted, I could go on with my
work,— and this noble young man's trust made me happy.
There have been many troubles since— not of my making
nor of his— but in spite of them I am free to this day—
and by his grace.' (.1877.)
Cabals without end were speedily formed
against Wagner — some indeed of a singularly
d^graceful character ; and he found it impossible
to reside at Munich, although the King's favour
and protection remained unaltered.'^ There
can be no doubt that the Nibelungen Ring
would not have been completed, and that the
idea of Bayreuth would not have come to any
practical result (the exertions of the Wagner
Societies notwithstanding) if it had not been for
the steady support of the royal good wishes and
the royal purse. It must suffice here to indicate
1 S«e 'Ueber das DiriKiren,' and Olasenapp, ii. p. 113.
3 See Olaaenapp, il. chap. 3, for true details regarding th« extra
ofdinary nwans employed to oust Wagner.
WAGNER.
the dates and events which are biographically
interesting.
Wagner was naturalised as a Bavarian subject
in 1864. He settled in Munich, and composed
the • Huldigungsmarsch' for a military band ;' at
the King's request he wrote an essay, * Ueber
Staat und Religion,' and the report concerning a
' German music school to be established at Mu-
nich (March 31, 1865). In the autumn of 1864
he was formally commissioned to complete the
Nibelungen ; and, further to ease his pecuniary
afiairs, the stipend was increased,* and a little
house in the outskirts of Munich, 'bevor den
Propylaen' was placed at his disposal.' Dec. 4,
1864, the Hollander was given lor the first time
at Munich ; Dec. 11, Jan. i, and Feb. i, 1865,
Wagner conducted concerts there. In Jan. 1 865
his friend Semper the architect, was con-
sulted by the King about a theatre to be erected
for the Nibelungen. With a view to the per-
formance of Tristan, von Biilow was called to
Munich, and under his direction, Wagner super-
vising, the work was performed, exactly as
Wagner wrote it, on Juno 10, 1865, and repeated
June 13 and 19 and July i — Tristan, Ludwig
Schnorr v. Carolsfeld;* Isolde, Frau Schnorr,
In July 1865 the old Conservatorium was closed
by the King's orders, and a commission began to
deliberate as to the means of carrying out Wag-
ner's proposals for a new 'music school.' But
nothing tangible came of this ; owing, it would
seem, to ill-will on the part of Franz Lachner
and other Munich musicians, and also, as was
alleged, to the insufficiency of the available
funds.^ In December 1865 Wagner left Munich
and settled, after a short stay at Vevey and
Geneva, at Triebschen near Lucerne, where he
remained with little change until he removed to
Bayreuth in April 1872. At Triebschen, the
Meistersinger was completed (full score finished
Oct. 30, 1867), twenty-two years after the first
sketches! {see ante). Hans Richter arrived there
in Oct. 1866 to copy the score, and the sheets were
at once sent off to Mayence to be engraved.
The * Meistersinger' was performed at Munich,
under von Biilow (H. Richter chorusmaster),
Wagner personally supervising everything, on
June 21, 1868 — Eva, Frl. Mallinger; Magdalena,
Frau Dietz ; Hans Sachs, Betz ; Walther, Nach-
bauer ; David, Schlosser ; Beckmesser, Holzel — a
perfect performance ; the best that has hitherto
been given of any work of the master's, Parsifal
at Bayreuth not excepted.
Before Wagner had quite done with the Meis-
tersinger he published a series of articles in the
* Siiddeutsche Presse ' (one of the chief editojp of
which was his former Dresden colleague Musik-
direktor Aug.Roeckel) entitled * Deutsche Kunst
und Deutsche Politik.'
During the quiet residence at Triebschen,
the unfinished portion of The Ring progressed
> Not published in that form.
* The exact amount has not been made public.
» It was returned to the K. Kabinetscassa In 1866.
• Schnorr died suddenly at Dresden on July 21, 1865,and Trlston
was again * impossible * until Herr and Frau Vogl sang It In June 186P.
1 The present Conservatorium, opened under v. Bttlow in 1867, i»
practically the old institution, and does not carry out Wagner's idea*.
WAGNER.
WAGNER.
steadily. Early in 1869 the instrumentation of
the third Act of Siegfried was completed, and the
composition of the Vorspiel and first Act of Got-
terdammerung finished, June 1870.
Aug. 25, 1870, is the date of Wagner's mar-
riage to Cosima von Billow nie Liszt; his first
wife, Minna Wagner, having died Jan. 25, 1866 ;
after close upon 25 years of married life she had
retired to Dresden in 1861.
1869 he published 'Ueber das Dirigiren* in
the Neue Zeitschrift fur Musik. 'Beethoven'
appeared in September 1870, during the Franco-
Rrussian War. The King's plan to build a special
theatre for the Nibelungen Ring at Munich
being abandoned,^ Wagner fixed uponBayreuth.
Batbedth (1872). The municipality of this
little Franconian town did its best to further
Wagner's objects ; he left Triebschen and settled
there in April, and on his 60th birthday May 22,
1872, he was able to celebrate the foundation of
his theatre with a magnificent performance of
Beethoven's Choral Symphony and his own Kai-
sermarsch. A large portion of the funds was got
together by private subscription. The sum ori-
ginally estimated, 300,000 thalers (£45,000), was
to be raised in accordance with Carl Tausig's plan
upon 1000 • Patronatsscheine,' i.e. 1000 certifi-
cates of patronage, each entitling the holder to
a seat at the three complete performances
contemplated. [See Tausig, vol. iv. p. 64.] A
considerable number of these were taken up before
Tausig's death ; then Emil Heckel of Mannheim
suggested • Wagner Societies,* and started one
himself. It appeared at once that all over Ger-
many there were numbers of people who were
ready to contribute their share of work and
money, but to whom individually the 300 thalers
asked for by Tausig would have been impossible.
Societies sprang up on all sides — not only in
German towns, but in the most unexpected
quarters — St. Petersburg, Warsaw, New York,
Amsterdam, Brussels, Paris, Stockholm, Cairo,
Milan, London,'' etc.
In connection with the efibrts of the societies,
Wagner conducted concerts at Mannheim,
Vienna, Hamburg, Schwerin, Berlin, Cologne,
etc. In Nov. 1874 *^6 instrumentation of
Gotterdammerung was completed ; and prelim-
inary rehearsals with the vocalists had already
produced satisfactory results. The ensemble
rehearsals, with full orchestra, in the summer
of 1875 under Hans Richter (Wagner always
present) left no doubt as to the possibility of
a performance in exact accordance with the
master's intentions. The scenery and stage-
machinery promised well, and the efiects of
sonority in the auditorium proved excellent.
It had at first been a matter of some doubt
whether the invisible orchestra would answer
for the more subtle effects of orchestration ;
but it turned out eventually that all details
were perfectly audible ; and, moreover, that cer-
1 Btaeingold and Wslkflre were performed «t the Hnnleh Hof-
theater In 1869 and 70 respectively.
2 The London Wagner Society's Orchestral Concerts took place
Feb. 19. 27. May 9, Nov. 14, Dea U. 1873; and Jan. 2S. Feb. IS,
March 13, May 13, 1874.
tain shortcomings of our customary orchestra-
arrangements had been removed. Flutes,
oboes, clarinets, and bassoons were heard more
distinctly, and the explosive blare which ordi-
narily seems inseparable from a sudden forte
of trumpets and trombones, was less apparent.
It may be well here to record the disposition of
the Nibelungen orchestra : — conductor (quite in-
visible from the auditorium) facing the orchestra
and the stage ; to left of him, ist violins ; to right,
2nd violins ; violas near violins ; violoncellos and
basses flanking to left and right ; in the middle
of the orchestra, somewhat nearer the stage, the
wood-winds; behind these again, partially under
the stage, the brass and percussion instruments.
Total, exclusive of conductor, 1 14.
A notion of the auditorium may be gained by
fancying a wedge, the thin end of which is sup-
posed to touch the back of the stage, the thick
end the back of the auditorium ; the seats arranged
in a slight curve, each row further from the stage
raised a little above the one in front of it, and the
several seats so placed that every person seated
can look at the stage between the heads of two
persons before him ; all seats directly facing the
stage ; no side boxes or side galleries, no prompter's
box. Total number of seats 1,500 ; a little over
1,000 for the patrons, the rest, about 500, for
distribution gratis to young musicians, etc.
In November and December 1875 Wagner
superintended rehearsals of Tannhauser and
Lohengrin at Vienna, which were performed,
'without cuts,' on Nov. 22 and Dec. 15. TristaUj
also under his supervision, was given at Berlin
on March 20, 1876.
At last, 28 years after its first conception —
on Aug. 13, 14, 16, 17, again from 20-23, and
from 27-30, 1876 — Der Ring des Nibelungen wa3
performed entire at Bayreuth. Wotan, Betz ;
Loge, Vogel; Alberich, Hill; Mime, Schlosser ;
Fricka, Frau Griin; Donner and Gunther, Gura;
Erda and Waltraute, Frau Jaide; Siegmund,.
Niemann ; Sieglinde, Frl. Schefzky ; Briinn-
hilde, Frau Materna ; Siegfried, Unger ; Hagen^
Siehr ; Gutrune, Frl. Weckerlin ; Rheintochter,
Frl. Lili and Marie Lehman and Frl. Lammert.
Leader of strings, Wilhelmj ; Conductor, Hans
Richter. From a musical point of view the per-
formances were correct throughout — in many
instances of surpassing excellence ; sundry short-
comings on the stage were owing more to want of
money than to anything else. In spite of the sacri-
fices readily made by each and all of the artists
concerned, there was a heavy deficit, £75°°' *^®
responsibility for which pressed upon Wagner. He
had hoped to be able to repeat the performances
in the following summer; this proved impossible,,
and his efforts to discharge the debts of the
theatre failed for the most part. The largest of
these efforts, the so-called Wagner Festival at
the Albert Hall in London, 1877, came near to
involving him in further difficulties.
London, May 1877. Herr Wilhelmj be-
lieved that a series of concerts on a large
scale under Wagner's personal supervision would
pay; but the sequel proved all too clearly that
364
WAGNER.
his acquaintance with the ins and outs of musical
matters in London was superficial.^ Messrs.
Hodge and Essex of Argyll Street acted as
* entrepreneurs.' The Albert Hall was chosen,
and six prodigious programmes were advertised
for the 7th, 9th, 12th, 14th, 16th and 19th May.
Copious extracts, of his own making, from all
his works were to represent and illustrate Wagner
as poet and composer : selections from Rienzi, the
Hollander, Tannhauser, Lohengrin, Meistersin-
ger, Tristan, in the first part of the programmes ;
and from Der Ring des Nibelungen in the second
part. An orchestra of 1 70 (wood-winds double)
and several of the sin^rers who had taken leading
parts at Bayreuth (Frau Matema, Frau Griin,
Herren Hill, Schlosser, Unger), besides sundry
subordinates, were engaged; Wagner himself was
to conduct the first half of each programme,
and Hans Richter the second. The expenditure
for advertisements and salaries to vocalists was
lavish ; the attendance, though always large,
nothing like what had been anticipated ; the
result of the six concerts, a difficulty in making
both ends meet. Thereupon the 'undertakers'
were persuaded to try again : that is, to give
two further concerts (May 28 and 29) with a
minimum of expenditure all round, reduced
prices, and programmes made up of the most
telling pieces. This saved the venture, and
enabled Wagner to forward a little over £700
to Bayreuth. After his departure, and without
his knowledge, an attempt was made to get up
a testimonial. A considerable sum was speedily
subscribed, but before it reached him 'another
way out of the difficulty had been found' — viz.
that the honorarium and tantiemes to come
from perfoi-mances of The Ring at Munich
should be set aside to cover the debt of
the Bayreuth theatre — and the promoters of
the testimonial had the satisfaction of return-
ing the contributions with a warm letter of
thanks from Wagner ' to his English friends.' *
During this third residence in London (April 30
to June 4) Wagner resided at 1 2 Orme Square,
Bayswater.
'Erinnerungen,' he wrote from Ems on June
39, 'so weit sie sich nicht auf die Ausii-
bung meiner kleinen Kunstfertigkeiten beziehen,
herrlich.' The expression 'kleine Kunstfertig-
keiten' (little artistic attainments) was a hint
at his conducting at the Albert Hall, which
had been a good deal commented upon.
Was Wagner really a great conductor ? There
<;an be no doubt that he was ; particularly with
regard to the works of Weber and Beethoven.
His perfect sympathy with these led him to find
the true tempi as it were by intuition.' He
was thoroughly at home in the orchestra, though
1 The writer, whose name has been mentioned In Glasenapp's Bio-
graphy and elsewhere In connection with this 'London episode,'
desires to state that he had nothing uhalever to do with the
planning of the 'festival,' nor with the business arrangements. All he
■did was to attend to the completion of the orchestra with regard to
the 'extra* wind Instruments, and at Wafer's request to conduct
the preliminary rehearsals.
2 (Aug. 22, 1877.) ' strange things happen In the realms of music
vrote a surprised subscriber.
3 See the striking testimony of the veteran violoncellist Dotzauer
«ud of Weber-i widow as to Der Freyichatz, in ' Ueber das Dirl(irea.'
WAGNER.
he had never learnt to play upon any orchestral
instrument. He had an exquisite sense for
beauty of tone, nuances of tempo, precision and
proportion of rhythm. His beat was distinct,
and his extraordinary power of communicating
his enthusiasm to the executants never failed.
The writer was present at one of the great
occasions when he appeared as conductor —
the rehearsals and performance of the Ninth
Symphony at Bayreuth, May 22, 1872— and felt
that for spirit, and perfection of phrasing, it
was the finest musical jierformance within the
whole range of his experience.* But at the Albert
Hall Wagner did not do himself justice. His
strength was already on the wane. The re-
hearsals fatigued him, and he was frequently
faint in the evening. His memory played him
tricks, and his beat was nervous. Still there
were moments when his great gifts appeared as
of old. Those who witnessed his conducting of
the • Kaisermarscb ' at the first rehearsal he
attended (May 5) will never forget the superb
eflfect.
Wagner brought the manuscript of the poem
of ' Parsifal ' with him to London, and read it
for the first time entire to a circle of friends at
Orme Square (May 17). It was published in
Dec. 1877.
A plan for a sort of school for the performance
of classical orchestral music, together with clas-
sical operas, and ultimately of his own works
at Bayreuth, came to nothing. Greatly against
his wish he was obliged to permit Der Ring des
Nibelungen to take its chance at the German
theatres. The first number of 'Bayreuther Blat-
ter,' a monthly periodical edited by Herr von
Wolzogen and published by and for the Wagner
Verein, appeared in January 1878. Wagner,
whilst at work upon Parsifal, found time to con-
tribute a delightful series of essays : ' Was ist
Deutsch?' 'Modem'; 'Publikum und Popu-
laritat' ; 'Das Publikum in Zeit und Raum*
1878; 'Wollen wir hoffen ?' 'Ueber das Dich-
ten und Komponiren' ; ' Ueber das OpemDichten
und Komponiren im Besonderen'; 'Ueber die
Anwendung der Musik auf das Drama,' 1879.
— A more elaborate work, a sort of comment
upon the ethical and religious doctrine of Par-
sifal, 'Religion und Kunst,' with its sequel,
•Was niitzt diese Erkenntniss ? ' 'Erkenne dich
selbst,' and ' Heldenthum und Chris tenthum*
(1880-81), he did not live to finish — a fragment
only of the concluding part was written in 1883.
It is given under the heading 'Ueber das
Weibliche im Menschlichen,' in a posthumous
publication, ' Entwnrfe, Gedanken, Fragmente,
aus nachgelassene Papieren zusaramengestellt '
(Leipzig, Sept. 1885), pp. 125-129.
Wagner began the music to Parsifal in his sixty-
fifth year. The sketch of the first act was com-
pleted early in the spring of 1878, and the
greater part of the second act by the middle
of June (completed on Oct. 11); the third act
was begun after Christmas, and completed
* For Interesting particulars concerning It see H. Forge's • Ueber die
AuffOhrung der neunten Symphonie unter B. Wacner in Bayreuth.'
WAGNER.
WAGNER.
865
April 1879. Towards the end of the year his
old enemy erysipelas re-appeared in a severe
form, and he sought relief in Southern Italy.
The instrumentation to ' Parsifal ' was continued
(the Vorspiel had already been performed pri-
vately, by the Meiningen orchestra under Wag-
ner, at Bayreuth, Christmas, 1878), and was
finished during the next winter's sojourn in the
south, at Palermo, Jan. 13, 1882.
In July and August, 1882 — six years after
Der Ring des Nibelungen — 16 performances of
•Parsifal,' everything under Wagner's super-
vision, were given ; the artists alternating —
Parsifal, Winkelmann, Gudehus, Jager; Kun-
dry, Frau Materna, Frl. Brandt, Frl. Malten;
Gumemanz, Scaria, Siehr; Amfortas, Reich-
man, Fuchs; Klingsor, Hill, Degele, Plank.
Conductors, H. Levi and Franz Fischer. The
work was repeated in 1883 and 1884, and is an-
nounced to be given again in the summer of 1 886.
During the residence at Venice (Palazzo Ven-
dramini on the Grand Canal) in the autumn and
winter of 1882-83, the state of Wagner's health
was not satisfactory, though no unusual symptoms
appeared. He wrote for the Bayreuther Blatter ;
and was strong enough to rehearse and conduct
a private performance of his Symphony in C
(mentioned above, p. 348) at the Liceo Marcello
on Christmas Eve. — Late in the afternoon of
Feb. 13, 1883, the great heart suddenly ceased
to beat. — On Feb. 18 the body was laid in the
little ivy-covered vault he had built long ago at
Bayreuth in a retired spot of the garden at the
rear of his house ' Wahnfried.'
Apart from a host of letters, and the ' Lebens-
erinnerungen,' an autobiography covering fully
two-thirds of his life, there are no MS. literary
remains of importance. Reports of his having
read or recited scenes from the poem to a Buddh-
istic drama *Die Sieger,* or 'Die Biisser,' in-
tended to follow Parsifal, rest upon vague hearsay.
The fact is simply that in 1856-57 he came
across a story in Burnouf 's * Introduction k I'his-
toire du Buddhisme ' which interested him, and
that he took note of the leading incidents with
a view to dramatic treatment; but the plan was
never matured, and what little of it had taken
shape in his mind was incorporated in Parsifal.
For a short sketch of * Die Sieger,' dated
' Zurich, 16 Mai, 1856,' see * Richard Wagner —
Entwurfe, Gedanken, Fragmente ' (Leipzig 1885),
pp. 97, 98. Cancelled articles, and unpublished
musical works of early date will be found enum-
erated in the chronological lists, p. 373 a.
Wagner disliked sitting for his portrait, so
that of the numerous likenesses current, few
are at first hand. Two excellent paintings exist :
one, by Prof. Lenbach (with the old German
cap), is now at Bayreuth ; the other, by Mr.
Hubert Herkomer (1877), is at the German
Athenaeum, London (replica at Bayreuth). A
bust (aet. 28) by Kietz, of Dresden (a pupil of
Delaroche's whom Wagner met in Paris in 1840-
41), is also of interest (at Bayreuth); the
portrait sketch for it was reproduced in the
*Zeitung fur die elegante Welt/ 1842, where it
accompanied the * Autobiographisclie Skizze,*
(See ante, p. 353.) The best photographs are ( i ) a
large half-length published in the revised edition
of the 'Clavierauszug' of Tannhauser (Berlin,
Fiirstner) ; (2) full-length profile (rare), set. 52.
seated at a table reading, a dog at his feet
(Munich, Hanfstangl); (3) carte and cabinet
sizes (set. 64), (Elliot & Fry, London, 1877).
Like Beethoven, Wagner was slightly under
middle height, well built, quick in movement,
speech, and gesture. His carriage was usually
erect, his aspect commanding, and he made the
impression of being somewhat taller than he
actually was. After the political disturbances
of 1849, when he was 'wanted' by the Saxon
police, the following * Signalement ' was issued.
' Wagner is 37 to 38 years old, of middle height,
has brown hair, wears glasses ; open forehead ;
eyebrows brown ; eyes grey-blue ; nose and mouth
well proportioned ; chin round. Particulars : in
moving and speaking he is hasty. Clothing :
surtout of dark green buckskin, trousers of black
cloth, velvet waistcoat, silk neckerchief, the usual
felt hat and boots.' Like Beethoven, too,he at once
made the impression of an original and powerful
individuality. The fascination of his talk and
his ways increased on acquaintance. When
roused to speak of something that interested hira
he looked what he meant, and his rich voice
gave a musical efiect to his words. His presence
in any circle apparently dwarfed the surroundings.
His instinctive irrepressible energy, self-assertion,
and incessant productivity went hand in hand
with simple kindness, sympathy, and extreme
sensitiveness. Children liked to be near him.
He had no pronounced manners, in the sense
of anything that can be taught or acquired
by imitation. Always unconventional, his de-
meanour showed great refinement. His habits
in private life are best described as those
of a gentleman. He liked domestic comforts,
had an artist's fondness for rich colour, har-
monious decoration, out-of-the-way furniture,
well-bound books and music, etc. The good
things of this world distinctly attracted him, but
nothing could be further from the truth than
the reports about his ways and tastes current
in German newspapers. The noble and kindly
man as his friends knew him, and the aggressive
critic and reformer addressing the public, were
as two distinct individuals. Towards the pub-
lic and the world of actors, singers, musicians,
his habitual attitude was one of defiance. He
appeared on the point of losing his temper,
showed impatience and irritation, and seemed
to delight in tearing men and things to pieces.
His violence often stood in the way of his being
heard ; indeed he has not yet been heard pro-
perly, either on questions of art so near and
dear to him, or on questions further off regard-
ing things political, social, or religious. It
has been said with much truth that wherever
Wagner was brought to a stand a social problem
lies buried ; hitherto, however, it is only his vehe-
ment protestations that have attracted attention,
whilst most of the problems, social or religious,
366
WAGNER.
remain unsolved. Regarding the state of music
and the theatre in Germany, those who have
access to the facts can account for a large
part of his excitement and irritation. One
has but to remember that from hm eighteenth
year onwards his life was mixed up with tliat
most equivocal institution the German Opem-
theater. As a professional conductor, and subse-
quently as the recipient of tantiemes (percentage
on the receipts) — for a long time his sole source of
income — he could not afford to break the con-
nection. Here the idealist, the passionate poet,
there the opera and the operetta. How could the
most disastrous misunderstandings fail to arise ?
The composer of * Tristan' confronted by the
Intendant of some Ho/theater, fresh from a per-
formance of Herr v. Flotow's * Martha ' ! A
comic picture, but unfortunately a typical one,
implying untold suffering on Wagner's part.
Moreover he, the most irritable of men, im-
patient and fretting in his false position, was for
years the object of personal attacks in the press,
the * best abused ' man in Europe, the object of
wilful misrepresentation and calumny — *it was
like having to walk against the wind with
sand and grit and foul odours blowing in one's
face.' ^
All his life long Wagner was a great reader.
•Whatever is worth reading is worth re-reading,'
he said. Thus, though never a systematic stu-
dent, or even a good linguist (which as regards
Greek he greatly regretted),'* he nevertheless
became thoroughly familiar with all he cared for,
and his range was a very wide one. He retained
whatever touched him sympathetically, and
could depend upon his memory. The classics
he habitually read in translations. With Shake-
speare (in German of course) he was as familiar
as with Beethoven. To hear him read an act or
a scene was a delight never to be forgotten. The
eflfect, to use his own words about Shakespeare,
was that of 'an improvisation of the highest
poetical value.' When in particularly good spirits,
he would take up a comic scene and render it
with the exuberant merriment of a child. A list
of the principal books in the extensive and very
choice library at Bayreuth would give a fair
idea of his literary tastes, for he kept nothing
by him that was not in some way connected with
his intellectual existence. The handiest shelves
held Sanscrit, Greek, and Roman classics; Italian
writers, from Dante to Leopardi; Spanish, Eng-
lish, French dramatists ; philosophers from Plato
to Kant and Schopenhauer. A remarkably com-
plete collection of French and German mediieval
poems and stories, Norse Sagas, etc., together
with the labours of German and French philo-
logists in those departments, occupied a con-
spicuous position; history and fiction old and
new were well represented; translations of
Scott, Carlyle, etc., etc.
In a Dictionary of Music it would be out of
place to speak of Wagner's power as a poet or as
I Consult Herr Tappert'i 'Kin Warner Lexlkon-WOrterbuch der
CnhOflichkeit.' etc. (Leipzig 1877} for an astonishliis record of tbe
lengtli such things can go to in Germany.
« Se« Brief an Fr. Nietzsche, Ges. 8chrifteD,vol. 9,
WAGNER.
a writer on matters foreign to music. All that
can be done is to point out the leading features
of his practice and theory as a musical dramatist.
We may begin with his theoretical productions,
premising merely that in his case, as in that of
other men who have had new things to say, and
found new ways of saying them. Practice goes
before Theory ; artistic instincts lead the way,
and criticism acts in support and defence.
II. Broadly stated, "Wagner's aim is Reform of
the Opera from the standpoint of Beethoveri smusic.
Can the modern spirit produce a theatre that
shall stand in relation to modem culture as the
theatre of Athens stood to the culture of Greece?
This is the central question, the multifaced
problem he set himself to solve. — Whether he
touches upon minor points connected with it ;
speaks of the mode of performance of a play or
an opera; proposes measures of reform in the
organisation of existing theatres ; discusses the
growth of operatic music up to Mozart and
Weber, or of instrumental music up to Bee-
thoven; treats of the efforts of Schiller and
Goethe to discover an ideal form for their dra-
matic poems : whether he sweeps round the
problem in wide circles, comparing modem,
social, and religious institutions with ancient,
and seeking free breathing space for his artistic
ideals, he arrives at results tending in the same
direction — his final answer is in the affirmative.
Starting from the vantage of symphonic music,
he asserts that we may hope to rise to the level
of Greek tragedy : our theatre can be made to
embody our ideal of life. From the Opera at its
best a Drama can be evolved that shall express
the vast issues and complex relations of modem
life and thought, as the Greek stage expressed the
life and thought of Greece.
The theatre is the centre of popular culture.
For good or for evil it exerts the chief influence —
from it the arts, as far as they affect the people,
take their cue. Pi-actically its power is unlimited.
But who wields this power ? for what ends, and
for whom is it wielded! Wagner's experience
in Germany and in Paris furnished an answer.
He had found corruption in every direction. In
front of the scenes, the stolid Gennan Philistine,
or the bored Parisian roui clamouring for novelty,
athirst for excitement ; behind the scenes, con-
fusion and anarchy, sham enthusiasm, labour
without aim or faith — the pretence, art; the
true end, money. Looking from the German
stage to the German public, from the public to
the nation, the case appeared hopeless, unless
some violent change should upset the social
fabric. — A hasty, and as it proved, mistaken
diagnosis of the political situation in Germany
in 1849 led Wagner to become a revolutionnaire
for art's sake. Leaving the politics of the day
to take care of themselves, he endeavoured to set
forth his artistic ideals. In * Die Kunst und die
Revolution' (Art and Revolution) he points to
the theatre of .^chylus and Sophocles, searches
for the causes of its decline, and finds them
identical with the causes that led to the decline
WAGNER.
of the ancient state itself. An attempt is then
made to discover the principles of a new social
organisation that might bring about a condition
of things in which proper relations between art
and public life might be expected to revive.
This pamphlet was followed by an elaborate
treatise, *Da8 Kunstwerk der Zukunft' (The
Artwork of the Future), which occupied him for
several months. The first edition (1850) begins
with a dedicatory letter to Ludwig Feuerbach
(since cancelled), in which the author returns
enthusiastic thanks for the instruction afforded
by that philosopher's works.^ Unfortunately
Wagner was tempted to adopt Feuerbach's
terminology, and to use it in a sense of his own.
The result is bewildering, and the book, though
rich in matter, warm in style, and well worth
reading, is in every respect, difficult. The main
argument, as far as art is concerned, might be
sketched as follows : — Poetry, niimetics, and
music were united in the drama of the Greeks ;
the drama disappeared with the downfall of the
Athenian State ; the union of the arts was dis-
solved, each had an existence of its own, and at
times sank to the level of a mere pastime. At-
tempts made during the renaissance, and since,
to reunite the arts, were more or less abortive,
though the technique and the width of range of
most of the arts increased. In our day each
'separate branch of art' has reached its limits of
growth, and caimot overstep them without in-
curring the risk of becoming incomprehensible,
fantastic, absurd. At this point each art demands
to be joined to a sister art — poetry to music,
mimetics to both ; each will be ready to forego
egotistical pretensions for the sake of an ' artistic
whole,' and the musical drama may become for
future generations what the drama of Greece
was to the Greeks.
Wagner's next work, * Opera and Drama ' (his
principal critical and theoretical production)
contains little of the revolutionary and pseudo-
philosophical ferment. It was originally issued
in three parts : i. containing a quasi-historical
criticism of the opera ; 2. a survey of the spoken
drama; 3. an attempt to unite the results ob-
tained, and to construct the theory of the
musical drama. To us who have witnessed the
Nibelungen and Tristan, the entire book is easy
reading; even the third and concluding part is
leadily intelligible and of very great interest. A
generation ago, however, the case was different ;
especially with regard to the third, and in the
author's eyes the most important part, which con-
sists, in the main, of abstract statements about
the new departure in art, the relation of verse
to music, the function of the orchestra, etc.—
Wagner could not illustrate and support his
assertions by concrete examples; he thus laid
himself open to misunderstanding, and was misun-
derstood indeed ! Part the Second abounds in
acute observations on the elements of the drama-
tist's art, with copious references to Shakespeare,
> Wagner came across a copy of Feuerbach's ' Das Wesen der
Aellgion'ln the writer's library: 'Solch confuses ZeuR liesst sich
liicht in jttngreren Jahren— i.st an-und-auf-regend— ich habe lang
daran gezehrt ; Jetzt (1877) wfir mirs aber unverdaulich.'
WAGNER.
367
Schiller, and Goethe. It seems to have attracted
the attention of students of literature here and
there, but on the whole it fell flat. The First part,
however, caused a disturbance in the musical
world such as had not occurred since the paper
war between the Gluckists and Piccinists. It
is sufficiently evident now that it was not the
propositions seriously put forward, nor the bril-
liant literary powers displayed, that attracted
attention. People were, or pretended to be, scan-
dalised by the references to living composers, the
biting satire, the fierce attack on Meyerbeer,
etc. But Wagner's name was henceforth in every-
body's mouth.
The course of musical history has already in so
large a measure confirmed and endorsed Wagner's
opinions regarding the opera, that a short resume
will answer the present purpose. The thesis of
* Oper und Drama ' is as follows : — In the opera
the means of expression (miisic) have been taken
for the sole aim and end, — while the true aim
(the drama) has been neglected for the sake of
particular musical forms. — The dramatic cantata
of Italy is the root of the opera. The scenic
arrangements and the action formed the pretext
for the singing of arias, i.e. people's songs artisti-
cally arranged. The composer's task consisted
in writing arias of the accepted type to suit his
subject or to suit this or that vocalist. When
the ballet was added to the conglomerate of airs,
it was the composer's business to reproduce the
popular dance-forms. The airs were strung toge-
ther by means of recitatives, mostly conventional.
The ballet tunes were simply placed side by side.
Gluck's reform in the main consisted in his ener-
getic efforts to place his music in more direct
rapport with the action. He modified the melody
in accordance with the inflections and accents
of the language employed. He put a stop to
the exhibition of mere vocal dexterity, and forced
his singers to become the spokesmen of his dra-
matic intentions. But as regards the form of
his musical pieces (and this is the cardinal point)
he left the opera as he found it. The entire work
remains a congeries of recitatives, arias, cho-
ruses, dance-tunes, just as before. Gluck's libret-
tists furnished words for airs, etc., in which the
action w as not lost sight of ; but it was considered
to be of secondary importance. Gluck's great
successors, M^hul, Cherubini, Spontini, cultivated
the dramatic musical ensemble, and thus got rid
of the incessant monologue which the arias of the
elder opera had necessitated. This was an im-
portant step forward, and in essential matters the
development of the opera is therewith at an end.
For, although Mozart produced richer and more
beautiful music than Gluck, there can be no
doubt that the factors of Mozart's opera are
essentially those of Gluck's. Subsequently, in
the hands of Weber and Spohr, Rossini, Bellini,
Auber, Meyerbeer, etc., the history of the opera
is the history of the transformation of * operatic
melody.*
Subject and form in the spoken drama are
investigated in the Second Part. With regard
to subject Wagner traces two distinct factors;
868
WAGNER.
first the mediaeval romance and its offspring the
modern novel; secondly the Greek drama, or
rather the formal essence thereof as given by
Aristotle in his Poetics. He points to the plays
of Shakespeare as being for the most part dra-
matised stories, and to those of Racine as con-
structed on the lines of Aristotle. In the course
of the argument, the works of Schiller and Goethe
are examined, and the conclusion is arrived at
that historical subjects present special difficulties
to the dramatist. 'The modern stage appeals
to our sensuous perceptions rather than to the
imagination.' Thus, Schiller was overburdened
with the mass of historical facts in his Wallen-
stein ; whereas * Shakespeare, appealing to the
spectator's imagination, would have represented
the entire thirty years war in the time occupied
by Schiller's trilogy.' An interesting parallel is
drawn between the rhetorical art of Racine and
Gluck's opera. Racine puts forward the motives
for action, and the effects of it, without the
action proper. * Gluck's instincts prompted him
to translate Racine's tirade into the aria.* In
view of the difficulties experienced by Goethe
and Schiller in their efforts to fuse historical
matter and poetic form, Wagner asserts that
mythical subjects are best for an ideal drama,
and that music is the ideal language in which
such subjects are best presented. In the Third
part he shows that it is only the wonderfully
rich development of music in our time, totally
unknown to earlier centuries, which could have
brought about the possibility of a musical drama
such as he has in view. The conclusions arrived
at in *Oper und Drama' are again discussed in
his lecture ' On the destiny of the Opera,' where
particular stress is laid on the fact that music
is the informing element of the new drama.
Further statements regarding the main heads of
the argument of the concluding part of *Oper und
Drama,' and of the lecture ' Ueber die Bestim-
mung der Oper,' will be found incorporated later
on in this article, where details as to Wagner's
method and practice as playwright and musician
are given.
Nineteen years after his * Oper und Drama '
Wagner published 'Beethoven' (1870). This
work contains his contributions towards the
metaphysics of music, if indeed such can be said
to exist. It is based on Schopenhauer's view
of music ; * which that philosopher candidly
admitted to be incapable of proof, though it
satisfied him. Wagner accepts it and supple-
ments it with quotations from Schopenhauer's
* Essay on Visions and matters connected there-
with,' ^ which contains equally problematic
matter. Apart, however, from metaphysics, the
work is an ' exposition of the author's thoughts
on the significance of Beethoven's music' It
should be read attentively.
One of the finest of his minor publications,
and to a professional musician perhaps the most
instructive, is ' Ueber das Dingiren ' (On Con-
1 'Die Welt ala Wille und Vorstellung' (1818), vol. I. i 62. Ibid,
vol. li. chap. 39.
2 'Parerga und Parallpomena,' Berlin 1861. (See the appendix
to the English translation of ' Beethoven.';
WAGNER.
ducting), a treatise on style ; giving his views as
to the true way of rendering classical music,
with minute directions how to do it and how not
to do it, together with many examples in musical
type from the instrumental works of Beethoven,
Weber, Mozart, etc.*
• Zum Vortrag der Qten Symphonie,' is of great
interest to students of instrumentation.
The general reader will be interested in Wag-
ner's smaller essays and articles: 'Zukunftsmusik,'
'Ueber die Bestimmung der Oper,' 'Ueber das
Dichten und Komponiren,' ' Ueber das Opem-
Dichten und Komponiren im Besonderen,' — and
especially in his graphic * Erinnerungen,' recollec-
tions of contemporaries, Spohr, Spontini, Rossini,
Auber. Three of the latter are excerpts from
his ♦ Lebenserinnerungen ' — apparently impro-
visations, showing the master-hand in every
touch, valuable for their width of range and
exquisite fidelity. Intending readers had better
begin with these and ' Ueber das Dirigiren.'
III. Regarding Wagner's weight and value
as a musician it is enough to state that his
technical powers, in every direction in which a
dramatic composer can have occasion to show
them, were phenomenal. He does not make use
of Bach's forms, nor of Beethoven's ; but this has
little if anything to do with the matter. Surely
Bach would salute the composer of 'Die Meister-
singer' as a contrapuntist, and the poet-composer
of the * Eroica ' and the ' Pastorale ' would greet
the author of ' Siegfried ' and of * Siegfrieds Tod.*
Wagner is best compared with Beethoven. Take
Schumann's saying, ' you must produce bold, ori-
ginal and beautiful melodies,' as a starting-point,
and supplement it with ' you must also produce
bold and beautiful harmonies, modulations, con-
trapuntal combinations, effects of instrumenta-
tion.' Let excerpts be made under these heads
from Beethoven's mature works, and a similar
number of examples be culled from • Die Meister-
singer,' 'Tristan,' and the 'Nibelungen' — could
it be (ioubtful that the aspect of such lists would
be that of a series of equivalents? and as for
originality, who can study the score of * Tristan '
and find it other than original from the first bar
to the last?
Wagner's musical predilections may, perhaps,
be best shown by a reference to the works that
were his constant companions, and by a record
of a few of his private sayings. Everyday
friends, household words with him, were Bee-
thoven's Quartets, Sonatas, and Symphonies;
Bach's • Wohltemperirtes Clavier'; Mozart's
' Zauberflote,' 'Entfuhrung,' ' Figaro,' and 'Don
Juan'; Weber's 'Freyschiitz,' and 'Euryanthe";
and Mozart's Symphonies in Eb, G minor, and C.
He was always ready to point out the beauties of
these works, and inexhaustible in supporting Lis
assertions with quotations from them.
^ Give me Beethoven's quartets and sonatas for In-
timate communion, his overtures and symphonies for
public performance. I look for homogeneity of mate-
rials, and equipoise of means and ends. Mozart's
music and Mozart's orchestra are a perfect match:
* See the English translation 'On Conducting.' London. 1886.
WAGNER.
WAGNER.
an equally perfect balance exists between Palestrina'a
choir and Palestrina's counterpoint ; and I find a
similar correspondence between Chopin's piano and
some of his Etudes and Preludes.— I do not care for
the ' Ladies'-Chopin,' there is too much of the Parisian
salon in that ; but he has given us many things which
are above the salon.
Schumann's peculiar treatment of the pianoforte
grates on my ear : there is too much blur ; you cannot
produce his pieces unless it be mit obligatem pedal.
wiat a relief to hear a sonata of Beethoven's !— In
early days I thought more would come of Schumann.
His Zeitschrift was brilliant, and his pianoforte works
showed great originality. There was much ferment,
but also much real power, and many bits are quite
unique and perfect. I think highly, too, of many of his
songs, though they are not as great as Schubert's. He
took pains with his declamation — no small merit a
generation ago. Later on I saw a good deal of him at
Dresden; but then already his head was tired, his
powers on the wane. He consulted me about the text
to 'Genoveva,* which he was arranging from Tieck's
and Hebbel's plays, yet he would not take my advice
—he seemed to fear some trick.
Mendelssohn's overture, *The Hebrides,' was
a prime favourite of Wagner's, and he often asked
for it at the piano.*
Mendelssohn was a landscape-painter of the first
order, and the ' Hebriden ' Overture is his masterpiece.
Wonderful imagination and delicate feeling are here
presented with consummate art. Note the extraordi-
nary beauty of the passage where the oboes rise above
the other instruments with a plaintive wail like sea-
winds over the seas. ' Meeresstille und gltlckliche
Pahrt ' also is beautiful ; and I am very fond of the
first moyement of the Scotch Symphony. No one can
blame a composer for using national melodies when he
treats them so artistically as Mendelssohn has done in
the Scherzo of this Symphony. His second themes, his
alow movements genertdly, where the human element
comes in, are weaker. As regards the overture to ' A
Midsummer Night's Dream,' it must be taken into ac-
count that he wrote it at seventeen ; and how finished
the form is already ! etc.
Schubert has produced model songs, but that is no
reason for us to accept his pianoforte sonatas or his
ensemble pieces as really solid work, no more than we
need accept Weber's songs, his Pianoforte Quartet, or
the Trio with a flute, because of his wonderful operas.
Schumann's enthusiasm for Schubert's trios and the like
was a mystery to Mendelssohn. I remember Mendels-
sohn speaking to me of the note of Viennese bonhommie
(bUrgerliche Behabigkeit) which runs through those
things of Schubert's. Curiously enough Liszt still
likes to play Schubert. I cannot account for it; that
Divertissement k la Hongroise verges on triviality, no
matter how it is played.
I am not a learned musician ; I never had occasion to
pursue antiquarian researches ; and periods of transition
did not interest me much. I went straight from Pales-
trina to Bach, from Bach to Gluck and Mozart — or, if
you choose, along the same path backwards. It suited
me personally to rest content with the acquaintance of
the principal men, the heroes and their main works. —
For aught I know this may have had its drawbacks ;
any way, my mind has never been stuffed with 'music
in general.' Being no learned person I have not been
able to write to order. Unless the subject absorbs me
completely I cannot produce twenty bars worth listen-
ing to.
The latter part of this was said after a
performance of the 'Centennial, Philadelphia,
march' at the Albert Hall (1877), and that march
was the case in point.
In instrumental music I am a R4actionnaire, a con-
servative. I dislike everything that requires a verbal
explanation beyond the actual sounds. For instance,
the middle of Berlioz's touching sc^ne d'amour in his
* Eomeo and Juliet ' is meant by him to reproduce in
musical phrases the lines about the lark and the
nightingale in Shakspeare's balcony-scene, but it
does nothing of the sort — it is not intelligible as
1 Herr t. Wolzogen (Erlnnerungen an Richard Wagner) glrei a
Mpital r^sum^ of bis layings on such occasions.
VOL. IV. PT. 3.
music. Berlioz added to, altered, and spoilt his work.
This so-called Symphonie dramatique of Berlioz's as it
now stands is neither fish nor flesh- strictly speaking
it is no symphony at all. There is no unity of matter, no
unity of style. The choral recitatives, the songs and other
vocal pieces have little to do with the instrumental move-
ments. The operatic finale, P^re Laurent especially, is
a failure. Yet there are beautiful things right and left.
The convoi funibre is very touching, and a masterly
piece. So, by the way, is the offertoire of the Eequiem.
The opening theme of the sc^ne d'amour is heavenly ;
the garden scene and fete at the Capulets' enormously
clever: indeed BeiUoz was diabolically clever (verflucht
pfiffig). I made a minute study of his instrumentation
as early as 1840, at Paris, and have often taken up his
scores since. I profited greatly, both as regards what
to do and what to leave undone.
'Whenever a composer of instrumental music
loses touch of tonality he is lost.* To illustrate
this (Bayreuther Blatter, 1879),^ Wagner quotes
a dozen bars from Lohengrin, Scene 2, bars 9 to
12, and then eight bars, *mit zuchtigem Gebah-
ren' to 'Er soil mein Streiter sein,' as an
example of very far-fetched modulation, which
in conjunction with the dramatic situation is
readily intelligible, whereas in a work of pure
instrumental music it might appear as a blemish.
When occasion offered I could venture to depict
strange, and even terrible things in music, because the
action rendered such things comprehensible : but music
apart from the drama cannot risk this, for fear of becom-
ing grotesque. I am afraid my scores will be of little
use to composers of instrumental music ; they cannot
bear condensation, still less dilution ; they are likely to
prove misleading, and had better be ] eft alone. I would
say to young people, who wish to write for the stage.
Do not, as long as you are young, attempt dramas —
write ' Singspiele.' ^
It has already been said that Wagner looks
at the drama from the standpoint of Beethoven's
music. Bearing this in mind it is easy to see
where and how he would apply his lever to lift
and upset the opera, and what liis ideal of a
musical drama would be. In early days the
choice of subject troubled him much. Eventually
he decided that mythical and legendary matter
was better for music than historical ; because the
emotional elements of a mythical story are
always of a simple nature and can be readily
detached from any side issue ; and because it is
only the heart of a gtory, its emotional essence,
that is suggestive to a musician. The mythical
subject chosen (say the story of Volsungs and Nib-
lungs, or Tristan and Isolde), the first and hardest
thing to do is to condense the story, disentangle
its threads and weave them up anew. None but
those who are familiar with the sources of Wag-
ner's dramas can have any idea of the amount of
work and wisdom that goes to the fusing and
welding of the materials. When this formidable
preliminary task is finished, the dramatis personge
stand forth clearly, and the playwright's task
begins. In planning acts and scenes, Wagner
never for a moment loses sight of the stage ; the
actual performance is always present to his mind.
No walking gentlemen shall explain matters in
general, nothing shall be done in the background,
and subsequently accounted for across the foot-
lights. Whatever happens during the progress
of the play shall be intelligible then and there.
a Ges. Schriften, vol. x. p. 248.
> [See SINQSPIEL iii, 616.]
Bb
870
WAGNER.
The dialogue in each scene shall exhibit the
inner motives of the characters. Scene by scene
the progress of the story shall be shown to be
the result of these motives ; and a decisive event,
a turning-point in the story, shall mark the close
of each act. — The play being sketched, the leading
motives of the dialogue fixed, Wagner turns to
the verse. Here the full extent of the divergence
of his drama from the paths of the opera becomes
apparent. He takes no account of musical
forms as the opera has them — ^recitative, aria,
duet, ensemble, etc. If only the verse be emo-
tional and strongly rhythmical, music can be
trusted to absorb and glorify it. With Wagner
as with -^schylus the verse is conceived and
executed in the orgiastic spirit of musical sound.
There is no need of, indeed there is no room for,
subtleties of diction, intricate correspondence of
rhyme and metre ; music can supply all that,
and much more. Whilst working on The Ring
he found that alliterative verse as it exists in
the poems of the elder Edda, in Beowulf, etc.,
was best suited to his subject, and that such verse
could be written in German without offering
violence to the language. In Tristan and
Parsifal he makes use of a combination of
alliteration, assonance, and rhyme. Firm and
concise, abounding in strong accents, the lines
seem to demand music ; indeed musical emphasis
and prolongation of sound render them more
readily intelligible and more impressive.
The poem finished, Wagner begins the music,
or rather begins to write the music, for it is
obvious that whereas in his case playwright and
musician are one, the musical conception will
go hand in hand with the poetic, will perhaps
even precede it. Together with the first concep-
tion of the characters and situations at a very
early stage in the growth of the work, certain
musical phrases suggest themselves. These
phrases, themes, *Leitmotive,'^are the musician's
equivalents for the dominant emotions or charac-
teristics of the dramatis personae. Together with
other musical germs of kindred origin they are
the subjects — in a technical sense the themes —
which the dramatic symphonist manipulates,
using the full resources of Beethoven's orchestra,
and adding thereto whatever the dramatic action
may suggest. The pictures and actions on the
stage are as visions induced by the symphonic
music. The orchestra prepares for and floats
the action, enforces details, recalls bygones, is,
as it were, the artistic conscience of the whole
performance.
Wagner's treatment of the voice, his vocal
melody, has undergone many a change. First he
tried to find melodies effective from a vocalist's
» [See the article Leit-motip, vol. 11. p. IIB.] The term Is Herr v.
Wolzogen's, not Wagner's, and should be used cautiously. At Bay-
reuth, in the summer of 1877,after warmly praising Herr y. Wolzogen's
'Thematische Leitfflden ' for the Interesting Information they
afford, and for the patience displayed in the attempts at thematic
analysis, Wagner added : ' To a musician this naming and tracing of
themes Is not particularly significant. If dilettanti are thus induced
to study a pianoforte arrangement a little more attentively, I can
have no objection, but that does not concern us musicians (fttr uns
Musiker ist das aber nichts). It may be worth while to look at the
complex combinations of themes in some of my scores, to see how
music can be applied to the drama .—this, howeyer. Is a matter
for private study.'
WAGNER.
point of view ; then, in the Hollander, and more
consciously in Tannhauser the melodic ebb and
flow is regulated by the action ; in Lohengrin
the emotions expressed, as much as any pecu-
liarity of melody, attract attention, whilst
characteristic harmony and instrumentation en-
force the melodic outlines. In the later works
the vocal melody often springs direct from the
words ; it is frequently independent of the or-
chestra, in some cases indeed it is but an inten-
sified version of the actual soimds of the German
language.
From the blatant and at times almost vulgar
style of Rienzi there is a steady and truly as-
tonishing increase in power and concentration,
subtlety and delicacy. The Nibelungen, Tris-
tan, and subsequent works abound in harmonic,
melodic, and rhythmical combinations of great
beauty and striking originality. The innovations
in harmony and melody peculiar to Wagner are
mainly due to the free use of chromatics. Besides
bold chromatic and enharmonic progressions,
he constantly employs chromatic anticipatory,
changing, and passing notes, which have a
melodic significance only. For purposes of an-
alysis such chromatic notes should be eliminated
— the harmonic framework will then stand forth
clearly, and prove perfectly consistent. To
take a couple of examples already quoted : the
opening bars of the prelude to 'Tristan' — ^given
under Leit-motif, vol. ii. p. 117 — if the GS in
bar 2 and the Aj( in bar 3 be eliminated from
the treble part, the progression appears thus:
a
- b
d«
- da
B
- g«
f
- E.
In the two bars from Act ii. of ' Tristan * — given
under Harmony, vol.i. p. 684 — the two chromatic
notes of the upper parts are sustained as suspen-
sions into the next chord, etc. ; similar examples
might be cited by the dozen. In the article
Haemony attention is drawn to the compli-
cated use of suspensions and passing notes * which
follow from the principles of Bach in polyphony
as applied to Harmony'; and the opening bars of
the Vorspiel to the Meistersinger are there
cited as an example of the manner in which
suspensions are taken *in any form or posi-
tion which can in the first place be possibly
prepared by passing notes, or in the second place
be possibly resolved even by causing a fresh
discord, so long as ultimate resolution into con-
cord is feasible in an intelligible manner.* [See vol.
i. p. 682-83.] — ^The greater part of Wagner's chro-
matic or enharmonic progressions will be found to
be based upon correct diatonic progressions in
minor or major. Exceptionally, the chromatic
progression of parts upwards or downwards, or in
contrary motion (Tristan, PF. arrt. p. 25, lines i, 2,
etc.), forms a sufficient link between apparently
contradictory chords. The exigencies and sugges-
tions of the dramatic action fully account for
sudden and far-fetched modulations, enharmonic
changes, rhytlunical elisions (as when a beat or a
WAGNER.
chord is dropped, the phrase being intelligible
though not logically complete, Tristan, p. 150, bar
3 to 4 c^ seq^, interrupted cadences/ expansion
or condensation of time (Tristan, PF. arrt., pp.
210-12, and 226-28), sequences of chromatically
altered chords and other peculiarities (Siegfried,
PF. arrt. p. 65 et seq.). In pure instrumental
music such eccentric and apparently extravagant
things would not have sufficient raiaon cCHre ; but
in their right place they require no apology, nor
do they present special difficulties from the point
of view of musical grammar. Indeed Wagner as
he advanced grew more and more careful with
regard to diction, and it is not too much to say
that among the hundreds of unusual and com-
plex combinations in Tristan, Siegfried, Got-
terdammerung and Parsifal, it would be difficult
to point to a single crude one.
Wagner is a supreme master of instrumenta-
tion, of orchestral colour. His orchestra differs
from Beethoven's in the quality of tone emitted ;
over and above effects of richness obtained
by the more elaborate treatment of the inner
part of the string quartet, the frequent sub-
division of violins, violas, violoncellos, the use
of chromatics in horn and trumpet parts, etc.,
there is a peculiar charm in the very sound of
Wagner's wood-winds and brass. It is fuller
than Beethoven's, yet singularly pure. And the
reason for this is not far to seek. Wagner
rarely employs instruments unknown to Bee-
thoven, but he completes each group or family
of wind instruments with a view to getting full
chords from each group. Thus the two clarinets
of Beethoven's orchestra are supplemented by
a third clarinet and a bass-clarinet if need be ;
the two oboes by a third oboe or a como-inglese
(alfco oboe) ; the two bassoons by a third bas-
soon and a contra-fagotto ; the two trumpets by
a third trumpet and a bass trumpet, etc. The
results got by the use of these additional instru-
ments are of greater significance than at first
appears, since each set of instruments can thus
produce complete chords, and can be employed
in full harmony without mixture of timbre unless
the composer so chooses.
To account for the exceptional array of extra
instruments in the scores of the Nibelungen it is
enough to say that they are used as special
means for special ends. Thus at the opening
of the Rheingold the question is what sound
will best prepare for and accord with dim twi-
light and waves of moving water ? The soft
notes of horns might be a musician's answer;
but to produce the full smooth wavelike motion
upon the notes of a single chord, the usual two
or four horns are not sufficient. Wagner takes
eight, and a unique and beautiful effect is
secured. Again, in the next scene, the waves
change to clouds ; fiom misty mountain heights
the gods behold Walhall in the glow of the morn-
ing sun. Here subdued solemn sound is required.
How to get it ? Use brass instruments piano.
But the trumpets, trombones, and tuba of Wag-
I [See the remarks on the quotation from Tristan, ' Mir lacht das
Abenteuer.' under Imtbbbdpteo Cadence, vol. 11. p. 11.]
WAGNER.
371
ner's usual orchestra cannot produce enough of it ;
he therefore supplements them by other instru-
ments of their family; a bass trumpet, two tenor
and two bass tubas, a contrabass trombone, and
contrabass tuba ; then the full band of thirteen
brass instruments is ready for one of the simplest
and noblest effects of sonority in existence. At
the close of Rheingold, Donner with his thunder
hammer clears the air of mist and storm-clouds ;
a rainbow spans the valley of the Rhine, and
over the glistening bridge the gods pass to Wal-
hall. What additional sounds shall accompany
the glimmer and glitter of this scene? The
silvery notes of harps might do it: but the
sounds of a single harp would appear trivial, or
would hardly be audible against the full chant of
the orchestra. Wagner takes six harps, writes
a separate part for each, and the desired effect is
attained.
In the Ring, in Tristan, the Meistersinger, and
Parsifal, the notation of all that pertains to exe-
cution, tempi, gradations of sonority, etc. , has been
carried out in the most complete manner possible.
The composer's care and patience are truly ex-
traordinary. Nothing is left to chance. If the
conductor and the executants strictly follow the
indications given in the scores, a correct perform-
ance cannot fail to ensue. The tempo and the
character of each movement, and every modifica-
tion of tempo or character, are indicated in un-
mistakeable German (for instance, in Rheingold,
p. I, ' Ruhig heitere Bewegung,' which in the
conventional Italian terms would have been
• Allegretto piacevole,' or something equally mis-
leading) ; doubtful changes of time ; cases where
the notation would seem to suggest a change of
tempo, whereas only a change of metre occurs,
while the musical pulsation, the actual beat,
remains the same — are indicated by equivalents
in notes and elucidatory words. Thus in Tristan,
p. 69, where 2-2 changes to 6-8, the latter is
marked J • =£5); that is to say, the dotted crotchets
shall now be taken at the rate of the preceding
minims.^ The number of strings necessary to
balance the wind instruments employed is given
— in the Nibelungen it is 16 first violins, 16
seconds, 1 2 violas, 1 2 cellos, and 8 contra-basses.
When the violins or other strings are divided,
the number of desks that shall take each part
is shown. To secure specially delicate effects the
number of single instruments required out of the
total is indicated, etc., etc.
It remains to add a few words as to the
quality of the average performances of Wagner's
works. Of late years his name has appeared
more frequently on the play-bills in Germany
than that of any other composer. Performances
of his early and even of his later works have
been surprisingly numerous, and, it must be said,
surprisingly faulty. Putting aside shortcomings
with regard to stage management, properties,
machinery, incomplete chorus and orchestra,
insufficient rehearsals, etc. — all of which can be
2 Many a disastrous quid pro quo might be avoided if this simple
method of noting the relation of one tempo to another were adopted,
[See the article Tempo, vol. 111. p. 75.]
Bb 2
37a
WAGNER
set to rights without much real difficulty— a
glaring evil remains, an evil so great that it
seems to threaten the very life of Wagner's
art. Among innumerable performances, not one
in a hundred is free from the most barbarous and
senseless cuts ; in many instances mere shams and
shabby makeshifts are offered to the public I If
an aria be omitted in an opera of Mozart's (take
the first act of *Nozze di Figaro * for an instance),
the audience will lose so many bars of beau-
tiful music, and one of the characters will in so
far appear at a disadvantage. Cut an equivalent
number of bars in the Finale of the same opera,
and the case is already different — the balance
of an entire section appears marred, the action
disturbed, the sequence of musical effects crude.
But in a musical drama constructed on Wag-
ner's lines the damage done by such a cut will
be still greater, because the scenic arrange-
ments, the words, action, music, are inextricably
interwoven ; mutilate any portion of the music
and the continuity is lost, the psychological
thread connecting scene with scene torn asunder,
the equilibrium of the entire structure de-
stroyed. How can the result be other than
a sense of incongruity, vagueness, eccentricity,
and consequent irritation and weariness on
the part of the audience ? All manner of lame
excuses, 'preposterous demands on the public
time,' * strain on the singers' voices,' etc., have
been put forward ; but there is no valid excuse
for imitating and perpetuating the mistakes
of slovenliness and incompetency. It is easy to
discover the origin of any particular cut — the
true cause wiU invariably be found to lie in
the caprice of this or that conductor or singer
at some leading theatre whose example is blindly
followed. Then the text-books are printed with
the cuts, and before long something like an
authoritative tradition comes to be established.
Latterly things have been caiTied so far that
if leading executants from all parts of Europe
were brought together and asked to perform any
one of the master's works in its integrity they
could not do it. They would have to study the
cuts, the orchestra and chorus parts would have
to be filled in, and rehearsals begun afresh.
•If I had a chance,' said Wagner in 1877,
* to get up the Meistersinger with an intelligent
company of young people, I would first ask them
to read and act the play; then only would I
proceed with the music in the usual way. I am
certain we should thus arrive at a satisfactory
performance in a very short time.' The deside-
rata are simple enough. Keep the work apart
from the ordinary repertoire, clear the stage for
at least a week, and during that time let every
one concerned give his attention to the task in
hand and to nothing else ; give the work entire,
and aim at reproducing the score exactly as it
stands. — Individual conductors and singers who
see the existing evils and suffer from them
protest now and then ; but they are powerless,
and Wagner's own appeals to the artistic or
intellectual conscience of the operatic world
appear to have been addressed to an unknown
WAGNER.
quantity. It would seem that there is no hope
unless the pressure of public opinion can be
brought to bear upon all those concerned.
IV. Chbonological Lists.
FOR THE STAGE.
Die Hochzelt : fragment of an opera ; Introduction, chorus, and
septet.i Unpublished ; autograph copy of the score. 36 pages,
dated March 1, 1833, was presented by Wagner to the Muslkverolu
of Wttrzburg.
Die Feen : romantische Oper, in three acts ; 1833. Never performed ;
the overture only was played at Magdeburg 1834. Unpublished ;
original score in possession of the King of Bavaria.
Das Llebesverbot : music composed 1835 and 36. Performed once
only, at Magdeburg. March 29, 1836. Original score in the posses-
sion of the King of Bavaria. A song from the opera, •Carnevals-
lled,' was printed in Lewald's ' Europa.' 1837, p. 240. and pirated
at Braunschweig and Hannover
Elenzl. der letzte der Trlbuuen, grosse traglsche Oper. in 5 act*.
Music begun at Riga In 1838. Acts 1 and 2 finished 1839 at KIga
and MItau ; Acts 3, 4, and 5 at Paris, 1840. First performed at
Dresden. Oct. 20. 1842.
Der fllegende Hollander: romantische Oper, In 3 acts. Musla
written at Meudon, Paris. 1841. First performed at Dresden,
Jan. 2. 1848. ^ „
Tannhauser, und der Sangerkrieg aufWartburg: romantische Oper.
in 3 acts. Poem written at Dresden, 1843 ; score completed,
1844—45. First performed at Dresden, Oct. 19. 1845.
Lohengrin, romantische Oper. in 3 acts. Poem written at Dresden
1845 ; music begun Sept. 9. 1846. Introduction written August
28, 1847 ; instrumentation of the entire work completed during
the ensuing winter and spring. First performed August 28, 1850.
at Weimar.
Das Bheingold. Partl.of 'Der BingdesNlbelungen.' Poem of 'Der
Rhig ' begun at Dresden 1848, executed in reverse order (Sieg-
frieds Tod. Siegfried, Walkttre, Bheingold) ; finished at Zfirich
1851-52. Music to Das Bheingold begun in the autumn of 1853
at Spezzla ; score finished in May 1851. First performed at
Munich Sept. 22. 1869, PF. score published 1861 ; full do. 1873.
Die WalkUre. Part II. of ' Der Eing des Nibelungen,' in 3 acts. Score
finished at Zttrich 1856. First performed. June 26, 1870, at
Munich. PF. score published 1865 ; full do. 1873.
Tristan und Isolde : In 3 acts. Poem written at Zarlch 1857 ; musio
begun 1857. Score of Act 1 «nlshed in the autumn of 1857 at
Zttrich; Act 2, March 1859 at Venice; Act 3. August 1869 at
Lucerne. First performed June 10, 1865. at Munich. PF. and full
score published 1860.
Siegfried. Part III. of 'Der Blng des Nibelungen,* In 8 acts. Music
begun at Zilrlch, before Tristan. Act 1 finished April 1857 ; part
of Act 2, up to the ' Waldweben ' written in 1857 ; Act 2 completed
at Munich June 21. 1865 ; Act 3 completed eariy in 1869. First
performed August 16, 1876, at Bayreuth. PF. score published
1871 ; full do. 1876.
Die Meistersinger von Nttmberg: !n 3 acts. Sketch 1845; poem
begun winter 1861-62 at Paris, printed as MS. 1862 : music begun
1862 ; score finished Oct. 20. 1867. First performed June 21, 1868,
at Munich. PF. score published 1867 ; full do. 1868.
GOtterdSmmerung. Part IV. of 'Der Blng des Nibelungen.' (The
first sketches to Siegfried's Tod date June 1848.) Musio begun
1870 at Lucerne. Sketch of Introduction and Act 1 completed
Jan. 20, 1871. Sketch of full score finished at Bayreuth June 22,
1872. Instrumentation completed Nov. 1874. First performed
August 17, 1876. at Bayreuth. PF. score published 1875 ; full do.
1876.
Parsifal : Eln Btthnenwelhfestsplel, In 3 acts (the first sketches of
Charfreltagszauber, belong to the year 1857. Zttrich). Poem
vn-itten at Bayreuth 1876-77 ; sketch of music begun at Bayreuth
1877 ; completed April 25, 1879. Instrumentation finished Jan. IS,
1882 at Palermo. First performed July 28, 1882, at Bayreuth. PF.
score published 1882; full do. 1884.
OBCHESTBAL AND CHOBAL W0BK8.
Overture Bb (6-8). Unpublished. Performed 1830 at Leipzig. Scor*
apparently lost.
Overture D minor (4-4). Unpublished. Performed Dec. 25, 1831, at
Leipzig. Score at Bayreuth.
Overture in 0. (' Konzert-ouverture— Jiemlich fugirt '). Unpublished.
Written 1831, performed April 30, 1833, at Leipzig, and May 22. 1873
at Bayreuth.
Overture ' Polonla.' 0 major (4-4). Unpublished. Written 1882 at
Leipzig. Score at Bayreuth.
Symphony In 0. Unpublished. Written 1832atLeipzIg. and performed
at Prague, summer. 1832 ; Dec. 1832 at the Euterpe, and Jan. 10.
1833, at the Oewandhaus, Leipzig ; Deo. W, 1882. at Venice.
New Tear's Cantata. Introduction and two choral pieces. Unpub-
lUhed. Performed at Magdeburg on New Year's Eve, 1834-6, and
at Bayreuth. May 22. 1873.
Overture ' Columbus.' Unpublished. Written and twice performed
at Magdeburg 1835 ; repeated at Elga 1838, and at ParU, Feb. 4.
1841 (after the last performance score and piurts disappeared
and have not been heard of since).
1 Not sextet.
WAGNER.
Incidental music— songs— to a ' Zauberposse,' by Gleich, ' Der Berg-
gelst, Oder Die drel Wtosche,' Magdeburg, 1836. (Unpublished,
MS. probably lost.)
Overture ' Eule Britannia.' Unpublished. Written at KOnigsberg,
1836. Score was sent to the London Philharmonic Society in 1840,
(Apparently lost.)
• Eine Faust Ouvertare.' Written in Paris, 1839-40 ; first performed,
July 22, 1844, at Dresden ; rewritten 1855.
Huldigungsmarsch. Written 1864. Published 1869. The original
score, for a military band, remains in MS. The published version
for the usual full orchestra, was begun by Wagner and finished by
Baff.
Siegfried Idyll. Wrlttenl870. Published 1877.
Kaisermarsch, 1871.
Grosser Festsmarsch (Centennial Exhibition, Philadelphia), 1876.
Das Liebesmahl der Apostel. Eine biblische Scene fttr Mfinnerchor
und grosses Orchester. 1843.
Gelegenheits Cantate. For unveiling of bronze statue representing
KingFriedrich August at Dresden, June 7, 1843. Unpublished.
Gruss an den KOnig. 1844. Published, (o) for 4 male voices ; (6) as
a song with PF.
An Weber's Grabo. (a) Trauermarsch for wind instruments on
motives from Euryanthe ; (6) Double quartet for voices, 1844. Score
of 2;, published 1872.
PIANOFORTE PIECES.
Sonata. Bb. Written 1831. Published 1832.
Polonaise, D. Four hands. Written 1831. Published 1832.
FantasieFtt minor. Unpublished. Written 1831.
Album-Sonate, for Frau Mathilde Wesendonclc, in Ab. Written 1853.
Published 1877.
Bin Albumblatt, for Fttrstin Mettemich, In C. Written 1861. Pub-
lished 1871.
Albumblatt, for Frau Betty Schott, in Eb. Written Jan. 1, 1875.
Published 1876.
SONGS.
•Camevalslied' from 'Das Liebesverbot,' 1835-36. Reprinted at
Bnmswick, 1886.
•Dors mon enfant ' ; ' Mlgnonne* ; 'Attente.' Paris 1839— 40. Appeared
as ' Musikbeilagen ' to Lewald's * Europa,' 1841 and 42. Repub-
lished with a German translation 1871.
Les deux Grenadiers. (Heine's ' Die beiden Grenadiere.') Paris,
1839. Dedicated to Heine. Music fits the French Version.
Der Tannenbaum. 1840. Published 1871.
Kraft-Liedchen (1871), a little humorous vote of thanlis to Herr
Kraft of Leipzig. Printed in Mailer v. der Werra's Reichscom-
mersbuch.
Fflnf Gedichte. 1. Der Engel ; 2. Stehe still ; 3. Im Trelbhaus
(Studie zu Tristan und Isolde) ; 4. Schmerzen ; 5. Trttume
(Studie zu Tristan und Isolde). 1862. English by Francis
Hueffer.
ARRANGEMENTS, etc.
Gluck. Iphig^nie en Aulide. ' Nach der Bearbeitung von Richard
Wagner." PF. arrt. by H. von Bulow. (Published l(i59.)
Score of close to overture published 1859.
Mozart. Don Juan— revised dialogue and recitatives— performed at
Zurich, 1860. Unpublished.
Palestrina. Stabat Mater, mit Vortragsberelchnungen elngerichtet.
Score published 1877.
Allegro zu der Arie des Aubrey, in dam Vampyr von Marschner (in
F miu.). Score, 142 bars of additional text and music, instead
of the 68 bars of the original, dated WQrzburg, Sept. 23, 1833, in
the possession of Herr W. Tappert, Berlin.
Beethoven. Ninth Symphony, Clavierauszug. 1830. Unpublished.
Donizetti. La Favorite. PF. score, Paris.
„ Elisir d'amore, PF. score.
Hal6vy. La Reine de Chypre. PF. score, Paris 1841.
„ Le Gulttarero. PP. score. Paris 1841.
ARTICLES, LIBRETTI, ETC., NOT CONTAINED IN THE
COLLECTED WRITINGS, OB CANCELLED.
• Die Deutsche Oper' ; 1884. Laube's Zeitung far die elegante Welt.
Pasticcio von Canto Spianato, Nov. 1834. (Bay. Bl. 1884, pp. 337-342).
•Die glttckliche Barenfamilie ' ; a libretto for a comic opera, after a
story in the Arabian Nights. 1839 (MS.).
Parlser Amusements.
Berlioz. May 6, 1841. (Bay. Bl. 1884. pp. 65^).
BelllnL (Bay. BI. Dec 1885.)
Pariser Fatal it&ten far Deutsche. Signed Y. Freudenfeuer. Appeared
1841 in Lewald's ' Europa.'
' Bianca e Giuseppe,' Oder ' Die Franzosen in Nizza.' Libretto for an
opera after H. 8. KOnig's novel, ' Die hohe Braut.' Sketch sent
to Scribe in 1838. Put into verse fur Capellmeister Reissiger,
at Dresden ; subsequently set to music by J. F. Kittl, and
periormed at Prague 1848.
' Die Sarazener ' ; detailed plan for the libretto to a tragic opera (1841).
' Friedrich Rothbart ' ; sketch for a Drama. MS. 1848.
•Rede gehalten im Vaterlands-Verein zu Dresden, 14 June, 1848.
(Tappert, pp. 33-42.)
♦Theaterreform,' Dresdener Anzolger, 16 Jan. 1849. (Tappert, pp. 44-7.)
• Giafln Egmoiit.' Ballet von Rota. An article in the Oesterreich-
ische Zeitung, signed P. C. (Peter Cornelius), bat partly written
by Wasner.
Grabschrift far Carl Tausig. 1S73.
eichard Wagner: Entwflrfe. Gedanken. Fragment*. Aus den
nachgelassenen Papieren zusammengestellt. 1885.
WAGNER. 373
COLLECTED LITERARY WORKS.
(Ten Volumes. Leipzig 1871-85.)
Vol. I.
Vorwort zur Gesammtherausgabe.
Einleitung.
Autobiographische Skizze (bis 1841).
' Das Liebesverbot.' Bericht aber eine erste OpernauffOhrang (ex-
tracted from Autobiography).
Rienzi, der letzte der Tribunen.
Bill deutscher Musiker, in Paris. Novellen und AuflsXtze (1840 und
1841). 1. Eine Pilgerfahrt zu Beethoven. 2. Ein Snde in Paris.
3. Ein glttcklicher Abend. 4. Ueber deutsches Musikwesen. 5. Der
Virtuos und der Kanstler. 6. Der Kttnstler und die Oeffentlich-
keit. 7. Rossini's * Stabat Mater.'
Ueber die Ouvertare.
Der Freischatz, in Paris (1841). 1. ' Der Freischtitz.' An das Pariser
Publikum. 2. 'LeFreischutz.' Bericht nach Deutschland.
Bericht uber eine neue Parlser Oper ('La Reine de Chypre' von
Hal^vy).
Der fiiegende Hollander.
VOL. II.
Einleitung.
Tannhftuser und der Sftngerkrieg auf Wartburg.
Bericht fiber die Heimbringung der sterblichen Ueberreste Karl
Maria von Weber's aus London nach Dresden. Rede an Weber's
letzter RuhestStte. Gesang nach der Bestattung. (Extracted
from the Autobiography.)
Bericht fiber die Aufffihrung der neunten Symphonie von Beethoven,
im Jahre 1846, nebst Programm dazu. (From Autobiography.)
Lohengrin.
Die Wibelungen. Weltgeschlchte aus der Sage. (Written 1848, pub-
lished 1850.)
Der Nibelungen-Mythus. Als Entwurf zu elnem Drama.
Siegfried's Tod.
Trinkspruch am Gedeukstage des 800 JShrigen Bestehens der
kOniglichen musikalischen Kapelle in Dresden.
Entwurf zur Organisation eines deutschen Nationaltheaters ffir das
KOnlgreich Sachsen (1849).
VOL. III.
Einleitung zum dritten und vierten Bande.
Die Kunst und die Revolution.
Das Kunstwerk der Zukunst.
' Wieland der Schmiedt,' als Drama entworfen.
Kunst und Klima.
Oper und Drama, erster Theil : Die Oper und das Wesen der Muslk.
VOL. IV.
Oper und Drama, zweiter und dritter Theil : Das Schausplel und
das Wesen der dramatischen Dichtkunst.— Dichtkunst und Ton-
kunst im Drama der Zukunft.
Eine Mittheilung an meine Freunde.
VOL. V.
Einleitung zum fflnften und sechsten Bande.
Ueber die ' Goethestiftung.' Brief an Franz Liszt.
Ein Theater in Zfirich.
Ueber musikalische Kritik. Brief an den Herausgeber der ' Keaen
Zeitschrift ffir Musik.'
Das Judenthum in der Musik.
Erinnerungen an Spontini.
Nachruf an L. Spohr und Chordlrektor W. Fischer.
Gluck's Ouvertfire zu ' Iphigenia in Aulis.'
Ueber die Aufffihrung des ' Tannhfiuser.'
Bemerkungen zur Auffahrung der Oper ' Der fiiegende Hollander."
Programmatlsche Eriauterungen. 1. Beethoven's ' Heroische sym-
phonic.* 2. Ouvertare zu ' Koriolan.' 3. Ouvertfire zum ' Flie-
genden Hollander.' 4. Ouvertfire zu ' Tannhattser.' 5. Vorspiel
zu • Lohengrin.'
Ueber Franz Liszt's symphonische Dichtungen.
Das Eheingold. Vorabend zu dem Bfihnenfestsplel : Der Ring des
Nibelungen.
Vol. VI.
Der Ring des Nibelungen. Bfihnenfestspiel. Erster Tag: Die Walkfire.
Zweiter Tag: Siegfried. Dritter Tag: GOtterdammerung.
Eollopischer Bericht fiber die Umstande und Schicksale. welche die
Ausftthning des Bfihnenfestspieles 'Der Ring des Nibelungen'
bis zur VerOffentllchung der Dichtung desselben beglelteten.
VOL. vn.
Tristan und Isolde.
Ein Brief an Hector Berlioz. , ^ „ ^ ,^ „,„ ^, ,
' Zukunftsmusik.' An einen franzOsischen Freund (Fr. Vlllot) als
Vorwort zu einer Prosa-Uebersetzung melner Opem Dichtungen.
Bericht fiber die Aufffihrung des • Tannhftuser' in Paris (Briefllch).
Die Meistersinger von Namberg.
Das Wiener Hof-Operntheater.
VOL. vm.
Dem kOniglichen Freunde, Gedicht.
Ueber Staat und Religion.
Deutsche Kunst und deutsche Politik.
Bericht an Seine Majestat den KOnig Ludwig II von Bayem fiber
eine in Mfinchen zu errichtende deutsche Musikschule.
Meine Erinnerungen an Ludwig Schnorr von Carolsfeld.
Zur Widmung der zweiten Auflage von ' Oper und Dram*.
874
WAGNER.
Censuren : I. W. H. Blehl. 2. Ferdinand Hiller. S. Eine Erlnner-
ung an BossinL 4. Eduard Devrieut. 5. AufklSrungen aber
'Das Judenthum in der Muslk.'
Ueber das Dlrlglren. 0869).
Drai Gedlchto : 1. Bheingold. 2. Bei der Yollendung des ' Siegfried.'
3. Zum 25tb August 1870.
VOL. EC.
An das deutsche Heer ror Paris (Janaar 1871.)
Bine Kapltulatlon. Lustspiel in antiker Hanler.
Erinnerungea an Auber.
Beethoven. Published Dec. 2, 1870.
Ueber die Bestimmung der Oper. (The account of Wllhelmine
Schroeder-Devrient is from the autobiography.)
Ueber Scbauspieler und S&nger.
Zum Vortrag der Neunten Symphonle Beethoven's.
Sendschreiben und Kleinere Aufs&tze: 1. Brief aber das Schau-
spieler\resen an einen Scbauspieler. 2. Eln Einbliclc In das
heutige deutsche Opernwesen. 8. Brief an einen italieniscben
Freund fiber die AuffQhrung des * Lohengrin ' In Bologna.
4. Schreiben an den BQrgermeister von Bologna. 5. AnFrledrich
Nietzsche, ord. Prof, der Klass. Phllologle in Basel. 6. Ueber
dieBennenung 'Musilfdrama.' 7. Einleitung zu einer Vorlesung
der ' GOtterdammerung' vor eiuem ausgewfihlten ZubOrerkreise
in Berlin.
'Bayreuth': 1. Schlussbericht tlber die UmstSnde und Schicksale,
welche die Ausfahrung des Bahnenfestspieles 'Der Bing des
Nibelungen ' bis zur Grttndung von Wagner-verelnen begleiteten.
2. Das Bilhnenfestspielhaus zu Bayreutb, nebst einem Bericb-
aber die Grundsteinlegung desselben.
VOL. X.
Ueber eIne Opemauffabrung in Leipzig. Brief an den Herausgeber
des 'Musikaliscben Wochenblattes.'
Bayreuth. Bayreuther Blatter : 1. An die geehrten VorstSnde der
Bichard Wagner-Vereine. 2. Entwurf, verOffentlicht mit den
Statuten des Fatronatverelnes. 3. Zur Einfahrung (Bayreuther
Blfitter, Erstes Stack). 4. Eln Wort zur EinfOhrung der Arbeit
Hans von Wolzogens, 'Ueber Verrottung und Errettung der
deutschen Sprache.' 5. ErklSrung an die Mitglieder des Patron-
atvereines. 6. Zur EinfOhrung in das Jahr 1880. 7. Zur Mlt-
theilung an die geehrten Patrone der Bdhnenfestspiele in Bay-
reuth. 8. Zur Einfahrung der Arbeit des Grafen (Jobineau ' Ein
Urtheil aber die Jetzige Weltlage.
Was 1st deutsch? (1865-1878).
Modern.
Publikum und PopularitSt.
Ein Rackblick auf die Bahnenfestspielo des Jabres 1876.
WoUen wlr hoffen? (1879).
Ueber das Dlchten und Komponiren.
Ueber das Opern Dichten und Komponiren im Besonderen.
Ueber die Anwendung der Musik auf das Drama.
Oflfenes Schreiben an Herm Ernst von Weber, Verfasser der SchrUti
' Die Folterkammern der Wissenschaft.'
Beligion und Kunst (1880): 'Was natzt diese Erkenntniss?' Ein
Nachtrag zu ' Beligion und Kunst.' Ausiahrungen zu ' Beligion
und Kunst ' 0881). 1. ' Erkenne dich Selbst.' 2. Ueldenthum
und Christenthum.
Brief an H. v. Wolzogen.
Offenes Schreiben an Herm Friedrich Scbfln In Worms.
Das Btthnenfestspiel in Bayreuth 1882.
Bericht aber die Wiederauffdhrung eines Jugendwerkes. An den
Herausgeber des, ' Musikaliscben Wochenblattes."
BriefanH.T. Stein.
Parsifal.
(Lebenserinnerungen. This is the privately printed autobiography
from which the extracts in vols. i. and il. and ix. mentioned above,
are taken).
SELECTED BOOKS, ETC.
Glasenapp, 0. F., und H. v. Stein. Wagner Lexicon,
Stuttgart, 1883. (An admirable compendium of
Wagner's writings.)
Glasenapp, 0. P. Eichard Wagner's Leben und Wirken .
2 vols. 2nd ed. Leipzig, 1882. Based on an inti-
mate acquaintance with Wagner's writings and a
diligent study of periodicals, etc. Somewhat ver-
bose but reliable on the whole.
Kastner.E. Wagner Catalog. 1878.
Briefs Kichard Wagners an seine Zeitgenossen
(1830—1883) chronologisch geordnet 1885. (A valu-
able list ; but very far from complete.)
Oesterlein, Nic. Katalog einer B. Wagner Bibliotbek.
1882.
Nietzsche, Fr. Kichard Wagner in Bayreuth (TJnzeit-
gemasse Betrachtungen, 4tes Stlick). Chemnitz,
1876.
Die Geburt der Tragfidie aus dem Gtoiste der
Musik. 2nd ed. Chemnitz, 1878.
Liszt Lohengrin et Tannhaiiser. Leipzig, 1851.
Der fliegende Hollander (1854). Das Bheingold
£855). Vol. iii2 of Liszt's Gesammelte Schriften.
eipzig, 1881.
WAINWRIGHT.
BUlow, Hans von. Ueber K.W.'8 Faust-ouvertUre. Leip-
zig 1860.
Mayrberger, KarL Die HarmonikK.W's. Chemnitz, 1882.
Schur^, Ed. Le Drame Musical. 2 vols. Paris, 1875.
Pohl,Ilich. Kichard Wagner. Ein Lebensbild. Leipzig,
Kichard Wagner. StudienundKritiken. Leipzig,
1883.
Tappert, W. Kichard Wagner. Sein Leben und seine
Werke. Elberfeld, 1883.
Ein Wagnerlexicon— WOrterbuch der UnhCflich-
keit.
Wolzogen, H. v. Erinnerungen an Kichard Wagner,
Vienna, 1883.
Kichard Wagner's Lebensbericht (original of * The
Work and Mission of my Life,' North American Re-
view, for Aug. and Sept. 1879. Sanctioned by Wagner,
but apparently not written by him). Leipzig, 1884.
Die Sprache in Kichard Wagner's Dichtungen.
Leipzig, 1878. Full of valuable information.
Poetische Lautsymbolik. Leipzig. 1876.
Der Nibelungen Mythos in Sage und Literatur.
Berlin, 1876.
Thematische Leitfaden : Nibelungen, Tristan,
Parsifal.
Porges, H. Die AuffQhrung von Beethovens ixte. Sym-
phonie unter Kichard Wagner in Bayreuth. Leip-
zig, 1872.
Die BUhnenproben zu den Festspielen im Jahre
1876. i. and ii. Chemnitz 1883. (In course of pub-
lication.)
Gasperini, A. de. Kichard Wagner. Paris, 18C6.
Baudelaire, Ch. R. Wagner et Tannhauser a Paris,
1861.
Wagner. Quatre Po^mes d'op^ra traduits en prose
fran9aise, pr^c^d^s d'une Lettre sur la musique par
Kichard Wagner. Paris. 1861.
MUUer, Franz. Tannhauser und Wartburgkrieg. 1853.
Kichard Wagner und das Musikdrama. 1861.
Der Ring des Nibelungen. 1862.
Tristan und Isolde. 1865.
Lohengrin und Die Meistersinger von NUrnberg.
Munich, 1869.
Hueffer. F. Kichard Wagner and the Music of the
Future. London, 1874. (Translated into German,
as 'Die Poesie in der Musik.' Leipzig, 1874.)
Richard Wagner. London, 1881.
Parsifal, 'A!n Attempt at Analysis.' London,
1884.
The Nibelung's King, in the alliterative verse of the
original. By Alfred Forman.
The King, etc. German original facing the English
translation. By H. and F. Corder. London, 1677.
Die Meistersinger. Translated by H. and F. Corder,
London, 1882.
Tristan und Isolde. Translated by H. and F. Corder,
London, 1882.
Parsifal. Translated by H. and F. Covder. London,
1879.
Kichard Wagner's Letter on Liszt's Symphonic Poems.
Translated by F. Hueffer. London, 1881.
Kichard Wagner's The Music of the Future. Trans-
lated by E. Dannreuther. London, 1873.
Kichard Wagner's Beethoven. Translated by E. Dann-
reuther. London, 1880.
Kichard Wagner 'On Conducting.' Translated by
E. Dannreuther. London, 1886. PE D 1
WAINWRIGHT, John, a native of Stock-
port, Cheshire, settled in Manchester about the
middle of last century, and on May 12, 1767,
was appointed organist and singing man of the
Collegiate Church, now the Cathedral. He com-
posed anthem.", chants, and psalm-tunes, a
collection of which he published in 1766. He
died Jan. 1768.
His son, Robert, Mus. Doc., born 1748, ac-
cumulated the degrees of Mus. Bac. and Mus.
Doc. at Oxford, April 29, 1774. On March i,
1775, he was appointed organist of St. Peter's^
Liverpool. He was also organist of the Collegi-
I
WAINWRIGHT.
ate Church, Manchester. He composed services
and anthems, and an oratorio, 'The Fall of
Egypt,* performed at Liverpool in 1780 and
1801. He died July 15, 1782.
Another son, Riohabd, bom 1758, was or-
ganist of St. Ann's, Manchester. In Sept. 1782
he was chosen to succeed his brother, Eobert, as
organist of St. Peter's, Liverpool, which he
afterwards quitted for the organistship of St.
James, Toxteth Park, Liverpool, but in 1813
resumed his place at St. Peter's. He published
a collection of hymn-tunes of his composition.
His glee, ' Life's a bumper,' was very popular.
He died Aug. 20, 1825. His execution was
remarkable — more remarkable perhaps than his
taste. It was of him that Schnetzler the organ-
builder exclaimed, ♦ He run about the keys like one
cat ; he will not gif my pipes time to shpeak.'
A third son, William, was a singing man at
the Collegiate Church, Manchester, and also a
performer on the double bass, besides carrying
on the business of music-selling in Manchester,
in partnership with Sudlow. He died July 2,
1797. [W.H.H.]
WAITS, THE. A name given, from time
immemorial, to the little bands of rustic Musi-
cians who sing and play Carols, by night, in
country places, at Christmas-time ; and still very
commonly applied to their less unsophisticated
representatives, in larger towns, and even in
London. The word is a very old one, and
Bailey (Etym. Diet., 1 790) defines it thus — ' A
sort of Musick, or Musicians [either of waitinff,
because they attend on Magistrates, Ofl&cers, etc.,
in Pomps, and Processions ; or, of guet, a Watch,
or guetter, to watch, Fr., because they keep a
Sort of Watch a-Nights].* Mr. Skeat (Etym.
Diet.) says that 'Wait' is identical with * watch*
and *wake,' and that *a wait' is one who is
awake for the purpose of playing at night.'
The title of * The Waits ' has also been given,
for reasons which no one has hitherto been
able to ascertain, to a little Fa-la, for four
voices, by Jeremy Savile, a Composer who ap-
pears to have been popular about the time of
the Restoration, but is now known only by
some Songs printed in Playford's ' Select Musi-
call Ayres and Dialogues,' in 1653, and the
piece in question, which first appeared in 1667,
in Playford's * Musical Companion ' — a new edi-
tion, with extensive additions, and a subsidiary
title, of Hilton's * Catch that catch can.'
The Madrigal Society concludes all its meet-
ings with Savile's Fa-la; and the custom has
been adopted by the Bristol Madrigal Society,
and many other provincial associations of like
character. The oldest mode of performance on
record was that of singing the Music four times
through ; first /, then p, then 'p^p^ and lastly
ff, always, of course, without accompaniment.
Mr. T. Oliphant wrote some words to it, to avoid
the monotony of the continuous Fa-la, —
Let us all sing, merrily sing,
Till echo around us responsive shall ring.
These words are now adopted by most Madrigal
Societies ; and, by advice of Mr. Oliphant, the
WALDSTEIN.
376
piece is usually sung three times,
four.
instead of
[W.S.R.]
WALDHORN (that is, Forest horn), Corno
Di CACCIA. The old 'French horn,' without
valves, for which Beethoven wrote. The valve
horn, necessary for the passages of modern writers,
beginning with Schumann, is fast superseding it,
and the French horn will soon be as much a
thing of the past as a harpsichord ; but its tones,
and the contrast of its open and closed notes
(adding another to the many human character-
istics of the instrument) — as in the Allegretto of
the Seventh Symphony or the Adagio of the
Ninth — can never be replaced, and the want of
them will always be a distinct and cruel loss to
orchestral music. [G.]
WALDMADCHEN, das (das Stumme W.
or DAS Madchen im Spessaetswalde). An
opera in 2 acts ; words by Ritter von Steinsburg,
music by Weber. His second dramatic work;
composed in 1800; produced at Freiberg, Nov.
24, 1800 — not at Chemnitz in October. It was
used up in SiLVANA das Waldmadchen, his
sixth opera, 18 10, and only three fragments
are known. Silvana was produced in English
(as 'Sylvana') at the Surrey Theatre, under
Elliston's management, Sept. 3, 1828. It has
been again revived, with a revised libretto by
Herr Pasqud, and with 'musical amplifica-
tions,' at Hamburg and Lxibeck in the spring of
1885. [G.]
WALDSTEIN, Count. One of Beethoven's
earliest Mends, immortalised by the dedication of
the PF. Sonata in C, op. 53, now usually known
as the * Waldstein Sonata.' Ferdinand Ernst Ga-
briel was the youngest of the four sons of Emma-
nuel Philipp, Graf Waldstein und Wartemberg
von Dux. He was born Mar. 24, 1762, just
eight years before Beethoven, and his father died
in 1775, leaving the property to the eldest son
Joseph Carl Emmanuel. Ferdinand when of
age (24 according to the German law) entered
the 'German order* (Deutscher Orden) as a
career ; in 181 2 however he obtained a dispensa-
tion from his vows and married, but, like all his
brothers, died childless — Aug. 29, 1823 — and
thus with this generation the house of Waldstein
von Dux became extinct. Count Ferdinand
spent the year of his novitiate (1787-8)^ at the
Court of the Elector at Bonn, and it was then
that he became acquainted with Beethoven. The
nature of their connexion has been already stated.
[See Beethoven, vol. i. 164 J, 165 5.] In 179 1
or 92 Beethoven composed la variations for 4
hands on the PF. on an air of the Count's, and in
1804 or 5 he wrote the Sonata which has made
the name of Waldstein so familiar. In this
splendid work (published May 1805) the well-
known 'Andante Favori' in F was originally
the slow movement ; but Beethoven took it out,
as too long, and substituted the present Adagio
for it. The Adagio is in a difierent coloured ink
from the rest of the autograph, [See an anecdote
about it, vol. i. p. 167&.] [G.]
iTbayerLlTS.
376
WALDTEUFEL.
WALDTEUFEL, i. e. wood-demon. A toy,
mentioned by Felix Mendelssohn in his childish
letters to Goethe's boys (1821). It is a small card-
board drum, open at one end, with a catgut from
the head to a neck in the end of a short stick.
When the stick is whirled round, the catgut
grates round the neck, and being reverberated
by the drmn, makes a loud hiunming noise. 'The
sound of this in a room,' says Felix, * is excru-
ciating ; out of doors, where they are going in
hundreds at once, the noise is more bearable.'
(* Goethe and Mendelssohn,' ed. a, p. 28.) [G.]
WALDTEUFEL, Emil, a composer of dance
music, who since the year 1878 has composed
the prodigious number of more than 200 waltzes,
polkas, and other dance tunes. His most favourite
pieces are : — Waltzes, La Source, La Manola, Au
revoir ; Polka, Les Folies ; P. Mazurkas, Dans
les Bois; Marches, Marche du Trdne; Galop,
Prestissimo. Messrs. Boosey publish a * Wald-
teufel Album,' containing his best pieces. [G.]
WALEY, Simon Waley, composer and pian-
ist, was born in London in 1827. He began
music with his sister, herself a pupil of Herz
and Thalberg, and became a pupil successively
of Moscheles, Bennett, and G. A. Osborne for the
piano, and of W. Horsley and Molique for theory
and composition. He began composing very
early, and wrote several elaborate PF. pieces
before he was 12. His first published work,
* L'Arpeggio,' a PF. study, appeared in 1848. It
was speedily followed by a number of songs and
pianoforte pieces, including a concerto with or-
chestral accompaniment, and 2 pianoforte trios,
op. 15 inBb, and op. 20 in G minor (published
by Schott & Co.), both deserving to be better
known, Simon Waley was an accomplished
pianist, and frequently performed at the concerts
of the Amateur Musical Society, conducted by
Mr. H. Leslie. His compositions abound in the
plaintive melody characteristic of Mendelssohn ;
they exhibit great finish, and a richness of
detail and harmony not unworthy of the best
disciples of the Leipzig school.
Besides being an artist, he was a practical
and exceptionally shrewd man of business. At
the age of 17 he wrote an able series of letters
to the ' Times ' advocating Boulogne as the postal
route between England and the Continent, and
a little later he contributed some sprightly let-
ters on a tour in the Auvergne to the 'Daily
News.' He was a prominent member of the
London Stock Exchange, and for many years
took an active part on the committee. He died in
1875 at the early age of 48. Mr. Waley belonged
to the Jewish faith, and was a leading member
of that community during the critical period of
its emancipation from civil disabilities. One of
his finest works is a choral setting of the 1 1 7th
and 1 1 8th Psalms for the Synagogue service.
There was a singular charm about his person
and manner. To know him was to love him ;
and those who had the pleasure of his acquaint-
ance will never forget the mingled modesty and
sweetness of his disposition.
WALLACE.
His published works, besides those already
mentioned, contain a large nmnber of pieces for
piano, solo and duet; 2 duets for violin and
piano ; songs and duets, etc., etc. The choruses
for the Synagogue mentioned above are published
in vol. i. of the Musical Services of the West
London Synagogue. Besides the printed works
some orchestral pieces remain in MS. [G.]
WALKELEY, Antony, born 1672, was a
chorister and afterwards a vicar choral of Wells
Cathedral. In 1700 he was appointed organist
of Salisbury Cathedral as successor to Daniel
Roseingrave. His Morning Service in Eb is
preserved in the Tudway Collection (Harl. MS.
7342), and anthems by him are in MS. at Ely
Cathedral and in the library of the Royal College
of Music. He died Jan. 16, 1 71 7-1 8. [W.H.H.]
WALKER, Eberhardt Friedeioh, an organ-
builder at Cannstadt, Stuttgart, in the middle of
the 1 8th century, and his son, of the same names,
is one of the best builders in Germany. In 1820
he removed to Ludwigsburg, His European
reputation is due to the fine organ which he
built in 1833 for the church of St. Paul at
Frankfort-on-the-Main. In 1856 he completed
a large organ for Ulm Cathedral of 100 stops on
4 manuals and two pedals, and a new movement
for drawing out all the stops in succession to
produce a crescendo. This can be reversed for a
diminuendo. In 1863 he carried his fame to the
New World by erecting a large organ in the
Music Hall, Boston, U.S. [V. de P.]
WALKER, Joseph, & Sons, organ-builders
in Francis Street, Tottenham Court Road,
London. This business was established by
Joseph Walker about the year 1810. He died
in 1870, and the factory is still earned on by his
sons. Amongst some hundreds of instruments we
may name those in Exeter Hall (London), the
Concert Room of the Crystal Palace (not that
in the Handel Orchestra), in Romsey Abbey, St.
Martin's, Leicester, and the Town Hall, Hobart
Town, Armagh Cathedral, Bow Church, Cheap-
side, Sandringham Church, etc. [V. deP].
WALKURE, DIE, the Walkyrie ; the second
piece in the Tetralogie of Wagner's 'Ring des
Nibelungen.' The entire poem was completed
in 1852 ; the music of the Walkiire in 1856, and
the first performance took place at Munich June
25, 1870. Of Siegfried, which follows the Wal-
kure in the Tetralogie, the composition was com-
pleted early in 1869, and the first performance
took place at Bayreuth Aug. 16, 1876. [G.]
WALLACE (Grace) Lady, daughter of John
Stein, Esq., of Edinburgh, married in 1836 Sir
James Maxwell Wallace, who died 1867, and
herself died 1878.
She translated the following musical works : —
Two vols, of Mendelssohn's Letters : From Italy
and Switzerland (1862); From 1833 to 1847
(1863) ; Letters of Mozart, 2 vols. Q865) ; Re-
miniscences of Mendelssohn, by Elise Polko
(1865); Letters of Beethoven, a vols. ^1866);
•Letters of distinguished Musicians,' from a
collection by Ludwig Nohl (1867) ; Nohl's * Life
f
I
WALLACE.
of Mozart' (1877). All published by Longman
& Co., London. [G.]
WALLACE, William Vincent, of Scottish
descent, but born at Waterford, in Ireland, about
1 8 1 2 or 1 8 14. His father, a bandmaster and skilful
bassoon player, migrated to Dublin, and was
engaged in the band of the Theatre Royal there,
where his son Wellington played second flute.
Vincent had displayed considerable talent as
organist before quitting Waterford, and his skill
and steadiness as a violinist were so appreciated
in the Dublin theatre, that we find him leading
the band dressed in a boy's jacket, whenever the
regular chef was belated. Although the name of
young Wallace's violin teacher has not transpired,
there was a school for the instrument in Dublin,
at the head of which was Alday, a scholar of
Viotti. In June 1829 Wallace sustained the violin
part in Herz and Lafont's duo on Russian airs at
a public concert in Dublin, and continued to ap-
pear at concerts there, and at the festival held in
1 831, when Paganini was engaged. The extra-
ordinary and novel effects produced by the gifted
Italian inspired young Wallace, who sat up night
after night trying to approach the then unap-
proachable virtuoso. In 1831 Wallace married
the daughter of Mr. Kelly, of Frescati, Black-
rock, near Dublin, who survived him, and is
still living (1895). He turned his knowledge
of the violin to account by playing a concerto
for that instrument of his own composition at
a concert in Dublin in May, 1834; but Dublin
offered little field for an aspiring artist, and so,
wearying of such mechanical labours as adding
symphonies and accompaniments to songs for
the Dublin publishers, he quitted Ireland in
1835, with his wife and her sister, and with
much courage transferred his household to an
abode in the bush far to the west of Sydney,
New South Wales. During one of his visits
to Sydney, some friends accidentally hearing him
play, were amazed to discover in a simple emi-
grant a violinist of the first rank, and Wallace,
by the solicitation of Sir John Burke, the Gover-
nor, was induced to give a concert, which had
enormous success. The Governor's payment was
a characteristic one, it consisted of 100 sheep.
Wallace then wandered to Tasmania and New
Zealand, narrowly escaped being killed by the
savages, and was once saved in the most romantic
way by a chiefs daughter. He went a whaling
voyage, when the native crew mutinied, and only
Wallace and three more escaped. He then went
to the East Indies, and played before the Queen
of Oude, who made him magnificent presents ;
visited Nepaul and Cashmere, sailed next to Val-
paraiso, and after some curious adventures there
crossed the Andes on a mule, and arrived at
Buenos Ayres. He returned to Santiago and
had additional experience of Colonial currency,
for admission to his concerts the natives offering
their favourite gamecocks at the doors, while
Wallace netted £600 by these proceedings. A
concert in Lima is said to have produced him
£1000. He visited Havana, Tampico, Vera
Cruz, and Mexico, where his mass was written
WALLACE.
377
and performed with success. At New Orleans the
very musicians laid down their instruments to
applaud him. In 1845 we find him in London,
in a costume somewhat singular for the pri-
vate box of a theatre. 'It consisted,* says
Mr. Hey ward St. Leger, *of a white hat
with a very broad brim, a complete suit of
planter's nankeen, and a thick stick in his
hand.* Wallace recognised St. Leger imme-
diately. They at once renewed their intimacy,
dating from the days when Wallace had led
the Dublin orchestra. Enquiring of his friend
whether he thought him capable of composing
an opera, ' Certainly,' replied the other, ' twenty.'
'Then what about a libretto ?' ' Come over now
to Fitzball with me, and I will introduce you.'
Accordingly they called on the poet at his house
in the Portland Road : he opened the door in
person, and St. I^eger vouches for the fact that
the pen in liis hand was still moist from finishing
the libretto of ' Maritana.* ' Here Fitz,' said St.
Leger, ' is another Irishman, a compatriot of
Balfe's : he wants a libretto I ' The old poet
invited them in, Wallace played to him, and
Fitzball at once gave him the book of 'Maritana '
(Drury Lane, Nov. 15, 1845), which provedagreat
success, and still keeps the stage. In 1847 ^®
produced 'Matilda of Hungary,' of which the
libretto was, even for Bunn, outrageously bad. In
1849 we find him at the head of a concert party
in South America. On his return he went to Ger-
many, where he remained 14 years. To this period
belongs most of his pianoforte music, partaking of
the dreamy style of Chopin, the ornate cantahile
of Thalberg, and his own charming manner. Part
of the opera Lurline too was now written, in the
romantic district it describes. An unpub-
lished opera, *The Maid of Zurich,' dates also
from this period. The Irish composer now re-
ceived a high compliment — a commission from
the Grand Opdra of Paris. He began to write,
but his eyesight failing he abandoned his pen,
and once more went abroad, visiting both North
and South America, and giving concerts with
great success. He was nearly blown up in a
steamboat in 1850, and lost all his savings by the
failure of a pianoforte factory in New York. His
concerts there, however, proved very lucrative.
He returned to London in 1853, his pianoforte
music being in high repute and eagerly sought
for by the publishers. In i860 he brought forward
his 'Lurline ' (Covent Garden, Feb. 23); it met
with even greater success than *Maritana,'equally
overflowing with melody, and being in addition
a really fine piece of art-work. In 1861 appeared
'The Amber Witch' (Her Majesty's, Feb. 28); in
1862 ' Love's Triumph' (Covent Garden, Nov. 16) ;
in 1 863 ' The Desert Flower ' (Covent Garden, Oct.
12). This was his last completed work, but of an
unfinished opera, called 'Estrella,' some fragments
remain. H!is health had been breaking for some
time, and he was ordered to the Pyrenees, where
he died at the Chateau de Bagen, Oct. 12, 1865.
He left a widow, who, as has been already
stated, is still living (1895); also two boys,
students of the Conservatoire at Paris. His
378
WALLACE.
remains were brought to England and interred
in Kensal Green Cemetery, while Benedict, Ben-
nett, Smart, Sullivan, Macfarren and others,
stood around the grave, which adjoins those of
St, Leger and Balfe. As the service closed,
a robin-redbreast from a neighbouring branch
poured forth a strain of music : it was Wallace's
Requiem 1 [R.P.S.]
WALLERSTEIN, Anton, bom of poor pa-
rents at Dresden, Sept. 28, 181 3, began life
early as a violinist, and in 1827 was much
noticed during a visit to Berlin. In 1829 he
entered the Court Band at Dresden, and in 1832
that at Hanover, but various wanderings to
Hamburg, Copenhagen, and other places led to
the resignation of his post in 184 1. His playing
was extremely popular for its expression and
animation. But it is as a composer that he has
had most popularity. He began to write in
1830, and from that time till 1877 poured forth
a constant flood of dance music, chiefly published
by Schott & Co., of Mainz. His 2 75th opus is
entitled * Souvenir du Pensionnat. Cinq petites
pieces faciles en forme de Danse pour piano.
Leipzig, Kahnt.' With this piece his name
disappears from the publishing list. His dances
had a prodigious vogue during their day in Ger-
many, France, and England, in all classes of society .
Among the best-known are * La Coquette,* * Re-
dova Parisienne,' ' Studentengalopp,' * Erste und
lezte Liebe,' etc. His songs also were popular,
especially * Das Trauerhaus ' and * Sehnsucht in
die Feme.' [G.]
WALMISLEY, Thomas Forbes, son of
William Walmisley, Esq., Clerk of the Papers
to the House of Lords, was born 1783. At an
early age he was sent to Westminster School.
At 14 he began his musical education, and
studied the organ, piano, and counterpoint under
Attwood. Walmisley achieved success as a
musical teacher and glee- writer. Although the
Part-song, made so popular by Mendelssohn, has
to a great extent superseded the English Glee,
some few good specimens of Walmisley's glees
are still remembered. The ' Spectator ' for Aug.
1830 thus characterises a volume of glees pub-
lished by Walmisley at that time: * These
compositions, though displaying the attainments
of a skilful musician, are not the dull efiusions
of a pedant. Though formed upon the best models,
they are no servSe copies, but the effusions of
good taste matured and nurtured by study.' In
1810 Walmisley became organist at St. Martin-
in-the-Fields, an appointment he held for a great
number of years. His name appears on the list
of musicians assembled at Weber's funeral in
1826. He died July 23, 1866.
The following printed works appear in the
Catalogue of the British Museum, with dates of
publication : —
six glees. 1814. Bound, Underneath thU stone (Ben Jonson), 1815.
Song, Taste life's glad moments, 1815. Trio, The fWry of the dale, 1815
Song, Sweet hope, 1817. Glee, From flower to flower, 1819. Cansonet!
Kie soldiers, 1819. Glee. Say. Myra, 1822. Song, The wild hyacinth.
1825. A collection of glees, trios, rounds, and canons, 1826. Song I
turn from pleasure's witching tone, 1827. Song, Home, dearest home.
1828. By those eyes of dark beauty, 1829. Glee, Bright while smiles
the sparkling wine, 1830. Six glees, 1830. Six gle«s. 1830. Bound,
WALMISLEY.
O'er the glad waters, 1835. Glee, I wish to tune. 1835. Glee, Thou
cheerful bee, 1835. Song, To Zulelka, 1835. Three canons, 1840.
Duet, Tell me gentle hour of night, 1840, Sacred songs, poetry by
E. B. Impey, 1841. Glee, To-morrow, 1845. Glee, The traveller's
return (Southey), 1856.
His eldest son, Thomas Attwood, was born in
London Jan. 21,1814. He showed at an unusuallv
early age such a rare aptitude for music that his
father secured for him the advantage of studying
composition under his godfather, Thomas Att-
wood. The lad rapidly attained proficiency as a
player, his early mastery of technical difficulties
giving promise of that distinction which in after
years was ungrudgingly conceded to so capable an
exponent of Bach Fugues or Beethoven Sonatas.
In 1830 he became organist of Croydon Church,
and attracted the notice of Mr. Thomas Miller,
who encouraged his literary tastes, and per-
suaded him to combine mathematical with
musical studies. At this time an attempt was
made by Monck Mason to secure him for
English opera, but Walmisley decided to try
his fortune at Cambridge. In 1833 he was
elected organist of Trinity and St. John's
Colleges, and composed an exercise, * Let God
arise/ with full orchestra, for the degree of Mus.
Bac. He then entered Corpus Christi College,
where he distinguished himself in the Mathema-
tical Examinations. He subsequently migrated
to Jesus College, and though unsuccessful as a
competitor for the University Prize Poem, fully
justified the wisdom of Mr. Miller's advice that
his love of literature should not be entirely sacri-
ficed to professional duties. The then system
concentrated the duties of several persons in one,
and the young organist submitted to a slavery
which it is now difficult to realise. He took
without any remuneration Mr. Pratt's duties as
organist in King's College Chapel and St.
Mary's, and his Sunday work deserves to
be recorded : — St. John's at 7.15 a.m. ; Trinity,
8; King's, .9.30; St. Mary's, 10.30 and 2;
King's, 3.15; St. John's, 5; Trinity, 6.15. In
1835 he composed the Ode, written by the late
Bishop of Lincoln, for the Installation of Lord
Camden as Chancellor — a serious interruption
to his mathematical studies. His election to
the professorial chair of Music, vacated by the
death of Dr. Clarke Whitfeld, took place in
1836 ; in 1838, he took his B.A. degree, and in
1 841 his M.A. It twice fell to his lot to com-
pose music for Odes written for the Installation
of Chancellors of the University. In 1842, the
words, in honour of the Duke of Northumberland,
were written by the Rev. T. Whytehead ; in
1847, for the Installation of the late Prince
Consort, they were by Wordsworth, then
Laureate. ^ Poetry and music written for
such occasions are seldom longlived, but a quar-
tet from the Ode of 1842, * Fair is the warrior's
mural crown,' would certainly be an effective con-
cert-piece at any time. In 1848 he took the
degree of Mus. Doc, and continued working
at Cambridge until within a short period of
his death, which took place at Hastings Jan.
17,1856.
His intimacy with Mendelssohn was a source
h
WALMISLEY.
ot great pride to him, though some advice
offered to Walmisley on his asking Mendelssohn
to look at a symphony written for tlie Phil-
harmonic Society weighed unduly on his mind.
Before he would look at the symphony, Men-
delssohn asked how many he had written al-
ready. On hearing that it was a first attempt,
* No. I ! ' exclaimed Mendelssohn, * let us see
what No. 12^ will be first ! ' The apparent dis-
couragement contained in these words was far
more humiliating than the feeling of disappoint-
ment at the refusal even to look at the music,
and he abandoned orchestral writing.
Walmisley was one of the first English or-
ganists of his day, and in a period of church
music made memorable by the compositions of
Wesley and Goss, his best anthems and services
are little, if at all, inferior to the compositions of
these eminent men. As instances of fine writing
we may cite the Service in Bb, the Dublin
Prize Anthem, his anthem ' If the Lord him-
self,' and the madrigal * Sweet flowers/ a work
which Mr. Henry Leslie's choir has done much
to popularise. His position at Cambridge no
doubt acted prejudicially. A larger professional
area, a closer neighbourhood with possible rivals,
would have ensured a deeper cultivation of powers
which bore fi:uit, but promised a still richer har-
vest. In general cultivation and knowledge of
musical history he was far in advance of most Eng-
lish musicians. He was one of the first to inau-
gurate the useful system of musical lectures,
illustrated by practical examples. In a series of
lectures on the * Rise and Progress of the Piano-
forte/ he spoke incidentally of Sebastian Bach's
Mass in B minor as ' the greatest composition in
the world,' and prophesied that the publication of
the Cantatas (then in MS.) would show that his
assertion of Bach's supremacy was no paradox.
It may be said confidently that the number of
English musicians, who five-and-thirty years
ago were acquainted with any of Bach's music
beyond the 48 Preludes and Fugues, might be
counted on the fingers, and Walmisley fearlessly
preached to Cambridge men the same musical
doctrine that Mendelssohn and Schumann en-
forced in Germany.
The volume of anthems and services published
by his father after the son's death are a first-class
certificateof sound musicianship. Amongst his un-
published manuscripts are some charming duets
for pianoforte and oboe, written for Alfred Pol-
lock, a Cambridge undergraduate, whose remark-
able oboe-playing Walmisley much admired. To
this day Walmidey's reputation as an artist is a
tradition loyally upheld in Trinity College ; and
none that heard him accompany the services in
chapel can wonder at the belief of Cambridge
men that as a cathedral organist he has been
excelled by none.
1 To understand the force of this we should remember that
Mendelssohn's Symphony In 0 minor, with which he made his
d^but at the Philharmonic In 1829, though known as 'No. 1,' Is
really his 13th, and Is so inscribed on the autograph. Had Walmis-
ley been aware that Mendelssohn was merely giving his friend the
advice which he had strictly followed himself, the momentary dis-
appointment might have been succeeded by a new turn given to his
■tudies.
WALPURGISNIGHT.
379
His published works in the Catalogue of the
British Museum are as follows : —
Son?, When nightly my wild harp 1 bring, 1835 (?). Ode at the In-
stallation of the Duke of Northumberland as Chancellor, 1842.
Chants and Besponses in use at King's, Trinity, and St. John's Col-
leges, Cambridge, 1845. Three anthems arranged from Hummel's
Masses, 1849. Ode at the Installation of Prince Albert as Chancellor,
1849. Attwood's Cathedral Music : 4 services, 8 anthems, etc., ar-
ranged by T. A. Walmisley, 1852. Two trios for trebles— 1. The ap-
proach of May ; 2. The mermaid, 1852. Choral hymn, 4 y. and organ,
1853. Four songs-1. Gay festive garments ; 2. Sing to me then ;
3. Farewell, sweet flowers ; 4. The sweet spring day, 1854. Cambria,
1857. Cathedral Music, edited by T. F. Walmisley, 1857. Song, There
Is a voice, 1858. FA.D.C.I
WALOND, William, Mus, Bac, was ad-
mitted to the privileges of the University of
Oxford June 25, 1757, being described as
* organorum pulsator ' (whence we may suppose
him to have been organist or assistant organist
of one of the churches or colleges at Oxford),
and on July 5 following took his degree as of
Christ Church. About 1759 he published his
setting of Pope's Ode on St. Cecilia's Day, be-
lieved to be the only setting of that poem in its
original form. [See Greene, Maurice.] Wil-
liam Walond, possibly a son of his, about 1775
became organist of Chichester Cathedral, which
post he resigned in 1801. After his resignation
he resided in Chichester in extreme poverty and
seclusion (subsisting upon an annuity raised by
the sale of some houses, and being rarely seen
abroad) until his death, Eeb. 9, 1836. Some
fragments of church compositions by him remain
in MS. in the choir-books of Chichester Cathe-
dral. Richard, son of William Walond of
Oxford, bom 1754, matriculated from Christ
Church, Oxford, July 14, 1770. He was a
clerk of Magdalen College, Oxford, from March
24, 1775 until 1776. On March 14, 1776, he
took the degree of B. A. as of New College, and
was subsequently a vicar choral of Hereford Ca-
thedral. George, another son of W. Walond of
Oxford, was a chorister of Magdalen Coll., Oxford,
fi:om April 13, 1768 until 1778. [W.H.H.]
WALPURGISNIGHT, the night (between
April 30 and May i) of S. Walpurga or Wer-
burga, a British saint, sister of S. Boniface, on
which a Witches' Sabbath is supposed to be held
in the Harz Mountains. • The First Walpurgis-
night, Ballad for Chorus and Orchestra, the
words by Goethe, music by Felix Mendelssohn-
Bartholdy, op. 60,' is a setting of a poem of
Goethe's, which describes the first occurrence of
the event in an encounter between old heathens
and Christians.
The intention to compose the poem probably
came to Mendelssohn during his visit to Goethe
in 1830, and he announces it as a Choral Sym-
phony.'^ He began to write it in April 1831, and
by the end of the month speaks of it as prac-
tically complete. On July 14, at Milan, how-
ever, he is still tormented by it, and the MS. of
the vocal portion is dated '15th July, 1831.' The
Overture — * Saxon Overture ' as he calls it — fol-
lowed * 13th Feb. 1832,' and the work was pro-
duced at Berlin, Jan. 1833. Ten years later he
resumed it, re-scored the whole, published it, and
2 Letter to Klingemann. Nov. 1840. The idea of a choral symphony
was carried out in the Lobgesang.
880
WALPURGISNIGHT.
performed it, first in Germany, and then in Eng-
land (Philharmonic, July 8, 1844), to English
words by Mr. Bartholomew. [See vol. ii. pp.
2666, 2696, 284 a.] [G.]
WALSEGG, Feanz, Geap von, known for
the mystification he practised in regard to Mo-
zart's Requiem, was a musical amateur living at
Stuppach, a village belonging to the Lichtenstein
family, near Gloggnitz, at the foot of the Semmer-
ing. He played the flute and cello, had quartet
parties twice a week at his house, and on Sun-
days acted plays, in which he took part himself
with his family, clerks, and servants. He had
moreover the ambition to figure as a composer,
and to this end commissioned various composers
to write him unsigned works, which he copied,
had performed, and asked the audience to guess
who the composer was. The audience being
complaisant enough to suggest his own name he
would smilingly accept the imputation. On the
death of his wife, Anna, Edle von Flammberg,
on Feb. 14, 1791, he sent his steward Leutgeb to
Mozart to bespeak a Requiem, which he had
fetched by the same hand after Mozart's death.
He copied the score, headed it * Requiem com-
posto dal Conte Walsegg,' and conducted a
solemn performance of it in memory of his wife
on Dec. 14, 1793. On his death the score, com-
pleted by Siissmayer, went to his heiress Countess
Sternberg, and passing through various hands,
finally reached the Court Library of Vienna
(1838). [For further particulars of the autograph
score, see vol. ii. p. 402.] [C.F.P.]
"WALSH, John, one of the most eminent
music-publishers of his day, commenced business
probably about 1690 at the sign of ' The Golden
Harp and Hautboy in Catherine Street in the
Strand.' In 1698 the epithet 'Golden* was
discontinued. He held the appointment of
* Musical Instrument Maker in Ordinary to His
Majesty.' Walsh published many works in con-
junction with *J. Hare, Musical Instrument
Maker, at the Golden Viol in St. Paul's Church
Yard, and at his Shop in Freeman's Yard in
Cornhill, near the Royal Exchange,' or 'att y®
Viol & Flute in Cornhill, near the Royall
Exchange.' His earlier publications were en-
graved, but about 17 10 he commenced the
practice of stamping upon pewter plates. His
work of both kinds is mostly rough and un-
finished. In 1 700, copies of some of Corelli's
Sonatas having been imported from Rome,
Walsh announced 'Twelve Sonnata's in Two
Parts ; The First Part Solo's for a Violin, a Bass-
Violin, Viol and Harpsichord ; The Second, Pre-
ludes, Almands, Corants, Sarabands, and Jigs,
with the Spanish Folly. Dedicated to the Elec-
toress of Brandenburgh by Archangelo CoreUi,
being his Fifth and Last Opera. Engraven in a
curious Character, being much fairer and more
correct in the Musick than that of Amsterdam.'
His principal publications include Handel's over-
tures and songs in 'Rinaldo,' 'Esther,' 'Debo-
rah,' and ' Athaliah,' the Utrecht Te Deum and
Jubilate and four Coronation Anthems, all in
WALSINGHAM.
full score; Dr. Croft's thirty Anthems and
Burial Service ; Eccles's Collection of Songs and
'Judgment of Paris,' and Daniel Purcell's
' Judgment of Paris.' He died March 13, 1 736,
having, it is said, amassed a fortune of £20,000.
He had, some time before his death, resigned
his appointment of Musical Instrument Maker
to the King in favour of his son,
John, who succeeded to his father's business
and conducted it with gi'eat energy and success
for nearly thirty years. He published the over-
tures and songs in many of Handel's operas and
in most of his oratorios ; his * Alexander's Feast '
(for the Author) and 'Acis and Galatea,' and
his Funeral Anthem ; also the second volume of
his • Suites de Pieces pour le Clavecin,' and his
• Six Concertos for the Harpsichord or Organ '
(Oct. 1738), of the copyright in which latter
Handel made him a present ; Dr. Greene's forty
Select Anthems, his * Spenser's Amoretti,' Songs,
Sonatas, etc. ; Dr. Boyce's * Solomon,' * Chaplet,'
'Shepherd's Lottery, and 'Lyra Britannica';
Dr. Arne's ' Vocal Melody,' Pergolesi's ' Stabat
Mater,' etc., etc. He died Jan. 16, 1766, and
was buried, with much funeral pomp, at St.
Mary's, Strand.
After his death his business passed into the
hands of William Randall, who commenced
the publication of Handel's works, in score, in a
complete form. He used Walsh's plates, when
applicable, for the songs, and had new ones
stamped for the recitatives and choruses, the
contrast of style between the two being often
very striking. One of his publications (' Mes-
siah') bears the imprint of 'Randall & Abell.'
He was succeeded by Hbney Weight, who con-
tinued the publication of Handel's works in a
complete form, and published several of the
oratorios, etc. of the great master. Some of his
imprints have the names of ' Wright & Co.,'
and one (No. 10 of the Chandos anthems) those
of 'Wright & Wilkinson.* After his death or
retirement the business was divided between
RoBEET Biechall who had been assistant to
Randall, and Longman & Wilkinson. [See
Birchall.] [W.H.H.]
WALSINGHAM, an old English song re-
lating to the famous Priory of Walsingham in
Norfolk, and probably dating before 1538, when
the Priory was suppressed. The following is
the tune in modern notation from Mr. Chappell'g
book : —
Met I with a jol-ly palm - er In a pil-grim's weed.
The air was a favourite among the^ early
English composers, and many sets of variations
on it will be found in the lists of Virginal
Music. [See page 308 a, b ; 311 a, J ; 3^3 «•]
The title is once given ' Have with you to Wal-
singham'; whether a diflferent song or not is
uncertain. [G.]
WALTER.
WALTER, GusTAV, born 1835, at Bilin,
Bohemia, learned singing at the Prague Con-
gervatorium from Franz Vogl, and made his first
appearance in opera as Edgar at a private repre-
sentation of Lucia. He played at Brunn for a
short time, and in July 1856 appeared at
Vienna in Elreutzer's * Naehtlager.' He has
been permanently engaged there, and has at-
tained great popularity, both on the stage as
a ' lyric ' tenor, and in the concert-room as an
interpreter of the songs of Schubert. He came
to London in 1872, and made his first appearance
on May 13, at the Philharmonic, where he was
favourably received in ' Dies Bildniss ' (Mozart),
and songs of Riedel and Rubinstein. He also
sang at the Crystal Palace, etc. His daughter
Minna, a pupil of Madame Marchesi, has played
in Vienna and elsewhere, and is now engaged as
a principal soprano at Frankfort. [A.C.]
WALTER, John, organist of Eton College
at the commencement of the i8th century, com-
posed some church music ; but his chief claim
to distinction is having been the first music-
master of John Weldon. [W.H.H.]
WALTER, William Henry, born at Newark,
New Jersey, tj.S.A., July i, 1825. When quite
a lad he played the organ at the first Presbyte-
rian Church, and was afterwards appointed
organist at Grace Episcopal Church, Newark.
At 17 he came to New York, and in 1842 be-
came organist of Epiphany Church ; then of
Annunciation ; and in 1847 of St. John's Chapel,
Trinity parish. In 1848 he was promoted to the
organ at St. Paul's Chapel, where he remained
until 1856, when he was transferred to Trinity
Chapel, Twenty-fifth Street, where he remained
until 1 869. He was appointed organist at Colum-
bia College, New York, in 1856, and in 1864 re-
ceived the honorary degree of Doctor in Music
from that institution, with which he is still con-
nected (1885). His principal works are 'Com-
mon Prayer with Ritual Song,' * Manual of
Church Music,' ' Chorals and Hymns,' ' Hymnal
with Tunes, Old and New,' • Psalms with Chants,*
* Mass in C,' and * Mass in F,' besides a number
of Anthems and Services for use in the Episcopal
Church. His son,
George William, was bom at New York
Dec. 16, 1851 ; began to make melodies at the
age of 3 years ; played the organ at Trinity
Chapel, New York, when 5 ; completed his mu-
sical studies under John K. Paine of Boston, and
Samuel P. Warren of New York ; has resided in
Washington, D.C., since 1869, and in 1882 was
created Doctor in Music by the Columbian Uni-
versity of that city. His compositions have
been written more for the virtue of his profession
than for performance or publication. As an
organist he is chiefly known for his facility in
extemporaneous performance and for his skill in
registration. His musical library numbers over
8000 works. [A.F.A.]
WALTHER, JOHANN, Luther's friend, and
one of the earliest of the composers in the
Reformed Church, was bom 1496 — according to
WALTHER.
881
his tombstone, atGotha, near Cola, in Thuringia ;
in 1524 was singer in the choir at Torgau, and
in the following year Capellmeister, or * Sanger-
meister,' to the Elector of Saxony. In 1548 he
was sent to Dresden to organise and lead a choir
of singers for Moritz of Saxony, and remained
*^11 1555* when he returned with a pension to
Torgau, and there lived till his death in 1570.
In 1524 he was called to Wittenberg by
Luther to assist him in framing the German
Mass. The result of this was his 'Geystlicb
Gesangk Buchleyn' for 4 voices (1524), the
earliest Protestant Hymnbook. His other works
are * Cantio Septem Vocum,' etc. (1544) ; * Mag-
nificat octo tonorura ' (1557) ; ' Ein newes christ-
liches Lied' (1561) ; 'Ein gar schoner geist-
licher und christlicher Bergkreyen' (1561) ;
* Das christlich Kinderlied Dr. Martin Luthers,
Erhalt uns Herr, bei Deinem Wort . . . mit
etlichen lateinischen und deutschen Sangen
gemehret' (1566). Other pieces are included
in the collections of Rhaw and Forster, * Montan-
Neubers Psalmenwerk' 1538, and 'Motetten-
sammlung' 1540. [G.]
WALTHER, JoHANN Gottfried, a very skilful
contrapuntist ^ and famous musical lexicographer,
born at Erfurt, Sept. 18, 1684 ; died at Weimar,
March 23, 1748 ; was pupil of Jacob Adlung
and J. Bemhard Bach in 1702 ; became organist
of the Thomas Church at Erfurt, and July 29,
1 707, town organist of Weimar (in succession to
Heintze) and teacher of the son and daughter of
the Grand Duke; and in 1720 'Hofmusicus'
(Court musician). Walther was a relative of J.
S. Bach, and during Bach's residence in Weimar
(1708-14) they became very intimate, and Bach
was godfather to his eldest son. The meagre
notice of Bach in Walther's Lexicon seems to
show that the intimacy did not last. Mattheson's
judgment of Walther, in his ' Ehrenpforte,' is a
very high one ; he regards him as ' a second
Pachelbel, if not in art the first.' In the arrange-
ment and variation of Chorales on the organ, he
certainly stands next to Bach himself. An
anecdote preserved by one of Bach's sons shows
that he was once able to puzzle even that great
player.^ He printed the following pieces : —
Clavier conce^^t without accompaniment (1741) ;
Prelude and Fugue (1741), 4 Chorales with
variations ; and a mass of compositions remains
in MS. in the Berlin Library and elsewhere.
But Walther's most lasting work is his Dic-
tionary— * Musikalisches Lexicon oder musikal-
ische Bibliothek' (Leipzig, 1732), the first to
combine biography and musical subjects, a work
of great accuracy and merit, and the ground-
work to many a subsequent one. This work
was the production of his leisure hours only.
He published a first sketch, of 68 pages, in
1 728, under the title of * Alte und neue musik-
allsche Bibliothek oder musikalisches Lexikon'
(Ancient and Modern Musical Library or
Musical Lexicon). Walther had prepared
elaborate corrections and additions for a second
1 See the Instances given by Spltta, 'Bach' (Novello), 11. 384.
a Ibid. ii. 388.
882
WALTHER.
edition of his great work, and after his death
they were used by Gebber in the preparation of
his Lexicon. They ultimately came into the
possession of the * Gesellschaft der Musikfreunde '
at Vienna. [G.]
WALTZ, and WALTZ 1 DEUX TEMPS.
[See p. 385-]
WALTZ, GusTAVUS, a German, who seems to
have acted as Handel's cook, and after some
time to have come out as a singer. He made
his first attempt on the boards as Polyphemus
in Handel's *Acis and Galatea,' when it was per-
formed as an 'English Pastoral Opera' under
Ame, at the *new English theatre in the Hay-
market,' May 17, 1832, showing that his voice
was a large bass. Seven years later (1739) he
and Reinhold sang * The Lord is a man of war '
at the performance of 'Israel in Egypt,' their
names being pencilled by Handel over the duet.
He also sang Abinoam in * Deborah,' Abner in
•Athaliah,' and Saul, on the production of
those oratorios. His portrait was painted by
Hauck, and engraved by Miiller. He is seated
with a cello, a pipe, and a pot of beer on the
table beside him. It now belongs to Mr. J. W.
Taphouse, of Oxford, and is exhibited in the Loan
Collection of the Inventions Exhibition, 1885.
Handel on one occasion, speaking to Mrs. Gibber,
said of Gluck, * He knows no more of contra-
punto than my cook Waltz.' This very impolite
speech is often ^ misquoted, and given as if Han-
del had said * no more music ' ; but its force as
uttered is very much altered when we recollect
that Gluck was no contrapuntist, and that Waltz
must have been a considerable musician to take
such parts as he did at Handel's own choice. [G.]
WANDA, Queen of the Samartans. A
romantic tragedy with songs, in 5 acts, by
Zacharias Werner, with music by E-iotte.' Pro-
duced at the Theatre an-der-Wien, Vienna,
March 16,1812, and repeated five times between
that and April 20. On one of these nights Bee-
thoven was in the house. He excuses himself
to the Archduke Rodolph for not attending a
summons from His Highness, on the ground that
contrary to his usual custom he had not come
home after noon, the lovely weather having
induced him to walk the whole sCftemoon, and
Wanda having taken him to the theatre in the
evening (Thayer, iii. 195.) [G.)
WANHAL— in English publications VAN-
HALL — John Baptist, a contemporary of
Haydn's (i 732-1 809), was of Dutch extraction,
but bom at Nechanicz in Bohemia May 12,
1 739. His instructors were two local worthies,
Koz^k and Erban, and his first instruments the
organ and violin. His early years were passed
in little Bohemian towns near the place of his
birth. At one of these he met a good musician,
who advised him to stick to the violin, and also
to write for it; both which he did with great
assiduity. In 1760 he was taken to Vienna by
the Countess Schaffgotsch, and here his real pro-
gress began ; he studied (under Dittersdorf ), read
1 As. for losUnce, by Berlioz in hia ' Autoblograpby/ chap. ix.
WARD.
all the works he could get at, played incessantly,
composed with great enthusiasm, and what was
then thought extravagance, and was soon taken
up by many of the nobility. One of these, the
Freiherr Riesch, sent him to Italy for a long
ioumey, of which he took full advantage. On
his return to Vienna he fell into a state of men-
tal depression, which for some time aflFected him
greatly. It was thus that Bumey found him in
1772 ('Present State,' etc., p. 358). Life in
Vienna then was very much what it was 50
years later, and Wanhal's existence was passed,
like Beethoven's or Schubert's, in incessant work,
varied by visits to Hungary or Croatia, where
the Count Erdody, the immediate predecessor of
Beethoven's friend, received him. He died in
Vienna in 181 3. Though somewhat younger
than Haydn his music arrived in England first.
Bumey mentions this fact (Hist. iv. 599) and
speaks of his symphonies as * spirited, natural,
and unafiected,' and of the quartets and other
music for violins of this excellent composer as
deserving a place among the first productions in
which unity of melody, pleasing harmony, and a
free and manly style are constantly preserved.'
Burney's expressions about Haydn in the next
paragraph show, however, how far higher he
placed him than Wanhal or any other com-
poser of that time.
The list of his works is enormous. Dlabacz,
the author of the Dictionary of Bohemian Musi-
cians, gives no less than 100 symphonies, 100
string quartets, 25 masses and 2 requiems, 30
Salve Reginas and 36 offertories, i Stabat Mater,
I oratorio, 2 operas, and many other works.
His sonatas were often met with in our grand-
mothers' bound volumes, and Crotch has given
two pieces in his Specimens of Music. Many of
the symphonies and sonatas were produced a
dozen at a time, a practice to which Beethoven
gave the deathblow. They must not therefore
be judged of from too serious a point of view. [G.]
WANLESS, Thomas, Mus, Bac, was ap-
pointed organist of York Cathedral April 18,
1 69 1, and described in the Chapter book as *in
musicis expertum.' He graduated at Cambridge
in 1698. In 1703 he published at York a col-
lection of the words of anthems sung in the
Cathedral. He composed a Litany, known as
•The York Litany,' no two copies of which
exactly agree. Dr. Jebb hag printed three dif-
ferent versions in his • Choral Responses and
Litanies.* An anthem by Wanless, * Awake up,
my glory,' is in the Tudway Collection (Harl.
MS. 7347). He died in 1721. [W.H.H.]
WARD, John, published, in 1613, * The First
Set of English Madrigals to 3, 4, 5, and 6 parts,
apt both for Viols and Voyces. With a Mourn-
ing Song in memory of Prince Henry,* dedicated
*To the Honourable Gentleman and my very
good Maister. Sir Henry Fanshawe, Knight';
one madrigal in which, • Die not, fond man,'
is still well known to members of madrigal
societies. He was one of the contributors to
Leighton's 'Teares or Lamentacions,' 16 14. An
WARD.
Evening Service and two anthems by him were
printed in Barnard's Church Music, 1641, and
an incomplete score of the Service and three
anthems, including the two printed, ai'e con-
tained in Barnard's MS. collections. Nothing
is known of his biography beyond the fact that
he died before 1641. [W.H.H.]
WARING, William, translator of Rous-
seau's Dictionnaire de Musique — *a Complete
Dictionary of Music, consisting of a copious ex-
planation of all the words necessary to a true
knowledge and understanding of Music. Lon-
don, 1770. 8vo.' In the 2nd edition (without
date) Waring's name as translator was added to
the title. [G.]
WARNOTS, Henry, bom July 11, 1832, at
Brussels, was taught music first by his father,
and in 1849 became a pupil at the Brussels Con-
servatoire, in harmony, pianoforte-playing, and
singing. In 1856 he appeared in opera at Lifege
as a light tenor, and was engaged for a short
period at the Opera Comique, Paris. He next
sang at Strassburg, and on Jan. 24, 1865, an
operetta of his composition, * Une Heure du
Mariage,' was performed there. In 1867 he
was engaged at the National Theatre, Brussels,
and in October sang in Flemish the hero's part in
De Miry's * Franz Ackermann.' In December
of the same year he obtained a professorship
at the Conservatoire, and retired from the stage.
In 1869 he was appointed Director of the
orchestra of the Brussels City Musical Society,
and in 1870 he founded a school of music at
St. Josse-ten-Noode-Schaernbeeck, a suburb of
Brussels, and of which he is still Director. In
addition to the operetta, M. Warnots has com-
posed a patriotic cantata performed in 1867 at
Ghent. His daughter and pupil,
Elly Warnots, bom 1857, »* I^i^ge, made
her d^but in 1878, at the Theatre de la Monnaie,
Brussels. In 1881 she was engaged at the
Pergola, Florence, and on May 17 of the same
year made her first appearance in England at
the Royal Italian Opera, as Margulrite de
Valois, in the Huguenots. During the season
she also played the part of the same Queen in
Harold's Pr^ aux Clercs, and was favourably
received. Since then Miss Warnots has been
frequently heard at the Promenade Concerts, at
the Crystal Palace, and elsewhere. [A.C.]
WARREN, Joseph, bora in London March
20, 1804, in early life commenced the study of
the violin, which he gave up for the pianoforte
and organ. In 1843 he became organist of St.
Mary's (Roman Catholic) Chapel, Chelsea, and
composed some masses for its service. He was
anthor of ' Hints to Young Composers,' 'Hints to
Young Organists,' 'Guide to Singers,' and other
similar works, and editor of Hilton's 'Ayres, or
Fa las,' for three voices (for the Musical Anti-
quarian Society), an English version of Beetho-
ven's ' Christus am Oelberge,* Boyce's * Cathedral
Music,' for which he wrote new biographies of
the composers, including, in most cases, ex-
haustive lists of their compositions, and many
WARWICK.
883
other works. He died at Bexley, Kent, March
8, 1 88 1. He was an able musical antiquary, and
the possessor of an extensive musical library, the
greater portion of which he disposed of, piece-
meal, during his latter years. [W.H.H.]
WARTEL, Pierre FRAN901S, bom April 3,
1806, at Versailles. From 1823 to 1828 he was
a pupil in Choron's School of Music, and after-
wards at the Conservatoire under Banderali and
Nourrit, where he obtained a first prize for sing-
ing. From 1 83 1 to 1846 he played small tenor
parts at the Grand Opdra. He afterwards sang
with success in Germany, but on his return to
Paris devoted himself entirely to teaching. He
was considered one of the best teachers ^f the
day, and among his pupils must be named
Christine Nilsson, Trebelli, Mile. Hisson (Grand
Op^ra),^ etc. M. Wartel has another claim for
distinction, as having introduced into France and
popularised Schubert's songs. Indeed it was he
who drew the attention of the Viennese to them
in 1842, at a time when Schubert was completely
eclipsed by Proch, Hackel, etc., and an occa-
sional performance of the Wanderer was the
only sign of his existence (Hanslick, Concert-
wesen, 346). Wartel's wife,
Atala-Theresb- Annette, n6e Adrien, was
bom July 2, 18 14. Her father was violinist at
the Grand Op^ra, and leader of the Conserva-
toire band. She received instruction in music
at the Conservatoire, was appointed accom-
panyist there, and in 1831 obtained a profes-
sorship, which she resigned in 1838. She was
the first female instrumentalist ever engaged at
the Soci(^td des Concerts. In 1859 she visited
England with her husband, and gave a concert
at the house of Mr. Grote, where she played
Mendelssohn's Pianoforte Trio in D minor with
Joachim and Patti. She composed Studies and
other works, including her Lessons on the Piano-
forte Sonatas of Beethoven. Their son,
£mil, was engaged for many years at the
Theatre Lyrique, but has since then established
a vocal school of his own. [A.C.]
WARWICK, Thomas, of the family of War-
wick, or Warthwyke, of Warwicke, Cumberland,
was, in 1625, a musician for the lute to Charles
I. On July I in the same year he was sworn
organist of the Chapel Royal in the place of
Orlando Gibbons. On March 29, 1630, he was
mulcted of a month's salary 'because he pre-
sumed to play verses one the organ at service
tyme, beinge formerly inhibited by^the Deane
from doinge the same, by reason of his insuflB-
ciency for that solemne service.' Anthony Wood
says he was organist of Westminster Abbey, but
there is no evidence to support the assertion.
He is said to have composed a song in 40-part3
performed before Charles I. about 1635. He
was a commissioner for granting dispensations
to convert arable land into pasture. His name
last occurs in 1641 in a warrant for exempting
the king's musicians from payment of subsidies.
His son. Sir Philip Warwick, was Secretary to
the Treasury, temp. Car. II. [W.H.H.]
S84
WASIELEWSKY.
WASIELEWSKY, Joseph W. von, author,
violin-player and conductor, bom June 17,
l8a2, at Gross Leesen, near Dantzig. His
parents were both capable musicians, and his
father taught him the violin at an early age,
and urged the study of it upon him and his two
elder brothers. Joseph repeatedly endeavoured
to be allowed to take music as his profession ;
but it was not till April 3, 1843, ^^^^ l^is wish
was gratified by entering the Conservatorium at
Leipzig under Mendelssohn's personal teaching.
Other branches he learned under David and
Hauptmann, and remained in the Conservato-
rium till Easter, 1845. He then played in the
orchestras of the theatre, the Gewandhaus, and
the Euterpe concerts, till 1850, when he left for
Diisseldorf at the invitation of Schumann, and
remained there for two years. In May, 1852,
he removed to Bonn, and became conductor of
the * Concordia,' the Gesangverein, and the *Bee-
thoven-Verein.' After three years he exchanged
this for Dresden. In 1869 he was recalled to
Bonn as * town music-director.' In 1858 he pub-
lished his biography of Schumann (2nd and 3rd
eds., 1869 and 1880) ; in 1869 his excellent book
on the Violin and its Masters (Breitkopf & Har-
tel); in 1874 *Die Violine im 17 Jahrhundert,'
etc. (Bonn) ; and 'History of Instrumental Music
in the i6th Century' (Berlin). He has a decora-
tion from the Duke of Meiningen (1871); and
is a royal music-director (1873), and a member
of the ' Accademia filarmonica ' at Bologna. [G.]
WATER CARRIER, THE, the English ver-
sion of Cherubini'a *Les deux journees.' It
was produced in a very mutilated state in London
in 1 801 as 'The Escapes, or the Water Carrier,'
and again at Covent Garden, Nov. 12, 1824,
* with the overture and all the music' On Oct.
27, 1875, it was again produced, by Carl Rosa,
at the Princess's Theatre, London, complete,
with Mr. Santley as Micheli. [G.]
WATER MUSIC, THE. A series of Instru-
mental Movements composed by Handel.
On his return from Italy, in 1710, Handel
was presented to the Elector of Hanover by
Steffani, through whom he obtained the appoint-
ment of Capellmeister at the Electoral Court,
with leave of absence for a visit to England. He
returned in June, 1711; and, in 171 3 obtained
permission to make a second visit * on condition
that he engaged to return within a reasonable
time.' ^ This he interpreted so liberally, that he
was still busy in London when the Elector arrived
there, under the title of King George I., Sept. 20,
1 714. It was impossible for him to present him-
self at Court after such a dereliction of duty ; but
his friends. Baron Kielmaasegge and the Earl of
Burlington, procured his restoration to favour.
By their advice he wrote a Suite of Movements
for two Solo Violins, Flute, Piccolo, two Haut-
boys, one Bassoon, two Horns, two Trumpets,
and Stringed Orchestra ; and had them played,
under his own direction, on Aug. 23, 171 5, upon
I Ualnwarlng, ' Memoirs of the Life of the late George Frederle
Handel' CUndon. 17G0), pp. 85. 8&
WATER MUSIC.
a boat, in which he followed the Royal Bai^e
on its return from Limehouse to Whitehall. The
King was delighted with the music and enquired
the name of the composer. Baron Kielmanse^e
made good use of the opportunity, and so far ap-
peased the King's resentment, that he not only
restored Handel to favour, but accorded him a
pension of £200 a year, in addition to one of
equal amount previously granted to him by
Queen Anne. We owe this account to Main-
waring. ' Hawkins asserts that the pension was
not granted till Handel's appearance at Court
with Geminiani. The date rests on the autho-
rity of Malcolm,' who also tells us that a similar
excursion took place, July 17, 171 7, when the
Royal Family proceeded by water to * a supper-
party, given by Lady Catharine Jones, at the
house of the late Lord Ranelagh, at Chelsea';
and that Handel directed the orchestra with such
success that the King commanded the whole of
the music to be thrice repeated. As no second
collection of 'Water Music' is known to be in
existence, we are driven to the supposition that
the compositions of 1 715 were repeated in 171 7*
Dr. Chrysander is of opinion that the first per-
formance took place in 1 7 1 7 ; but the earlier date
has always been accepted, and it is certain that
Handel was reconciled to the King long before
1717.
The Water Music consists of twenty-one Move-
ments, disposed in the following order : —
I. Overture (Introduction and Fugue in F).
a. Adagio.
3. A Movement (Alio. ?) in Triple Time.
4. Andante.
5. A Movement (Alio. ?) in Triple Time.
6. Air, in F.
7. A Movement (Alio. ?) in Triple Time.
8. Boure («ic).
9. Hornpipe (in 3-2 Time).
ID. A Movement (Alio. ?^ in D Minor.
H. A Movement (AH". ?) in D Major.
13. A Movement (All". ?) in 3-2 Time.
1 3. A Movement in form of a Sarabande.
14. Aria, in G.
15. Lentement.
16. A Movement in form of a Bourr^.
17. Menuet.
18. Menuet.
19. A Movement (Alio, j) in C Minor.
20. A Movement (Alio. ?) in G Major.
31. Coro, in D Major.
The original autograph has disappeared ; but
two Movements, undated, and diflfering consider-
ably from the printed copies, will be, found in Add.
MSS. 30,310, Brit. Mus.* The earliest printed
edition is that of Walsh, published in 1740.
The Water Music arranged for the piano was
once a favourite piece with amateurs, and many
still living must recollect hearing its spirited and
rhythmical strains in their childhood. [W.S.R.]
2 Mainwaring, pp. 90-92.
> ' Anecdotes of the Manners and Customs of London, during the
Eighteenth Century • (London, 1811).
* It is quite possible that these may have been remodelled for the
perfbnnance in 1717.
WALTZ.
WALTZ. The origin of the Waltz is wrapped !
in even more obscurity than is usually the case
with the best-known dances. The immense
popularity which it has achieved in the loth
century — a popularity which has had the eflffect
of almost banishing every other dance — has given
rise to a dispute as to the historical genesis of
the waltz, into which national antipathies have
to a certain extent entered. It would have been
thought that French writers could not ignore
the evidence of a German origin given by the
name waltz, derived from waltzen, to turn ; but
in the face of the etymology of the word an
ingenious theory has been invented by which it
is sought to prove that the dance and the name
were originally borrowed by Germany from
France, and then reintroduced, as a foreign in-
vention, from the former to the latter country.
This theory apparently was first propounded
by Castil Blaze, and has been adopted by Fdtis,
Littr^, and Larousse. The French account of
the origin of the waltz is that the dance is a
descendant of the Volta — known to the Eliza-
bethans as Lavolta — a dance described by Thoinot
Arbeau in his Orch^sographie, and said to have
been a native of Provence, whence it was intro-
duced into Paris under Louis VII. It remained
in fashion up to the i6th century, at which
period it was (according to Larousse) introduced
into Germany, the name Volta being changed
into Walzer. The obvious Italian origin of the
word * volta ' has been overlooked by the French
writers. The German authorities, on the other
hand, trace the waltz back to the Drehtanz, or
turning dance, a modification of the old form of
dances which (like the English country dances)
were danced by couples standing face to face, or
holding one another by one hand only.
Great confusion exists in the German accounts
of these early dances. The Volta, the Langaus,
and the Allemande are all mentioned as being the
ancestors of the waltz, but none of these seems to
be satisfactorily connected with the modern dance.
That the volta and the spring-tanz were identi-
cal seems pretty certain : in both the indecency
of the performance seems to have been a cha-
racteristic feature, as a comparison of the de-
scriptions in Thoinot Arbeau's Orch^sographie
and Johann von Miinster's 'Traktat vom un-
gottseligen Tanz' (1594) clearly shows ; but this
feature is different from that which was held up to
reprobation in the waltz in later days by Lord
Byron and other English writers on its introduc-
tion into England. The German dances, like
the French, in the 15 th and i6th centuries,
were either of a solemn or slow character, or
consisted in unseemly leapings and jumpings;
as Chapman in his 'Alphonsus Emperour of
Germany' makes one of his characters say: —
We Germans have no changes in our dances,
An Almain and an upspring that is all.
In course of time the latter became so objection-
able that it was not only preached and written
against, but was made the subject of local edicts,
notably in the towns of N(irnberg, Amberg, and
Meissen. The Almain or Allemande was intro-
VOL. IV. PT. 4.
WALTZ.
385
duced into France after the conquest of Alsace
by Louis XIV., but the dance had nothing in
common with the modem waltz, and the spring-
tanz, which, as has been mentioned, was identical
with the volta, no longer occurs in the 1 7th and
1 8th centuries. This break in the imaginary
genealogy of the waltz has not been made clear
by the writers who have treated the subject. It
is generally admitted that the modern dance
first made its appearance about the year 1780,
and the only attempt at connecting the old and
the new dances is the suggestion that because
the song * Ach du lieber Augustin' (which was
one of the first tunes to which waltzes were
danced) was addressed to a wandering musician
who lived in 1670, therefore the modern dance
was contemporary with the tune. The attempts
at tracing the waltz from such a widely spread
dance as the volta or spring-tanz have led to
further confusion with regard to the humble
Landler or Schleifer, which is its real ancestor.
That it springs from a class of country dances,
and not from the ancient stock of the volta, must
be obvious upon many grounds. The dance itself
is first heard of in Bohemia, Austria, and Bavaria
in the latter part of the i8th century : in Bohe-
mia it seems first to have become fashionable, since
on March 18, 1785, it was forbidden by an Im-
perial edict as ' sowohl der Gesundheit schadlich,
als auch der Siinden halber sehr gefahrlich,' in
spite of which it found its way to Vienna, and
was danced in the finale to Act ii. of Vicente
Martin y Solar's ' Una Cosa rara ' by four of the
principal characters (Lubino, Tita, Chita, and
Lilla). On its first appearance in Vienna the
music of the waltz was played quite slowly : the
tempo in Martin's opera is marked Andante con
moto, but in Vienna the character of the dance
was changed, and a Geschwindwalzer was intro-
duced which finally led to a Galoppwalzer in
2-4 time. But in spite of the changes that the
dance underwent, what it was originally like can
still be seen at any Austrian or Bavarian village
festival at the present day, where it will be
found, perhaps called a Landler or Schleifer,
or some other local name, but still danced to
the old slow rhythms which were imitated by
Mozart, Beethoven, and (to a less degree) Schu-
bert, in their waltzes written for the Viennese
in the early days of the dance's fashionable career.
Crabb Kobinson's account of the manner in
which he saw it danced at Frankfort in 1800 is
interesting. ' The man places the palms of his
hands gently against the sides of his partner,
not far from the arm-pits. His partner does
the same, and instantly with as much velocity
as possible they turn round, and at the same
time gradually glide round the room.'^
In England the name and the tune of the dance
made their first appearance about the year 1797.
The collection of Preston's Country Dances pub-
lished at that date contains 'the new German
Waltz ' and ' the Princess of Wales's Waltz,'
both of which are real waltz tunes, though how
different the dances were may be gathered from
iDlaiy.LTfc
Oo
386
WALTZ.
the directions for dancing the former : * Set and
hands across and back again, lead down the
middle up again to the top, turn your partner
with the right hand quite round, then with the
left, hands 4 round at bottom right and left.'
The same collection also contains a dance called
«Mis8 Simpson's Waltz,' the tune of which is
written in common time. It was not until 181 2
that the dance in its modem form made its ap-
pearance in England, when it was greeted with
a storm of abuse as * a fiend of German birth,'
'destitute of grace, delicacy, and propriety,* a
* disgusting practice,' and called forth a savage
attack from Lord Byron.* In spite of this recep-
tion it seems to have won a speedy victory, and
is at the present day certainly more in favour
than ever. In JFrance the waltz made its ap-
pearance during the war with Gennany (1792-
1801) which ended with the Peace of Luneville,
after which it was said that the Germans had
ceded even their national dance to the French.
It was first danced at the opera in Gardel's
ballet ' La Dansomanie' (1800), for which M^hul
wrote the music. Beyond the changes introduced
in Vienna by Schubei-t, Strauss, etc., and adopted
all over Europe, the form of the dance has not
undergone any material alteration in France,
though it was probably there that the misnamed
* Vaise k deux temps' (i. e. a faster form of the
danse, containing six steps to every two of the
waltz 'k trois temps') was first introduced to-
wards the middle of the century.
The music of the waltz originally consisted of
two sections, each consisting of 8 bars in 3-4 or
3-8 time. Good examples of these primitive
forms will be found in Beethoven's and Mozart's
Deutsche Tanze. The next development of the
music was the stringing together of several of
these i6-bar waltzes, and the addition of trios,
and a coda. This was first effected by Hummel
in a waltz in 9 numbers, which he wrote in
1808 for the opening of the Apollo Saal in
Vienna, but this isolated example cannot have
hivd much influence upon the development of the
waltz, since it is not until the time of Schubert
that it possesses any intrinsic musical value.
The dances of this composer form really the
basis of modern waltz music. Though in the
main they adhere to tKe old l6-bar form, yet
the beginnings of development are apparent in
them, not only in their immense musical supe-
liority to any of their predecessors, but also
in the numerous extensions and improvements
of the original form which are to be found
in them, and which have since become the com-
monplaces of every writer of dance music. For
instance, in op. 96, Waltz No. 15, instead of
having an 8-bar phrase repeated in each section,
has two sections of 16 bars each. The next
number (16) has two introductory bars of bass
solo before the 16-bar melody begins — a device
which is nowadays too familiar to be noticed,
though when Schubert wrote it was probably
absolutely novel. A careful analysis of these
beautiful compositions would probably reveal
1 ' The Waltz : an tpostropbic bTmn ' ; published 1818;
WALTZ.
many such points of departure ; indeed, in com-
paring them with the works of his contempora-
ries, such as Lanner and the elder Strauss, it is
extraordinary to find how Schubert anticipated
their effects. But if Schubert had so great an
influence on the Viennese school of dance com-
posers, it is to Weber that the waltz owes
what, musically speaking, is its most important
development. The composition of the • Auf-
forderung zum Tanz ' marks the adoption of the
waltz-form into the sphere of absolute music,
and prepared the way for the stream of piano-
forte and vocal waltzes, not intended as accom-
paniments to dancing, the best examples of which
are the waltzes of Chopin and Rubinstein, though
this form of composition has been adopted by
most writers of * brilliant ' music. Of late yeara
a tendency has shown itself to revert to what
may be called the Schubert type of waltz. To
this class belong the waltzes of Brahms, Kiel,
and other modem German composers. Brahms
indeed may be said to have introduced a new
class in his * Liebeslieder ' for pianoforte duet
and vocal quartet ; but the original type of these
is the same as Schubert's dances.
In the early part of the present century the
composition of waltzes for dancing was almost
entirely in the hands of the Viennese composers.
Johann Strauss the elder introduced the habit of
giving names to waltzes, and it was at Vienna,
under the Strauss family, Lanner, Labitzky, and
Gungl, that the waltz became fixed in the form
in which we now know it, i. e. an introduction
generally in a slow tempo, foreshadowing the
principal motive of the composition, and followed
by five or six separate waltzfes ending with a coda
recapitulating the best numbers. Vienna has,
moreover, always preserved the tradition of play-
ing what a modem writer aptly describes as
' those irresistible waltzes that first catch the ear,
and then curl round the heart, till on a sudden they
invade and will have the legs.' France has pro-
duced a few good waltzes, but more for operatic or
vocal purposes than for dancing, while England is
very far below either country in compositions of
this kind. The waltzes which achieve ephemeral
popularity in England are generally beneath
contempt as music, and as accompaniments to
dancing are a long way behind the productions
of Vienna.
With regard to the tempo of a waltz no strict
rule can be given. In England the time at
which waltzes are played and. danced differs
almost from year to year according to what is
supposed to be *the fashion.* The Viennese
tradition of introducing rallentandos and ao-
celerandos into waltzes, charming though it is to
a musician, has never been caught by any Eng-
lish conductor of dance music, and probably
would be found impracticable in England, where
dancers may be seen exhibiting their lack of the
sense of time and rhythm by waltzing to the
music of a polka. Cellarius gives the proper
tempo of a waltz * k trois temps' as p* = 66, and
*k deux temps ' as p" = 88. r-^y B S 1
WATSON.
WATSON, Thomas, put forth in 1590 *The
first sett of Italian Madrigalls Englished, not to
the sense of the originall dittie, but after the
affection of the Noate. By Thomas Watson.
There are also heere inserted two excellent Ma-
drigalls of Master William Byrd's composed after
the Italian vaine at the request of the sayd
Thomas Watson.' It is dedicated in a Latin
metrical epistle to Robert Devereux, Earl of
Essex, and there is also a similar epistle ad-
dressed to Luca Marenzio, the celebrated Italian
madrigal composer, from whose works 23 of the
28 madrigals included in the publication were
taken. Many of these madrigals are still well
known. Watson is conjectured to have been iden-
tical with Thomas Watson, a native of London,
who after studying poetry for some time at Oxford,
returned to London to study law, and died about
1592. A collection of sonnets by him entitled
* Hecatompathia, or Passionate Centurie of Love,'
was licensed in 1581, and some poems by him
were inserted in the collection called * England's
Helicon,' 1614. [W.H.H.]
WEBBE, Samuel, born in 1740 in Minorca,
was the son of a Government officer, who died
suddenly, leaving his family in straitened cir-
cumstances. He was therefore, at il years of
age, apprenticed to a cabinet-maker, but upon
tlje expiration of his time quitted that calling
and commenced the study of music under Bar-
bandt, organist of the Bavarian ambassador's
chapel. He also studied the Latin, French, and
Italian languages. He first appeared as a com-
poser about 1 763, devoting himself chiefly to the
production of unaccompanied vocal music. In
1 766 the Catch Club awarded him a prize medal
for his canon, ' O that I had wings,' and in sub-
sequent years 26 other medals for the following
compositions: — 'The man and the woman,'
catch, 1767 ; * From everlasting,' canon, and ' A
generous friendship,' glee, 1768; 'Alzate O
porte,' canon, 1770; ' Iddio i quel che mi
cingo,' canon, 1771 ; 'Discord, dire sister,' glee,
1772 ; *To the old, long life,' catch, and * Who
can express,' canon, 1774 J * ^ow I'm prepared,'
glee, 1775; *You gave me your heart,* and
♦'Tis beauty calls,' glees, 1776; 'Glory be to
the Father,' canon, and 'Rise, my joy,* glee,
1777 ; 'Great Bacchus,' and ' Hail, music,' glees,
1778; 'Neighbours, come,* catch, and 'O all
ye works,' canon, 1781 ; 'My Lady Rantum,'
catch, 1782 ; 'To Thee all angels,' canon, 1783 ;
* When youthful Harriet,' catch, and ' The fra-
grant painting,' glee, 1784 ; ' O Lord, shew Thy
mercy,' canon, and ' Swiftly from the mountain's
brow,' glee, 1788; 'Juliet is pretty,' catch, and
* Non fidi al mar,' glee, 1 790 ; and ' Tell me,'
catch, 1794. More than half of these composi-
tions are catches and canons that have now
nearly passed into oblivion, and but three of the
glees can be ranked among Webbe's best. His
finest works, — his glees 'When winds breathe
soft,' ' The mighty conqueror,* ' Come live with
me,' 'Thy voice, 0 Harmony,' 'To me the wan-
ton girls,' and ' Hence, all ye vain delights,' and
his catches, * Dear father, the girl you desire me
WEBER.
387
in marriage,' and ' Would you know my Celia's
charms,' — are not to be found in the list of his
prize compositions. On the death of Thomas
Warren Home in 1 784 he became secretary to
the Catch Club, and held the office until his
death. On the establishment of the Glee Club
in 1787 he became its librarian, and wrote and
composed for it his glee ' Glorious Apollo,' which
during the whole existence of the club enjoyed
the distinction of being the first glee performed
at every meeting. He was also organist of the
chapel of the Sardinian embassy. He published
in 1792 'A Collection of Motetts or Antiphons,'
and *A Collection of Masses for small choirs,*
principally composed by himself. He published
at various periods, commencing 1764, nine books
of glees, etc., which were subsequently repub-
lished with additions in 3 vols, folio. 25 glees, 36
catches, and 9 canons by him are included in
Warren's collections. He also composed several
excellent songs, of which 'The Mansion of
Peace ' enjoyed a long-continued popularity. He
died at his chambers in Gray's Inn, May 25,
1 8 16, and was buried in Old St. Pancras church-
yard, William Linley wrote an ode upon his
death for the best setting of which a prize was
oflFered. Seven competitors entered the lists,
viz. William Beale, Lord Burghersh, James (?)
Elliott, C. S. Evans, William Hawes, William
Knyvett, and William Linley ; the prize being
won by Evans. Webbe stands in the foremost
rank of glee-writers, and his works will maintain
their position as long as a taste for that style of
composition shall endure. As a man he was
much beloved and respected for his social vir-
tues.
Samuel Webbe, jun., his eldest son, was born
in London about 1770. He studied principally
under his father and became a good pianist and
organist. Like his father he early devoted him-
self to the practice of vocal composition, and in
1 794 obtained from the Catch Club prizes for a
catch, ' Ah Friendship,' and a canon, ' Resonate
Jovem,' and in 1 795 for a canon, ' Come follow
me.* About 1798 he settled in Liverpool and
became organist of the Unitarian Chapel, Para-
dise Street. About 181 7 he returned to London
and joined Logier in teaching on the latter's
system, and became organist of the Spanish am-
bassador's chapel. Some years afterwards he
again settled in Liverpool, where he became
successively organist of St. Nicholas Church and
of St, Patrick's Roman Catholic Chapel, Toxteth
Park, He composed many glees possessing great
merit (among which * Come away, Death,' is
conspicuous), songs, motets, etc. He edited the
collection of glees, etc., entitled * Convito Ar-
monico,' He died Nov, 25, 1843. [W.H.H.]
WEBER, Gael Maria Friedrich Ernest,
Freiherr von, was one of those musicians in
whose family music was long an hereditary gift.
As far as we know, there is but one German
musician with a musical pedigree longer and
more widely spread than Weber's — Sebastian
Bach. Like Bach too, Weber touched the
highest point in the special branch cultivated
Co a
88ff
WEBER.
by previous generations on both sides. With
Bach this was Protestant church music in its
noblest form, with Weber, national opera in its
most brilliant if not its most perfect develop-
ment. The earliest known member of the family,
JoHANN Baptist, a man of property in Ijower
Austria during the latter half of the i6th cen-
tury, was made Freiherr by the Emperor Fer-
dinand II in 1623. The family was, and still
is, Roman Catholic. We know nothing of Jo-
hann Baptist's musical tastes or faculties, but
his younger brother, J"osEPH Franz Xaveb,
apparently living in Upper Swabia, is said to
have been a great amateur of music and the
drama. The title of the elder brother was not
transmitted till 1738, and of the younger one's
descendants, one, Fridolin, was in the service
of Freiherr von Schonau-Zella, near Freiburg ini
Breisgau, in the i8th century, and died in 1754.
He was passionately devoted to music — sang, and
played the violin and organ. Of his two sons,
the elder, also a Fridolin (and also a singer
and violin player) became the father of Mozart's
wife Constance; and, as is well-known, she,
and in a still greater degree her sisters, Josepha,
Aloysia, and Sophie, were excellent, and almost
distinguished singers. Constance's father suc-
ceeded his father as manager of the Schonau-
Zella estates, and apparently dropped the von,
which was not borne by Mozart's wife.
His younger brother, Franz Anton von
Weber, bom 1734, became the father of Carl
Maria, who was thus connected by marriage with
Mozart. Franz Anton must have been a violinist
of more than common ability, as we find him
included, by those qualified to speak, amongst
the most distinguished viola players of the time.^
He was also a virtuoso on the double-bass. He
took military service with the Elector Palatine,
Carl Theodore, at Mannheim, on the understand-
ing that he was to assist in the celebrated court
band. He fought against Frederic the Great
at Rosbach (1756) and was slightly wounded,
after which he left the army, and entered the
service of the Elector Clement Augustus at
Cologne. In 1758 he became Steward to the
Prince-Bishop, and Court-Councillor at Steuer-
wald, near Hildesheim. His devotion to music,
which was such that he would even play the
violin while walking in the fields with his
family, caused him to neglect the duties of his
oflBce, and he was deprived of it. From 1768
to 1773 he lived at Hildesheim as an ordinary
citizen, and there decided, despite his age and
numerous family, on becoming a practical mu-
sician. He appears to have started on a tour
as a viola-player," and then settled in Liibeck,
where he published * Lieder mit Melodien
fiirs Clavier' (1774), compositions apparently
not without talent, as they were noticed nine
years after.' In 1778 he was musical director
I Forkel's Muslkallscher Almanach for 1783. p. ML
> Gerbcr's Lexicon, 11. 771.
« Forkel, p. 68, and elsewhere. M. M. von Weber, In h!s biography
of his father (Lebensblld) 1. 13, conjectures that Franz Anton had
played under an assumed name up to 1778, as no trace of him Is found
betore. Apparently he did not know of the passage In Forkel's
Almanach. Gerber also mentions as compositions of Franz Anton's s
WEBER.
of the theatre at Liibeck, and from 1779 to 85
Capellmeister to the Prince- Bishop of Eutin.
In 1784 he went to Vienna, made acquaintance
with Joseph Haydn, and entrusted to him his
two eldest sons, Fritz and Edmund, both of whom
showed talent for music [see vol. i. p. 7086.]
In 1785 he married again in Vienna, returned
to Eutin, and undertook the post of director of
the town-band.
At Eutin was bom in 1786 the first child of
his second marriage, Carl Maria von Weber.
His birthday was most likely Dec. i8, but there
is no absolute certainty of the fact. The father
had always longed to have a child that should
turn out a prodigy, such as Mozart had been.
All his children, daughters as well as sons, showed
talent for music and the stage, and his two
eldest sons became really good musicians. Haydn
was specially attached to Edmund, and wrote in
his album
Fear God, love thy neighbour, and thy
Master Joseph Haydu who loves thee Jieartily.*
Estoras {sic). May 22, 178S.
But Franz Anton could not disguise from him-
self that so far none of his children surpassed
mediocrity, and he was all the more anxious to
discern in Carl Maria talent of a higher order.
Inconstant by nature, his character was an odd
mixture of vanity and a pretentious vein of
comedy with the most brilliant and versatile gifts,
forming a most unsatisfactory whole. Such a
disposition was little adapted to the training of
a gifted child. Carl Maria was early set to learn
music, principally under his father, who after all
was but an amateur. The talent, so ardently
longed for, however, would not appear in the
delicate, nervous child. There is a tradition that
after taking great pains with him in vain, his
elder brother Fritz exclaimed on one occasion,
•Carl, you may become anything else you like,
but a musician you never will be.* The father
now tried him with the plastic arts, and put
him to drawing, painting in oil, pastel, and en-
engraving. Weber, in his autobiography, says
that he followed this with some success,' but
the specimens preserved in the family show
nothing beyond a certain manual dexterity,
with no sign of real talent.
His father had left Eutin in 1787, and was
leading a restless life as director of a dra-
matic troupe mainly consisting of his own
grown-up children. During the next few years
he is to be found in Vienna, Cassel, Meiningen,
Nuremberg, Erlangen, and Augsburg. Bad as
the influence of this roving life must have been
on the whole, it had its advantages for Carl
Maria in the special line to which he was to
devote himself, for he may be said to have grown
up behind the scenes. From his childhood he
was at home in the stage-world as none of
cantata 'Das Lob Gottea In der Natur,' and pieces for the riola, both
In MS.
* 0. F. PohVi Joseph Haydn, 11. 204. The general opinion of
Edmund Ton Weber Is somewhat opposed to Spohr's judgment ou
making his acquaintance In Berne in 1816. He says ' he Is said to be
a good theoretical musician : as a violinist and conductor he Is weak.*
Spohr's Selbstblographle, 1, 253.
6 Weber's Lltterarlsche Arbeiten. 175. (Leipzig, Kiel., 1866.)
WEBER.
the great opera-composers have been — not even
Mozart. That instinct for the stage, so obvious
in all his dramatic conceptions, and so un-
fortunately absent in most of our German
opera-composers, no doubt sprang from these
early impressions. In 1794, the father being
at Weimar with his family, Carl Maria's mother
Genoveva, then twenty-six, was engaged as a
singer at the theatre under Goethe's direction,
and appeared, on June 16, as Constanze in Mo-
zart's ' Entfiihrung.' The engagement was how-
ever cancelled in September, and Franz Anton
left Weiinar, to his subsequent regret.^ He
■went, it appears, to Erlangen, and in 1796 to
Hildburghausen. There the boy of nine found
his first scientific and competent teacher in
Heuschkel, an eminent oboist, a solid pianist
and organist, and a composer who thoroughly
understood his art. An organ-piece by him on
the Chorale *Vom Himmel hoch,' a copy of
which is in the writer's possession, shows
little fancy, but a complete mastery of the
technique of composition. It is impossible to
state with certainty the method on which
Heuschkel had formed himself as a pianist, but
it was probably Emanuel Bach's. He had a
gift for teaching, and being still young (born
1773), took a personal interest in his pupil.
Carl Maria did not at first like the hard, dry,
studies to which his teacher inexorably bound
him, but he soon found that he was making
progress, and the father at last beheld with
astonishment the dawn of that genuine musical
talent which he had himself tried in vain to
evoke. Weber never forgot what he owed to
Heuschkel. In his autobiographical sketch,
written in 1818, he says that from him he had
received the best possible, indeed the only true,
foundation for a style of pianoforte playing,
at once powerful, expressive, and full of cha-
racter, especially the equal cultivation of the two
hands. Heuschkel on his part followed with
justifiable pride the subsequent triumphs of his
pupil, and one of his published compositions is
& piece for wind-instruments on themes from
Rossini's * Semiramide,' and Weber's ' Euryanthe '
(Schott).
Unfortunately this instruction lasted but a
fihort time, as Franz Anton moved on in the
autumn with his company to Salzburg. Here
there was a training-school for chorister-boys,
similar to St. Stephen's Cantorei in Vienna,
in which the brothers, Joseph and Michael
Haydn, were educated. Michael Haydn had been
in the service of the Archbishop of Salzburg
since 1762, first as Concertmeister, and after-
wards Cathedral organist also. One of his
<luties was to teach singing to the choristers,
among whom the young Weber soon found a
place, speedily exciting the attention of Haydn.
He asked him to his house, and set him to play
a concerto of Kozeluch's, which he had studied
with Heuschkel, and other pieces, including a
recitative from Graun's *Tod Jesu.' The upshot
1 Fasqu^'s' Goethe's Tbeaterleitung In Weimar,' ii, 90,223. Leipzig,
Vebor. 1863.
Weber.
dsd
was that after repeated requests from the father
he consented to give the boy gratuitous in-
struction in composition.
Michael Haydn has been somewhat hardly
dealt with as a composer. His talent was con-
siderable, and had been thoroughly cultivated,
although he had not the genius of his elder
brother. As a teacher the mere fact of his age,
sixty, put him at too great a distance from his
eleven-year-old pupil for anything like the same
results as had been obtained with Heuschkel.
Still he seems to have been satisfied with six
fughettas, composed apparently under his own
eye, and the proud father had them printed in
score. The dedication, showing evident traces
of the father's hand, runs, ' To Herr Edmund
von Weber, my beloved brother in Hessen-Cassel.
To you as connoisseur, as musician, as teacher,
and more than all as brother, these firstfruits
of his musical labours are dedicated, in the
eleventh year of his age, by your tenderly loving
brother, Karl Maria von Weber, Salzburg, Sept. i ,
1798.'^ Carl Maria's mother had died on March
13, of consumption, and her death perhaps occa-
sioned a trip to Vienna in April, on which Carl
Maria accompanied his father. Here they heard
the 'Creation' (April 29 or 30), and probably
entered into personal relations with Haydn.
Immediately after his return, in the beginning
of July at the latest, the father began to talk of
leaving Salzburg, for 'one cannot exist under
this hierarchy,* and in the autumn they all moved
to Munich. As the lessons in composition from
Michael Haydn only began in January 1798,
they cannot have lasted more than six months.
Franz Anton had gradually tired of his stage-
managing. • I have bid good-bye to the good old
theatre ' he writes,' ' and have returned, though
without pay, to my old military life.* This
consisted in his adoption of the title of Major,
to which he had no sort of right. In
Munich Carl Maria had two new teachers,
the singer Wallishauser (Italianised into Valesi)
and Johann Nepomuck Kalcher, afterwards
court-organist. With the latter he made
more progress in composition than with Michael
Haydn, and always retained a grateful recollec-
tion of him. He soon began to play at concerts
with success. Under Kalcher's eye he wrote
his first opera, 'Die Macht der Liebe und des
Weins,' a mass, PF. sonatas, and variations,
violin trios, and songs ; but the MSS. have all
disappeared ; apparently he burnt them himself.*
One work of this time has survived, a set of
variations for PF. (op. 2), dedicated to Kal-
cher, and specially interesting as lithographed
by himself. He had been led to this kind of work
2 M. M. von Weber, 1. 41. and elsewhere, thinks his father made
him out intentionally a year younger than he was, but of this piece
of dishonesty he may be acquitted. The careless mistake of speaking
of a person as of the age of the current year instead of that of the
year last completed is very frequent in German. The expression
• in the eleventh year of his age.' may well have meant the same as
eleven years old.
8 January 19, 1799, to Holkammerrath KIrms at Weimar.
4 M. von Weber.i. 49, etc., says that they were accidentally destroyed
In Kalcher's house. See however Biedenfeld's 'Komische Opera.*
134 (Leipzig, Welgel. 1848) and JB. Muziol in the ' Neue Berliner Musik-
zeituug' for 1879, No. 1, etc.
S90
WEBEB.
by his acquaintance with Aloys Senefelder, the
inventor of lithography, in whose shop he fre-
quently occupied himself, even imagining that he
had discovered some improvements in the method
of mechanical reproduction. Indeed, his interest
in lithography became so keen, that for a time
he neglected composition. The father, always
restless and whimsical, thought of carrying»out
the new discovery on a large scale, and it was
decided to move to Freiberg in Saxony, where
the necessary materials were more easily pro-
curable. The plan was carried into effect in
1800, Carl Maria giving concerts on the way
with success at Leipzig and other towns in
Central Germany. Arrived in Freiberg he
speedily lost his interest in lithography, partly
owing to an opening which occurred for pro-
ducing a dramatic work. The large and well-
selected company of Ritter von Steinsberg, whom
the Webers had met before, had been playing
there since the summer. Steinsberg had written
an opera-book, *Das Waldmadchen,' which he
handed over to Carl Maria, then just thirteen,
and the first performance took place on Nov. 24.
PubHc expectation had been roused to a high
pitch by Franz Anton's manoeuvres, and seems
to have been barely satisfied by the result. Two
Freiberg musicians entered into a newspaper
correspondence with the composer, whose pen
was obviously guided by his father, for the in-
temperate, impertinent, tone of the letters is
wholly unlike anything in Carl Maria's cha-
racter. The opera succeeded better at Chemnitz
(Dec. 5, 1800), and was evidently appreciated in
Vienna (Leopoldstadt Theatre, 1805), where it
was given eight times during the month of
December. It was also performed at Prague,
and even in St. Petersburg, but negotiations with
Weimar fell through. Carl Maria was quite
aware afterwards of the small value of this
youthful work. In his autobiographical sketches,
he calls it *a very immature production, not
perhaps without occasional marks of invention,
the second act of which I wrote in ten days,'
adding, *this was one of the many unfortunate
consequences of the marvellous tales of the great
masters, which made so great an impression on
my juvenile mind, and which I tried to imitate.'
Freiberg in its turn was abandoned, possibly
towards the end of 1800, certainly by the begin-
ning of 1801. The last we hear of him there is
that he wrote on Dec. 9 to Artaria of Vienna
offering him his lithographic invention, the ad-
vantages of which were, in his own words, *i. I
can engrave music on stone in a manner quite
equal to the finest English copper-plate engrav-
ing, as the enclosed specimens will show. 2. One
workman can complete from two to three plates
a day in winter, and from three to four in summer
when the days are longer. 3. A plate can be
used again, by which I mean entirely erased,
over thirty times. 4. Two men can take as
many thousand impressions a week as in common
printing. 5. One hundred thalers will cover the
whole outlay for machinery.* He also offered
the Viennese publishers several compositions
WEBER.
for strings and for piano. Artaria took no
notice of the letter.* After this the father and
son seem to have made some stay in Chemnitz,
as we have letters from the former there dated
April 24, and May 17, 1801. By November they
were again in Salzburg, where Carl Maria com-
posed the opera • Peter SchmoU und seine Nach-
bam,' produced in Augsburg (probably in 1803)
without any special success. In a letter of
Nov. 25, 1 80 1, Carl Maria calls himself a pupil
of Michael Haydn, ' and of several other great
masters in Munich, Dresden, Prague, and Vienna,*
but who these masters were has not been ascer-
tained. As far as Vienna, Prague, and Dresden
are concerned, it can refer only to short tem-
porary relations with musicians, as up to this
time no stay had been made in any of these
places. The passage however is fresh evidence
of the continual restlessness in which Weber's
youth was passed. In the summer of 1802 he
went with his father to North Gennany, and
in October paid a fortnight's visit to his birth-
place. Here he saw much of Johann Heinrich
Voss, a fact worthy of note, because of the
admirable settings he afterwards composed to
some of Voss's poems. On the return journey
he composed at Hamburg, also in October, his
two first Lieder — ' Die Kerze,' by Matthisson,
and *Umsonst,' of which the latter only has
been printed. At Coburg, where the court was
very musical, he tried to procure a hearing for
his two operas, but whether successfully or not
cannot be ascertained. More important than the
actual musical results of this tour were the
theoretical studies on which he embarked during
its progress. He collected books on theory, and
soon his letters are full of Emmanuel Bach's
*Ver8Uch fiber die wahre Art das Clavier zu
spielen,' of Agricola (apparently his revision of
Tosi's ' Introduction to Singing '), of Kirnberger,
and others. Thus he began to cultivate inde-
pendence of thought on matters of art. His
newly acquired knowledge of theory was indeed
rudely shaken in Augsburg, where he arrived
November 1802, and made some stay. Here he
formed a close firiendship with a certain Dr.
Munding, who in all their conversations on art
had a disturbing habit of demanding the reason
for every rule propounded, which Weber was not
at that time competent to give. This however
stimulated him to clear up his own views on the
fundamental laws of art. The most striking fact
about him at this time was the extraordinary ac-
tivity of his mind in every direction. He took great
interest in musical criticism, and in December
1 802 was busy with preparations for a musical dic-
tionary. A Salzburg friend, Ignaz Susan, wrote to
encourage him in a plan for a musical periodical,
and was soon afterwards employed in procuring
him materials for a history of music in Vienna,
whither he betook himself early in 1803. The
most important acquaintance he made on this
visit was that of the Abb^ Vogler, who was
then composing his opera • Samori.' This gifted,
many-sided man, however he may have fallea
1 Nohl's 'Musiker-Brlele.' 2ud ed., 177.
WEBEE.
ehort of the highest excellence in art, exer-
cised a more stimulating effect than any
other artist on Weber, who attached himself to
him with all the enthusiasm of youth. *By
Vogler's advice,* he says, *I gave up — and a
great privation it was — working at great sub-
jects, and for nearly two years devoted myself to
diligent study of the various works of the great
masters, whose method of construction, treat-
ment of ideas, and use of means, we dissected
together, while I separately made studies after
them, to clear up the different points in my
own mind.' Vogler himself put great confi-
dence in his pupil. After Weber's arrival one
evening in October 1803, Vogler suddenly ran
into the inner room, closed the doors, shut the
shutters, and set to work at something with
great secrecy. At length he brought out a
bundle of music, and after Weber had promised
absolute silence, played him the overture, and
some other pieces from his new opera. Finally
he commissioned him to prepare the PF. score.
*I am now sitting down to it, studying, and
enjoying myself like the devil,' Weber writes to
Susan.^ The relations with Joseph Haydn were
also renewed. * He is always cheerful and lively,
likes to talk of his experiences, and particularly
enjoys having rising young artists about him.
He is the very model of a great man.' These
words of Weber's perhaps explain the fact that
neither in his letters, which often go into great
detail on the state of music in Vienna, nor in his
biographical sketch, does he mention Beethoven.
That he was personally acquainted with him
there is no manner of doubt.^ But Beethoven
was difficult of access, and his rough ways
may have repelled the delicate, refined and grace-
ful youth. That Vogler used underhand means
to keep them asunder is probably an unfounded
assumption, but a certain irritation against
Beethoven clung to Weber for many a year, till
it gave way in manhood to an unreserved ad-
miration and hearty veneration. Among other
musicians of note in Vienna Weber mentions
Hummel, just made Capellmeister to Prince
Esterhazy, whom he calls the 'most elegant
pianoforte-player in Vienna.' This opinion he
modified on hearing him again in Prague in
1816. His precision and his pearly runs he still
admired, but thought • Hummel had not studied
the intrinsic nature of the instrument.' Of
Weber's own works during this time in Vienna
but few exist, and of these few most are con-
nected with Vogler, e.g. the PF. score of 'Samori';
PF. variations on themes firom * Samori,' and
* Castor and Pollux,' another opera of Vogler's.^
That he was studying hard is certain, but this
was not incompatible with a youthful enjoyment
both of life and natural beauty. He became
acquainted with a young officer, Johann Baptist
Gansbacher, a musical amateur, also a pupil
of Vogler's, and the acquaintance soon ripened
into an intimate and life-long friendship. Weber's
1 NohVg ' Hosaik.' 68, etc. (Leipzig : S«nft 1882.)
t Ibid. 78, note.
* See Jftbns, Moi. 89. 40. 43.
WEBER.
391
son and biographer also has something to say of
a * tender connection with a lady of position ' in
Vienna. Possibly a song, * Jiingst sass ich am
Grab der Trauten allein,' composed immediately
after his departure from Vienna, had something
to do with this affair. Vogler had recommended
him for the post of Capellmeister of the theatre
at Breslau, and by May 8, 1804, before he was
quite seventeen and a half, the arrangements
were concluded. He went first to Salzburg to
fetch his old father, and there, in the rooms
of his friend Susan, composed the song just
mentioned. On June 5 he was in Augsburg, and
travelled on the 14th by Karlsbad to Breslau.*
If his biographer is correct in stating that
Weber did not enter upon his post at Breslau
before November 1804, he must either have
been living there for more than three months
without occupation, or have been touring about
as an artist from June to October. But there is
no indication of his having taken either of these
courses. The Breslau theatre was kept up by
a company chiefly consisting of better-class
citizens. The head manager in 1 804 was J. G.
Bhode, Professor at the Kriegsschule. Previous
to Weber's appointment, Carl Ebell had acted
as director of music, but he, originally a lawyer,
had returned to an official career. The orchestra
and chorus were sufficient for ordinary demands.
Weber, on this his first entrance on practical life,
showed great talent for direction and organisation,
though from over-zeal and inexperience he made
many mistakes. He had from the first to con-
tend with the prejudices of the managing com-
mittee, and with strong opposition in the chief
musical circles of the town. The leader of this
opposition was Joseph Schnabel, formerly first
violinist, and deputy-conductor of the theatre,
and appointed Cathedral-organist in 1805. Schna-
bel left the theatre on Weber's arrival, probably
from vexation at not being Capellmeister
himself, and, as a man of 37, declining to
serve under a lad of 18. The two continued
on awkward terms, and some rudenesses of
which Weber was guilty towards Schnabel, a
respectable and much respected man, did not
raise him in the estimation of the better part of
the public. Among the managing company he
had roused opponents, by insisting on several
expensive alterations. Rhode, indeed, was well-
disposed towards him, and wrote a libretto,
*Rubezahl,' on which Weber set to work at
Breslau.
In spite of Rhode, however, a regular breach
ensued in the spring of 1806, and Weber's resig-
nation was accepted. With the best inten-
tions he had done little to raise the state
of music in Breslau; but the years spent
there were of great importance to his own
development. Not only was his great gift
for conducting first made apparent to himself
and others, but it was chiefly at Breslau that
the original and gifted pianist and composer,
* M. von Weber Is Incorrect here, 1. 87. Also the Variations, op. 6.
were completed earlier than stated by 3&bm (No. 43. p. 67). They
irere uadoubtedly finished by May 1804.
^92 WEBER.
whom his contemporaries admired, and posterity
venerates, was formed. Although somewhat
isolated socially, his gifts and his amiable dis-
position attracted round him a small circle of
musical people. Carl Ebell was one of the
niunber, but his closest friends were F. W. Bemer
and J. W. Klingohr, both little older than him-
self, and both admired pianists, Bemer being
also chief organist of the church of St. Eliza-
beth, a talented composer, and in a certain
sense, a pupil of Vogler's. The three young
men formed a close bond, and endeavoured to
make their intimacy mutually profitable. Klin-
gohr's strong points were sweetness, correctness,
and grace ; Berner's, power, and depth of thought ;
Weber excelled in brilliancy, fascination, and
unexpectedness. In genius he far surpassed the
others, but Bemer had had the solid training
which he lacked. All three exercised themselves
diligently in extempore playing, then justly con-
sidered the highest qualification for a good
pianoforte-player and organist. In this branch
also Weber proved the most gifted j in spite of
risky harmonies, and even awkward counter-
point, detected by critical hearers, he carried
all before him by the charm of his melodies,
and the originality of his whole musical nature.
He had also acquired considerable skill on
the guitar, on which he would accompany his
own mellow voice in songs, mostly of a humorous
character, with inimitable effect. This talent
was often of great use to him in society, and he
composed many Lieder with guitar accompani-
ment. His fine voice, however, he nearly lost
in Breslau. One day, in the early part of 1806,
he had invited Berner to spend the evening with
him, and play over the newly-completed overture
to * Riibezahl,' but on Bemer's arrival he found
his friend insensible on the floor. Wanting a glass
of wine he had taken by mistake some nitric acid,
used by his father for experiments in etching.
He was with difficulty restored to consciousness,
when it was found that the vocal organs were
impaired, and the inside of the mouth and air-
passages seriously injured. He recovered after
a long illness, but his singing-voice remained
weak, and even his speaking-voice never re-
gained its full power. Beyond a few numbers
of 'Riibezahl,' Weber composed little in Breslau.
An 'Overtura Chinesa,' lost in its original
form, was re-modelled in 1809 as the overture
to'Turandot.'
After his withdrawal from the theatre he
remained at Breslau without any regular em-
ployment, living on the hard-earned proceeds
of music-lessons. Having his father to provide
for, and encumbered with debts accumulated
while he was endeavouring to live a some-
what fast life on a salary of 600 thalers a year
(about £90), he found himself hard pressed, and
determined to try a concert-tour. One of his
pupils, Fraulein von Belonde, was lady-in-waiting
to the wife of Duke Eugene of Wirtemberg,
then living at Schloss Carlsruhe in Silesia,
where he kept up a great deal of music. The
lady's influence procured for Weber the title of |
WEBER.
Musik-Intendant, which would, it was hoped^
be a help to him on his tour, but that prospect
having been destroyed by the war, the Duke in-
vited Weber to Schloss Carlsruhe. Here he
found not only a refuge for himself, his father,
and an aunt, but a most desirable atmosphere
for the cultivation of his art. He took up his
abode there about midsunmier, and though the
Duke was summoned to the army in September,
the war was expected to be so soon over that
at first no change was made in the peaceful life
at the Castle. In these few months Weber wrote
a considerable number of instrumental pieces,
chiefly for the excellent artists who composed
the small chapel of the Duke. To January 1807
belong two orchestral symphonies (his only ones,
both in C major ^), and these had been preceded
by some variations for viola and orchestra (Dec.
19), and a small concerto for horn and orches-
tra (Nov. 6, 1806). Possibly, too, the well-
known variations on Bianchi's • Vien qua,
Dorina bella ' belong to the last few weeks at
Carlsruhe." This happy time came to an end in
February 1807, after Napoleon's decisive victory
over the Prussians, when the state of universal
insecurity made it necessary to dismiss the band.
But the Duke, with true nobility of mind, showed
himself anxious to provide for his musicians,
and through his intervention Weber was in-
stalled as private secretary at Stuttgart to
Duke Ludwig, brother to Duke Eugene, and
to the king (Frederic) of Wirtemberg. As things
were, he could not hesitate to accept a post
which promised him, even at the cost of a
temporary exile from his art, a certain income,
doubly necessary now that he had his father to
provide for. As he was not required at Stuttgart
till September i, he made use of the interval
after his departure from Carlsruhe on February
23, for a concert- tour. The war made concerts
a matter of great difficulty, but, after several
vain attempts, he succeeded at Anspach, Nu-
remberg, Bayreuth, and Erlangen. He then
turned in the direction of Stuttgart, where he
arrived July 1 7, and entered on his new post
August I. ^
Duke Ludwig was a frivolous man of pleasure,
who habitually spent more than his income, and
did not scruple to resort to underhand and
desperate expedients to extricate himself from
his embarassments. The corruption of morals
at the dissipated court of Stuttgart was terrible,
and Weber's position was a dangerous one from
many points of view. His duties were to manage
the Duke's private correspondence, keep his
accounts, furnish hirn, sometimes by most im-
pleasant means, with money to satisfy or put
off his numerous creditors — all things for which
Weber was too ignorant and inexperienced.
1 See JShns, Kot. 60 and Rl.
2 Weber states iD bis autobiographical sketch that he composed at
Schloss Carlsruhe 2 Symphonies, several Concertos, and ' Harmoiile-
stUcke' (pieces for wind without strings). If we Include the viola
variations, much in the form of a cojicerto, we get 2 concertos, but
the HarraoniestUcke are missing. A ' Tusch' (flourish of trumpets)
of 4 bars, for '20 trumpets, printed by J&hus No. 47 A, p. 61, probably
counted as one of them.
WEBER.
and which formed a ruinous exhibition of dis-
solute life for so young a man. His natural
tendency to dissipation and gaiety was fostered
by this immoral life, all the more because his
title of Freiherr at once gained him admittance
to the circles of the corrupt young nobility.
Thus involved he lost sight of his own proper
life-object — music, or like a mere dilettante,
treated his art as an amusement. He had
besides, great social gifts, and was always a
welcome guest. He ran great risk of giving up
all serious effort, and yet it was indispensable
to him, on account of his irregular and defec-
tive training. It is not to be wondered at
that a sterling artist like Spohr, who knew him
in Stuttgart, should have formed a low, or
wholly unfavourable, impression of his artistic
powers. It was only genius of a high order, and
a conscientious nature such as his was at bottom,
that enabled him to raise himself at last to his
present lofty position.
Stuttgart abounded in opportunities for im-
proving his general cultivation, and procuring
fresh nutriment for his active and receptive
mind. He made acquaintance with the principal
autliors, artists, and scientific men of the place.
Hauy and Eeinbeck, Dannecker and Hotsch,
J. C. Schwab, Spittler, and Lehr, all enjoyed
intercourse with so agreeable a youth. Lelir,
the court-librarian, opened to him the treasures
of the royal collection of books, among which
Weber's preference was for philosophical works.
He read Wolf, Kant, and Schelling, with atten-
tion and profit, and formed on them his own
modes of thinking and expressing himself.
His great gift for music naturally became
known, and Duke Ludwig made him music-
master to his children. The Capellmeister of the
opera (from 1807) was Franz Danzi, a melodious
composer, an excellent cellist, and sociable,
though of regular life. Though twenty-three
years older than Weber, he speedily formed an in-
timacy with him, and tried to exercise a calming
and restraining influence over him, while both
by precept and example he was of great ser-
vice to him in his art. His friendship with
Danzi brought Weber into connection with the
company of the Stuttgart court-theatre, a cir-
cumstance which, while it stimulated him to
fresh dramatic production, involved him in
the loose life of a Bohemian set. A violent
reciprocal attachment for the singer Margarethe
Lang^ led him into all sorts of follies, causing
him to neglect cultivated and intellectual society,
and ruining him financially. Another personage
of importance in his artistic career was Franz
Carl Hiemer, the dramatic author. Both he
and Weber belonged to a society of lively
young men, who called themselves 'Faust's
Hollenfahrt.' Each member assumed a special
name; the president, a Dr. Kellin, was 'Dr.
Faust^' Hiemer *Reimwol,' Weber 'Kraut-
1 Not the daughter, as M, M. v, Weber states (1. 159) but the sJster
of Theobald Lang the violinist, and In consequence aunt to Josephine
LanK-KOstlin, Meudelssobn's Iriend, and composer of so manjr
Lieder.
WEBER.
393
salat,' and Danzi, who had been persuaded to
join, *Rapunzel.' Among Weber's papers was
found a comic musical epistle, 'from Krautsalat
to Rapunzel,'* which gives a striking picture of
his irrepressible spirits in such society. Hiemer
had had some previous success as a librettist, and
undertook to write a roraantico-comic opera for
him. *Das Waldmadchen' was the subject
chosen, and Hiemer seems to have adhered
pretty closely to Steinsberg's book, which Weber
had set in Freiberg. The new work, * Silvana *
b}' name, seems to have made slow progress
amid the distractions of Weber's life. It was
begun, as far as can be ascertained, on July i8,
i8o8, and finished Feb. 23, 1810.^
Through Danzi's intervention the opera was
accepted for the court-theatre, nnd was about to
be put into rehearsal, when an incident, to be
related shortly, ruined all. Whilst busy with
his opera, Weber composed, what under the cir-
cumstances must be considered a large number
of other works — a strong proof of the increasing
force of his productive power. The most import-
ant was ' Der erste Ton,' a poem by Rochlitz,
for declamation, with orchestra and concluding
chorus. He remodelled the overture to • Peter
Schmoll,' and published it as a separate work ;
also the 'Overtura Chinesa,' which was made
to serve as the introduction to * Turandot,' a play
by Gozzi and Schiller, for which he also wrote
six short incidental pieces. Of PF. music, by far
the most important piece is the Polonaise in Eb,
op. 21, completed June 4, 180S, at Ludwigsburg,
and dedicated to Margarethe Lang. With her
too are connected the * Variations on an original
theme/ op. 9 ; the clever * Momento capriccioso,'
op. 12, and the charming 'Six pibces pour le
pianoforte k quatre mains' (Nov. 27, 1809).
His solitary PF. quartet (in Bb) * was also of this
period, as well as the 'Variations for PF. and
violin on a Norwegian theme,' an 'Andante and
Rondo Ungarese ' for viola and orchestra, not
published in this form, a Potpourri for cello and
orchestra, and thirteen Lieder with accompani-
ment, several of which are of perfect beauty.
King Frederic lived on bad terms with his
brother, Duke Ludwig, whose frivolity and ex-
travagance were specially irritating, as the
king had several times had to extricate him
from his embarrassments for the sake of the
family honour. His displeasure also descended
on the Duke's secretary, who generally had the
unpleasant task of informing the king of his
brother's difficulties. On these occasions the
King would load the unfortunate Weber with
most unkingly abuse. This roused Weber's bold
and haughty spirit, and led him to revenge
himself by various little spiteful tricks. On
leaving the Cabinet in a great rage after one
of these violent scenes, he met an old woman
in the corridor who asked him for the laundress's
room ; * There,' said Weber, pointing to the door
of the king's apartments, ' the royal laundress
lives in there,' and went off. The woman went
a Printed entire by M. M. voa Weber. 1. 146.
* J&hus, pp. 101 and 103. * J&hna, No. 78.
894
WEBER.
in, and, being angrily received by the king,
stammered out that a young gentleman who
had just left the room had directed her there.
Enraged at this affront, the king ordered him
into arrest, but he was begged off by the Duke,
and nothing more was done at the time. That the
king did not forget his audacity he learnt after-
wards to his cost.
As Duke Ludwig's financial position became
worse, he was driven to still more questionable
expedients. The king having made a decree
by which the only persons exempt from mili-
tary service were the members of the royal
household, these appointments were much sought
after, and many parents were willing to pay a
considerable sum for the reversion of one. It
was observed that about this time there was a
sudden accession to the Duke's household of
young noblemen who bore official titles without
any corresponding duties. Just then Weber had
been endeavouring to obtain a loan from one of
his acquaintances, in order to discharge a debt
of his father's, who had been living with him
since 1809. On the gentleman's refusal a former
servant of his offered Weber to procure it for a
consideration, and then assured his late employer
that the Secretary, if obliged in the matter of
the loan, would secure his son an appointment
in the Duke's household. On this understand-
ing the loan was effected; but when no ap-
pointment ensued, and the son was drawn for
a soldier, the father in his indignation made the
affair known. The king had long been dis-
satisfied with the state of his brother's household,
and believing Weber to be the real culprit,
determined to make an example of him. The
preparations for 'Silvana' were in progress,
and Weber was at the theatre, when, on the
evening of Feb. 9, 18 10, he was arrested and
thrown into prison. An enquiry ensued, and
Weber's innocence, of which indeed all Stutt-
gart had been convinced, was completely esta-
blished ; but the king, on Feb. 26, sentenced
him and his father to perpetual banishment
from Wurtemberg. This hard stroke of fate
might be looked upon as a punishment for
• 80 many frivolous years, and for sins com-
mitted against the guiding genius of his art ; and
it was in this light that Weber took it. Hence-
forth his youthful follies were laid aside, and
he settled down conscientiously andperseveringly
to the life of an artist in earnest pursuit after
his ideal. 'From this time forward,' he said,
eight years afterwards, •! can count pretty
tolerably on having settled matters with myself;
and all that time has since done or can do for
me, is to rub off comers, and add clearness and
comprehensibility to the principles then firmly
established.'
Danzi, a real friend in need, gave him introduc-
tions to Mannheim, where Peter Ritter was Capell-
meister, and Gottfried Weber, afterwards so
well-known as a musical theoretician, Conductor
of the society called the * Museum.' Received in a
kindly spirit by all, in Gottlried Weber he found
a friend for life. Under his auspices concerts
WEBER.
were at once arranged for March 9 and April a,
and at these the 'Erster Ton' was produced for
the first time, the words being declaimed by the
actor Esslair. His first symphony too was a
great success, as well as his pianoforte-playing.
On a trip to Heidelberg he made the acquaint-
ance of Alexander von Dusch, a brother-in-law
of Gottfried Weber, and a cello-player of great
taste, who after finishing his studies at Easter,
1 8 10, came to settle in Mannheim. The three
frien43 spent a few happy weeks in lively
intellectual intercourse, and in April Weber
moved to Darmstadt, where Vogler had been
living since 1807. Here he met his friends
Gansbacher and Meyerbeer from Berlin. Weber
did not return to the old relations of master
and pupil with Vogler, but sought to profit
by intercourse with him. His respect for
him was undiminished, though he could no
longer agree with all that he practised and
taught, and was quite aware of the weaknesses
of his character. 'May I succeed in placing
before the world a clear idea of his rare
psychological development, to his honour, and
the instruction of young artists ! * Weber had
the intention of writing a life of Vogler as far
back as 18 10, and the words just quoted show
that he still retained the idea in 18 18, though
it was never carried out. This was a pity, lor
his representation of Vogler might perhaps have
altered the universally unfavourable verdict of
later times. [See Vogler ; vol. iv. p. 324, etc.]
On June 21, 1810, Weber undertook a small
literary work at Vogler's instigation. Vogler had
remodelled some of the Chorales in Breitkopfs
second edition (1784 to 86) of J. S. Bach's
Chorales, published under Emmanuel Bach's
supervision, honestly thinking that Bach was
open to great improvement on the score of beauty
and correctness. He now begged his former
pupil to write a commentary (m his revisions, and
publish them for the benefit of students. That
Weber embarked on the work * with any amount
of eagerness there is no evidence to show ; pro-
bably not, his mind being entirely practical and
by no means pedagogic. As a matter of fact
the analyses were done very perfunctorily, nor
were they all his own, for Chorale VII. was done
by Gottfried Weber, and part of Chorale IX. and
all Chorale X. by Vogler himself." Weber felt
his unfitness for the task, and so expressed
himself in the introduction. If any part of it
interested him it was the comparison of Vogler's
supposed systematic and philosophical methods
with Bach's mode of proceeding by instinct.
He had been long seeking for something on
which to ground a system ; a fact for which
there is a very simple explanation in the un-
certainty of his musical instincts, particularly
as regards the sequence of harmonies, an un-
uncertainty arising from his desultory early
training, and never wholly overcome. That he
1 Published In the same year by Peters of Leipzig. ' ZwOlf Chortto
von Sebastian Bach, umgearbeitet von Vogler, zergUedert roa Carl
Maria von Weber,' etc
2 J&tans, p. 454.
WEBER.
considered Vogler's alterations improvements is
not surprising ; for his acquaintance with Bach,
like his knowledge of history in general, was
small ; and he knew as little as Vogler did of
the original intention of the Chorales in question.
Weber's attraction towards literary work, of
which traces may be seen as far back as
1802, was very marked about this time. He
came forward frequently as an author between
1809 and 1818, after that at longer inter-
vals, and not at all after 182 1. In Stutt-
gart he began a musical novel, * Tonkiinstlers
Leben,' which had been accepted by Cotta of
Tubingen, and was to have been ready by
Easter 181 1 ; but the time went by, and it was
never finished. A fragment published in the
•Morgenblatt* for Dec. 1809, contains some
severe remarks on Beethoven's 3rd and 4th Sym-
phonies. Mozart was Weber's ideal musician,
and at that time he was quite impervious to
Beethoven's music. Nageli of Zurich having
pointed out a subtle resemblance between Weber
and Beethoven (which really is observable, in
the Momento Capriccioso for instance, and still
more in his later works), Weber wrote to him
from Mannheim, 'Flattering as this might appear
to many, it is not agreeable to me. In the first
place, I detest everything in the shape of imita-
tion ; and in the second, my ideas are so opposite
to Beethoven's that I cannot imagine it possible
we should ever meet. His fervid, almost in-
credible, inventive powers, are accompanied by
so much confusion in the arrangement of his
ideas, that his early works alone interest me;
the later ones are to me a bewildering chaos, an
obscure straining after novelty, lit up it is
true by divine flashes of genius, which only
serve to show how great he might be if he would
but curb his ri9tous imagination. I, of course,
cannot lay claim to the genius of Beethoven;
all I hope is ... . that each separate stroke of
mine tells.' ^ This passage, which well bears
printing, shows that Weber by no means over-
appreciated himself, but was anxious to guard
his own independence, and uttered his opinions
in a straightforward manner. — He began now to
appear more frequently as a critic. All criticism
on himself he paid great attention to, and was
fully convinced of the value of good musical
censure, so he set to work with his friends to
elevate the art in general. Towards the close of
1 8 10, he, Gottfried Weber, Alexander von Dusch,
and Meyerbeer, founded the so-called ' Harmon-
ischer Verein,' with the general object of further-
ing the cause of art, and the particular one of
extending thorough and impartial criticism. The
regularly constituted members were required to
be both composers and literary men, but writers
" were admitted, if possessed of suiBcient musical
knowledge. The motto of the society was • the
elevation of musical criticism by musicians them-
selves,' a sound principle which, then promul-
gated for the first time in musical Germany,
■j, has shown itself full of vitality down to the
present day. In this branch Weber was the
1 Nobl's • Muslkerbrtefe,' 2ad ed. 178.
WEBER.
395
direct precursor of Schumann. He and Gottfried
Weber also considered the foundation of a musi-
cal journal, and though the plan was never
carried out, it was long before Weber gave
it up. He was still occupied with it even during
the Dresden period of his life. Other members
of the society were Gansbacher, Berger the
singer, Danzi, and Berner. The existence of
the society was a secret, and each member
adopted a nom de plume. Weber signed him-
self Melos; Gottfried Weber, Giusto; Gans-
bacher, Triole, etc. Here, again, we are reminded
of Schumann and the ' Davidsbundler.* The two
Webers were active in their exertions, and their
eflforts were undeniably successful.
Vogler was proud of his disciples, especially
of Weber and Meyerbeer. ' Oh,' he is said to
have exclaimed, * how sorry I should have been,
if I had had to leave the world before I formed
those two. There is within me a something
which I have never been able to call forth, but
those two will do it.* Weber however found
existence at Darmstadt hard after the pleasant
never-to-be-forgotten days at Mannheim. He
got away as often as he could, gave concerts
at Aschaffenburg, Mannheim, Carlsruhe, and
Frankfort, and found time also to compose.
Ideas flowed in upon him, many to be used only
in much later works. For instance, the ideas
of the first chorus of fairies, and of the ballet-
music in the third act of * Oberon,' and the chief
subject of the * Invitation h, la Valse ' were in
his mind at this period. While on the look-out
for a subject for an opera he and Dusch hit upon
* Der Freischfitz,' a story by Apel, then just pub-
lished, and Dusch set to work to turn it into
a libretto. For the present however it did not
get beyond the beginning ; not till seven years
later did Weber begin the work which made
his reputation. He succeeded in bringing out
* Silvana' at Frankfort on Sept. 16, 1810, ' when,
in spite of unpropitious circumstances, it pro-
duced a very favourable impression. The part
of Silvana was taken by Caroline Brandt, Weber's
future wife ; and Margarethe Lang was the
first soprano. Having completed by Oct. 1 7 six
easy sonatas for piano and violin, for which
Andr^ had given him a commission, Weber soon
after set out for Ofi^enbach, but had the mortifi-
cation of having ^em refused, on the ground
that they were tod good for Andre's purpose.'
At Andre's he saw for the first time an auto*
graph of Mozart's, amJ his behaviour on the
occasion touchingly expressed his unbounded
veneration for Mozatt's genius. He laid it
carefully on the table, and on bended knees
pressed his forehead and lips to it, gazed at it
with tears in his eyes, and then handed it back
with the words, ' Happy the paper on which
his hand has rested ! '
For a short time there seemed a prospect
of Weber's securing a permanent appointment
in his beloved Mannheim. At a concert there
on Nov. 19, he produced his remodelled overture
a According to the register of the theatre. Jfthiu. p. 103.
• Published later by Simrock of Bonn.
896
WEBER.
to 'Peter SchmoU,* and played. for the first time
his PF. Concerto in C, completed on Oct. 4.
Among the audience was Princess Stephanie of
Baden, whose father, the Crown-Prince Ludwig
of Bavaria, Weber had met a few months before
at Baden-Baden. The Prince had been de-
lighted with him, and had walked about with
him all night, while he sang serenades to his
guitar. The Princess also was anxious to hear
him in this capacity, and after the concert he
sang her a number of his best songs to the
guitar, making so great an impression that she
promised to procure him the post of Capellmeister
in Mannheim, or make him an allowance of
1000 gulden from her privy purse. All this
however ended in nothing, for a few weeks
later he received a message from the Princess
to say that she found her promise had been
made too hastily.
The cause of Weber's so soon giving up the
* Freischiitz,' which Dusch was to prepare for
him, was that he had been busy for some time
with a new opera, or rather comic Singspiel, in
one act, called *Abu Hassan,' the libretto of
which Franz Hiemer sent him, March 29, 18 10,
from Stuttgart. He composed one number,
the Creditors' chorus, at Mannheim, Aug. 11,
left it untouched till Nov. i, and completed
it at Dai-mstadt, Jan. 12, 1811. By Vogler's
advice the work was dedicated to the Grand
Duke Ludwig, who, although an enthusiastic
devotee and connoisseur of music (he used to
conduct the rehearsals at the opera himself) had
hitherto declined to have much to do with
Weber, possibly because the latter had not
shown sufficient deference to his authority on
matters of art. Now he seemed much more
kindly disposed, sent a handsome fee for the
score, and gave permission for a concert at
the Schloss (Feb. 6, 181 1), himself taking 120
tickets. For it Weber composed an Italian duet
for two altos (JNIesdames Mangold and Schon-
berger) and small orchestra, with clarinet obli-
gato, played by Heinrich Barmann of Munich.
The duet pleased greatly, and was encored, but
all this success did not end in a permanent
a,ppointment, as Weber had at one time hoped
would be the case. Meyerbeer had left on Feb.
12 for a tour ; outside the court the inhabitants
had little feeling for music ; Weber did not care
to be left wholly to Vogler ; and on Feb. 14 he
finally left a place where he had never felt
thoroughly at home, and started on a grand
concert- tour.
At this period he often felt sorely the rest-
less, uncertain conditions of his life, the incon-
stant nature of all human relations, and the
loneliness to which he seemed doomed by the
sudden snatching away of friends as soon as he
became attached to them. During his last visit
but one to Mannheim, he composed a song
called 'Weber's Abschied'* (Dec. 8, 1810) to
words by Dusch. Some of the verses may be
thus paraphrased : —
> Published later by Scblesinger of Berlin u ' Dei EOnsUert
AUchied.'
WEBER.
Upon the stormy sea, away.
Tempest-tossed I'm driven,
No home where I can safely stay.
No rest, to me is given.
Wherever kindly hearts I find.
There would I gladly dwell.
And all my woes of heart and mind
Kmd fate might thus dispel.
Fiill many a loyal-hearted friend.
Now here, now there, I've won,
Th' impatient Hours our converse end.
And bear me on and on.
At Darmstadt on the night of January la,
181 1, he wrote down more connectedly some of -
the thoughts which surged through his mind.
His childhood came up before him, and his life,
so full of disappointments, and so near failure.
' My path in life,' says he, ♦ was cast from my
birth in diJQTerent lines to that of any other
human being ; I have no happy childish days to
look back upon, no free open boyhood ; though
still a youth I am an old man in experience,
learning everything through my own feelings
and by myself, nothing by means of others.' ^ To
Gansbacher he writes a few months later, 'You
live in the midst of your own people, I stand
alo7ie ; think then how much a word from you
refreshes and revives me.' His elastic tempera-
ment however soon recovered itself, as the
smallest piece of good fortune was enough to
feed his hopes, and the consciousness that he
had at last laid firm hold of Art — his own pro-
per aim in life — was a constant encouragement.
Nothing could distract him from this, nor from
the continuous endeavour to work out his moral
education. The touching tone of piety and
trust which runs through his later life is now
first noticeable. He closes the year 1810 with
the following avowal: 'God has sent me many
vexations and disappointments, but He has also
thrown me with many good kind people, who
have made life worth living. I can say honestly
and in all quietness, that within the last ten
months I have become a better man.*
Weber travelled through Frankfort to Giessen,
where he gave a well-attended concert on Feb. 18,
and Hanau, where he saw a ' bad play ' on the
23rd ; went next day to Aschaffenburg, where he
stayed two days, and made acquaintance with
Sterkel, an adherent of Vogler's ; and by March 3
was at Wiirzburg. Thence he went to Bamberg,
where he met E. T. A. Hoffmann, and Baderthe
tenor, both of whom reappear in the Freischiitz
period; and by Nuremberg and Augsburg to
Munich, arriving March 14. Here he stayed
nearly five months, finding powerful stimulus
in the society of Barmann, the greatest clarinet-
player of his time, for whom he wrote within
the next few months no less than three concertos.
The first, in C minor and E b,^ was played at his
first concert (Aprils) *s well as his PF. Concerto,
one of his symphonies, and the 'Erster Ton.*
Barmann played the second, * in F minor, at a
concert given by Kaufmann the pianoforte-maker
of Dresden (June 13), and again at Weber's
second (Aug. 7). These compositions procured
J Nohl's Muslkerbrlefe. 195.
» Known as the Concertino, Op. 26. JShns, No. 100.
4 Concerto No. 1, Op. 73. Jahns, No. 114.
WEBER.
him warm adherents, not only among the general
public, but also in the Munich orchestra, cele-
brated for its haughty reserve. One of the
band having spoken slightingly of the F minor
Concerto at rehearsal as an 'amateur work/
the rest fell upon him, and would have turned
him bodily out of the orchestra if Weber had
not interposed. There was also a successful
performance of 'Abu Hassan* on June 4, and
during the preparations Weber learned that it
was to be given before the court at Ludwigsburg
in the beginning of May, but not under his
name. 'Is not that miserable?' he writes to
Gottfried Weber, 'and how stupid! all the
papers will announce it as mine. Item, God's
will be done.' On August 9 he started for a
tour in Switzerland, during which he gave
himself up to the enjoyment of nature rather
than of music. By the beginning of November
he was again in Munich, and gave a brilliantly
successful concert on the nth. For it he had
composed a new concert-rondo, which he after-
wards used for the finale to the Clarinet-con-
certo in Eb, ^ and remodelled the overture to
*Rubezahl,' a piece of work which he declared
to be the clearest and most powerful of anything
he had yet done. Besides these he composed
some vocal pieces, chiefly for his patroness Queen
Caroline, and a complete Bassoon-concerto (op.
75) for Brandt, the court-player. On Dec. i he
started again, this time in company with Bar-
mann, for Central and North Germany.
In Prague he met Giinsbacher, then living
there, formed some ties which became of im-
portance when he settled there later, composed
variations for PF. and clarinet on a theme from
•Silvana' (op. 33), and gave with Barmann a
largely attended concert on Dec. 21. Passing
through Dresden they arrived, Dec. 27, at
Leipzig, where Weber met Kochlitz and other
musical authors, and fostered his own incli-
nation for literary work. Indeed, so strong
was this that he seriously thought of staying
in Leipzig and devoting himself exclusively
to literature. His ideas, however, soon took a
different turn. The Crown Prince Ludwig
of Bavaria, on whom he had evidently made
» deep impression, had written about him
to Duke Emil Leopold August of Saxe Gotha,
and the result was an invitation for himself
and Barmann to Gotha, where they arrived
Jan. 17, 181 2. The Duke was devoted to the
arts, a poet and composer, but whimsical
and given to extremes — in fact a Jean-Paul
kind of man, and a great admirer of Jean-
Paul's works. Intercourse with him was excit-
ing but very wearing, as Weber discovered,
although just now it was only for a short time
that he enjoyed the privilege of almost uninter-
rupted access to him. The Duke took great
pleasure in his society, but, having at the time
many claims on his time, invited Weber to return
in the autumn and make a longer stay. In
Gotha Weber met Spohr, who since 1805 had
been Concertmeister — the court had then no
1 Concerto No. 2, Op. 74. 3 Urns, No. U&
WEBER.
897
opera — and had married in 1806 Dorette Scheid-
ler, a harpist, and daughter of Madame Scheidler,
the court-singer. Spohr had not retained a very
favourable impression of Weber's music at
Stuttgart, but received him in true brotherly
fashion. On Jan. 20 they passed some pleasant
hours together at Spohr's house, and on the
24th played before the court Weber's variations
on a Norwegian theme (op. 22), on which Weber
remarks in his diary * Spohr played gloriously.*
From Gotha the two musicians went to Weimar,
were kindly received at court, and gave a concert.
If Weber had been hoping for inspiration from
Weimar's great poets, his only chance was with
Wieland, for Goethe behaved coldly, or rather
took no notice at all of him. His diary contains
an entry 'Jan. 29. Early to the Princess.
[Maria Paulowna.] Goethe there and spoke.
I did not like him.' Spohr indeed had met with
scarcely better treatment some little time before,
but this may have arisen from Goethe's lack of
interest in music. Weber he was personally
prejudiced against, possibly because of former
circumstances about his father and his family,
and the feeling was fostered by Zelter. In-
deed Weber never succeeded in approaching
Goethe.
By the beginning of February Weber and Bar-
mann were in Dresden, but left it with no very
favourable impression ; indeed, they are reported
to have said, * Dresden shall not catch us again *
— very contrary to the fact, as far as Weber was
concerned. On Feb. 20 they arrived in Berlin,
where Weber had hopes of producing * Silvana.*
It had been tried through some months before
by Righini, but 'went so confusedly that all
pronounced it perfect rubbish.'^ He had
thus to meet a prejudice against his work,
and, still worse, a personal one of the Capell-
meister's against himself. Bernhard Anselm
Weber especially, an able and cultivated man,
and himself a pupil of Vogler's, was by no
means kindly disposed to his young comrade;
but difficulties were gradually overcome, two
arias were added, and the performance took
place on July 10. Weber conducted in person,
and succeeded in inspiring both band and singers,
and the public gave the work a warm reception,
in spite of its startling novelty. Weber had
been much depressed by some sharp criticism
of Herr von Drieberg's, and had rigidly tested
his work, so he was much encouraged by its
success. He writes in his diary, * While duly
acknowledging my faults. I will not in future
lose confidence in myself, but bravely, pru-
dently, and watchfully march onwards on my
art-career.' Even before this he had made
many friends in Berlin, and the two concerts
given by himself and Barmann, though not
well-attended, had roused great interest. He
was introduced to the ' Singakademie ' and the
'Liedertafel,' and wrote for the latter a compo-
sition which even gained the approval of Zelter.'
Meyerbeer's parents from the first treated him
1 Weber to GAnsbacher.
• • Das lurnlerbankett,' Jfthni, No. ISS.
S98
WEBER.
as a son, and he stayed in their house the whole
time he was in Berlin. His most valuable
acquaintance was Lichtenstein, Professor of
Zoology, who was the first to recognise his genius
in Berlin. As one of the foremost members of the
Singiikademie he had no difficulty in introducing
Weber to cultivated and musical families, where
he soon became a favourite for his pleasant
manners, his admirable pianoforte-playing and
extemporising, his inspiriting way of leading
concerted music, and above all his charming
songs and his guitar. For these private circles
he composed five charming part-songs. He used
often to play to his new friends, with an almost
inexhaustible vai'iety of nuances, his Sonata in C,
composed in Berlin. He himself taught (on
Aug. 26) the soldiers at the barracks near the
Oranienburg gate, to sing his * Kriegs-Eid,' a
chorus for men's voices with wind instruments
in unison, which he dedicated to the Branden-
burg Brigade. While he was in Berlin his old
father died at Mannheim (April 16, 181 2), an
event which brought back in full force his
homelessness and loneliness, and made him
touchingly grateful for any proof of friend-
ship. Barmann had left him on March 28 for
Munich, and on Aug. 31 he himself also left
Berlin, stayed some few days in Leipzig, where
lie found a publisher for some of his compo-
sitions, and had a talk with Rochlitz, and then,
passing through Weimar, arrived on Sept. 6 at
Gotha.
The Duke's treatment was politeness itself,
but instead of having, as he hoped, a quiet time
for composition, Weber found the constant
attendance on the Duke's inspired moments
exciting and exhausting. In the midst of this
he received an invitation from the Princess
Maria Paulowna, to come to Weimar, and teach
her some of his works, including the Sonata
in C, which he had dedicated to her. On this
subject he writes to Lichtenstein (Nov. i),
'The Princess often says that she does not
believe she will ever play the sonata properly as
long as she lives. If she were not a Princess,
I should be at liberty to tell her that I fully
agree with her.' He had to give her a lesson
each morning for a week, and the rest of his
time he spent with the company at the theatre,
among whom P. A. Wolf specially attracted him,
and with Wieland, who was a sympathetic
listener to his playing. One of the effects which
Weber carried to a pitch of excellence never
heard before, was a long crescendo, beginning
w^ith an almost inaudible pianissimo, and passing
through every gradation of loudness up to a
thundering fortissimo. The effect of this was
irresistible, and Wieland, having asked for it,
found himself gradually drawn off his chair as
by some demoniacal agency. In Gotha he had
much stimulating intercourse with Spohr, and
also with Albert Methfessel, then passing
through. His diary contains some interesting
remarks on Spohr 's compositions. Thus the even-
ing of Sept. 16 was passed in going with Spohr
through the latter's ' Itast Judgment ' (produced
WEBER.
at Erfurt, Aug. 15). Weber did not much like
the work, and calls it ' laboured, tedious, full of
unnecessary modulations, and modelled entirely
after Mozart.' On Sept. 27, however, he writes,
* Spohr played his new Quartet in G minor very
finely ; it is well-composed ; much flow and
unity. Afterwards a fine Sonata with his wife.'
At Spohr's he also met Hermstadt, the clarinet-
player from Sondershausen, who played a Con-
certo of Spohr's in masterly style, but seems to
have been inferior to Barmann in purity ot tone
and expression. As a rule, the quick-witted,
far-seeing Weber was juster towards Spohr's
compositions than the more ponderous and short-
sighted Spohr was to his. But personal dislikes
never lasted with Spohr. He could distinguish
between a man and his work, and was always
a loyal friend to Weber.
The Duke's younger brother. Prince Friedrich,
an admirer of Italian music, had brought a
singing-master back with him from Italy, and
often had Weber to go through Italian operas
with him. He had a good tenor voice, and for
him Weber composed an Italian scena ed aria,
with chorus, from an opera * Ines de Castro,' per-
formed at a court -concert on Dec. 17. Other
works written at Gotha were the celebrated PF.
Variations on a theme from M^hul's 'Joseph,' the
first two movements of the PF. Concerto in Eb,
and a hymn, 'In seiner Ordnung schafft derHerr,*
to Rochlitz's words. Spohr having recently
started on a concert-tour, Weber left Gotha,
on Dec. 19, for Leipzig, where he produced this
hymn at a Gewandhaus Concert (Jan. i, 1813),
and played the Eb Concerto, 'with a success,*
he writes himself, * such as was perhaps scarcely
ever known in Leipzig before. It is pronounced
to be the first of Concertos for effect and novelty.
Truly these people, once so cold, have quite
adopted me.' Thus the new year opened to him
under happy auspices. -
This year, 1813, was the greatest turning- m
point in Weber's short career. Hitherto his ^
life had been that of a wandering minstrel
or troubadour. Roving restlessly from place to
place, winning all hearts by his sweet, in-
sinuating, lively melodies, his eccentricities
making him an imposing figure to the young of
both sexes, and an annoyance to the old, ex-
citing the attention of everybody, and then sud-
denly disappearing, his person uniting in the
most seductive manner aristocratic bearing and
tone with indolent dissipation, his moods alter-
nating between uproarious spirits and deep
depression — in all ways he resembled a figure
from some romantic poem, wholly unlike any-
thing seen before in the history of German
art. In talking of Weber, people have in
their minds, as a rule, only the last period
of his life, beginning with *Der Freischiitz,'
and ending with * Oberon,' but from that point
of view the work becomes too prominent, and
the man of too little importance. As a man
his versatile gifts made more effect in the first
half of his artistic career than in the second.
His artistic wanderings gave the keynote to
WEBER.
WEBER.
899
the ideal life of Germany at that period,
and for the first time rounded it ofij so to
speak, into a full chord. The love of the antique,
whether in history, the life of the people, or
national melody, was then newly awakened, and
gave its stamp to the period, not only in know-
ledge and matters of art, but in manners, in-
dividual and social. Thus Weber became the
embodiment of the ancient troubadour who, in
Eichendorff's words, went through the country,
singing his melodies from house to house.
In 1813 this roving life came to an end,
and was succeeded by a settled existence, with
ties of place and circumstance, and definite
duties. The wandering impulse was indeed
too ingrained in his nature not to have a
secret influence on his after life, but hence-
forth it was sufficiently under control to admit of
that collectedness of spirit, without which the
creation of great and enduring works of art is
impossible. On Jan. 12,1813, Weber arrived at
Prague, intending to go on by Vienna to
Venice, Milan, and the rest of Italy, and then
back through Switzerland and France. This tour
he calculated to take fully two years, and from
it he hoped for great results. At Prague, how-
ever, there was a vacancy in the Capellmeister-
ship of the theatre, owing to Wenzel Miiller's
resignation. Liebich, the director, knew Weber's
value, and offered him the post, with a salary of
2000 gulden (about £200), a furlough of two or
three months, an annual benefit guaranteed at
1000 gulden, and absolute independence at the
Opera. This gave him not only a fixed income, but
the prospect of paying off" the debts contracted at
Breslau and Stuttgart, a decisive considera-
tion to a man of his honourable nature. The
grand tour, planned with so much expectation,
was given up, and Liebich's ofier accepted.
Wenzel Miiller, admirably adapted for the
lower forms of national opera, was not the man
to be at the head of an institution whose main
object was to foster dramatic music of a higher
order. Under his direction the Opera had de-
teriorated to such a degree that Liebich deter-
mined to disband the company and entirely
reorganise it. For this task he selected Weber.
Presenting himself afresh to the public of
Prague at a brilliantly-attended concert on
March 6, he started for Vienna on the 27th,
furnished with full powers to engage good
musicians and German singers.^ In Vienna
he met Meyerbeer, heard Hummel and Mo-
scheles, whose playing he thought *fine, but
too smooth,' and gave a concert of his own on
April 35, but was principally occupied with the
main object of his journey. The whole company,
with the exception of three members, was new,
and included Caroline Brandt, Weber's future
wife. Ho entirely reorganised the whole sys-
tem, and developed a marvellous capacity for
that kind of work. It now became evident that
it was not in vain that he had passed his child-
hood behind the scenes, and been an Opera-
Capellmeister at 18. His wide experience and
1 The Italian Opera of Frague ceased to ejcist in 1806.
energy helped him to conquer the singers and
musicians, who were at first amazed by his
strictness and the inflexibility of his rules.
Among them were a number of Bohemians, and
in order to be able to grumble at him with im-
punity, they talked to each other at rehearsal in
Bohemian. This Weber soon perceived, and
set to work to learn the language, which in a
few months he had mastered sufficiently for his
purpose. Not only did he manage, airange, and
direct the music even to the smallest details, but
he also superintended the administration, the
scene-painting, and the stage-management, and
proved to demonstration that all these were
really within his province. So completely
were all theatrical details at his fingers'-ends,
that on the prompter's sudden illness, Weber
supplied his place. By this means he en-
sured an accuracy and a unity in all the
dramatic representations, such as had never
been seen before, and which the public did not
fail to recognise. He was perhaps quite as great
a conductor as a composer, and was the first of
the great German musicians whose talent was
conspicuous in this direction. In this matter also
he was a virtuoso. The first opera he put on the
stage at Prague was Spontini's * Cortez ' (Sept.
10, 181 3), then produced for the first time there.
Between that date and Dec. 19 followed seven,
and between that and March 27, ten, newly-
studied operas and singspiele. Of each he made
a scenario, including the smallest details.
His aim was to reinstate the Prague opera
in the position it occupied between 1780 and
1 790, when it could almost have competed with
Vienna, and was at any rate among the best in
Germany. He was quite the man to do it,
if only the times had been the same ; but un-
fortunately this was not the case. During the
war, society ceased to cultivate music, and
lost its powers of discrimination, and the
onl}' way of keeping up its traditional reputation
for taste was to maintain a dignified reserve on
all artistic productions. Weber, accustomed to
more sympathy, soon discovered this, and
it put him out of tune. Besides, he had
not managed to form comfortable relations
for himself. Gansbacher had left, and Weber,
to whom a friend was an absolute necessity, felt
deserted. With the Prague musicians Kotzeluch,
Dionys Weber, Tomaschek,^ and others, he did not
hit it off. For a time he struggled in vain
against an attachment for a ballet-girl, who was
quite unworthy of his affection. The real cause
of his discomfort, however, was that he could
not at once fall into the regular ways of pro-
fessional life. He wfis like a bird, which had
once flown freely in the open air, but was now
caged. Passages in his letters make this clear.
* My incessant occupation, and my life of utter
solitude, have made me morose, gloomy, and mis-
anthropical. If Heaven does not soon thrust me
2 Weber's diary contains a remarlc on liim which is worth reading.
' March 27. To Tomaschelc' a. He played me 12 Eclogues, 1 Sonata,
2 Airs. 1 Concerto, and 1 Symphony, till I was quite exhausted. Are
all composers possessed of the devil when they get to their owa
works ? and is it the same with me ? God forbid.'
400
WEBER.
violently back among my fellow-men, I shall
become the most abominable Philistine on the face
of th e earth ' ( Jan. 2 9, 1 8 1 4) . * The few composers
and scholars who live here groan for the most
part under a yoke, which has reduced them to
slavery, and taken away the spirit which dis.
tinguishes the true free-bom artist' (May 5).
The outward advantages of his position he fully
acknowledged. *I reason myself by main force
into a sort of contentment, but the naturally
cheerful state of mind which steels all one's
nerves, and sends one's spirits bubbling up of
themselves, that one cannot give oneself*
(April 22).
After bringing out seven more operas between
April 19 and June 26 (1814), Weber, who had
been out of health for some time, went on July 8 to
take the baths at Liebwerda. But the impulse to
join the great world was too strong to allow
him to stay there, and, pushing on, he arrived
in Berlin on Aug. 3, a couple of days before the
King of Prussia's return from the Allied Armies'
victorious expedition to Paris after the battle of
Leipzig. Unlike Prague, where a few official cere-
monies formed all the notice taken of the great
victory over Napoleon, Berlin was in a tumult
of joy, and Weber had before him the spectacle
of a great people hailing their reconquered free-
dom with transport. He was carried away like
the rest, and thoroughly enjoyed it. To in-
crease his happiness he met with an enthusiastic
reception from his friends, whose circle now
included Tieck and Brentano, with whom he had
formed an intimacy in Prague in 1813. Bren-
tano began to arrange a libretto on the Tann-
hauser legend for him, but other things in-
tervened, and the work was laid aside. He
gave a concert on Aug. 74, and received
permission to invite the King, the Crown-
Prince, and other princes and princesses.
Several great personages were interested in him,
and there was some talk of making him Capell-
meister of the Court Opera, in place of Himmel,
who had just died. 'Silvana' was given again
on Sept. 5, and Weber left Berlin, happy in
many a proof of heartfelt sympathy, and loaded
with impressions destined to bear fruit later on.
At that period patriotic songs were naturally
enough the order of the day, and in this
direction Weber could hardly fail to be led. An
invitation from the Duke took him to Gotha on
Sept. II, and the next day to Grafentonna, the
Duke's hunting-sejit. Here, finding a little re-
pose for the first time for many months, he com-
posed on the 13th two Lieder from Komer's
• Leyer und Schwert,' followed by eight others
during the journey home and in the first few
months after his return. Six of these are for
four men's voices, and four for a single voice and
PP., and in them he has recorded the impres-
sions made on his mind by the surging national
movement. It was his first opportunity of show-
ing how great a power he had of absorbing
the feelings of the masses and giving them
artistic expression. The effect of these songs on
the whole people of Germany, and especially
WEBER.
on the youth, was extraordinary. Wherever
they were sung they roused the most fervid
enthusiasm. All the other patriotic compo-
sitions, in which the time abounded, paled
before the brilliancy, swing, and pathos of these
Songs of War and Fatherland. Weber's own
cantata even yields to them in effect. The
choruses from the 'Leyer und Schwert' are
still among the most favourite of such works
for men's voices, and are indeed so bound
up with the development of the male choral
societies in Germany that only with them can
they cease to be heard.
Before his trip to Berlin Weber had entered
into closer relations with Caroline Brandt,
but there were difficulties in the way of marriage.
Caroline, a talented soubrette, and a good deal
spoiled by the public, was somewhat whimsical,
and had imperfect views both as to the dignity of
art in itself, and Weber's importance as an artist.
Neither did she like his requiring her to leave
the stage before they married. This uncertainty
about an object he so ardently desired added to
his discontent with Prague, and made him
anxiously look out for some opening which
should lead to his removal. In the meantime
he made use of his summer holiday in 18 15 for
an expedition to Munich, and it was there that
the news of the battle of Waterloo reached him.
The outburst of joy and enthusiasm which fol-
lowed incited him toagreat composition in honour
of the event. Gottfried Wohlbriick the actor
provided him with the words, and in August,
before leaving Munich, he wrote the first two
numbers of 'Kampf und Sieg.' The last two
days of his stay were embittered by a letter from
Caroline, conveying her conviction that they had
better part. This seems to justify what Weber
had written to Gansbacher, * I see now that her
views of high art are not above the usual pitiful
standard — namely, that art is but a means of
procuring soup, meat, and shirts.' Her * convic-
tion' however did not last long. When Weber
returned to Prague her real affection for him
overcame all scruples, and he was able to look
forward with confidence to a time when she
should be all his own. 'Lina,' he writes,*
* is behaving extremely well, and honestly trying
to become better. If God will only bestow on
me some post without cares, and with a salary
on which a man can live ; and if she is as brave in
a year and a day as she is at this moment, she is
to leave the stage, and become my faithful Haus-
frau. You shake your head I A year is a long
time, and a person who can hold out so long is
really brave.' The cantata was quickly com-
pleted, and performed for the first time at Weber's
benefit concert (Dec. 22). The immediate effect
was very great, though, for reasons hereafter to
be explained, not so lasting as that of the
Korner songs. Beethoven had composed one of his
great orchestral pictures in honour of the battle
of Vittoria, and this had been performed shortly
before in Prague. At the close of ' Kampf und
Sieg,' General Nostiz went up to Weber and said
1 lo GttusbMber. Aug. 4. 1816.
WEBER.
* With you I hear nations speaking, with Beetho-
ven only big boys playing with rattles.' This
criticism, though too severe on Beethoven, has in
it elements of justice, for in this 'piece d'occasion
Weber has in truth outdone his great contem-
porary.
With the completion of his cantata Weber de-
cided to give up his post at Prague. The main
object of his labours, the reorganisation of the
opera on a solid basis, was accomplished. To
produce first-rate results, and make it one of the
chief institutions for promoting German dramatic
art, was out of the question under the circum-
stances in which he was placed, and with the means
at his disposal. But he thought that it could be
maintained at its then state of efficiency without
his aid ; and as Prague had nothing to offer for
himself and the furtherance of his own artistic life
he resigned his post on Sept. 30, 1816. Projects
of a grand tour or a summons to some other great
art-institution again floated through his mind.
He had been again in Berlin during the summer,
and had produced his cantata on the anniversary
of Waterloo with such success that it was re-
peated on the 23rd June. Count Briihl, Iffland's
successor as Intendant of the court theatres, was
devoted to both Weber and his music, and tried,
though vainly, to procure him the appointment of
Capellmeister vice Himmel. The post was occu-
pied provisionally by Bemhard Romberg, and not
•even a title from the Prussian court could be had
for Weber. On his return journey to Prague he
made the acquaintance at Carlsbad of Count
Vitzthum, Marshal to the Saxon Court, and he
opened to him a prospect of an invitation to
Dresden. After a formal farewell to Prague
he accompanied his fiancee to Berlin on a star-
engagement, and remained there for the rest of
the year busily engaged in composition. The
PF. sonatas in Ab and D minor, the grand duo
for PF. and clarinet, and several charming songs
with PF. accompaniment, belong to this time.
On Dec. 21, just before starting on a tourn4e to
Hamburg and Copenhagen, he received the news
that the King of Saxony had appointed him Ca-
pellmeister of the German opera at Dresden.
Weber's work at Dresden, which was to last
for nine years and terminate only with his pre-
mature death, is of the highest importance. Not
only did he there bestow on his countrymen
those works which, with Mozart's, form the
main basis of German national opera, but he
founded an institution for the performance of
German opera at one of the most musically dis-
tinguished courts of Germany, which did not
possess one before. In all the other courts where
music was cultivated German opera had for
long stood on an equal footing with Italian.
Vienna, Berlin, Munich, Mannheim, and other
places, had had a national opera by the end
of the 1 8th century, and in most cases the rise
of the German opera had put an end to the
separate existence of its rival. In Dresden
-alone matters were diflferent. From the begin-
ning of the 18th century, when Italian opera had
reached a perfection scarcely to be surpassed
VOIi. IV. PT. 4.
WEBER.
4ai
even in Italy, it had there reigned supreme,
and by 1765 had even ceased to belong ex-
clusively to the court. Towards the end of the
century, German Singspiele were occasionally
performed in Dresden, but only by second-
rate actors, at a small theatre in the so-called
Linkesche Bad, the Court Capellmeister being
expressly prohibited from taking part in the per-
formance. After King Friedrich August's re-
turn from the war in 181 5 his Intendant Count
Heinrich Vitzthum induced him to found a Ger-
man opera, though only as an addition to the
Italian, and it was this institution which Weber
was called on to organise. Such a work naturally
could not be carried out without violent oppo-
sition from the Italians, who had hitherto had it
all their own way in Dresden, with the court
and nobility almost exclusively on their side.
The post of Capellmeister had been filled since
181 1 by a bom Italian named Francesco
Morlacchi, a talented, but imperfectly trained
musician, and a clever man with a taste for
intrigue. Weber had hardly entered on his
new office before he discovered that powerful
foes were actively though secretly engaged against
him. In accepting the post he had made it a
sine qua non that he and his institution should
be ranked on terms of perfect equality with
Morlacchi and his, and had expressly stipu-
lated for the title of Capellmeister, which was
held by the other. These conditions were agreed
to, and yet when the appointment was gazetted
he found himself styled * Musikdirector,' a title
which, according to general usage, made him
subordinate to Morlacchi. Weber at once stated
with decision that he must decline the post. He
however allowed himself to be persuaded, for the
sake of the object, to fill the office provisionally,
until either a substitute had been engaged in his
place, or he himself had been formally pronounced
Capellmeister. By Feb. 10, 1817, he had the
satisfaction of learning that the king had given
way. His salary (1500 thalers, = about £220)
had been from the first on an equality with Mor-
lacchi's, and on Sept. 13 the appointment was
confirmed for life. In Dresden he had a first-
rate orchestra and a tolerable body of singers
at his disposal, and found ample opportunity
for turning his knowledge and experience to
account.
German opera having generally had spoken
dialogue, often forming a large proportion of the
work, a custom had arisen of filling the parts
with actors who could sing. The style was not a
very perfect one, the profession of an actor being
so wearing for the voice, and hence small parts
alone were fit for these singing actors. Of such
materials Weber's company at first exclusively
consisted. He was indeed allowed, with special
permission, to make use of the members of the
Italian opera, but this availed him little, because
the Italians could rarely speak German, and were
unfamiliar with German music. As for the chorus
it was at first non-existent. A few supers with
voices, and two or three subordinate solo-singers,
constituted the basses and tenors, while the
Dd
402
WEBER.
BopranoB and altos were supplied by schoolboys,
as was once the custom at iJl German theatres.
With such materials it needed all Weber's gifts
of organisation and direction to produce results
which might bear comparison with the far better
appointed Italian theatre, and keep alive, or
rather kindle, an interest in German opera among
cultivated people.
The way in which he set about his task made
it clear that musical life in Dresden now pos-
sessed a man of power, who would keep
steadfastly in view the success of his under-
taking, without concerning himself as to whether
he were breaking with old traditions, abolishing
old and convenient usages, or even giving personal
oflfence. He knew that in order to prosper,
German opera must command the sympathy
of the German people. The Court, he was also
aware, took but a languid interest in it, while
the aristocracy considered foreign music more
distingue, and had as a body no community of
feeling with the people. For this reason his
first step, a very startling one to Dresden
Bociety, was to publish in the 'Abendzei-
tung,* a literary paper with a large circula-
tion, an article addressed to the * Amateurs of
Dresden,' laying down the conditions necessary
to his undertaking. Modestly bespeaking the
indulgence of the public for the first attempts
of a new institution, and frankly owning that
real excellence would only be attained after
many failures, the whole article shows how
clearly he perceived the goal at which he was
aiming, and how energetically he directed his
course towards it from the very first. 'The
Italians and the French,' he says, 'have fashioned
for themselves a distinct form of opera, with a
jframework which allows them to move with ease
and freedom. Not so the Germans. Eager in
the pursuit of knowledge, and constantly yearn-
ing after progress, they endeavour to appropriate
anything which they see to be good in others.
But they take it aU so much more seriously.
With the rest of the world the gratification of the
senses is the main object ; the German wants a
work of art complete in itself, with each part
rounded off and compacted into a perfect whole.
For him, therefore, a fine ensemble is the prime
necessity.' It had been so much the habit
hitherto in Dresden for society to look to the
Court, and mould its tastes in accordance
with those set in fashion from above, that it
was almost an impossibility for a Court oflBcial
to talk about his work as if he were in any
sense personally responsible for it, or wished
to be considered the head of his own institu-
tion. People were aware that Weber had been
leading a free and restless life as an independent
artist ; and that his songs of war and liberty had
endeared him to the heart of young Germany.
Hence he was set down as a revolutionary spirit
aiming at dangerous political innovations; though
as a fact he was no politician, and never went
beyond the general interest natural to a cul-
tivated man in forms of government, social con-
ditions, and the universal rights of man. Another
WEBER.
of his actions which excited remark was the
giving a very gay dinner and ball to his staff,
himself the life and soul of the party. 'How
could he expect to keep up the respect of his
subordinates, if he began by treating them in
this way ? ' His singers and actors were indeed
very much surprised by his strictness and punc-
tuality in all business matters. At first this
aroused much dissatisfaction, but when it
was found that he could make an opera go
in all its parts, that at rehearsal his ears and
eyes were everywhere at once, that he was as
familiar with the details of acting, dressing, and
scenery as he was with the music, and master of
all the ins and outs of the opera as a whole, then a
higher ideal gradually dawned upon the company,
and an immense respect for their new director.
The first opera he produced was Maul's * Joseph*
(Jan. 13, 181 7). As had been his successful
habit in Prague, he published two days be-
forehand in the * Abendzeitung, * an article
giving some information about the new opera.
The performance was excellent ; indeed, all that
could be desired, as far as the ensemble went,
though the solo-singers were but indifferent.
The engagement of competent leading artists was
his next care. Here he acted upon the principle
that German opera was not to be confined to native
works only, but should also produce Italian and
French operas. To this end a numerous, well-
trained, and thoroughly cultivated body of artists
was requisite, and he felt it necessary to engage
at least three leading sopranos, one first-rate
tenor, and one first-rate bass. His Intendant
sent him in March, 181 7, on a mission to Prague,
with the view of engaging Frln. Grunbaimi,
then singing at the theatre there. On the
28 th he conducted his * Silvana,' and was enthu-
siastically received, the people of Prague taking
every means of showing how much they felt
his loss. Immediately after his return he
went to Leipzig, and played his Concerto in
E b at a Gewandhaus concert, his scena from
* Atalia ' and his * Kampf und Sieg ' being
also in the programme. Griinbaum sang
in Dresden, but was not engaged; various
other stars were unsuccessful, and the year
181 7 came to a close without any real ac-
quisition having been made. However, Weber
had secured a regular chorus and chorus-
master, the post being filled first by Metzner,
and then towards the close of 1819 by
Johannes Micksch. The latter had studied in
Italy, and was considered a first-rate teacher of
singing ; his principal object, however, was not
so much expression as the production of a full and
even tone, which occasioned some differences of
opinion between him and Weber. On the whole,
however, he proved an excellent teacher, and
was duly appreciated. A third reform under-
taken by Weber in the early part of 1818
was the re-arrangement of the orchestra. The
band had been hitherto placed in the same
manner as at the Italian opera, but this disposi-
tion he wished to alter for one more suited
to the component, parts of a modem orchestra.
WEBEE.
and to the greater importance assigned to the
instrumental part of an opera. The change was
at first strongly opposed, and he was obliged for
the time to desist by the King's express command.
Bit by bit, however, he made the changes he
wanted, and his new arrangement having proved
itself perfect, was permanently maintained.
Weber's work in Dresden very nearly came to
an end in a few months' time, for on June 27,
181 7, a Capellmeistership in Berlin fell vacant,
and Count Briihl the Intendant at once entered
into negotiations with him on the subject.
It was an appointment he was strongly inclined
to accept. Berlin had many attractions for him,
and so fur society in Dresden had done little to
make his residence there agreeable. The burn-
ing of the Berlin theatre oh July 31, how-
ever, put a stop to the negotiations, and
though several times renewed, nothing came
of them. One result at any rate was that his
appointment at Dresden was made for life, and
that he was also admitted to a share in the
direction of the musical services at the Catholic
Chapel Royal. He conducted for the first time
Sept. 24, 181 7, the music being a Salve Regina
by Schuster and a litany by Naumann, for whose
church music Weber had a great admiration. It
is an evidence of his devout turn of mind that
before this his first ofl5cial participation in divine
service he confessed and received the Communion.
Now that he was often called on to compose for
Court festivities, the duties of his post became
varied and extensive, and absorbed much time.
His colleague Morlacchi had frequent leave of
absence, and passed long periods of time in Italy
{e.g, from Sept. 181 7 to June 1818), and then all
his work fell upon Weber. A man loving free-
dom from restraint as he did, would have found
it very hard to carry on his work with the cheer-
fulness and elasticity of spirit so remarkable in
him, if he liad not had a constant spring of
happiness and refreshment in mariied life. His
union with Caroline Brandt took place at Prague
Nov. 4, 1 81 7, On their wedding tour the young
couple gave concerts at Darmstadt and Giessen,
appeared in Gotha before the Duke, and then went
home to Dresden, which they reached Dec. 20.
To the early years of his work in Dresden be-
long most of Weber's compositions d'occasion.
His sincere devotion to the royal family made
him hail opportunities of showing his loyalty, so
that several of these works were undertaken
of his own motion, and did not always meet
with proper acknowledgment. The fullest year
in this respect was that of 18 18, the 50th anni-
versary of the Bang's accession. Besides two or
three smaller works, Weber composed a grand
Mass in Eb for the Eling's name-day, and for
the accession-day (Sept. 20) a grand Jubel-
cantata, which the King did not allow to be
performed, so he added the well-known Jubel-
overture. The Mass in G may also be counted as
belonging to this year, since it was finished on
Jan. 4, 1 8 19, for the golden wedding of the King
and Queen. These official duties were not de-
spatched perfunctorily, or as mere obligations.
WEBER,
40S
Into each he put his full strength, though
well aware, as he wrote to Glinsbacher (Aug. 24,
181 8), 'that they were but creatures of a day
in the world of art, and from their ephemeral
nature always disheartening.' Shortly after the
performance of the Mass in G he was asked to
write a festival opera for the marriage of Prince
Friedrich August. He took up the idea with
great earnestness, chose for his subject the tale
of Alcindor in the Arabian Nights, and had
already begun to think out the music, when he
found (June 28) that his commission had
been withdrawn, and Morlacchi requested to
prepare an Italian piece for the ceremony
(Oct. 9). Had 'Alcindor' been written, Weber
and Spontini might have been directly rivals,
for Spontini's opera of that name, composed
a few years later at Berlin, is drawn from the
same source. Perhaps also the work on which
Weber's world-wide fame rests, and which was to
give him a triumph over Spontini, might have
taken another foi-m, or never have been written
at all. He had already been at work on it for two
years. Soon after his removal to Dresden he became
intimate with Friedrich Kind, who, after throw-
ing up his employment as an advocate in Leipzig,
had been living in Dresden solely by literature.
Weber having proposed to him to write a libretto,
Kind heartily assented, and the two agreed on
A pel's novel of 'Der Freischiitz,' which came out
in 1 810 and had excited Weber's attention. Kind
wrote the play in seven days ; on Feb. 21, 181 7,
he and Weber sketched the plan together, and
by March i the complete libretto was in Weber's
hands. The composition did not proceed with
equal celerity ; on the contrary, Weber took
longer over this than over any other of his
operas. Bit by bit, and with many interruptions,
it advanced to completion. The sketch of the
first number — the duet between Agathe and
Aennchen, with which the second act begins —
was written July 2 and 3, 181 7. Nothing more
was done that year, except the sketch of the
terzet and chorus in the ist Act ('O, diese
Sonne ') and Agathe's grand air in the 2nd
(Aug. 6 to 25). In 1818 he only worked at the
opera on three days (April 17, 21, and 22) On
March 13, 18 19, he wrote the sketch of Cas-
par's air in D minor, which ends the i st Act,
Then follows another six months' pause, after
which he set to work continuously on Sept. 1 7,
and the last number, the overture, was com-
pleted on May 13, 1820. The Court composi-
tions of 181 8 may have hindered his pro-
gress in that year, but in the summer of 18 19,
without any pressure from without, solely fol-
lowing the bent of his own genius, he wrote
several of his finest PF. compositions for 2 and
4 hands, including the Rondo in E b, op. 62, the
'Aufibrderung zum Tanze,' op. 65, and the
Polacca brillante in E, op. 72. The PF, Trio
also, and many charming Lieder belong to this
summer, which Weber passed, like those of 1822,
1823, and 1824, in a little country place, Hoster-
witz, near Pillnitz.^ By the time Der Frei«
1 Tbe houae be stayed in it still standlnff, and bears an inscription.
Dd2
404
WEBER.
Bchutz was at last finished, his delight in dra-
matic production had reached such a pitch that
he at once began and completed another dramatic
work, and started at any rate on a third. Count
Briihl, Intendant of the Berlin theatres, had asked
him for some new music to "Wolff's play of *Pre-
ciosa,' Eberwein's not being satisfactory. Weber
did as he was requested, and wrote the music —
* a heavy piece of work and an important one,
more than half an opera,' as he says himself —
between May 35 and July 15, 1830. In the
meantime he was working at a comic opera,
• Die drei Pintos,' the libretto by Theodor Hell, a
Dresden poet, whose real name was Karl Wink-
ler. This work was still progressing in the fol-
lowing year.
Count Briihl, who had a great esteem for
Weber, informed him in the summer of 1819
that it was his intention to produce • Der Frei-
schutz ' at the opening of the new theatre, then
in course of erection by Schinkel. The building
was to have been finished in the spring of 1820,
but was not ready till a year later. Weber had
intended to take the opportunity of his visit to
Berlin for making a professional tour, but it did
not seem advisable to postpone this for so long.
For the last two years he had been out of
health, and disquieting symptoms of the malady
which brought his life to a premature close had
begun to show themselves. Relaxation and re-
freshment were urgently necessary. He also
wished, after this interval of ten years, to appear
again in public as a pianist. He started with
his wife July 25, 1820, went first to Leipzig, to
his intimate friend Rochlitz, then on to Halle.
His settings of Korner's *Leyer und Schwert'
had made Weber the darling composer of the
German student, as he discovered at Halle. The
greatest enthusiasm prevailed at the concert he
gave there, July 31. Among the students with
whom he formed relations was J. G. Lowe,
afterwards the greatest of German ballad-com-
posers, who took the whole arrangements for the
concert off his hands.^ Still more enthusiastic
was his reception by the students of Gottingen,
where he arrived August 11, and gave a concert
Aug. 17. After it he was serenaded by the
students, who sang his Lied * Lutzow's wilder
Jagd,' and, on his coming down to talk with
them, crowded round him cheering. Thence
they went by Hanover to Bremen, Oldenburg,
and Hamburg, where he left his wife, going on
to Liibeck, Eutin (his birthplace, which he
had not visited since 1802), and Kiel, from
whence he crossed over to Copenhagen. This was
1 Some papers entitled * Scenes from Dr. Karl LCwe's Life,* hare
been published by Dr. Max Bunze (from MS. notes by Lttwe's
daughter) in the 'Muslkwelf (Berlin, 1881). No. U (Apr. 9, 1881)
eoutalns a charming picture of Weber's concert at Halle, and the
part LOwe took in it. Unfortunately It Is historically inaccurate.
Dr. Bunze makes Weber play in July 1820 his Concertstack in
V minor, which was not written till 1821, and played in public for
the first time, June 25, In Berlin. Nor is this all ; Dr. Bunze declares
that In this his own composition Weber could not keep time with
the orchestra, and says that in the fire of playing he accelerated
the tempo, the band hurried after him, but bye and bye fell behind,
and L6we had to stop Weber and start them again. Dr. Eunze'a
description would apply to the playing of a bad amateur, not to
that of a finished Capellmeister like Weber. All this too about the
•xecutiou of a piece uot then in existence I
WEBER.
the most brilliant point of his journey. H©
was presented to the King and Queen, played
at court on Oct. 4, and at a public concert
Oct. 8, overwhelmed with applause on both
occasions. After another concert at Ham-
bui^ on his way back, he reached Dresden
Nov. 4.
As a great pianist Weber was often asked to
give les-sons, and did so. Pupils in the higher
sense of the word, that is to say artists stamped
with his own sign-manual as a composer or
pianist, he had none. For this his artistic dispo-
sition was too peculiar, his character too restless
and unmethodical. We find a pupil named
Freytag from Berlin studying the piano and
composition with him in Prague in 18 16, and
are told that he made his d^but at a concert
of Weber's (March 29), to his master's satisfac-
tion, but we never hear of him again from that
day forwards.* Marschner communicated with
him in 181 8, sending him his opera *Hein-
rich IV. und D'Aubign^' from Pressburg, and
coming himself Aug. 18, 1819. Weber was
much interested in the opera, and secured its
performance at Dresden, where it was given for
the, first time, July 19, 1820.' Marschner
settled in Dresden in the beginning of August
182 1, and in 1824 was appointed Musikdirector
of the opera, a post he retained till Weber's
death. The two maintained an intercourse
which at times was animated, though Weber
never found Marschner a congenial companion.
Marschner was undoubtedly strongly influenced
by Weber's music ; it is evident in all his com-
positions during his stay in Dresden, and also in
his opera ' Der Vampyr.' And yet he cannot be
called a pupil of Weber's. When he settled in
Dresden he was a 6, and a formed musician, sa
that after passing through the Weber-period he
recovered his independence in the ' Templer
und Jiidin ' and ' Hans Heiling.' Weber's most
devoted and only real pupil was Jules Benedict
of Stuttgart. He came to Weber in February,
1 82 1, and his account of their first interview is
so charming that we venture to transcribe it .
* I shall never forget the impression of my first
meeting with him. Ascending the by no means
easy staircase which led to his modest home, on
the third storey of a house in the old market-
place, I found him sitting at his desk, and
occupied with the pianoforte arrangement of his
Freischiitz. The dire disease which but too
soon was to carry him off had made its mark oa
his noble features; the projecting cheek-bones,
the general emaciation, told their own tale; but
in his clear blue eyes, too often concealed by
spectacles, in his mighty forehead fringed by a
few straggling locks, in the sweet expression of
his mouth, in the very tone of his weak but
melodious voice, there was a magic power whick
attracted irresistibly all who approached him.
He received me with the utmost kindness, and,
though overwhelmed with double duties during
8 Weber's Llterarische Arbeiten, 109 (Lebensbild. vol. Hi).
< Weber also wrote an article la its behalf: see p. 22
Lebensbild, and elsewhere.
of tbe
WEBER.
Morlacchi's absence, found time to give me daily
lessons for a considerable period.'* Benedict
goes on to relate how Weber played him
Freischutz and Preciosa, works then unknown
to the world, and what a fascinating effect both
he and his compositions made on him ; but what
impressed him even more was his ' rendering of
Beethoven's sonatas, with a fire and precision and
a thorough entering into the spirit of the com-
poser, which would have given the mighty
Ludwig the best proof of Weber's reverence and
admiration for his genius.'
Benedict was fortunate enough to share the
brightest and most triumphant bit of Weber's
short life with him. After * Preciosa ' had been
played for the first time with Weber's music
(March 14, 1831) at the Berlin opera-house, and
very well received, the day drew near for the
opening of the new theatre, in which *Der
Freischiitz ' was to be the first opera performed.^
Weber had been invited to rehearse and conduct
the opera himself, and for this purpose arrived
in Berlin May 4. Benedict followed two or
three weeks later.
Spontini was at that time the ruling spirit in
operatic matters at Berlin. The King was a great
admirer of his music, and he had many adherents
among the court and in society. In the rest
of the world, however, opinions were mingled.
During the war a strong feeling of nationality
had developed in Germany, and there was a
prejudice against foreigners, especially against
foreigners hailing from Paris. Hence that a
Franco-Italian should be installed, on terms of
unusual liberality, in the chief musical post
in the capital of the state which had done and
suffered most in the War of Liberation, gave great
umbrage. There is no question that Spontini,
apart from his blunders, was made a scape-goat,
and that the dislike of the people of Berlin
was as much due to political and social as to
musical reasons. At first, his merits as a com-
poser received general acknowledgement. His
operas, produced with the utmost care, and at
a lavish expenditure, were not only performances
of dazzling splendour, but of genuine artistic
value, as even those prejudiced against him were
obliged to admit. Germany had nothing to set
against such grandiose works. Since Mozart's
•Zauberflote' (1791) only one opera of the first
rank— Beethoven's 'Fidelio' (1805) — had ap-
peared there. On the other hand, the German
stage had appropriated the best that was to be
found in Italy and France, and apparently there
was no likelihood of any change, or of anybody's
coming to the front and eclipsing Spontini,
All at once Weber stepped on the scene with
his new opera. We can quite understand how
ardently the patriots of Berlin must have longed
for a brilliant success, if only as a counterpoise
to Spontini. Obviously, too, it was impossible
to prevent a certain anxiety lest Weber was
1 • The Great Musicians,' edited by Francis Hueffer ; ' Weber,' by
6Ir Julius Benedict. 61 (London, 1881).
2 It was not the first actual performance. That distinction fell to
Goethe's ' Iphigenla' (May 26), succeeded for the next few days by one
or two other plays.
WEBER.
405
not man enough to sustain with honour this
conflict with the foreigner. He was known
as a gifted composer of songs and instrumental
music, but his earlier operas had not been un-
disputed successes, and for the last ten years he
had done nothing at all in that line. On all these
grounds the first performance of Der Freischutz
was looked forward to with a widespread feeling
of suspense and excitement.
Weber thus could not but feel that much
was at stake, both for himself and for the cause
of German art. As if to point the contrast
still more forcibly between himself and Spon-
tini, between native and foreign art, Spontini'a
* Olympic,' entirely remodelled by the composer
after its production in Paris, had been given for
the first time in Berlin (May 14) only a month
before Der Freischutz, with a success which,
though not enduring, was enormous at the time.
Weber's fiiends were full of dismay, fearing
that Freischutz would not have a chance;
Weber alone, as if with a true presentiment
of the event, was always in good spirits.
The rehearsals began on May 21, and the per-
formance was fixed for June 18, a day hailed by
Weber as of good omen, from its being that of
the battle of Waterloo. So entirely was he free
from anxiety, that he employed his scanty
leisure in composing one of his finest instrumental
works, the Concertstiick in F minor, finishing
it on the morning of the day on which Der
Freis-chiitz was produced, Benedict relates how
he was sitting with Weber's wife when the com-
poser came in and played them the piece just
finished, making remarks as he went, and what
an indelible impression it made on him. ' He
was certainly one of the greatest pianists who
ever lived,' he adds.^
Weber's presentiment did not fail him. The
1 8th of June was as great a day of triumph ag
ever fell to the lot of a musician. The applause
of a house filled to the very last seat was such
as had never been heard before, in Germany at
any rate. That this magnificent homage was no
outcome of party-spirit was shown by the endur-
ing nature of the success, and by the fact that it
was the same wherever Der Freischutz was
heard. In Berlin the 50th performance took
place Dec. 28, 1822, the looth, Dec. 26, 1826,
the jootli, March 10, 1858, and the 500th,
during the past year (1884). No sooner had it
been produced in Berlin, than it was seized upon
by nearly all the principal theatres in (Ger-
many. In Vienna it was given on Oct, 3, and,
though to a certain extent mutilated and cur-
tailed, was received with almost greater enthu-
siasm than in Berlin. The feeling reached its
height when Weber, on a visit to Vienna, con-
ducted the performance in person, March 7, 182a.
There is an entry in his diary ' Conducted the
Freischutz for Schroder's benefit. Greater enthu-
siasm there cannot be, and I tremble to think of
the future, for it is scarcely possible to rise higher
than this.* To God alone the praise ! '
» Benedict's • Weber,' 65.
* He had undertaken to write a new opera, • Euryanthe,' fot
Vienna.
400
WEBER.
Weber thought it desirable to appear in public
at a concert before leaving Berlin. The second
representation of Der Freischiitz took place on
the 20th, and the third on the 32nd, of June.
On the 25th he held his concert in the hall of
the new theatre, and played his Concertstuck,
completed that day week, for the first time in
public. Others of his compositions heard on
the same occasion were the Italian scena from
• Atalia,' and the Variations for PF. and violin
on a Norwegian theme. His colleague in the
latter piece was the eccentric violinist Alex-
andre Boucher, who, having asked permission to
introduce a cadence of his own in the finale of
the variations, improvised on themes from ' Der
Freischiitz/ but wandered off so far that he
could not get back again, seeing which, he put
clown his violin, and throwing his arms round
Weber exclaimed enthusiastically, 'Ah, grand
maltre ! que je t'aime, que je t' admire ! ' The
Audience joined in with loud cheers for Weber.
Weber returned to Dresden July i, 1821. In
comparison with other places in Germany, Dres-
den was in no special hurry to produce Der
Freischiitz, though it had not been able alto-
gether to shut its ears to the reports of its colossal
success. The composer, in spite of all the pains
he took to show his loyalty, was no favourite
with the king and court. He was the singer
par excellence of Korner s lyrics, and anything
which called up reminiscences of the war that
inspired those songs could not but be painful to
the Kin? of Saxony. He tried to be just to-
wards Weber, and acknowledged his services
in many ways, but his sentiments were well
known, and had their influence on the courtiers.
From the time of the first appearance of Der
Freischiitz till Weber's death, there is not a sign
that at court the smallest pride was felt in the
fact of Dresden possessing the greatest German
composer of the day. He was all but allowed to
accept the post of Court-Capellmeister at Cassel,
with the liberal salary of 2,500 thalers (£375) —
1000 thalers more than he received at Dresden.
The Minister at last offered him an increase of
300 thalers, calculating that with his attachment
to Dresden that would be sufficient inducement
to him to remain ; and he was not deceived. The
additional salary however was deprived of all
value as a distinction by its being also bestowed
on Morlacchi. This took place in August and
September of the year in which Der Freischiitz
saw the light, but even some years later Weber's
official superiors would not see that the Capell-
meister of the Dresden German opera was a man
of world-wide fame. Perhaps they really did not
see it. When Weber was in Berlin, Dec. 1835,
for the production of Euryanthe, his Intendant
von Liittichau happened to be present when
Weber was leaving the theatre after rehearsal,
and seeing a large crowd waiting at the door,
and all hats raised with the greatest respect,
he turned to him and said with astonishment,
* Weber, are you then really a celebrated man ? *
Der Freischutz was performed in Dresden
for the first time, Jan. 26, 1823, and met with
WEBER.
a more enthusiastic reception than had ever
been known there before. At the close of the
performance the storm of applause defied all
restraint. A few isolated cases were found
of people who did not like it, but their com-
ments were unheard in the general approval.
Kind, the librettist, could not bear the music,
because it threw his own merits into the shade,
and its ever-increasing success irritated the
petty vanity of this bel esprit to such an extent
as to end in a complete breach of his friend-
ship with Weber. Spohr, who had moved to
Dresden^ with his family, Oct. 31, 182 1, heard it
there for the first time, and was not favourably
impressed. His failure to understand Weber's
music has been mentioned already, and this is
fresh evidence of it; but as before, it made
no difference in their relations. On the con-
trary, Weber showed his esteem for Spohr by
warmly recommending him to Generaldirector
Feige, of Cassel, for the post of Capellmeister,
which he had himself declined, but which, as is
well-known, Spohr accepted, and filled with
credit up to a short period before his death.
Ludwig Tieck too, then resident in Dresden,
never could reconcile himself thoroughly to Der
Freischiitz, though he heartily appreciated
Euryanthe. The two men, much as they dif-
fered in their views on dramatic art, formed a
lasting friendship, expressed with frankness on
both sides. Weber was seldom absent from
Tieck's dramatic readings of great works, and
was a most attentive listener. Speaking gene-
rally, he was on excellent terms with the poets
of the day. With Goethe indeed he never got on,
though they met several times ; but with Jean
Paul, and also with Achim von Arnim he was
intimate. Arnim, like Tieck, belonged to the ro-
mantic school, and it was natural that there should
be sympathy between them; but Weber was
also very fi:iendly with Wilhelm Miiller, author
of the * Miillerlieder/ and the * Winterreise.'
Miiller visited him in Dresden and dedicated a
volume of poems to him in the autumn of 1842,
but not one of these did Weber set. His day
for writing Lieder was over. Of Tieck's poems
he only composed one (* Sind es Schmerzen, sind
as Freuden,' from ' Die schone Magelone ').
During the latter half of 1821 Weber was
at work upon the comic opera • Die drei
Pintos,' begun in 1820, but destined never to be
finished. He was drawn off towards work of a
different kind. The criticisms on Der Frei-
schiitz were almost always on points of form,
and mainly resolved themselves into this, that
the opera did not contain enough of those
larger, artistically constructed, forms which be-
tray the hand of the master. Hence, was it
certain that Weber was really master of his
art, or did he not owe his great success
mainly, to his heaven-sent genius? Weber was
very sensitive to public criticism, even when so
ignorant, one-sided, and absurd as this, and he
determined to write a grand opera, and show
1 Thus all the three representatives of German romantic opera
Weber, Spohr. aad Marschner, were living in the same placo.
WL. no <
WEBER.
the world what he was capable of. When there-
fore an invitation to write a new opera arrived
(Nov. II, 1821) from Barbaja, of the Kamth-
nerthor theatre in Vienna, he seized the oppor-
tunity with avidity. The libretto was to be
written by Fran Helmina von Chezy, who
had been in Dresden since 181 7, well-received
in literary circles, and not without poetical
talent. She offered him several subjects, and
he selected • Euryanthe.' After several at-
tempts, in which Weber gave her active as-
sistance, she succeeded in putting her materials
into something like the shape he desired.
His idea of an opera was that the music should not
be so entirely dominant as in Italian opera, but
that the work should be a drama, in which the
words should have a real interest of their own,
and in which action, scenei-y, and decorations
should all contribute to the vividness and
force of the general impression. In short, that
the impression made by an opera should be
based on a carefully balanced combination of
poetry, music, and the descriptive arts. These
principles he had endeavoured to carry out in
Der Freischtitz ; in Euryanthe he hoped to
realise them fully. The words of the ist Act
were ready by Dec. 15, 1821, and Weber set
to work with all his might.
Thinking it well to study the circumstances
under which his new work was to appear, he
started, Feb. 10, 1822, for Vienna, stopping on
the way to conduct Der Freischutz (Feb. 14) at
Prague, with unmeasured success. He attended
a performance of the same opera in Vienna on the
1 8th, but found it far from edifying. How he
conducted it himself on March 9, and what a
reception it had, has been already mentioned.
This one work gave him a popularity in Vienna
that became almost burdensome. He was urged
to settle there altogether, and undertake the
direction of the German opera. There also he
received an invitation to write a grand opera for
Paris. In the midst of all this excitement he
fell ill with a violent sore throat. That his
disease was making progress was evident. Still
he appeared in public on two occasions besides
the Freischutz performance, once at a concert
given by Bohm the violinist, on March 10,
— when he conducted his Jubelouverture,
and the men's choruses from the ' Leyer und
Schwert,* with enormous success — and once at
a concert of his own (March 19), when he
played his Concertstiick, which, oddly enough,
was not equally appreciated. By March 26 he
was again at home.
All the summer he remained at Hosterwitz,
and there was composed by far the greatest part
of Euryanthe, for he had the same house the
following summer. His most important piece
of official work at this time was the production
of Fidelio. That opera, though composed in
1805, and reduced to its final shape in 1814,
had never been given in Dresden, for the
simple reason that till Weber came there was
no German opera. Though it was impossible
for him to ignore that the music is not through-
WEBER.
407
out essentially dramatic, he felt it to be a
sublime creation, for which his admiration
was intense, and he strained every nerve to
secure a performance worthy of the work.
An animated correspondence ensued between
him and Beethoven. Weber's first letter was
dated Jan. 28, 1823; Beethoven replied Feb.
16, and Weber rejoined on the i8th. After
that there were letters from Beethoven of
April 9, June 5 and 9, and Aug. 11, the
last enclosing a sonata and variations of
his own composition. Weber was a great ad-
mirer and a remarkable exponent of Beethoven's
PF. music, especially of his sonatas, a fact which
Beethoven seems to have known. The corre-
spondence has been lost, except a fragment of
a rough copy of Weber's,^ conclusively proving
his high opinion of Fidelio. The score sent
by Beethoven, April 10, i^ still at the Dresden
court-theatre. The first performance took place
April 29, with Wilhelmine Schroder as Leonore.
In Sept. 1823 Weber started for Vienna to
conduct the first performance of Euryanthe.
Benedict accompanied him. Barbaja had assem-
bled a company of first-rate Italian singers, and
was giving admirable performances of Italian
operas, especially Rossini's. Rossini had been
in Vienna, and had rehearsed his operas him-
self. The public was almost intoxicated with
the music, and it was performed so admirably
that even Weber, who had previously been
almost unjustly severe on Rossini's operas,
was obliged, to his vexation, to confess that
he liked what he heard there. It was un-
fortunate that the singers cast for Euryanthe,
though as a whole efficient, were stars of the
second order. Still, Der Freischutz had pre-
possessed the public, and the first performance
of ^the new work was enthusiastically applauded.
But the enthusiasm did not last. The plot
was not sufficiently intelligible, people found
the music long and noisy, and after the
second and third representations, which Weber
conducted with great success, the audiences
gradually became cold and thin. After his
departure Conradin Kreutzer compressed the
libretto to such an extent as to make the opera
a mere unintelligible conglomeration of isolated
scenes, and after dragging through twenty per-
formances, it vanished from the boards. After
the enormous success of the Freischutz, Eury-
anthe was virtually a fiasco. Neither had Weber
much consolation from his fellow artists. In
many instances envy prevented thefr seeing the
grand and beautiful ideas poured forth by Weber
in such rich abundance ; and there were artists
above the influence of any such motive, who
yet did not appreciate the work. Foremost
among these was Schubert; even if his own
attempts at opera had not shown the same thing
before, his seeing no merit in Euryanthe would
prove to demonstration that a man may be a
great composer of songs, and yet know nothing
1 Given by Max von Weber In the ' Biographle,' il. 466. The date*
given are not entirely in accordance with those in the biography,
but I have followed Jfthns's careful epitome of Weber's diary, now in
the Boyal Library of Berlin.
408
WEBER
of dramatic* music. The only really satisfac-
tory part of the visit was his intercourse with
Beethoven, who welcomed him heartily.^ At
one time Beethoven had not valued Weber's
compositions at a high rate, but his opinion of
the composer of Der Freischiitz had risen
enormously. He did not go to Euryanthe :
there would have been no object in his doing so,
now that his troubles with his hearing had
settled down into total deafness.
Weber left Vienna Nov. 5, conducted the
50th representation of Der Freischiitz in
Prague on the 7th, and arrived in Dresden on
the loth. By his desire Benedict remained
in Vienna, to keep him informed of the pro-
gress of Euryanthe; but what he heard was
80 far from pleasant that he did not venture
to report it. Weber had put his full strength
into the work, intending it as a demonstra-
tion of his power and capacity. With the
keenest anxiety he followed its progress, mark-
ing the impression it produced, not only in
Vienna, but in every theatre which performed
it on the strength of its being an opera of
Weber's. When he found that in most places it
received only a succis d'egtime, and that opinions
as to its value were divided, even amongst
unbiassed connoisseurs, he fell into deep depres-
sion. Benedict, on his return from Vienna,
thought him looking ten years older, and all
the symptoms of his malady had increased. To
illness it was undoubtedly to be attributed that
all his old energy, nay, even his love of music,
for the time abandoned him. His compositions
seemed to recede into the far distance, and in
the summer of 1824 he writes in a bitter mood
to his wife from Marienbad, where he was taking
the waters, *I have not an idea, and do not
believe I ever composed anything. Those operas
were not mine after all.' When asked how he
did, he would reply, *I cough, and am lazy.'
During fifteen months he composed absolutely
nothing, except one little French romance.
Many disappointments, however, as Eury-
anthe brought him, there were places where
it was at once valued as it deserved. In Dres-
den the first performance took place March 31,
1824, with a success that equalled Weber's
highest expectations. As an instance, Tieck
pronounced it to contain passages which Gluck
and Mozart might have envied. And as in
stage matters the first impression is apt to be
the lasting one, even down to a later generation,
the people of Dresden to this day understand and
love Euryanthe. In Leipzig it was much the
same, the opera occupying a place in the reper-
toire from May 1824. Rochlitz heard it May 24,
1825, and next day wrote Weber almost the best
and most discerning criticism of the time.^ In
Berlin there was considerable delay in producing
the opera, for which Spontini received more than
his share of the blame. The first performance
took place on Dec. 23, 1825, and in Berlin too,
1 See SCHUBEBT, vol. tli. p. 3386.
2 See Beethoven, vol. i. p. 196 a.
< Jfihus (p. 369; Kives the most important part of bit tottar.
WEBER.
where Weber's most devoted adherents were to
be found, the effect it produced was great and
lasting. The composer conducted in person,
though, sufiering as he was from mortal illness,
it took all his indomitable energy to make the
mind rise superior to the body. It was his last
appearance in Berlin.
Weber knew that his days were numbered.
A model husband and father, the thought of his
wife and children was never absent from his
mind ; to provide for them to the utmost of his
power was not only his most sacred duty, but
his highest happiness. No one can fail to be
touched by the tenderness and devotion which
breathe in the letters to his wife, many of which
are printed by his sons in the biography. After
quitting Stuttgart, he had regulated his afiairs
in the most exemplary manner. He lived very
comfortably in Dresden, and was able even to
afford himself small luxuries. His great de-
sire was to leave enough to place his family
above fear of poverty. It was his love for
them which roused him from the languor
and depression into which he had fallen
after the completion of Euryanthe. The im-
mediate imjiulse was a letter from Charles
Kemble, then lessee of Co vent Garden theatre,
inviting him to write an opera in English.
London had also participated in the Freischiitz
mania, no less than three theatres playing it at
the same time. Kemble added a request that he
would come to London to produce the new opera
in person, and conduct Der Freischiitz and
Preciosa. Weber did not hesitate long, and
the two soon agreed on * Oberon ' as the sub-
ject of the opera, the libretto to be drawn up
by Planch^. The terms took longer to arrange.
Kemble's offer of £500 Weber considered too
low, and Kemble thought Weber's demands
much too high. At last, however, he agreed to
give £1000.* Before the affair was concluded
Weber consulted his physician, Dr. Hedenus, as
to the possibility of the journey in his then state
of health. The reply was that if he would
give up conducting and composing, and take a
year's complete rest in Italy, liis life might be
prolonged for another five or six years. If, on
the other hand, he accepted the English com-
mission, his life would be measured by months,
perhaps by weeks. Weber replied by his fa-
vourite motto, • As God will,' and settled to go.
Although he had undertaken to compose this
opera from a desire to make money, he would
not have been the highminded artist he was if
he had not set to work at it with all his might.
So much was he in earnest that, at the age
of thirty-seven, and with one foot in the grave,
he began to learn English systematically, and
was soon able to carry on his own coirespon-
denee in English, and when in London aston-
ished everybody by the ease with which he
spoke. In reference to this fact it is worth while
to notice the behaviour of other composers in like
circumstances. When Piccinni came to Paris to
* So says Benedict, p. 106, and elsewhere. Mai von Weber's account
varies slightly.
WEBER.
WEBER.
40d
compose his Roland, with which he was to enter
the lists against Gluck, he knew so little French
that Marmontel had to translate and explain his
libretto to him bit by bit. Spontini spent 22
years in the service of the King of Prussia,
bound by contract to supply German operas, and
yet never took the pains to learn the language
methodically. Weber, however, saw clearly the
impossibility of giving full and adequate musical
expression to the sentiments of a poem unless the
composer be familiar with the language in which
it is written.
The 1st and 2nd acts reached him Jan. 18,
1825, and the 3rd on Feb. 1. He set to work
Jan, 23, the first number he composed being
Huon's grand air in the ist act. He laid the
work aside during the summer, but resumed it
Sept, 19. The last number, the overture, was
completed in London April 29, 1826.
By medical advice he took the waters at
Ems, in the summer of 1825, starting from
Dresden on July 3. His route lay through
Naumburg to Weimar, where he made a last
unsuccessful attempt to enter into close rela-
tions with Goethe, and was warmly welcomed by
Hummel and his family. Thence he went by
Gotha to Frankfort, greeting his old friend
Gottfried Weber for the last time, and then by
Wiesbaden to Ems. This journey must have
convinced him of his extraordinary popularity.
People of all ranks vied with each other in
showing him kindness, respect, and admiration.
At Ems he was admitted into the circle of that
accomplished man the Crown Prince of Prussia
(afterwards Frederic William IV.), and his
wife, an imusual distinction. But the musician
tottering to his grave was no longer able to en-
joy the sunshine which shone so brightly on his
last days.
The time for Weber's departure for England
drew on. On Feb. 5 he conducted Der Frei-
schiitz in Dresden for the last time, and took
leave of his band, aU except Fiirstenau, the
well-known flute-player, who was to travel with
him. He chose the route through Paris, and
made the acquaintance of the principal musicians
there, specially enjoying the attentions of Che-
rubini, for whom he had always had a high re-
spect. A performance of Boieldieu's * La Dame
blanche ' enchanted him. * What grace ! what
wit ! ' he writes to Theodor Hell, at Dresden,
•no such comic opera has been written since
Figaro.' On March 5^ he arrived in London,
and was most hospitably received by Sir George
Smart, then Organist of the Chapel Royal. On
the 6 th he went to Covent Garden theatre to
view the scene of his future labours; he was
recognised, and the cheers of the spectators
must have assured him of his popularity in
London. On March 8 he conducted a selec-
tion from Der Freischiitz at one of the 'ora-
torio concerts,* and here his reception was even
more enthusiastic, nearly every piece from the
opera being encored. On the 9th the re-
hearsals for 'Oberon' began, and Weber per-
k
Benedict (p. 115) says March 6, but he is wrong.
ceived at once that he had at his disposal all
the materials for a first-rate performance. To
please Braham, who took the part of Huon, he
composed two additional pieces, a grand scena and
area(* Yes, even love'), whichBraham substituted
for the grand air in the ist act, and the prayer
in the 2nd act ('Ruler of this awful hour').
The former is never sung in Germany, being
far inferior in beauty to the original air, but
the prayer is retained, and is indeed one of
the gems of the work. The first performance
took place April la. The music went beauti-
fully, and the composer had an even more
enthusiastic reception than that bestowed on
Rossini two or three years before. The aris-
tocracy alone, with few exceptions, held aloof.
Weber was not the man to show himself ob-
sequious, and on the other hand his look and
manner were too unpretending to be imposing.
By May 29 Oberon had reached its 28th per-
formance, the first 1 2 having been conducted by
himself according to his contract.
Though his strength was constantly declining
he was always ready to lend his name or his
services when he could be of assistance to
others. Thus he took part in concerts given
April 27, May i, 10, and 18 by Miss Hawes,
Fiirstenau, Kemble, and Braham, nay, even at
one of Miss Paton's on May 30, six days before
his death. A concert of his own on May 26 was
a failure. The day was badly chosen, and Weber
in his state of utter exhaustion had omitted two
or three social formalities. Among other music
given at this concert was his Jubel-Cantata
(18 1 8), put to different words, and a song
(' From Chindara's warbling fount ') just com-
posed for Miss Stephens, who sang it to his ac-
companiment. It was his last composition, and
the last time his fingers touched the keyboard.
The preparations for his journey home were
made in haste, for Weber was filled with an in-
expressible longing to see his family once more.
But his own words to a friend before leaving
Germany, that he 'was going to London to die,*
were fulfilled. Far from home and kindred he
sank under his suflferings during the night
of June 4. His body was laid in the grave
at Moorfields Chapel, to the strains of Mo-
zart's Requiem, on June 21. The funeral cere-
monies were conducted as if for a person of the
highest rank, and there was an enormous crowd.
In 1 844 the cofl&n was removed to Germany, and
interred in the family vault at Dresden.
Of all the German musicians of the 19th century
none has exercised a greater influence over his
own generation and that succeeding it than
Weber ; indeed there is scarcely a branch of
artistic life in which his impulse is not still felt.
The historian of German music in the 19th
century will have to make Weber his starting-
point. His influence was even greater than that
of Beethoven, for deeply imbued though Bee-
thoven was with the modern spirit, he adhered
as a rule to the traditions of the i8th century.
These Weber casts aside, and starts after fresh
410
WEBER.
ideals. As a natural consequence he was far less
perfect in form than Beethoven, nor was he his
equal in power, but in originality he has never
been surpassed by any musician, ancient or mo-
dem. The germs of life he scattered broadcast
defy calculation, and the whole of German opera,
down to Wagner's latest works, is evolved
from Weber's spirit. Even the concert music of
other masters less connected with opera, such as
Mendelssohn and Schumann, profited by his
sujrgestiveness. Without Weber, Mendelssohn's
Midsummer Night's Dream music, Walpurgis
Nacht, Concert-Overtures, and PF. Concertos;
Schumann's Paradise and the Peri, Pilgrim-
age of the Rose, and concert-ballads ; the en-
tire variation-music of the present day, choruses
for men's voices, certain forms of the German
Lied, even the modem technique of pianoforte-
playing, and, most of all, the present develop-
ment of orchestration, are inconceivable. And
though during the last 30 years the Weber-cultus
in Germany has been checked by the revived
influence of Bach, though his weakness of form
has been hotly condemned by composers of con-
cert and chamber-music (thus— for the most part
involuntarily — implying a depreciation of his
work in general, which is as foolish and short-
sighted as it is ungrateful), his genius can afford
to deride all such detraction now and for ever.
He is curiously near of kin to his opponents,
even to Brahms. For instance, take Brahms's
jpenchant for the national music of his own and
other countries, and trace it to its source, and
you come upon Weber. Again, he is the first of
the modern typical artists who is a cultivated man
of the world, as well as a musician. This fact
involved a change in the social position of the
artist, which change has been erroneously ascribed
to Beethoven's personal qualities, though it might
just as well be attributed to Spohr. Both were
proved men, conscious of their own worth, and
capable of asserting it when necessary ; but of
what great artist and man of honour might not
the same be said ? It is undeniable that the
range of their interests outside music was ex-
tremely limited. Spohr was cultivated in the
same sense that Mozart was ; Beethoven, though
he absorbed the ideas of the French Revolution
while living on the Rhine, could lay no claim to
anything like general culture. Weber's birth
gave him at once a status in the best society,
and compelled the world to admit that there
was nothing derogatory to a man of family in
following art as a vocation. His cultivation was
indeed of a peculiar nature and most extensive ;
not acquired from books, but learnt by practical
experience, and perfectly homogeneous with his
music. To this result both education and
natural gifts tended. His literary and poetical
talent was considerable, and he took a keen and
intelligent interest in all mechanical processes
and the plastic arts, in which his taste was
excellent.^ Compared to Mendelssohn's, his
1 It was hU Interest In wood-engraving which led to his friendship
with V. W. GublU in Berlin. See 'Gubltz's Erlebnlsse,' ii. 18
(BerUn, 1868).
WEBER.
education was a very irregular one, but hit
wandering life from a child had brought before
him a host of varied impressions which his in-
telligent mind absorbed, and his cool head turned
to account. At twenty he had more knowledge
of life and men than many an artist of the old
school had attained at the time of his death.
His cleverness and thorough knowledge of the
ways of society were partly natural, and partly
acquired through intercourse with men of all
ranks, from the lowest to the highest. From his
time the musician of genius, who was a musician
and nothing more, like Franz Schubert, became
impossible in Germany. The characteristics
which distinguish Mendelssohn, Schumann, Hil-
ler, Wagner, Liszt, and other great musicians,
who are fully developed men, from the older
type of musician, are precisely those first found
in Weber.
To form a right estimate of Weber's music it
is necessary to look upon hitn as a dramatic com-
poser. Not that his other compositions are of
no importance — quite the contrary; but in
one and all may be discerned more or less
plainly that dramatic genius which was the
essence of his nature, and which determined their
form, and gave them that stamp whereby they
differ so strikingly from the productions of other
artists. Composers gifted with the true dramatic
instinct have always been rare in Germany,
and it was this that Weber possessed in a high
degree, higher perhaps even than Mozart.
Being his most prominent characteristic, we wUl
deal with his operas first.
1. The earliest, ' Die Macht der Liebe unddes
Weins,' was destroyed, apparently by himself.
Of the second, * Das Waldmadchen,' composed in
Freiberg, there are extant three autograph frag-
ments, containing in all 214 bars, the originads
of some and copies of others being now
in the Royal Library at Berlin.' These frag-
ments seem to bear out Weber's own verdict
that the opera was an immature production, not
perhaps wholly devoid of invention. Although
played several times, no complete score can now
be found. We now come to his third opera, and
after that almost all that he wrote for the stage
made its permanent mark.
2. The libretto of * Peter SchmoU und seine
Nachbarn' was adapted by a certain Joseph
Tiirke from a novel of the same name by
Carl Gottlob Cramer (2 vols. Rudolstadt, 179S
-99). The book was one of the romances of
knights and robbers with which the market
was flooded after the success of *Gotz von
Berlichingen ' and ' Die Rauber.' ' Cramer's
Peter SchmoU has no artistic merit, but it
is less crude and sensational than some others
of its class. The scene is laid not in the
Middle Ages, but in the period of the French
Revolution. Tiirke arranged the plot in
two acts, and treated it after the fashion of the
3 The Weber collection, amassed with so much diligence by ProC
JShns, was purchased some years ago for the Berlin Boyal Library.
3 The best-knowu worlv of the kind was 'Binaldo Binaldiiir by
Goethe's brother-in-law Vulplus.
WEBER.
WEBER.
411
German Singspiel, with spoken dialogue. All
this part however has been lost, the words
of the songs alone being preserved in the score.
The verses are rarely Tiirke's own, but were
taken from the novel, which was interlarded,
in the then fashion, with songs. Such verses
as he did write are more than commonplace,
especially when intended to be comic ; refined
comedy being a rarity in German di'ama long
after Peter Schmoll's day. The music evinces
great talent, perhaps artificially matured, but
naturally so great and so healthy that not even the
hot-house treatment to which it had been sub-
jected could injure it permanently. Weber was
impelled to produce operas before he had fully
developed the feeling for logical harmonic progres-
sions, nay, before he had mastered musical ortho-
graphy itself, to say nothing of the skill necessary
to construct musico-dramatic forms on a large
scale. Peter SchmoU affords a good oppor-
tunity for comparing the unequal, unpropitious
development of Weber's powers with those of
Mozart, whose youthful operas are now engraved
and accessible. In Mozart the mastery of external
means advanced step by step with the develop-
ment of mental power. From the first he always
had the two. Weber, at the time he composed
Peter Schmoll, had much that was original to
Bay, but was without the technical training
necessary to enable him to say it. To one capable
of piercing through the defective form to the
thought beneath, the unmistakable features of
his individuality will often be discernible.
Real dramatic characterisation is not to be ex-
pected from a boy of fourteen ; so far his music
is rather stagey than dramatic, but still he had,
even then, unquestionably a brilliant talent for the
stage. Tliis is mainly apparent in the treatment
of general situations, such as the second scene of
the first act, where Schmoll, Minette, and Hans
Bast play at blindman's-buff in the dark. The
melodies are throughout catching, often graceful
and charming, always related to the German Lied,
and never reflecting the Italian style. He puts
almost all he has to say into the voice-parts ;
the accompaniments being unimportant, at least
as regards polyphony. There is much originality
in the harmony, and the colouring is individual
and full of meaning. Now it is precisely with
harmony and colouring that Weber produces his
most magical effects in his later operas. In his
autobiography he relates how an article he read
in a musical periodical about this time suggested
to him the idea of writing in a novel manner, by
making use of old and obsolete instruments. The
instrumentation in Peter Schmoll is indeed
quite peculiar, No. 14, a terzet (Empfanget hier
des Vaters Segen), being accompanied by two
flavti dolci, two basset-horns, two bassoons, and
string-quartet. His motive was not a mere
childish love of doing something different from
other people, but he had an idea that these
strange varieties of tone helped to characterise '
the situation. In the passage named the pecu-
liar combination of wind-instruments does pro-
duce a peculiarly solemn effect. Again, in certain
comic, and also in some mysterious passages, he
uses two piccolos with excellent effect, giving
almost a forecast of the spirit of Der Freischiitz.
Minette sings in the first act a momnful song of
a love-lorn maiden, and as the voice ceases the
last bar is re-echoed softly by a single flute, solo,
a perfect stroke of genius to express desolation,
loneliness, and silent sorrow, and recalling the
celebrated passage in the 3rd act of ' Euryanthe,'
where the desolation of the hapless Euryanthe is
also depicted by a single flute. Weber adapted
the music of this romance to the song ' Wird
Philomele trauern' (No. 5), in Abu Hassan,
and used some other parts of the opera in his
later works, for instance the last song in the
third finale of Oberon. The overture to
Peter Schmoll was printed, after Weber's
thorough revision of it, in 1807, and also a re-
vised form of the duet *Dich an dies Heiz
zu drucken,' in 1809.^
3. The subject of * Rxibezahl,' a 2-act opera
begun by Weber in Breslau,but never finished,
was taken from a legend of the Riesengebirge,
dramatised by J. G. Rhode. The versification
is polished and harmonious, but the action drags
sadly. Rubezahl, the spirit of the mountain,
having fallen in love with a mortal Princess,
lures her into his castle, and keeps her prisoner
there, but woos her in vain. Having managed
to secure his magic sceptre, she gets rid of him by
bidding him count the turnips in the garden,
which at her request he turns into human beings
for her companions. As soon as he is gone she
summons a griffin, who carries her down again to
her own home, and thus outwits Riibezahl. For
variety's sake the poet has introduced the father,
lover, and an old servant of the Princess, who
penetrate in disguise to the castle, and are hired
by Rubezahl as servants ; but they do not influence
the plot, and have to be got rid of at the close.
These weaknesses, however, are redeemed by
some supernatural situations, excellent for musi-
cal treatment. Of this libretto Weber says that
he had composed ' the greater part,' though the
overture and three vocal numbers alone have
been preserved. Even of these the second
vocal number is unfinished, while the overture
exists complete only in a revised form of later
date. Those familiar with Der Freischiitz and
Oberon know Weber's genius for dealing witli
the spirit- world ; but the Rubezahl fragment*
show extraordinarily few traces of the new lan-
guage he invented for the purpose. The music,
indeed — always excepting the revised form of
the overture — is less Weberish than a great
deal in Peter Schmoll, nor is there any marked
advance in the technique of composition. In
a quintet for four soprani and bass,'' the princess^
bewails her loneliness, and sighs for her girl-
companions, when Riibezahl bids her plant three
turnips, and call them Clarchen, Kunigunde,
and Elsbeth; he then touches them with his
wand, and her three friends rise out of the
ground and rush to her amid a lively scene of
1 PF. score by Jfihns (Berlin. Schleslnger).
3 With FF. accompaalment by Jfihns (Scbleslnger).
412
WBBEE.
mutual recognition, Riibezahl standing by and
making his reflections. The manner in which
he has treated this scene indicates very clearly
the state of "Weber's development at the time.
The phantoms evoked from the turnips sing
like mortals, in strains diflPering in no degree
from those of the princess. Twenty years later
such a scene would inevitably have produced
a series of the most individual tone-pictures,
contrasting sharply with everything of mortal
interest. As it is, the future dramatist and
composer is but in the chrysalis- stage, and the
quintet is merely a very lively and eflFective stage-
scene, with some clever passages in it (the
middle subject *schon sind der sterblichen
Gefuhle/ particularly fine), but with no traces
of Weber's individuality.
4. With the next opera, * Silvana,* we take
leave of boyish compositions, and reach a higher
stage of development. Silvana and Abu Hassan
form the middle group of Weber's dramatic works,
while Freischiitz, Preciosa, Euryanthe, and
Oberon, constitute the third and last. We have
stated already that in Silvana he used some
material from Das Waldmadchen, the libretto of
which has been lost, except the few verses pre-
served in the score. Hiemer's story is as
follows : —
Two German knights in the Middle Ages have fallen
in love with the same nohle maiden. Her rejected
suitor, Kitter von Kleeburg, takes his revenge on her
and his favoured rival, Count Adelhart, by stealing
their baby-daughter. He intends her to be killed, but
the old servant who carried her off relents, and brings
up the child in secret Feeling his end to be near, he
eets out with the intention of restoring his daughter,
long believed to be dead, to the Count, the Countess
having died of grief long before. Having arrived in
the neighbourhood of Adelhart's castle, he hides Silvana
in a grotto in the forest, enjoining her not to speak a
word to any one, and goes to inform Adelhart. He
<5annot, however, then speak with him, Adelhart being
busy with preparations for the marriage of his other
daughter, Mechthilde, to Count Rudolf von Halfenstein.
Mechthilde is in love, not with Rudolf, but with Albert
von Kleeburg, the son of her father's late enemy, and
Rudolf himself has nothing but esteem for his destined
bride. He goes out hunting with his men from Adel-
hart's castle, in the forest finds Silvana, who pretends
to be dumb, and having lost bis heart to her, brings
her back to the castle. Adelhart gives a tournament
in honour of the marriage between Rudolf and Blech-
thilde, and the prize is carried off by Albert, fighting
with closed visor. Encouraged by the demonstrations
he receives, he makes himself known and asks her
father for Mechthilde's hand. Adelhart is furious,
and is going to have him imprisoned and put to death,
but Albert and his men fight their way through to
the forest. Here he finds the old servant, seeking
Silvana, and learns the true state of affairs | but Adel-
hart's knights fall upon him, and drag him back to
the castle, the old servant following. Meanwhile Adel-
hart has learned that Rudolf is in love, not with
Mechthilde, but with Silvana, and is going to put her
to death, believing her to be some rival who has used
witchcraft. Just as the fatal stab is about to be
given the prisoner Albert enters with the old servant,
and informs Adelhart that Silvana is his daughter. A
reconciliation takes place between Adelhart and Albert,
and the two pairs of lovers are united.
This opera, with its medieval romanticism,
is the precursor of Euryanthe, and therefore
of great interest in Weber's development. In-
dependent of this, however, its merit as a work
of art is considerable, and I believe the time
will come when it will again find a home in the i
WEBER.
theatres of Germany. To ridicule the piece
as hyper-romantic and old-fashioned is a mis-
take, arising chiefly from our habit of looking
down upon the romanticism so much in vogue
at the beginning of the century. We forget
that an opera-Ubretto is something very Af-
ferent from the long-drawn-out romance of
chivalry, and that the falsity and childishness
which repel in a novel need find no place in
a libretto, even though it be founded on the
same situations. The story of Silvana deals
with emotions which are natural, true, and
intelligibly expressed, and the situations are not
less fitted for musical treatment because they
belong to a bygone period— seen through a le-
gendary haze, but still an heroic period of great
and lasting interest. Another point in favour
of Hiemer's poem is that the plot develops itself
naturally and intelligibly, the interest is well
kept up, and there is the necessary variety of
sensation. That Weber transferred to it musical
ideas from Das Waldmadchen can be verified
in two instances only, one being the overture, the
autograph of which is docketed 'renovata il 23
Marzo, 1809,' a term which must necessarily
apply to the Waldmadchen overture. The
• renovation ' cannot have been of a very startling
nature, judging by the music, which is neither
interesting nor original. The second case is the
air assigned to Krips the Squire, • Liegt so ein
Unthier ausgestreckt ' (No. a), the opening of
which is identical with a ritomel in one of the
' Waldmadchen' fragments. It may therefore be
assumed that the adaptation of old material was
of a \ery limited description. The fact of there
having been any adaptation at all may partly ex-
plain the extreme inequality between the separate
numbers in Silvana, but we must also take into
account the inevitable distractions and interrup-
tions among which it was composed at Stuttgart.
The opera undoubtedly does not give the impres-
sion of having been conceived all at once, and
this damages the general effect.
The progress in dramatic characterisation
made by Weber since Riibezahl and Peter
Schmoll is obvious. The knights of the period
are more or less typical peisonages, and do
not require much individualising. A com-
poser's chief difiiculty would lie in maintain-
ing the particular tone adapted to each charac-
ter consistently throughout the drama, and in
this Weber has succeeded thoroughly. Count
Adelhart especially, and Elrips the Squire,
are drawn with a master hand. The power of
indicating a character or situation by two or
three broad strokes, afterwards so remarkable in
Weber, is clearly seen in Silvana. For instance,
the very first bar of the duet between Mech-
thilde and Adelhart, ' Wag' es, mir zu wider-
streben' (Act ii. No. 9), seems to put the violent,
masterful knight bodily before us. Another
crucial point is the winding up of a denouement,
by massing the subjects together in a general
movement which shall keep the interest of the
spectator at a stretch ; and of this we have an
excellent specimen in the Finale of Act ii.
WEBER.
Speaking of the music simply as music, though
by no means perfect in form, the ideas are
abundant and original. The melodies partake
of the Volkslied character, there is a riotous
fancy combined with the drollest comedy, and a
grace peculiarly Weberish, while the instrument-
ation is dainty, full of colour, and melodious.
Good examples of the first quality are the
Huntsman's Chorus (Act i. No. 3), and the
Drinking Chorus in the Finale of the same
Act ; and of the comedy the whole part of the
cowardly bully Krips. His Arietta in Eb, No.
14, is capital, and also interesting as a speci-
men of the distinction between Weber's vis
comica and Mozart's as shown in the Entfiih-
rung and Zauberflote. The dances allotted to
Silvana (Nos. i, 8, 12) are most graceful and
charming. Another remarkable point in the
opera is the musical illustration of pantomime,
even in the vocal numbers, a device for connect-
ing the music and the action together, which is
well known to have been carried to such an extent
by Wagner that he is generally considered the in-
ventor of it. Weber, however, has in Silvana
turned it to account most effectively. A striking
example is the scene where Rudolf meets Silvana
in the forest. He addresses her in gentle tones, to
which she replies only by signs, accompanied by
orchestral strains of the most expressive nature,
with a great deal of cello-solo. The whole scene
is full of genius, and continually suggests a com-
parison with Wagner, especially where Rudolf
sings, *Wenn du mich liebtest, o welch' ein
Gliick ! 0 lass mich deine ? Augen fragen !' while
Silvana, to a melting strain from the cello, 'looks
at him sweetly and tenderly,' a passage which
recalls the first meeting of Siegmunde and Sieg-
linde in the Walkiire. Other passages, in which
the music follows the action step by step, are to
be found in Weber's great operas, especially in
Euryanthe. Strange to say, they seem to have
attracted little attention, even in the latter case,
and have certainly never had their merit acknow-
ledged in print. — The composer prepared two
PF. editions of Silvana,^ the former of which
(181 2) is incomplete, and both now very rare.
A new one is much wanted, and the full score
of this interesting work ought to be published
before long.
5. 'Abu Hassan,* the second in the middle
group of Weber's operas, was adapted by Hiemer
from an Arabian fairy-tale, with occasional remin-
iscences of Weisse's Dorfbarbier.^ The story of
this one-act Singspiel is closely connected with
1 Schlesinger, Berlin.
« Abu Hassan, a droll fiiTonrite of the Caliph of Bagdad, and his
wife Fatlma. with a greater turn for making verses than for domestic
management, have run deeply Into debt, and are hard pressed by
their creditors. They hit upon the expedient of each giving out the
other as dead ; so Fatlma goes to the Sultana, and Hassan to the
Sultan, to ask for their customary contribution towards the funeral
expenses. The plan succeeds, and each returns with a considerable
sum, which Is applied to their most urgent necessities. The Sultan
and Sultana, however, fall out as to which of the two it Is that has
died, and to settle the question, proceed with a number of their
court to Abu Hassan's house. Here, after a very droll scene with
the supposed defunct couple, the true state of affairs comes to light,
and Abu Hassan and Fatlma are abundantly provided for, while
Omar the money-changer, who has pressed his demands In the hope
cf extorting concessions from Fatlma, receivei due punishment.
WEBER.
4ia
certain experiences of both Weber and Hiemer in
Stuttgart. It must have been easy to Weber to
find appropriate melodies for a creditor dunning
a light-minded impecunious debtor ; and curi-
ously enough, the first number of the opera he
set was the Creditors' Chorus,* Geld, Geld, Geld,
ich will nicht langer warten ' (August 11, 1 810).
The little piece consisted originally of the Over-
ture and eight vocal numbers, the duet 'Thranen
sollst du nicht vergiessen ' being added in 1812,
and the air 'Hier liegt, welch martervoUes Loos'
in 1823.
The chief reason why this opera is so little
known in Germany is that it is so short, barely
occupying half an evening; it has, however^
been given several times lately. The fun in
German comic opera has always been somewhat
boisterous ; for more refined comedy we must
generally go to the French, but Abu Hassan
is almost the sole German work which pro-
duces a hearty laugh, and at the same time
charms by its grace and refinement, and by the
distinction of its musical expression. Perhaps
the best bit is the scene between Abu Hassan
and his creditors, but the duet between Omar
and Fatima (No. 6), the final terzetto (No. 7),
and Fatima's additional air (No. 8), are all of
great merit. The last air, it should be borne in
mind, was composed twelve years after the rest,
and bears the stamp of the matured composer.
Various little instances of want of finish appear
in the music, but defects of this kind may well
be overlooked for the sake of the invention,
so spontaneous and spirituel, and the downright
hearty fun of the whole, mingled as it is with
rare and touching tenderness.^
6. Between the completion of Abu Hassan and
the commencement of Der Freischiitz intervene
no less than six years — a long period in so short
a life — during which Weber composed no opera.
Not that the dramatic impulse had abandoned
him. * I am anxiously looking out for another
good libretto,' he writes after the production of
Abu Hassan at Munich *for I cannot get on
at all without an opera in hand.' We know he
had several projects, and that he had a • Tann-
hauser' in his mind in 1814; but his restless
life, and the unsatisfactory nature of his posi-
tion at Prague, prevented his bringing anything
to maturity. Nevertheless his dramatic powers
did not lie absolutely fallow. Six grand Italian
arias with orchestra, some with chorus also,
composed during this period, though intended
for the concert-room, may be classed with his
dramatic works, because they presuppose a scene
or situation in which some distinct person gives
expression to his or her feelings. The same
is true of three Italian duets, which mark
an important stage in his development, as it
was through them that he gained dexterity in
handling the larger forms of vocal music. As we
have seen, he was somewhat clumsy at this in
Silvana. Several of the six conceit- arias
are of high merit, particularly the one com-
« A complete PF. score Is published by SImrock of Bonn (now-
BerUn).
414
WEBER.
posed for Prince Frederic of Gotha, * Signor, se
padre sei,' the scena ed aria for Atalia, ' Mi-
sera me,' and the scena ed aria for Mdhul's
*H^fene,' 'Ah, se Edmondo fosse I'uccisor.'
The cause of the neglect of Weber's conceit-
arias at the present day can only be that the
grand style of concert-singing is almost uni-
versally superseded by ballads, which are really
unsuited to the concert-room. The three duets
with PF. accompaniment are also worthy of
notice, as showing Weber's perfect fetmiliarity
with the Italian style, while retaining intact his
German individuality, a combination which gives
them a special interest. One — *Si il mio ben,
cor mio tu sei ' — was originally composed for 2
altos, with clarinet obligato, and an accompani-
ment of string quartet and 2 horns. It was
performed at Weber's concert in Darmstadt in
181 1, when he writes to Gottfried Weber, 'a
duet so confoundedly Italian in style that it
might be Farinelli's ; however it pleased them
infernally.' This is, however, unjust to him-
self, for though here and there the Italian
cast of melody is obvious, the main body is tho-
roughly Weberish. The allegro with its con-
trasting subjects, one sustained and flowing, and
the other light, graceful, and jpiquaM, recalls
the duet between Agatha and Aennchen in
Freischxitz.
Besides his Italian compositions, among which
we may include 3 canzonets for single voice and
PF., Weber exercised his dramatic vein twice
between 181 1 and 181 7, in the composition of
Lieder, and in his cantata 'Kampf und Sieg'
(1815). These important works are of course
only indirectly dramatic. They will be noticed
later on.
7 . With Der Freischiitz Weber laid the found-
ation of German romantic opera. To explain
this statement we must first define precisely
what we mean by the term 'romantic' Ori-
ginally borrowed from the Spanish and French
mediaeval chronicles of chivalry, the word pri-
marily denoted anything marvellous, surpris-
ing, knight-errant-like, or fantastic. Operas
were often founded on stories of this kind
in the i8th century, the first being a libretto
called *Lisouart und Dariolette,' adapted by
Schiebler from Favart, and set by J. A. Hiller
(Hamburg 1766). The French taste for fairy
tales and eastern stories penetrated to Germany,
and such subjects were used in opera. Thus the
story of Zemire and Azor was set in 1775, and
that of Oberon's Magic Horn in 1790. The
Zauberflote too, as is well known, was founded
on an eastern fairy tale, and that chef-d'ceuvre
made fairy -operas a recognised fashion. All
these, from the nature of their subjects, might
be called romantic operas, and indeed were so ab
the time. Weber himself speaks of Mozart,
Cherubini, and even Beethoven as romantic com-
posers, but this was not in the sense in which
the word has been used since his time in Ger-
many. The fairy and magic operas, of which
Vienna was the head-quarters, were popular be-
cause their sensational plots and elaborate
WEBER.
scenery delighted a people as simple as a set
of grown-up children. They were, in fact, pretty
fantastic trifles, and Mozart, though he intro-
duced serious tones in them, did not alter
their essential character. The romantic opera,
in the present restricted sense of the word, differs
from these earlier fairy operas in that what-
ever is introduced of the marvellous, whether
narrative, legend, or fairy-tale, is treated se-
riously, and not as a mere matter of amusement.
The ultimate cause of this change of ideas was
the entire transformation of the intellectual life of
Germany during the end of the i8th and begin-
ning of the 19th centuries. After its long state
of dependence on foreign countries the mind of
Germany awoke to consciousness, began to know
something of its own history, its legends and
myths, its natural language and customs, and
to prize them as precious heirlooms. It again
grasped the peculiar — almost pantheistic — rela-
tions with nature, which distinguished the
Teutonic from the classic and Latin peoples.
This change of ideas was greatly accelerated by
the gradual transference of the predominating
influence in music from the lively light-hearted
South Germans, to the more serious and thought-
ful inhabitants of North Germany. Lastly
individual composers, Weber among them, came
under the influence of the poets of the romantic
school. As these latter, breaking away from
the classicalism of Goethe and Schiller, sought
their ideals of beauty in national art, history,
and myth, primarily German, and afterwards
Indian, Italian, Spanish, French, or English, so
the composers of the romantic school also found
an attraction in the same class of subjects partly
because of their very unfamiliarity. Thus, con-
sciously or unconsciously, they applied to music
the dictum of Novalis with regard to romantic
poetiy — that it was the art of surprising in a
pleasing manner.
Subjects for romantic opera require a certain
expansiveness of the imagination ; a capacity of
soaring beyond the commonplace events of daily
life. Presupposing also, as they do, a healthy,
and not over-refined taste, they accommodate
themselves with ease to the manners and speech
of the people. This is how it happens that
other elements of the German popular plays
— the comic and amusing — which have no in-
herent connection with the serious conception
of a romantic subject, find a place in romantic
opera. Again, in contradistinction to the
antique-classical drama, which revealed to the
spectators an ideal world without restrictions
of time or space, romantic subjects laid the
utmost stress on peculiarities of race or epoch,
social relations or distinctions. Thus it fol-
lowed that there were in romantic opera four
principal elements — the imaginative, the na-
tional, the comic, and the realistic. The fusing
of these elements by means of the imagination
into one whole is what constitutes German
romanticism. The music destined to correspond
with this ideal should be bright, highly-coloured,
and varied, full of sharp contrasts, subjective
WEBER.
rather than objective, the artistic forms con-
stantly evolving themselves in obedience to the
arbitrary direction of the imagination. Hence
arose two alterations of position, both of great
importance in opera, the one between the instru-
mental and vocal parts of the music ; the other,
and principal one, between the poetry and the
music. From this time forward the instrumental
music disputes precedence with the singing,
and claims equality with it as a means of drama-
tic characterisation. This led to a predominance
of general mood over specific emotion, a sub-
ordination of the dramatic individual to the
species, and a preponderance of colour over draw-
ing. Formerly, too, the poem merely sketched
out the main features of the plot, which the
music filled in in accordance with its own laws ;
now the poet claimed a voice in the construc-
tion of the musical forms. These tendencies,
if logically carried out, involve the absolute
destruction of the present forms of opera, but
this the Romanticists did not intend. All they
contemplated was such an admixture of these
decomposing elements as should impart new life
and additional charm to the existing form . There
■was a certain sense of unrest, a chiaro-scuro, a
foreboding kind of feeling about their music
which made it admirably adapted for represent-
ing the supernatural.
In Silvana, Weber had already trenched upon
the domain of romantic opera, in the sense in
which we have just expounded it, but had not
yet found adequate musical expression for Ger-
man romanticism. Next came Spohr's Faust
in 1 813, and Zemire und Azor in 18 18. In both
these the subjects are conceived with earnest-
ness, and a dreamy twilight tone runs through
the whole, so that they undoubtedly possess
some of the distinguishing marks of the romantic
opera ; but Spohr's music is much too rounded
off in form, and too polished, and he had
a positive aversion to anything popular. Nor
had he suflBcient versatility and flexibility,
boldness, or vis comica. Strictly speaking, there-
fore, he is only half a romanticist. Freischiitz
was a revelation ; from the date of its production
there was no question as to what a romantic
opera really was.
Kind did not draw on his own invention for the
libretto. The history of the subj ect is still incom-
plete, but we know that the story can be traced
back as far as the 17th century. It was pub-
lished in the beginning of the i8th, in a book
called * Unterredungen vom Reiche der Geister,'
of which a second edition appeared in Leipzig in
1 7 3 1 . The statement there made, that the occur-
rence took place in a town of Bohemia in 17 10,
carries no weight. From this book Johann August
Apel took the story, and published it as a narra-
tive called * Der Freischiitz, a legend of the peo-
ple ' ^ (1810), handling it so cleverly that it again
became popular. In 18 19 Gerle took it up an(i
wrote 'Den braunen Jager.' ^ In 1821 it was
1 Published In vol. 1. ol the • 6e«pensterbuch,' edited by Apel and
Laun (Leipzig, GOschen, 1810).
2 To be found in No. 68 of the 'Frelmathlgeu ffir Deutschland,'
edited by Mttchler and Symanski (Berlin. 1819).
WEBER.
il$
turned into a tragedy by Count von Reisch, and
performed Aug. 17, 1821, at Wiirzburg, two
months after the first performance of the opera in
Berlin. Kind mainly followed Apel : his poem,
with explanatory notes, ran through two editions
in 1822 and a third in 1823 (Goschen). Twenty
years later he prepared the last edition for his
* Freischiitz-book,* and added to it a mass of
cognate matter by no means uninteresting.
Apel's story has been more read again lately,
and finding how much Kind borrowed from it,
people have been apt to disparage both him and
his libretto. Ambros's^ remarks on this point,
for instance, are most unjust. Neither origin-
ality of ideas nor literary skill are so important
to a librettist as the faculty of arranging his
materials in a really dramatic form. This Kind
had in a high degree, and it ought to be sufficient.
His own alterations and additions, too, are most
successful, having the threefold advantage of
conducing to the musical development, suiting
Weber's special gifs, and hitting the ideal of
German national opera. The parts of Cas-
par, Aennchen, and the Hermit, are entirely
his own, while that of Agathe is greatly
strengthened, and Samiel is brought forward to
meet the requirements of the music. The
motives and action of the plot also diverge
considerably from Apel's romance. Caspar
being jealous of Max, tries to engage him
in a compact with Satan, but the Evil One
is frustrated by the pure-minded and devout
Agathe, and in her stead Caspar becomes
the victim. Thus Kind contrived a happy
termination instead of Apel's tragic one. The
plot, as it now stands, — its main interest
centred in a couple of true-hearted lovers,
living in an honest forester's cottage, on a
background of German forest, with all its
delights and all its weird associations, lit up
now by sunbeams glinting on a , frolicsome
peasantry, now by lurid flashes revealing the
forms of the powers of darkness — appeals with
irresistible attraction to every German heart.
The most important point in the opera, how-
ever, and the secret of its success, is the stiongly-
marked religious element which at once raised
it to an altogether higher level than any prior
opera, and gave it a kind of sacred character.
During the War of Freedom a spirit of religious
enthusiasm had taken hold of the people of
Germany, and become so far a ruling passion
that any one who succeeded in giving expres-
sion to it in music was sure of striking home
to the national heart. Looked at from this
point of view, the part of the hermit. Kind's
own invention, acquires considerable significance.
The opening of the opera was originally intended
to be quite different from what it is now. Th©
curtain drew up on a forest scene with a hermit's
cell, having close by a turf altar with a cross or
image at the back, covered with white roses.
The hermit praying before the altar sees in a
vision the Prince of Darkness lying in wait to
« See his ' Bunte Blatter,' i. (Leipzig, Leuckart, 1872); also the New
Series, 33 (ibid. 1874), and Wustmanu la the ' Grenzbotea. i. 1874.
p. 414.
416
WEBER.
entrap Agathe, • the spotless lamb,' and her
Max. At this point Agathe enters, bearing
bread, milk, and fruit for the hermit. After
warning her that danger is near, he gives her his
blessing and two or three of the roses, which
have the power of working miracles. A duet
between the two concludes the scene. Weber
did not compose either the duet or the hermit's
monologue ; but, by his fiancee's advice, began
the opera with the village f^te. By this means
he certainly secured a more effective introduction,
though the appearance of the hermit in the
last act now seems somewhat abrupt and out
of place.
The religious sentiment of Weber's day was
entirely of a romantic kind, made up partly of a
sort of medieval fanatical Catholicism, partly of
an almost pantheistical nature-worship. What
a gift he had for giving expression to this senti-
ment Weber perhaps scarcely knew before he
wrote the Freischiitz. It was an advantage to
him to be a member, and a conscientious one,
of the Roman Catholic Church, and to have also
a naturally serious and devout disposition.
Hence the character of Agathe has a virgin-
sweetness, an unearthly purity, such as was
never put on the stage before. As an inter-
preter of nature Weber's position in the dramatic
world is like that of Beethoven in the Symphony ;
nay, the infinite variety of nature-pictures
contained in Der Freischiitz, Preciosa, Eury-
anthe, and Oberon, each quite new of its
kind, and each equally surpass even the mani-
festations of genius of the Pastoral Symphony.
Nobody has ever depicted with the same truth
as he a sultry moonlight night, the stillness
broken only by the nightingale's trill and
the solemn murmur of the trees, as in Agathe's
grand scena ; or a gruesome night-scene in the
gloomy forest ravine, such as that in the finale
of the 2nd Act. In the latter kind of scene
Marschner may have surpassed him, but in
the former he still remains unapproachable.
With this descriptive faculty went hand in hand
consummate skill in orchestration. There
is something original and intoxicating in the
sound he brings out of the orchestra, a complete
simplicity, combined with perfect novelty. He
was able, as it were, to transport himself into
the soul of the instruments, and make them
talk to us like human beings, each in its own
language, each speaking when it alone has
power to lay bare the very heart of the action.
In this power of using the orchestra dramati-
cally Weber surpasses any composer in the
world ; Mozart himself knew nothing of such
an individualising of the resources of the
orchestra. Orchestral colouring handled in this
masterly manner naturally served principally to
characterise situations, but it was also used for
the personages. Nothing distinguishes Weber
as a bom dramatist more than the way he ap-
propriated to a character from its first entrance
upon the stage a certain mode of musical expres-
sion, which he maintained as a kind of ke^'uote
through all the varying emotions of the opera.
WEBER.
A good example is the opening of the duet
between Agathe and Aennchen. With the very
first plirase each strikes a note which completely
exemplifies their diflFerent characters, and to
which they remain true to the end. The very
first musical plirase sung by each gives a tone,
perfectly in keeping with their different charac-
ters, and held firm to the end of the opera. With
all this distinctness of characterisation, however,
Weber's creations keep to general lines; he
draws types rather than individuals. His figures
have not the sharpness of outline that dis-
tinguish Mozart's ; they resemble rather the
characters in Schiller's dramas, while Mozart's
may be compared to Shakespere's.
Weber had a wonderful talent for inventing
popular melodies, as he has shown in many
songs. ' In Der Freischutz,' says E. T. A.
Hoffmann, * the rays of his genius scattered
through innumerable songs, seem to have con-
centrated themselves in one focus.' Even Spohr,
who as a rule found Weber's music by no
means sympathetic, conceded this, though he
was wrong in calling it 'the gift of writing down
to the comprehension of the multitude.' The
melodies in the Freischutz all catch the
ear at once, but have a bewildering charm
and depth as well ; while within the comprehen-
sion of everybody, they fascinate the world down
to the present day. These qualities are most
prominent in the Lieder and Lied-like forms,
in which latter the opera abounds, a point
which in itself betrays the German popular
element, the Lied being the original foundation
of German opera. This Lied- form is introduced
four times in the ist Act, and twice in the last,
besides appearing as an element of a larger
whole in Agathe's aria (• Leise, leise, fromme
Weise ') and the finale of the 3rd Act (' Die
Znkunft soil mein Herz bewahren'). These
are precisely the numbers which have attained
the greatest popularity. We need only mention
the Bridesmaids* and Huntsmen's choruses, the
waltz in the ist Act, and the Peasants' march.
This latter is taken direct from the people's
music, and is an air which Weber must have
heard when conducting the opera in Prague.
At least, between 18 16 and 1824, the musical
population of Bohemia were addicted to a
march, the first part of which is identical with
that in Freischiitz.^
Perfect as are these smaller musical forms, it
must in justice be conceded that Weber did not
always succeed with his larger ones, which often
have a sort of piecemeal effect. The construc-
tion of a piece of music in grand, full, propor-
tions, was to him a labour, and rarely a success-
ful one. He does not so much develop from
within as superimpose from without, and not
unfrequently the musical flow stagnates. The
finale of the 3rd Act may be cited as an instance
of his way of falling short in this respect. For
the most part, however, this is only true of
1 This discovery Is due to Ambros; see his 'Cultur-hlstorischo
Bllder aus dem Muslkleben der Geceuwart,' 47 (Leipzig. Malthes,
leeO), aod ' Bunte Bl&tter.' 22.
WEBER.
his music when considered simply as music,
without regard to dramatic fitness, and such
defects are therefore much less noticeable in
performance, so accurately does he hit the
appropriate musical development for each
moment of the action. He has also a wonderful
power of keeping up one prevailing idea
throughout the piece, so that amid all the variety
of successive emotions there is unity. A strik-
ing example of his ingenuity is the duet between
Agathe and Aennchen in the beginning of the
2nd Act, where two wholly different and equally
characteristic melodies are given in the most
charming manner. For this, however, he had
a model in the duet between Verbel and Florestan
(d la polonaise) in * Lodoiska,' by Cherubini, a
composer to whom he looked up with great ad-
miration.
8. The play of *Preciosa' was adapted from
a novel (1613) of Cervantes' by an actor named
Pius Alexander Wolff, of Weimar, engaged in
Berlin in 1816. Before Weber undertook, at
Count Briihl's desire, to write music for it,
he had several times used his pen in a similar
way. I may mention his music for Schiller's
* Turandot,' consisting of an overture and six
smaller instrumental pieces (1809) ; for Milliner's
•Konig Yngurd,' 11 Nos. (1817) ; and for
Gehe's 'Heinrich IV,' 9 Nos. (1818), besides
many smaller works of the same kind, all
bearing witness to his extraordinary talent
for illustrating a dramatic situation in the
clearest and most distinct manner by music,
and therefore of great importance in forming
an estimate of his musical organisation. Per-
sonally he found this kind of work uncongenial,
as affording few opportunities to the indepen-
dent musician; besides which, a play may be
very good as a play, without offering any incite-
ment to a composer. Luckily, however, this was
not the case with Preciosa, and with the addi-
tional incentive of his wish to please Count
Briihl, a work was produced which may truly
be said to rank as the finest music written for
a play, after Mozart's * Konig Thames,' and Bee-
thoven's * Egmont.' A predilection for Spanish
subjects is observable in Weber about this period,
and may be attributed to the influence of Tieck.
Columbus, Pizarro, Don Juan of Austria, and
the Cid, all passed before him, as subjects for
operas, and in 1820-21 he completed a sketch of
the ist Act, and a duet out of the 2nd, of ' Die
drei Pintos,* a Spanish comic opera. This, how-
ever, he laid aside for Euryanthe and Oberon,
and died without completing a work full of
promise,^ It was, therefore, in all probability,
its Spanish local colouring which attracted
him to Preciosa. One of the signs of his
natural gift for dramatic composition was his
love for strong contrasts, not only between
different parts of the same work, but between
1 The autograph sketches are In the possession of Weber's grand-
ion, Capt. Freiherr von Weber, at Lelpiig. Kelsslger added an
accompaniment to a duet 'So wie Blumen, so vrte BlUthen,' which
•was published In this form In the Weber-Album edited by the
Sarrlschen Schlller-vereln. For an exhaustive account of theM In-
teresting fragments see J&hns, Nos. 417 to 427.
VOL. IV. FT. 4.
WEBER.
4ir
the different works he took in hand. In
the Freischiitz the prevailing colour was
derived from the life of German foresters and
huntsmen; in Preciosa we have the charm
of the South in lovely Spain, then the type
of all that was romantic, with the picturesque
life of the roving gipsy. Euryanthe, again,
takes us back to the Middle Ages, and the
palmy days of French chivalry, which re-
appear to some extent in Oberon, mingled
with scenes from Oriental life, and from fairy-
land. The phrase * local colouring ' in music
may be defined as that which conjures up before
our minds the associations connected with
certain scenes, races, and epochs. Weber's un-
usual gift for this kind of illustration was most
probably connected with the peculiar manner
in which his musical faculties were set in motion.
This is a point on which we are thoroughly
informed by means of his own expressions
preserved by his son and biographer. As a
rule, it took place through external impressions,
presented to his imagination as tone-pictures.
As he sat in his travelling carriage, the scenery
through which he passed would present itself
to his inner ear as a piece of music, melodies
welling up with every hiU or valley, every
fluttering bush, every waving field of corn.
While too the forms of visible objects supplied
him with melodies, any accidental sound would
suggest the accompanying harmonies. These
walks and drives remained fixed in his mind
as pieces of music, by means of which he was
in the habit of recalling the events and ex-
periences of his life. Other composers, as we
know, have been occasionally incited to pro-
duction by external impressions, but while
with them it was exceptional, with Weber it
appears to have been the rule. With him
any external impression at once clothed itself
in musical form, and this peculiarity of men-
tal constitution undoubtedly contributed to
give his music its individual character. All
his musical progressions reflect some external
movement; indeed in this respect his art is
plasticity itself. This constant striving after
plasticity was what made him lay so much
stress on one prevailing, sharply defined,
local colour. For what end could it serve but
that of bringing out the distinction between
scenes, races, and epochs, heightening the con-
trast between his own and other represent-
ations, and giving animation and individuality
to the picture as a whole ?
The music to Preciosa does, no doubt, re-
flect the then prevailing idea of Spain, its
scenery, its people, and its art. In fact, he
hit the keynote of Spanish nationality in a
marvellous manner. The prevailing impression
is heightened by the introduction of gipsy-
rhythms and Spanish national airs. Instances
of the former are the march, appearing first in
the overture, and then as No. i. No. ga, and
No. loa; of the latter the three dances form-
ing No. 9. This method of characterisation he
had made use of several times before, as in
Ee
418
WEBER.
Turandot, which has a Chinese melody running all
through, and in the Freischiitz peasants'-march.
In Oberon an Arabian and a Turkish melody
are used in the same way. It is hardly
necessary to remark that this use of forei^
rliythms in no way detracts from the essentially
German character of the music. Indeed,
the Preciosa is just as distinct and faith-
ful a reflection of the German character as
Der Freischiitz, and in no respect inferior to it
in popularity. It is less often performed be-
cause of the difficulty of finding an actress for
the part of Preciosa ; but the music has become
the property of the German people, with whom
the part-songs, ' Im Wald,' * Die Sonn' erwacht,'
* Es blinken so lustig die Sterne ' (the well-
known gipsy chorus), and Preciosa's pathetic
song, ' Einsam bin ich, nicht alleine,' are prime
favourites. The instrumental pieces too are
popular, as Weber's music only is popular in
Germany, and the melodrama ' Lachelnd sinkst
du, Abend, nieder,' is justly considered one of
the finest pieces of the kind that has ever been
written. — We may add that the Preciosa
music has lately been augmented by a little
dance, intended as an alternative to the first
of the three contained in No. 9. True, this
charming little piece does not exist in Weber's
own hand, but its origin is betrayed by the
resemblance to it of the first chorus in the 3rd
act of Marschner's ' Templer and Jiidin,' When
writing his first great opera M.'irschner was
strongly under the influence of Weber's music
which he had been hearing in Dresden, and
reminiscences from it not unfrequently cropped
lip in his own works. Moreover, he knew the
little valse to be Weber's.^
9. The original source of the libretto of Eury-
anthe was the * Roman de la Violette,' by
Gibert de Montreuil (13th century), reprinted
textually by Francisque Michel (Paris, 1834).
The subject was used several times by early
writers. Boccaccio borrowed from it the main
incident of one of the stories of the Decameron
(Second day, Ninth tale), and thence it found its
way into Shakespere's *Cymbeline.* Count
Tressan remodelled it in 1780 for the 2nd vol. of
the * Biblioth^que universelle des Romans,' and
in 1804 it was published at Leipzig, under the
title 'Die geschichte der tugendsamen Eury-
anthe von Savoyen,' in the collection of mediae-
val romantic poems edited by Schlegel. The
translator was Helmina von Chezy, who compiled
the libretto for Weber. After completing the
latter she republished her translation, with many
alterations.'*
The libretto has been much abused, and when
we consider that it was remodelled nine times,
and at last brought into shape only by Weber's
own vigorous exertions, it is evident that the
1 The flrat two editions of the score of ' Preciosa ' were full of
mistakes. A third, which has been prepared with great care by
Ernst Rudorff (Berlin. Schlesinger, 1872), contains this previously
unknown dance in an appendix.
3 ' Kuryanthe von Savoyen.' from a MS. in the Boyal Library at
Paris called ' Uistoire de Gerard de Nevers et de la belle et vertueuse
Eurvant de Savoye, sa mie ' (Berlin, 1823). MidMl's edition of the
Soman, de la Violette ' is in verse.
WEBER.
authoress was not competent to create a dramatic
masterpiece. It does not follow that with the
help of Weber's ability and experience she was
not able to concoct something tolerable for the
purpose. The utter inadequacy of her poem
having been reiterated ad nameam, the time
seems to have arrived for setting forth the
opposite view, and maintaining that it is on the
whole a good, and in some respects an excellent,
libretto. It is curious to see the naif way in
which for the last hundred years German critics
have been in the habit of considering the
libretto and the music of an opera as two distinct
things, the one of which may be condemned and
the other extolled, as if a composer had no sort
of responsibility with regard to the words he
sets, *Do you suppose that any proper com-
poser will allow a libretto to be put into his
hand like an apple ? ' are Weber's own words.
It is moreover obvious that a libretto which
satisfied a man of such high culture, and a
composer of so eminently dramatic organisation,
could not have been utterly bad. Nevertheless,
till lately the verdict against Euryanthe was
all but unanimous. The first who ventured
to speak a decided word in its favour is
Gustav Engel. He says, 'Euryanthe is an
opera full of human interest. Truth and a fine
sense of honour, jealousy and envy, mortified
love and ambition, above all the most intense
womanly devotion — such are its leading motives.
There is indeed one cardinal mistake, which
is that when Euryanthe is accused of infidelity
in the 2nd Act, she remains silent, instead of ex-
plaining the nature of her comparatively small
offence. This may however arise from the
confusion into which so pure and maidenly a
nature is thrown by the suddenness of the fate
which overwhelms her. In the main, however,
the story is a good one, though it starts with
some rather strong assumptions.' The ' cardinal
error,' however, is no error at all, but a trait
in perfect keeping with Euryanthe 's character.
It is more difficult to understand why she
does not find the opportunity to enlighten
Adolar, when he has dragged her off" into the
wilderness in the 3rd Act, Other plausible ob-
jections are the too great intricacy of the story,
and its being partly founded on events which
do not come within the range of the plot, viz.
the story of Emma and Udo. Weber was aware
of this defect, and intended to remedy it by
making the curtain rise at the slow movement
of the overture, and disclose the following
tableau : — 'The interior of Emma's tomb; a
kneeling statue is beside her coffin, which is
surmounted by a 1 2th - century baldacchino.
Euryanthe prays by the coffin, while the spirit
of Emma hovers overhead. Eglantine looks
on.' This excellent idea has unfortunately been
carried out at one or two theatres only. The
degrading nature of the bet on Euryanthe's
fidelity can only be excused on the score of the
manners of the period (about I no). The lan-
guage is occasionally stilted and affected, but
much of the verse is as melodious as a composer
WEBER.
WEBER.
419
could desire, and in this respect merits ought to
be allowed to counterbalance defects.
The opera contains four principal characters,
Adolar and Lysiart, Euryantbe and Eglantine.
Eglantine has most vitality, the others being
types rather than individuals ; but this would be
no defect in Weber's eyes, being, as we have
seen, in accordance with his own mode of
treating his personages. The poem abounds
in opportunities for the descriptive writing
in which he so much delighted and excelled.
Now we are in a brilliant court, with vic-
torious troops of cavaliers marching home from
the battle-field, and offering their homage to
beautiful ladies, and to love. Then, in a
lonely castle-garden, in the silent repose of
a summer evening, with a love-lorn maiden
pining for her absent knight. Then again in
a forest glade with shimmering moonlight, mur-
muring waters, and the forsaken one longing
for death. Next we witness a savage brawl
breaking out between rival knights, and hear
the clash of swords as they rush together. And
in and out all the time the spirit-world is
weaving its invisible threads. Each of these
situations Weber could fit with its appro-
priate expression, as no one else had ever been
able to do before him, for he it was indeed
who created the musical language for them.
And it is on these situations, so varied, and so
well contrasted, but all steeped in glow and
fragrance, that the main interest of the opera is
concentrated. The characters are not the main
attraction, they seem mere condensations of the
poetry of the situation, and are carried along by
the scene, rather than work it out for themselves.
Euryanthe, like all Weber's operas, is an epic
procession, an enchanted panorama, represent-
ing the life of one special period, that of mediae-
val chivalry. Looked at from this point of view
it can be thoroughly enjoyed.^
Euryanthe is Weber's sole grand opera, both
because it is without spoken dialogue, and be-
cause it is much the fullest and longest. He
meant to put his best into it, and he did. ' It is
his heart's blood,' says Robert Schumann,' * the
very best of which he was capable. The opera
cost him a piece of his life, but it has made him
immortal. From end to end it is one chain of
sparkling gems.' There is no question that
Euryanthe is richer, more, varied, deeper,
grander, than all the rest of Weber's dramatic
works. All that gives distinction to Der
Freischutz is found here again ; Lieder at once
dignified and easily comprehensible, melodies
genuine in feeling and full of fire, orchestral
■colouring as new as it is charming, instrumen-
tation both bold and spirituel, an intuitive
grasp of the situation and complete mastery in
1 This Goethe did not do ; he says (GesprSche mit Eckermann,
i. 148): 'Karl Maria von Weber should never have composed
Euryanthe ; he ought to have seen at once that it was a bad
Bubject, with which nothing could be done.' After what I have
said It Is unnecessary to point out the injustice of this remark.
Goethe had not musical insight enough to understand what it was in
the libretto that attracted Weber, against whom moreover he had
a prejudice. Still even he allowed 'Der Frelschfltz" to be a good
subject (Eckermann, ii. 16).
a •GesammelteSchrilten,' lv.29a
treating it, such as genius alone is capable of.
Only the modes of expression are more refined ;
Der Freischiitz deals with the simple, hearty
life of the peasantry and forest folk, Euryanthe
with the highest grades of society. To make
this clear compare 'Die Thale dampfen, and
* Was gleicht wohl auf Erden* ; * Der Mai bringt
frische Blumen dar,' ad *Wir winden dir den
Jungfernkranz ' ; *Glocklein im Thale,' and
* Und ob die Wolke ' ; Adolar's song ' Unter
bliihenden Mandelbaume,' and Max's aria
* Durch die Walder.' * Glocklein in Thale ' may
be quoted as an example of the most delicious
melody shrouded in superb orchestral colouring.
It would be impossible to paint both the charac-
ter and the situation more vividly. In the scena
and cavatina in the 3rd Act, where Euryanthe
is abandoned in the wilderness, the colours are
mixed quite differently. The long wailing notes
of the solo bassoon, and the solitary flute wan-
dering aimlessly about, incline one to re-echo
Schumann's words, * What a sound comes from
the instruments ! they speak to us from the
very depths of all being.' The accompaniment
to 'Hier dicht am Quell,' consisting only of
the string-quartet and one bassoon, but pro-
ducing the most extraordinary effect of sound,
is a striking example of what genius can do
with small means. Quite different again is the
colouring for Euryanthe's narrative in the ist
Act ; four muted solo-violins, whose long sus-
tained notes are supported by quivering violins
and violas, also muted, with stifled moans from
low flutes, suggest a spectral form, only half
visible in the moonlight, hovering overhead and
muttering words which die away indistinctly on
the breeze.
Each of the four principal characters has
its own language, to which it adheres strictly
throughout the opera, and which is accentuated
by the orchestral colouring employed liberally,
though not exclusively, for the purpose. As we
have previously remarked, one prevailing tone
runs through the whole opera, sharply dis-
tinguishing it from any other of Weber's.
One point in which the music of Euryanthe
is far superior to that of Der Freischutz is in
the use of the larger dramatic forms. Here we
have grand recitative, full of expression, passion,
and movement, such as had come from no German
pen since Gluck's ; grand arias, duets, ensemble-
pieces, and splendidly constructed finales. The
Lied- or cavatina-form is used freely for the parts
of Adolar and Euryanthe ; but Lysiart and Eg-
lantine never express themselves except in the
grand dramatic forms, and the higher the passion
rises the more exclusively do these two charac-
ters occupy the stage. In this respect the 2nd
Act is the climax. Here we have one grand form
after another ; Lysiart's scena ed aria, his duet
with Eglantine ; Adolar's air, in such wonderful
contrast, and the duet with Euryanthe; lastly the
finale, in which a perfect tempest of passions
seems let loose. The 3rd Act also has dramatic
forms of the first order, especially Euryanthe's
air, «Zu ihm, und weilet nicht/ with the chorus
Ee2
420
WEBER.
ending diminuendo (a very striking point) and the
duet and chorus with the clashing swords — * Trotze
nicht, Vermessener.' "Weber's large dramatic
pieces are freer as regards form than Mozart's,
because he follows the poet more closely, almost
indeed word by word. Nor can it be said that
there are no little roughnesses, or bits of dull
or unformed work, but any such are com-
pletely submerged in the overwhelming flood of
beauties.
One reason why Euryanthe has never been
as popular as Weber's other operas, or those of
Mozart, is because of its high strain of pathos,
unrelieved from the first note to the last. This
was noticed by Rochlitz, who found the first per-
formance in Leipzig very fatiguing, and after it
remained * for most of the night in a fever, though
indeed not an unpleasant one.* Another reason
is the extreme difficulty of the work. It requires
four singers, two men and two women, of the
first rank, both in capabilities and endurance ;
as well as a first-rate orchestra prepared to
give the closest and most intelligent rendering.
Thus good performances of Euryanthe are rare,
which is to be regretted from all points of view,
for it is the culminating point of romantic opera.
Neither Spohr, Marschner, nor any later com-
poser has produced a work fulfilling all the re-
quirements of romantic opera in so masterly a
manner. It is one of the most prominent land-
marks of sub-classic art, if not the most pro-
minent.
lo. Although Weber wrote his last opera at
the request of Kemble, he chose the subject him-
self, and was aware how completely it suited
his own individuality. Since the publication
of Wieland's poem in 1780, two German
operas had been composed on Oberon. The
first, Wranitzky's (1790), was one of those
childish fairy-pieces, whose lively music, harle-
quin-tricks, scene-painting, and machinery, were
long the delight of the siibple-minded people of
Vienna. The other, composed for Copenhagen
(i 790, with the second title of * Holger Danske ')
by Kunzen, Gluck's talented successor, and J. F.
Beichardt's friend, was a far more serious work,
and can be spoken of in connection with Weber's,
though the latter put it so completely into the
background as virtually to obliterate it.
Weber's librettist, Planch^, likewise worked
on Wieland's Oberon, or rather on Sotheby's
translation. Though satisfied with the poem
in detail, Weber could not reconcile himself
to English opera as such. * The cut of an
English opera is certainly very different from a
German one ; the English is more a drama with
songs,' he writes (in English) to Planch^ on
Jan. 6, 1825; and again on Feb. 19, *I must
repeat that the cut of the whole is very foreign
to all my ideas and maxims. The intermixing
of 80 many principal actors who do not sing,
the omission of the music in the most im-
portant moments — all deprive our Oberon
of the title of an opera, and will make him unfit
for all other theatres in Europe.* These words
contain a very just criticism on the libretto.
WEBER.
The continual change of scene, which keeps
the spectator in a state of restlessness, is cer-
tainly a mistake. Weber intended to remodel
the opera for Germany, when he would have
put it into a form more in accordance with his
own ideas, giving the music a larger share in the
course of the plot, but simplifying the plot so
that it should run more smoothly and consecu-
tively. Whether he would also have endea-
voured to strengthen the dramatic interest is
doubtful. As it stands it is an epic poem drama-
tised, rather than a drama. But no subject
dealing with fairyland can admit of dramatic
treatment beyond a limited extent, for the
characters, instead of moving independently, and
of their own free will, act under the guidance
of supernatural powers, who visibly interfere
with their destiny on all occasions. Weber
required not so much characters full of dramatic
action, as suggestive situations and picturesque
scenes, and these Planche's libretto supplied to
the full. That he had the German form in his
mind all the time he was setting the English, is
evident from the fact that he had each number,
as fast as he composed it, translated by Theodor
Hell, of Dresden, instructing him to make the
words correspond as closely as possible to the
melody. Hell's workmanship was not of the best,
and Weber was too much occupied to correct
all his blunders. One glaring instance occurs
in Reiza's grand scena ('Ocean, thou mighty
monster ') ; a beam from the setting sun parts
the storm-clouds, and she exclaims, 'And now
the sun bursts forth,' which Hell translates,
*Und nun die Sonn' geht auf (rises). Thus
the astonished spectator, having been told that
it is morning, shortly beholds the sun set in
the same quarter from which it has just risen.
Nevertheless the passage is always so sung in
Germany, and the absurdity, if noticed at all,
is laid at the door of the English librettist.
Weber got his translator to make a reduction in
the number of the personages introduced. In .the
quartet, 'Over the dark blue waters,' Planch^
gave the bass to a sea-captain, and in the duet,
* On the banks of sweet Garonne,' associated a
Greek fellow-slave with Fatima, in both cases
because the original Sherasmin was a poor singer.
These makeshifts find no place in the German ver-
sion, or in the English revival at Her Majesty's in
i860. Then again, the song * Yes, even love to
fame must yield,' composed in London for Braham
in place of *From boyhood trained in battle-field,*
is omitted in the German, while another addition,
the prayer in the 2nd Act, 'Ruler of this awful
hour,' is retained. The first was a concession on
the part of the composer, who did not care for
this 'battle-picture'; but he saw that the prayer
was not only a passage of great beauty, but
materially strengthened the part of Huon.^
I Hell's translation Tras published almost simultaneously with th«
original libretto, the preface to which is dated ' Brompton Crescent,
April 10. 1826.' The German title runs 'Oberon, King of the Elves,
a romantic felry-opera in 3 acts. Translated for the German stage
by Theodor Hell from the English original by J. R. PIauch6.
let to music by Capellmelster Freyherr Karl Maria von Weber*
(Arnold, Dresden and Leipzig, 1826). With a long preface by thft
translator.
WEBER.
WEBER.
421
The music to Oberon, though the work of a
man dying by inches, bears no traces of mental
exhaustion. Indeed it is delightfully fresh and
original throughout, and entirely different from
all the rest of Weber's compositions. The key-
note of the whole is its picture of the mysteries
of Elf-land, and the life of the spirits of air, earth,
and water. True, this note is touched in
Der Freischutz and Euryanthe, but in Oberon
it is struck with full force, and vibrates with
an almost intoxicating sweetness. What Weber
did in this direction was absolutely new, and a
valuable addition to his art, and many composers
have followed in the same track. His melody,
the chords of his harmony, the figures employed,
the effects of colour so totally unexpected — all
combine to waft us with mysterious power into
an unknown land. Anybody acquainted with
the Adagio of the overture will see what we
mean. Of a charm almost unparalleled is the
introduction to the ist Act, with the elves flitting
hither and thither, softly singing as they keep
watch over Oberon's slumbers. The 2nd Act is
epecially rich in delicious pictures of nature, now
in her tender and dreamy, now in her savage
and sublime, moods.^ Puck's invocation of the
spirits, the roar of the tempest — the most powerful
representation of a storm in music excepting Bee-
thoven's in the Pastoral Symphony — the magnifi-
cent picture in Reiza's grand scena of the gradual
calming of the waves beneath the rays of the
setting sun ; lastly, the finale, with the mermaids'
bewildering song, and the elves dancing in the
moonlight on the strand, — these are musical
treasures which have not yet been exhausted.
Mendelssohn, Gade, Bennett, drew the inspira-
tion for their romantic scenes of a similar kind
from * Oberon,' but none of them have attained
the depth or the individuality of their prototype.
Even Schumann trod in his footsteps in isolated
passages of ' Paradise and the Peri,* the ballad
* Vom Pagen und der Konigstochter,' and * Man-
fred.' Of German opera composers I say nothing ;
their imitation of him is patent.
Through the hazy atmosphere of this land
of sprites and fairies, we discern the outlined
features of two contrasting races and countries —
Western chivalry and Oriental life. In the
finale of the ist Act, the opening of the and,
and the dance of slaves in the 3rd, we have,
sketched by a master-hand, the dullness, in-
ertness, and yet imaginativeness of the Oriental
disposition. The melody sung by the guard of
the harem in the ist Act is Arabian, that
in the 3rd Act at the commencement of the
dance of Almanzor's slaves, Turkish, both used
with great skill to give a local colouring. From
the mass of these stupid, indolent, sensual Orien-
tals, Reiza and Fatima stand out with all the
greater charm. They seem in a sense the em-
bodiment of all that is beautiful in the East,
and their coimection with the Frankish knights
forms a link between the East and West. The
brilliant and energetic knights form the strong-
1 Hay not the elves and sprites bt intended for personifications of
tbe forces of nature 7
est contrast to the Orientals. This is suggested
with irresistible force in the Allegro of the
overture, and further emphasised in the body of
the opera, in Huon's grand air in E b (* I revel
in hope ') and the splendid march at the close.
In Euryanthe Weber had already shown his
gift for the chevalresque, but it comes out here
with a difference. *In Oberon,* as Rochlitz
well puts it, 'the leading characteristics are gen-
tleness, friendly feeling, and cheerfulness, with
no lack of energy, spirit, or movement. The
general impression is not exciting, agitating,
disturbing, but elevating, soothing, and calming.'
Had Weber been permitted to complete the
German revision, it might possibly have been the
crown of all his operas ? As it is, its immortality
is assured.'*
II. Next after Weber's operas come into con-
sideration his Lieder, the Lied-form playing, as
was natural with a German, so important a part
in his operas. His Lieder bear unmistakable
traces of that dramatic element which runs
through everything he wrote. He left 78 Ger-
man Lieder for single voice with PF. or guitar
accompaniment, besides two or three Italian
canzonets, a French romance, and a song from
Lalla Rookh, • From Chindara's warbling fount
I come,' his last composition, with the accom-
paniment merely sketched in.' We do not
include his 10 Scotch airs arranged with accom-
paniment for PF., flute, violin, and cello. Among
the part-songs should be singled out 16 Lieder
for men's voices, and 3 Volkslieder for 2 voices
with accompaniment.
The poets from whom Weber took his words
are Matthison, Herder, Biirger, Voss, Kotzebue,
Tieck, Schenkendorf, and Korner. Of these,
with the exception of Korner, he set but one or
two, sometimes only one, poem apiece. Goethe's
name does not appear at all, which, considering
the antipathy between the two, may not have
been accidental. Unknown or unimportant
writers of verse, such as Muchler, Gubitz, Kan-
negiesser, occur pretty frequently. The greater
part of the verses composed by him, and the
finest, are Volkslieder.
It was at the suggestion of Vogler that
Weber first made a study of the songs of the
people, and this study, added to his own in-
tuitive perception of what was intrinsically
good and individual in popular music, enabled
him to hit off the characteristic tone of the
Volkslied as nobody had done before. 'Mein
Schatz ist auf die Wanderschaft hin,' « Herzchen,
mein Schatzchen, bist tausendmal mein,' * Wenn
ich ein Voglein war,' 'Ich hab' mir eins erwahlet,'
*0 Berlin, ich muss dich lassen,' "Sis nichts
mit den alten Weibern,' are songs in which every
variety of feeling is expressed with a freshness
and originality rarely met with. His musical
a The full score has been published In an edition de luxe by
Schleslnger of Berlin.
8 Schlesinger of Berlin has published a complete edition in 2 vols,
of Weber's songs. Two or three unimportant ones for single voice
are omitted, but the 2-part songs, Italian duets, numerous choruses
for men's voices (arranged), part-songs for various voices with
accompaniments, bring up the number to 100.
423
WEBER.
treatment too of songs in dialect, especially those
of a humorous or rollicking character, was ex-
cellent ; instances are * Trariro, der Sommer, der
ist do,* * Mein Schatzerl is hiibsch,' and * I und
mein junges Weib.' The form of these songs is
most simple, and generally strophical ; the accom-
paniment frequently for the guitar. This sim-
plicity is their greatest merit, and though the
taste of the day is unfavourable to simple songs,
and Weber's have been cast into the shade by
Schubert's and Schumann's magnificent songs
with their almost orchestral treatment, they are
not lost to the musical world, but bear the stamp
of imperishability.
Besides these Lieder Weber composed other
songs of a more ambitious character, with PF.
accompaniment, each stanza having a different
melody. In this branch of composition he is,
next to Beethoven, the earliest great master.
There is, however, an essential diflference between
his songs and those not only of Beethoven, but
of Schubert, Mendelssohn, and Schumann, his
being all more or less of a dramatic character.
His genius spread its wings best when he
had a distinct character, or a sharply-defined
situation, to portray. It is a significant fact
that some of the most charming of his strophi-
cal songs were written for interpolation into
plays, • Ueber die Berge mit Ungestiim,* and
* Lass mich schlummem, Herzlein, schweige,' for
instance. It is only by keeping steadfastly in
view a certain personage, or picturing a certain
scene, that one is fully able to realise the in-
tended impression. It is most remarkable to see
how much the music assists the ima^nation in
this respect. Take, for instance, Voss's *Ilei-
gen ' ; in a moment the whole picture of a village
fair in full swing rises up before one's mind's
eye. The extraordinary flexibility of his musi-
cal speech stood Weber in good stead here.
Not only did it enable him to adapt his vocal
melodies to each rise and fall in the words,
but it gave him, to a degree hitherto un-
known, the power of choosing the precise notes,
or series of notes, vocal and instrumental, fitted
to impress on the hearer some mental picture
called up by perhaps a single word. A perfect
model of composition in this kind is the Lied —
one of his finest indeed in all respects — *Das
Madchen an das erste Schneeglockchen.' Not
that Weber ever degenerates into mere declama-
tion ; his songs are always good in form, with
a flowing, well-connected melody. Well aware
of this plasticity he ventured on poems of in-
volved construction, by no means easily adapt-
able to music. For instance, he managed a
fcriolet (* Keine Lust ohn' treues Lieben ') with
great skill, and his are the first completely suc-
cessful settings of the sonnet ('Du liebes,
holdes, himmelsiisses Wesen,' and ' Die Wunde
brennt, die bleichen Lippen beben'). Among
his characteristic pieces for single voice and
PF. may be specified • Die vier Temperamente,'
and, above all, the delicious * Unbefangenheit '
(_• Frage mich immer, fragest umsonst '), a
sketch of a merry, saucy, roguish, but tender-
WEBER.
hearted girl, and truly a chef d'oeuvre. Thus
Weber's vocal compositions contain the two
main elements of which German opera is con-
stituted— ^the Lied and the dramatic song.
These too appear in turn in the ten splendid
songs from Komer's ' Leyer und Schwert,' four
of which are for single voice and PF., and six
for male chorus unaccompanied. Of the single
songs, ' Vater ich rufe dich ' and * Die Wunde
brennt,' are magnificent tone-pictures in Weber's
own style. Even in the strophical choruses there
are touches of great power. The beginning of
'Du Schwert an meiner Linken' rings like a
sword-thrust. * Lutzow's wilde Jagd ' contains
a complete dramatic scene within a single stanza
of 21 bars. The horsemen plunge forward out
of the forest gloom, rush by in tearing haste,
shout one wild hurrah, and are gone.^
I a. It has often been felt as a diSiculty that
Weber should pass straight from such operas as
Silvana and Abu Hassan to a masterpiece like Der
Freischiitz. One explanation of this sudden and
startling progress may probably be found in the
songs which were his main occupation from 1811
to 181 7. Another important landmark is the
cantata Kampf und Sieg (18 15). This is not a
cantata in the modem sense — i. e. an essentially
lyric vocal piece — but one rather in the sense of
the 17th and 18th centuries, when the word
signified solo songs representing a specific cha-
racter in a specific situation. The only difierence
was that Weber employed the full resources of
solo-singers, chorus, and orchestra. The central
idea is the battle of Waterloo, with various
episodes grouped round it, and a grand chorus,
*Herr Gott dich loben wir,' as finale. The
description of the battle forms what we should
now call a grand dramatic scene, an opera finale,
only without action. It is led up to by warlike
choruses, animating the battalions as they mus-
ter to the fight. Even the arming of the Aus-
trian troops is indicated by the Austrian Grena-
diers' March heard in the distance. A wild
march announces the approach of Napoleon's
army, while the Germans sing Komer's solemn
prayer : —
Wle aucb die HOlle branst.
Gott, deine starke Faust
Stdrzt das GebSude der Lttge.
Fahr uns, Herr Zebaoth,
Fahr uns, dreleinger Uott
As rage the powers of bell,
God, let Tby mighty hand
Falsehood's stronghold o'erthrow.
Lead us, Lord God of Hosts
Lead us, Thou triune God,
FOhr uns zur Schlacht und zum Lead us to strife and victory.
Siege.
The battle, which then commences, is at first
left entirely to the orchestra. The day is going
against the Allies. The French tune * Q!a ira '
is heard shrilling out wildly and triumphantly
above the other instruments, while broken eja-
culations, such as * Des Feindes Spott ! ' (* Sport
of our foes 1 ') '0 Hollengraun I ' (* 0 hor-
ror 1 ') * Verlasst Du Gott, die Dir vertraun ? '
(' Wilt Thou, 0 God, foi-sake those who trust in
Thee?') burst from the allies scattered about
the field. The tumult is just dying away,
when lo ! the Prussian horns, first faint in the
> It Is by no means uncommon to hear the last four bars repeated!
a fact which shows without explanation how entirely Weber's idea
has been misunderstood.
WEBER.
distance, then louder and louder; the Chorus
listens.
WEBER.
42a
Anf Windes Fldgeln
Sprengts von den Hageln
Die Flur entlang!
Die Fahnen wallen.
Die HOrner scballen.
On wings of the wind
Down from the hills
It rushes along the plalnl
The banners wave.
The trumpets blare.
and then bursts into the air of Weber's Lied,
*Lutzow8 wilde Jagd,* to the words
O Hlmmelslust nach Todesdrang,
Das ist Freussens muthiger ScbiachtgesangI
O heavenly joy from deadly pain,
Til Prussia's rousing battle-song t
This passage, and the redoubled violence with
which the onslaught is renewed, produce a
dramatic effect of the strongest kind. From this
point the voices are employed continually. The
* Qa ira,' at first so loud and bold, is now, as it
were, hustled and put down by the rest of the
orchestra; it is at length wholly silenced, the
enemy flies with the victors at his heels, till at
last ' God save the Kingl'^ peals solemnly forth
from the orchestra, and the colossal tone-
picture is at an end. The same dramatic treat-
ment may be discerned in all the episodical
pieces, especially the orchestral introduction,
which is not an abstract piece of music, but
is intended as a picture of the state of mind of
the nations, who, after a brief foretaste of peace,
are again plunged into the horrors of war by
Napoleon's return from Elba. 'The introduc-
tion is of a rugged, stormy, mournful, angry
spirit, broken in its accents; rising in force
towards the end, and dying in dry, hard, sullen
strokes.' So says Weber in his explanatory
notice written for the first performance at
Prague." The closing chorus alone is wholly
lyric in character ; though not absolutely free
from technical imperfections, it is full of fire
and inspiration, and contains some grand pas-
sages. The cantata however as a whole too far
exceeds ordinary limits to take its due place in
the concert-room. There is in it a certain contra-
diction of styles. Although at first frequently
performed, and never failing to make a great
impression, it has gradually slipped out of the
musical world, now that the events which gave
it birth are less vividly remembered. The
'Leyer imd Schwert' choruses are still in full
life, because they are in all respects true to their
species. And yet the enthusiasm for liberty,
with all its impetuosity and all its pathos, is
expressed quite as forcibly in the cantata. Its
popularity may be less great, but it is an even
more valuable piece of evidence for the history of
Weber's development as a dramatic composer.
13. Between 18 10 and 1815 Weber wrote six
grand Concert-airs with Italian words, and these
also have their share in explaining the extraor-
dinary maturity of * Der Freischiitz.' Several are
of high artistic merit, notably the fourth ('Signer,
se padre sei '), composed in 1 8 1 2 for Prince Frede-
1 The Volkshymne ' Hell dlr Im Slegeskranr ' is sung to this air In
Germany, and Weber evidently had the words in his mind here. He
used the same tune for the finale to the Jubel-ouverture. [See GOD
SAVE THE King, vol. 1. p. 607 a.]
2 Bepriated complete in the ' Lebensbild,' iii. iM.
ric of Gotha.* It is written for tenor and double
chorus, and is in fact a grand dramatic scena. None
of these Italian airs however come up to a Ger-
man scena written in iSiS for insertion in Che-
rubini's ' Lodoiska.' It was intended for Frau
Milder-Hauptmann, then in Berlin, and was to
be the 1st number in the 2nd act. It is a work of
the first rank, and of itself proves that the
creator of 'Der Freischiitz' had now attained
his full stature. How it comes to be now wholly-
forgotten it is difiicult to understand.
14. Among Weber's remaining vocal composi-
tions we have still some Cantatas and the two
Masses to consider. 'Der Erste Ton* (181 8),
words by Rochlitz, must be mentioned among the
cantatas, although the term scarcely applies to it.
The greater part of the poem is declaimed to an
orchestral accompaniment, but a 4-part chorus is
introduced near the end. The form is peculiar
and new. It cannot be called a melodrama, be-
cause the poem is narrative and not dramatic.
The nearest approach to it is in some of the
descriptive recitatives in Haydn's oratorios. The
descriptive part of the music shows already,
though indistinctly, that plasticity which he was
presently to make use of in such an incomparable
way. The closing chorus does not satisfy the
requirements of art, and Weber himself spoke
of it as 'rough' part- writing. Another hymn
of Rochlitz' s, 'In seiner Ordnung schafft der
Herr,' is a fine work of art. It was composed in
1812, and dedicated to the ' Musik-Gesellschaft*
of Ziirich, which had elected him an honorary
member. At first the composer has evidently had
a difficulty in warming to his work, on account
of the half-dogmatic, half-descriptive nature of
the words ; and the hearer, though occasionally in-
terested, is not carried away by the earlier move-
ments. The introduction of the chorale ' Drum
leme still dich fassen ' (to the tune of ' 0 Haupt
voll Blut und Wunden') is scarcely to be jus-
tified on aesthetic grounds. But then comes
the chorus 'Gelobt sei Gott,' and all that has
hitherto failed to please is forgotten, and the
hearer swept away in the rushing torrent of
foamy music. The fugue of this chorus, * Im
Wettersturm, im Wogendrang,' is a character-
piece of the first rank. To criticise each detail of
this polyphonic movement would be pedantic ; it
is a work of genius, and its flashing enthusiasm
bears comparison, at a distance of course, to cer-
tain parts of Beethoven's 9th Symphony.*
Of the six occasional cantatas composed for
the Court of Saxony, the Jubel-Cantata, written
for the 50th anniversary of Friedrich August's
accession (181 8) is the most important, both in
size and matter. The four choral movements,
Nos. I, 4, 7, and 9 are ripe examples of Weber's
talent for delineating a specific situation, and
make one regret that the work as a whole, from
the circumstances of its origin, is unavailable
for general use. It is essentially a Saxon, nay,
almost a Dresden composition, and no sympa-
thy is now felt for Friedrich August, Wendt's
« Op. 53, Schleslnger, Berlin, vocal score.
4 Score, parU, and FF. score, published by Schleslnger of Berlin.
424
WJEBER.
attempt to turn it into a harvest cantata proved
£Eiirly successful in one or two cases, especially
Nos. 4 and 7 ; but the music is, as a rule, too
closely wedded to the words to be divorced from
them, unless at great sacrifice.^
15. As to Weber^s Masses, those acquainted
with the state of Catholic church-music at the
beginning of the 19th century will not expect
to find them written in a pure church-style.
Church music of this description is now almost
a thing of the past ; in the great centres it is en-
tirely tabooed in favour of the music of the
15th and 1 6th centuries. Under these circum-
stances Weber's masses have little prospect of
revival. They are probably never heard except
in the Hofkirche of Dresden, and rarely there,
and are bound to succumb to the fate which has
overtaken those of Haydn, Mozart, and Hummel.
Fine music they contain in abundance. As
previously mentioned, they were produced within
a short time of each other, in 1818 and 1819.
After Weber's fashion they contrast sharply
with each other, while each has one prevailing
tone running consistently through to the end.
1 81 8 being the 50th year of the king's reign, he
gave to the Eb mass a tone of solemnity and
splendour noticeable specially in the Sanctus.
That in G, being for a family festival, is quite
idyllic in character. ♦ I mean to keep before
myself,' he wrote to Rorblitz, *the idea of
a happy family party kneeling in prayer, and
rejoicing before the Lord as His children.' It is
worth while to examine the mass, and see how
this idea is worked out. The Kyrie, Sanctus
(with an exquisite Benedictus), and Agnus Dei,
are delightful music. Occasional suggestions of
well-known passages in his operas jar on a
modern ear, but a composer is scarcely to be
blamed for retaining his identity, even in a mass.
His love of contrast, and habit of never remain-
ing long occupied with one musical idea, give
these pieces a somewhat restless and piecemeal
effect, and for this reason those who were accus-
tomed to Haydn's and Mozart's masses felt these
too 'secular.''
16. When a youth of twenty Weber wrote
two Symphonies, clever and to a certain ex-
tent interesting, but parti-coloured and with-
out form. The indications they gave of his
future position as an orchestral composer were
very inadequate, and in later years they by no
means satisfied himself. Of wholly different
import are his ten overtures, Peter SchmoU
(remodelled 1807 as ' Grande Ouverture h. plu-
sieurs instruments'), Riibezahl (remodelled 1811
as 'Ouverture zum Beherrscher der Geister/
* Ruler of the Spirits'), 'Ouverture Chinesa'
(remodelled 1819 for Turandot), Silvana, Abu
Hassan, Jubelouverture, Freischiitz, Preciosa,
Euryanthe, and Oberon. Of these, Peter
SchmoU and Silvana are unimportant and
immature. In Turandot the local colouring
» The score, with the two sets of words, and preceded by the Jubel-
Ouverture, is published by Schlesinger (Berlin). A full analysis
with ample quotations is given In the " Monthly Musical Record.' 1873.
2 The score of the Eb mass was published by Elchault (Paris), that
Of the one In G by HasUnger (Vienna, edUio* de lux*).
WEBER.
furnished by a Chinese air is pushed into an
extreme which becomes ugly. The remaining
seven are amongst the finest, and excepting
perhaps Rtibezahl and Abu Hassan, the most
popular pieces in the world. They hold a middle
position between simple introductions and ab-
stract orchestral works, sounding equally well in
the concert-room and the theatre. This they
share with the overtures of Mozart and Cheru-
bini, while much of the effect of Beethoven's, and
the whole of the effect of Schumann's Genoveva
and Manfred is lost when played on the stage.
There are, however, important differences of style
between these overtures and those of Mozart and
Cherubini. This is not so much because Weber
constructed them out of the materials of the opera,
though some have with great injustice gone so
far as to maintain that they are mere elegant
potpourris. Each is a complete conception, and
— some unimportant passages apart — carved out
of one block. That what looks like mosaic may
have been constructed organically is proved by
Cherubini's 'Anacreon* overture, in which — a
little-known fact — there is not a single bar not
contained in the opera. Weber's natural way of
working was not to develop continuously, but to
proceed firom one strong contrast to another.
His musical ideas are seldom adapted for the-
matic treatment, being always full of meaning,
but with few capacities of development. The
instant one idea is given out decisively it calls
up another absolutely opposed to it. Illus-
trations of this may be found in the opening
of the Riibezahl overture, as well as in the
Eb movement of the Allegro in that to * Der
Freischiitz.' This method of progression by
continual contrasts is undoubtedly the sign-
manual of Weber's dramatic genius; and to it
his works owe as much of their stimulating effect
and fascination, as they do to the variety, ten-
derness, and brilliancy of the instrumentation.
17. This explains why Weber produced so
little chamber-music. The quiet thoughtfulness,
the refinements of instrumental polyphony, the
patient unravelling and metamorphosing of a
subject, which are the essence of this branch of
art, were not congenial to one who liked to be
up and away. He did not write a single string
quartet; and his PF. quartet, string quintet
with clarinet, and trio for PF., cello, and flute, are,
for him, unimportant compositions, and not
always in the true chamber-music style. Jahns
appositely observes that the trio is pastoral in
character, and the last three movements almost
dramatic. By this he means not so much that
the composer had in his mind specific figures or
scenes, but that the subjects are almost like
spoken phrases, and the contrasts singularly
life-like. Many movements of Beethoven's
chamber-music were inspired by some definite
poetical idea (as the adagios of the quartets
in F major (No. i) and E minor), but these
are all genuine chamber-music. The third
movement of the trio, headed * Schafers-Klage '
(Shepherd's Lament), is a series of clever varia-
tions on a simple melody of eight bars. I believe
WEBER.
WEBER.
425
—though Jahns does not agree with me — that
this is the air of a real Lied, and suspect it to be
a setting of Goethe's ' Da droben auf jenem
Berge,' but whether Weber's or not we have at
present no means of determining. Amongst his
chamber-music must not be forgotten six sonatas
for PF. and violin, published in 1811. Though
of modest dimensions, and occasionally somewhat
immature, they contain a host of charming
thoughts ; the ideal they aim at is not high,
but they form the most delightful drawing-room
music possible.
18. As the reader will perceive, we do not class
Weber's Piano compositions with his chamber-
music. Here our verdict must be wholly
diflferent. Weber was one of the greatest and
most original pianists of his day. After his
thorough grounding when a boy he never be-
came the pupil of any of the principal virtuosi,
and all the finishing part of his education was
his own work. He formed himself neither on
Clementi nor Hummel; indeed, his feeling with
regard to the latter was one of decided opposition.
After hearing him in Vienna in 1813, he wrote
in his diary, 'Bfummel improvised — dry but
correct.* After a concert of Hummel's in 18 16,
Weber wrote that ♦Hummel seemed to set
the most store on plenty of runs executed with
great clearness. Drawing out and developing
the higher resources of the instrument, he perhaps
undervalues too much.'^ In private letters he
spoke still more openly, saying plainly that
* Hummel had not made a study of the nature
of the pianoforte.' This he himself had done most
thoroughly, and in consequence obtained a num-
ber of effects at once new and thoroughly in
accordance with the nature of the instrument.
This was the principal cause of the unexpected-
ness which was so striking in his playing, besides
its brilliancy, fire, and expression. Wide
stretches, easy to his long flexible fingers, bold
jumps from one part of the keyboard to another,
rapid passages of thirds for one hand (the Eb
concerto), or of thirds, sixths, and octaves for
both, runs with accompanying chords for the
same hand (first movement of the sonata in C)
— such are some of his technical resources, all
of real value because used to express really new
ideas. His pianoforte style also shows, within
reasonable limits, a leaning to the orchestral.
For instance, in the finale of the Sonata in D
minor he must certainly have had the cello and
clarinet in mind when he wrote the cantabile,Sind
the still more beautiful counter-subject. Again,
in the first movement of the Sonata in C his
mental ear has evidently been filled with the
Bound of the orchestra from bar 4.
The four Sonatas (in C, Ab, D minor, and
E minor), are pronounced by Marx to excel in
some respects even the sonatas of Beethoven.
This is going too far. In perfection of form
Weber is always far behind Beethoven, and
though his ideas may be equally original, they
are far less solid, and not so varied. His sonatas
therefore cannot be considered models of the
type, which Beethoven's are in the highest
degree. They are rather fantasias in sonata-
form, and their very irregularities give them a
kind of air of improvisation, which is their
chief charm. Ambros says, 'They blossom
like an enchanted garden of romance. The
paths of such gardens generally lead into a
wilderness, where a wealth of gorgeous ideas
is crowded together among heterogeneous rou-
lades, like delicious fruits among exotic foliage
and luxuriant creepers.' The same contrast
is discoverable between the sonatas in them-
selves. Each has its distinctive character, con-
sistently maintained throughout. When we say
that no one of Beethoven's sonatas resembles
another, we mean something quite different from
this. The divergence between his various crea-
tions goes far deeper; with Weber certain
favourite phrases are frequently repeated, and
his sphere of ideas is far less extensive. His
sonatas contrast more in form and colour than
in essence ; in each he gives us his whole self,
but from a different point of view.
Next to the sonatas in importance are his ten
sets of Variations.^ Weber did not attempt — as
Bach did in the * Goldberg ' variations, or Bee-
thoven in the • Eroica ' ones, and those on
Diabelli's waltz — to enlarge the bounds of varia-
tion, but clung to the simple old-fashioned form.
This makes it all the more wonderful that he could
cram so much that was new within such narrow
limits. In the invention of new figures and
striking harmonies he is inexhaustible, and — a
main point — each has its own distinctive and
sharply- defined stamp. His dramatic genius
never left him. His variations on *Vien quk,
Dorina bella,' op. 7 ; on ' A peine au sortir de
I'enfance,' op. 28 ; and on ♦ Schone Minka,*
op. 40, are among the finest specimens of the
kind.
His talent shone most conspicuously whenever
he had a poetical idea to interpret musically,
and nowhere do we see this more clearly than
in his two Polonaises, in Eb and E, and above
all in his * Invitation to the Waltz,' known all
over the world. The ' Rondo brilliant ' op. 62,
and the ' Memento capriccioso,' op. 12, though
not unattractive, scarcely come up to the other
three pieces. Of pianoforte music for four hands
his only examples are op. 3, 10, and 60, con-
taining 6, 6, and 8 pieces respectively. Bee-
thoven scarcely ever wrote for four hands, and
Mozart but seldom. Speaking generally, Schu-
bert ranks as the founder of modern four-hand
pianoforte music, but before his day Weber
had produced his op. 60, a collection of little
pieces wtiich for invention, and fascination of
sound, do not yield to Schubert's best work of
the kind.
19. Finally Weber takes high rank as a com-
poser of Concertos. As a pianist it was of course
an object to him to find scope for his own instru-
ment with an orchestra. Of his three concertos the
one in F minor, op. 79 (Concertstiick) is to this
2 I include the varlAtioni for FF. and violin, op. 22, and for FV.
uid clarinet, op. S3.
426
WEBER.
day a stock-piece with virtuosi, and has left
its mark on later composers. Mendelssohn would
probably not have written his G minor con-
certo, but for this predecessor. Not the least
of its many attractions is its form (Larghetto,
Allegro, March, Finale), diverging so materially
from that of all previous concertos. Then too,
though complete in itself as a piece of music, it is
prompted by a poetical idea, for a whole dramatic
scene was in the composer's mind when he wrote
it. What this was we are told by Benedict,
who on the morning of the first performance
of • Der Freischutz ' sat listening with Weber's
wife, while he played them the Concertstiick
then just finished.
The Gh&telaine sits all alone on her balcony gazing
far away into the distance. Her knight has gone to the
Holy Land. Years have passed by, battles have been
fought. Is he still alive ? will she ever see him again ?
Her excited imagination calls up a vision of her hus-
band lying wounded and forsaken on the battlefield.
Can she not fly to him, and die by his side. She falls
back unconscious. But hark I what notes are those in
the distance ? Over there in the forest something flashes
in the sunlight— nearer and nearer. Knights and squires
with the cross of the Crusaders, banners waving, ac-
clamations of the people ; and there — it is he 1 She
sinks into his arms. Love is triumphant. Happiness
without end. The very woods and waves sing the song
of love ; a thousand voices proclaim his victory,' i
The part which the different movements take
in this programme is obvious enough. The music
is quite independent of the idea which prompted
it, but a knowledge of the programme adds
greatly to the pleasure of listening ; and the fact
of his having composed in this manner is an
interesting point in the study of Weber's idio-
syncrasy.
The other two concertos, in C and Eb, have
been unduly neglected for the Concert-stuck.
The former, composed in 1810, is indeed not so
brilliant, but its delightfully original finale would
alone make it a valuable work. The other owes
its origin apparently to Beethoven's Concerto
inEb. This came out in February 1811, and
we learn from Weber's diary that he bought
a copy in Leipzig on Jan. 14, 181 2. His own
concerto in Eb was finished in December of
the same year at Gotha. The choice of the
key, the remote key of B major for the Adagio,
and still closer resemblances between parts
of the movements of the two, show how deep
an impression Beethoven's work had made on
the younger artist. Still it was only suggestion,
and did not afiect Weber's identity. The differ-
ences between the two will be found quite as
decided as the resemblances.
20. When once Mozart had introduced the
darinet into the higher range of music it rapidly
became a favourite solo-instrument. Germany
had at the beginning of the century two pre-
eminent clarinet-players — ^Hermstedt of Son-
dershausen, and Barmann of Munich. Spohr
composed for the former, Weber for the latter."
1 Benedict's ' Weber.'
> Of Weber's six works for clarinet solo, flve are dedicated to his
friend BArmann ; the sixth, op. 48, bears no dedication. It seems
probable from J»hns (p. 434, No. CT) that this was composed for
Hermstedt at his own request, but that Weber would not dedicate It
to him oat of consideration for Bftrmann.
WEBER.
Hermstedt was an excellent player as far as tech-
nique went, but a man of limited intellect, while
Barmaim, with an equally brilliant technique,
was a thorough artist in temperament, and
a man of refined taste. Spohr's clarinet com-
positions are good work, but, perhaps because
he was in the habit of composing for Herm-
stedt, he never seems to have got at the
heart of the instrument. This Weber did, and
to such an extent that he is still the classical
composer for the clarinet. It is a remarkable
instance of his power of penetrating into the
nature ,of instruments, that though not able to
play the clarinet himself he should have so far
developed its resources that since his day
no substantial advance has been made by com-
posers in handling the instrument. His three
clarinet-concertos (ops. 73, 74, and 26, the last
a concertino) were all written in 181 1, when
he was living in Munich in constant inter-
course with Barmann. We have also two works
for PF. and clarinet. Variations on a theme
from Silvana, and a fine Duo concertante in
three movements, op. 48. Wind-instruments are
now out of fashion for concert-playing, and one
seldom hears anything on such occasions but
the piano and violin, instead of the pleasing
variety which used to prevail with so much
advantage to art, and this has caused a most re-
gretable neglect of Weber's clarinet concertos.
But seldom as these are heard, those he wrote
for other wind-instruments are never played
at all. And yet the concertos for horn, bassoon,
and flute, testify very remarkably to his won-
derful gift for penetrating into the nature of
an instrument.
21. Weber's turn for literary composition, de-
veloped most strongly between the years 1809
and 181 8, has been already mentioned.' A few
remarks on the value of his literary compositions
will fitly close our review of his productive work.
As a rule his pen was naturally employed on
musical matters, only one of his newspaper articles
being on a general subj ect — 'Ueber Baden-Baden,*
Aug. I, 1 8 10. His talent for authorship was un-
doubtedly considerable. His narrative is clear and
intelligible, his style correct, elegant, and lively,
with a certain freedom not at all unbecoming.
Now and then, too, he wrote successful verses.
Our great composers from Handel to Beethoven
did not meddle with authorship. In this re-
spect, as in so many others, Weber was the first
of a new generation of artists. It pleased him
to reveal the ideas with which his mind was
crowded in words as well as in music. This
is evident from his active correspondence. A
large part of this would well bear publication,
for Weber's letters are more amusing and
contain more information than those of any other
German musician. As an author he was the
precursor of Schumann and Wagner, over whose
music, too, his own exercised so great an in-
fluence. But unlike them he did not concentrate
« Weber's posthumous writings came out originally In 8 vols.
(Arnold, Dresden and Leipzig), and were republished as vol. Ul. of
Uftx TOD Weber's 'Leb«nsl>Ud.'
WEBER.
his literary powers ; his nature was too restless,
and his life too unsettled. It is a pity that his
musical novel, 'Tonkiinstler's Leben,' remained
unfinished, for as he himself was the * musician '
whose * life ' he described, we should have gained
an artistically drawn autobiography of inestimable
value. What a storehouse of details we should
have had on the state of music in Germany at
the beginning of the century, on the sort of con-
certs then given, on the doings of amateurs, the
social position of musicians, etc. 1 Who better
fitted to give us a correct picture of all this
than the versatile, keenly observant Weber?
What remains of the novel is interesting, and
tantalizing, on account of its many acute and pro-
found observations on art. Not that Weber
could philosophise and systematise like Wagner ;
he touches lightly on subjects, sometimes in-
deed superficially, but in every word you see
the man of intellectual cultivation capable of
forming his own judgment. His literary aflSnity
is closer to Schumann than to Wagner. The
imagination, the humour, the kindness and
cordiality towards his juniors, the absence of
jealousy towards equals, are as characteristic
of Weber as of Schumann. He helped mate-
rially to launch Meyerbeer and Marschner,
exerted himself heartily to extend the know-
ledge of Spohr's music (a service Spohr did
not return in kind), and though as a youth he
passed a hasty judgment on Beethoven, he amply
repaired the oversight in maturer years. When
Tidelio' was being performed in Dresden, he
wrote to Beethoven (Jan. 28, 1823), 'Each re-
presentation will be a festival to me, giving me
the opportunity of ofiering to your noble spirit
a homage springing from my inmost heart, which
is filled with mingled admiration and afiec-
tion for you,' And Weber was no man to pay
empty compliments. Like as he was to Schu-
mann in many respects, they were very diflferent
in others. Besides the sense of humour charac-
teristic of both, Weber had a strong satirical
vein, a caustic wit, and a love of fun, which he
shared with Mozart. He was, also, more mer-
curial and brilliant than Schumann, who by
his side seems almost slow. He took wider views
of life, was more a man of the world, often with
a kind of chivalrous gallantry; but far more
fickle than his younger comrade in art. He
wrote on all sorts of subjects, critical, polemi-
cal, historical, theoretical; most often perhaps
to introduce new works, and prepare the public
mind for theur reception. The mechanical con-
struction of instruments was always an interest-
ing subject to him, and he wrote newspaper
articles on Capeller's improved flutes, on Kauf-
mann's* trumpets, chiming-clocks, and Har-
monichord, and on Buschmann's ♦Terpodion.'
He even went so far as to compose a Concert-
stuck (Adagio and Allegretto in F) for Kauf-
mann's harmonichord, a piece which shows
very clearly his wonderful feeling for beauty
of sound.
1 Father and soa of Dresdoa.
WEBER.
Summary of Weher's Compositions.
427
1. Das WaldmXdchen ; S fragments only remaining:. Unprinte^
leoo,
2. Peter Schmoll und seine Nachbarn. Unprinted. 1801.
3. Babezahl ; only 3 numbers In existence, the last a Quintet pub-
lished by Schleslnger. 1S04, 1805.
4. Sllvana ; FF. score. Schlesinger. 1810.
6. Abu Hassan ; PF. score. Slmrock, Bonn. 1811.
6. Der Freischatz. 1820.
7. Die drel Plntos. Sketch only, unfinished. 182L
8. Buryanthe. 1823.
9. Oberon. 1826.
n. OTHEB DBAMATIO WOEKS.
1. Huslo to Schiller's Turandot; overture and 6 short instiu-
mental pieces. 1809.
2. Music to Manner's ' KOnig Yngurd '; 10 instrumental and 1 vocal
piece. 1817.
3. Music to Gehe's 'Hetarich IV, KOnig von Frankrelch'; 8 in-
strumental pieces. 1818.
4. Music to Eublack's play 'Lleb* um Liebo'; 4 vocal pieces, 1
march, and 1 melodrama. 1818.
6. Music toHouwald's tragedy ' Der Leuchtthurm'; 2 melodramas
and 2 Interludes for harp, all short 1820.
6. Music to Wolfifs ' Preciosa'; overture, 4 choruses, 1 song, 3 melo-
dramas, and dances. 1820.
7. Music to a Festspiel by Ludnig Bobert; instrumental move-
ment, and 5 choruses. 1822.
8. Bondo allaPolacca for tenor voice, for Haydn's opera 'Freibrief.
1809.
9. 4 Lleder for single voice and guitar, Ueber die Berge mit Unge-
stam : Base, Sturmwind, blase ; Lass mich schlummern, Herzlein,
schwelge; Umringt vom mutherfiillten Heere; from Kotzebue's
• Der arme Minnesinger.' 1811.
10. 2 Lleder, Meiu Weib ist capores, and Frau Llesere guhe ; from
Anton Fischer's ' Travestirte Aeneas.' 1815.
11. 2 Lleder, Wer stets hinte' Ofen kroch, and Wle wir voll Glu»
nns hier zusammenflnden ; from Gubitz's 'Lieb und VersOhnen.'
1815.
12. Ballad for single voice and harp, Was starmt die Halde herauf?
from Beinback's tragedy ' Gordon und Montrose.' 1815.
13. Ariette to Ruber's ' Sternenmadcben Im Maidlinger Walde.*
1816.
14. Bomanoe for single voice and guitar, Bin KOnIg einst gefangea
sass ; from Castelli's ' Diana von Poitiers.- 1816.
15. Lied, Hold ist der Cyanenkranz; from Kind's 'Weinberg aa
der Elbe.' 1817.
16. Chorus with wind Instruments, Hell dir Sappho ; from Grill-
parzer's tragedy ' Sappho." 1818.
17. Lied for single voice and guitar. Bin MSdchen glng die Wles*
entlang ; from Kind's ' Der Abend am Waldbrunnen.' 1818.
18. Chorus with wind instruments, Agnus Dei ; from Graf voa
Blankensee's tragedy ' Carlo.' 1820.
19. Lied for 3 women's voices and guitar, Sagt woher stammt
Llebesluste (Tell me where is fiancy bred) ; from Shakspere's ' Mer-
chant of Venice.' 1821.
20. Music and recitative, Doch welche TOne steigen Jetzthernieder ;
for Spontlni's ' Olympia.' 1825,
21. Becitatlve and Bondo for soprano and orchestra, II momento
s'awicina. 1810.
22. Scena ed aria for soprano and orchestra, Misera me ; from
•Atalia.* 18U.
23. Scena ed aria for tenor, men's chorus, and orchestra, Qual altro
attendl. 1811.
24. Scena ed aria, for tenor, 2 choruses, and orchestra, Signor sa
padre sel ; from * Ines de Castro.' 1812.
25. Scena ed aria for soprano and orchestra. Ah, se Edmondo fosse
I'ucclsor ; for M^hul's ' Hel6ne.' 1815.
26. Scena ed aria for soprano and orchestra, Non paventar, mta
vita ; for ' Ines de Castro.' 1815.
27. Scena ed aria for soprano and orchestra. Was sag' ich ? Schau-
dem macht mich der Gedanke ! for Cherubini's ' Lodoiska.' 1818.
28. Three duets for 2 soprani and PF., Se 11 mio ben ; Mllle volte
mio tesoro ; Va, ti consola. 1811.
III. CANTATAS.
L DerersteTon; byBochlltz: orchestral music for declamatloa
and final chorus. 1808.
2. Hymn, In seiner Ordnung schafft der Herr ; by Bochlltz : soil.
chorus, and orchestra. 1812.
3. Kampf und Sleg ; by WohlbrQck, in commemoration of June 18^
1815 : soil, chorus, and orchestra. 1815.
4. L'Accogllanza ; for the wedding of the Hereditary Grand-Duka
Leopold of Tuscany, and Princess Maria Anna Carolina of Saxony,
words by Celani : 6 solo-voices, chorus and orchestra. Oct. 29, 1817.
5. Natur und Llebe ; by Kind ; for the name-day of King Frledrlch
August of Saxony ; 2 sopranos, 2 tenors, 2 basses, and PF. 1818.
6. Jubel-Cantata, Erhebt den Lobgesang : by Kind ; for the 50th
anniversary of King Frledrlch August's accession : soli, chorus, and
orchestra. 1818.
7. Du, bekrSnzend unsre Laren ; by Kind, for Duchess Amalia voa
Zwelbrttcken's birthday : solo and chorus, with PF. and flute. 1821.
8. Wo nehm'ich Blumen her; by Hell, for Princess Thereie ot
Saxony's birthday : 3 solo-voices and PF. 1823.
i28
WEBER.
WEBER.
IV. SIASSES.
L In Kb; 4 iolo voices, chorus, and orchestra: for the King of
Saxony's name-day. 1818. , ^ ^
1 o. Offeitolre to the same: soprano aolo, ebonu, and orchestra.
2. In G ; 4 solo-voices, choras, and orchestra : for the golden
wedding of the King and Queen of Saxony. 1818—1819.
2 a. offertoire to the same ; soprano-solo, chorus, and orchestra.
1818.*
V. LIEDER, BALL.\D8, AND ROMAXCES, FOR ONE OB
TWO VOICES, 'wnn piano or guitar.
(Alphabetically arranged.)
1. Ach wXr ich doch zu dieser Stund. 1816.
2. Ach wenn Ich nur ein Liebchen hfttte. 1809.
3. Ah, dove siete, oh lucl belle. Canzonet (guitar). 1811.
4. Alles In mlr gltthet zu lleben. 1814.
6. Auf die stOrmsche See hlnaus (guitar). 1810.
«. Ch' lo mai vl possa. Canzonet (guitar). 1811.
7. Das war eIn recht abscheuliches Geslcht. 1820.
8. Der Gaishlrt steht am Felsenrand. 1822.
9. Der Holdsellgen sender Wank. 1813.
10. Der Tag hat seinen Schmucit. Volkslied. 1819.
Die Temperamente htim Verlu»t der Oelieblen. 1816.
11. o. Der Leichtmttthlge (Lust entfloh, und hln 1st hln).
12. 6. Der Schwermathlge (Beige Zelten).
13. e. Der LlebewOthige (Verrathen !).
14. d. Der GleichmiUhlge (Nun bin Ich beflrelt, wle behSgllch '.).
15. Die Wunde breunt, die blelcbeu Llppen beben. Sonnet Irom
teyer und Schwert. 1814.
16. DOsfre Harmonieen hOr* Ich kllngen. Ibid. 1816.
17. Du llebes, holdes, himmelsilsses Wesen. Sonnet. 1812.
18. Eln Echo kenn* ich. 1808.
19. Eln' fromme Magd von gutem Stand. Volkslied. 1818.
20. Ein KOnlg einst gefangeii sass (gultor), 1816. See II. 14.
21. Eln Midchen ging die Wies' entlang (guitar). 1818. See IL 17.
22." Eln neues Lied, eln neues Lied ; MS. 1810.
23 Eln steter Kampf 1st unser Leben. 1808.
24*. Eln Veilchen blOht Im Thale. 1817.
26. El, wenn ich doch eln Maler wfir. 1820.
26. Elle 6tait simple et gentilette. 1824.
27. Endlich hatte Damon sie gefunden (guitar). 1810.
28. Kntfllehet schnell von mlr ; MS. 1803.
29. Es sltzt die Zelt Im welssen Kleid (guitar). 1810.
SO. Es sttirmt auf der Flur, es brauset im Haln. 1813.
31. Frage mich immer, fragest umsonst. 1813.
32. Frei und froh mit muntern Sinnen. 1812.
ss! From Chindara's warbling fount I come ; MS. 1826,
34. Herzchen, mein Sch&tzchen, blst tausendmal mein. Volkslied.
35. Herz, lass dlch nlcht zerspalten. Leyer und Schwerdt. 1814.
36 Herz, main Herz ermanne dlch. 1820.
37. Horch! lelse horch. Gellebte, horch! (guitar). 1809.
38. Ich denke deln, wenn durch den Hahi. 1806.
39 Ich empflnde fast ein Grauen. 1818.
40. Ich hab' mlr elns erw&hlet. Volkslied. 1817.
41. Ich sah ein ROschen am Wege stehn. 1809.
42. Ich sah sie hlngesunken ; MS. 1804.
43. Ich tummle mich auf der Haide. 1819.
44. In der Berge Riesenschatten (guitar). 1818,
45. Judfia, hochgelobtes Land. 1819.
46. I und mein junges Welb kOnnen schOn tanz». Volkslied (guitar).
47. Jungst sass Ich am Grabe der Trauten alleln. 1804.
48." Kelne Lust ohn' treues Lleben. Triolet. 1819.
49. Lass mich schlummern, Herzleln schwelge (guitar). 1811. See
II. 9*.
60. Mftdel, schau' mlr 1ns Geslcht (gultax). 1807.
61. Malenbiamleln so schOn. 1811.
62. Melne Lleder, melne Sftnge. 1809.
63 Mein Schatz. der Ut auf der Wanderschaft hln. Volkdled. 1818.
64.' Mein Schatzerl 1st httbsch. Volkslied. 1818.
65 Ninfe, se llete. Canzonet (guitar). 1811.
86 O Berlin, Ich muss dlch lassen. Volkslied, 2-part. 1817.
ST." Rase, Sturm wind, blase (guitar). 1811. MS. See II. ft.
68. Rosen im Haare, den Becher zur Hand. 1818.
69. Sagt mlr an, was schmunzelt Ihr. 1813,
60 Sanftes Licht, welche nlcht (guitar). 1809.
61.' Schlaf. HerzenssOhnchen. mein Llebling blst da (guitar). 1810.
62. Sicch6 f Ingannl, o Clorl. Canzonet. 1810.
63. Bind es Schmerzen. slnd es Freuden. 1813.
64. Bind wlr geschleden. und ich muss leben ohne dlcb. Volkslied.
65." 'Sis nlchts mlt den alten Welbem. Volkslied. 1817.
66. Bo geht es Im Schnatzelputz-H»usel. Volkslied. 2-p»rt. 1817.
67. BOsse Ahnung dehnt den Busen. 1809.
68. Trarlro, der Sommer der 1st do. Volkslied, 2-part 1817.
69. Traurlg, elnsam welkst du hln. 1809.
70. Ueber die Berge mlt Ungestflm (guitar). 1811. Bee II. ft.
71. Um Rettung bietet eln galdnes Qeschmelde. 1812.
72. Umringt vom mutherfttllten Heero. Lied with choms (guitar).
1811. Bee II. 9.
73. Umsonst entsagt Ich der lockenden Llebe. 1802,
74. Ungern flieht das sOsse Leben ; MS. 1802.
75. Vater ich rufe dlch. Leyer und Schwert. 1814.
76. VOglein. elnsam in dem Bauer. iSU.
77. VBgleln hQpfet In dem Halne. 1816.
78. Was bricht hervor, wie Biathen weiss. 181».
79. Was stttrmet die Haide herauf (harp). 1815. Bee 11.12.
80. Was zieht zu deiiiem Zauberkreise. 1809.
81. Weile, Kind, ich will nicht rauben. 1816.
82. Weil es Gott also gefagt ; MS. 1809.
83. Welne, welne. weine nur nicht. Volkslied. 1818.
84. Wenn. Brttder, wle wlr tSgllch sehn. Lied with chorus. 1809.
86. Wenn die Maien grtln sich kleiden. 1818.
86. Wenn Ich die Blttmlein schau. 1817.
87. Wenn ich eln VOglein war. Volkslied. 1818.
88. Wenn Klndleln silssen Schlummers Ruh, 1821.
89. Wo Ist des Sangers Vaterland ? Leyer und Schwert. 1814.
90. WoUt ihr sie kennen, soil Ich sie nennen. 1808.
VI. PART-SONGS FOR MEN'S VOICES.
1. Bald helsst es wleder : Gute Nacht. 4-part. 1819.
2. Das Volk steht auf, der Sturm bilcht los. Leyer und Schwert ;
4-part. 1814.
3. Du Schwert an melner Llnken. Leysr und Schwert ; 4-part.
1814.
4. El, el, wle schelnt der Mond so hell. Volkslied j S-part. 1818.
6. Eln Kind 1st uns geboren. 4-part. 1819.
6. FlOstert liebllch. SommerlQfte. 4-part, with PF. 1817.
7. Freunde, dass Glut llebend uns trage. 4-part. 1814.
8. Frlsch auf, frlsch auf, mlt raschem Flug. Leyer und Schwert ;
1814
9. Fflllet die Humpen, muthlge Knappen (Tumlerbankett). 1812.
10. Hlnaus, hinaus. zum blut' gen Strauss. 4-part. 1825.
11. HOrnerschall ! Ueberfall I 4-part. 1825.
12. HOr" uns, AUmttchtiger I Leyer und Schwert. 4-part. 1814.
13. Uusaren slnd gar wackre Truppen. 4-part. 1821.
14. Ja freue dlch, so wie du hist. 4-part. 1819.
is! Schlacht, du brichst an. Leyer und Schwert; 4-part 1814.
16. SchOne Ahnung Ist eiglommen. 4-part. 1818.
17. Sohn der Ruhe, sinke nieder. 4-part. 1822.
18. Was gianzt dort vorm Walde im Sonnenscheln. (Lfltzow.)
Leyer und Schwert ; 4-part. 1814.
19. Wlr stehn vor Gott, der Melneld's Frevel rftcht. Unison with
wind Instruments. 1812.
VII LIEDER AND PART-SONGS FOR VARIOUS VOICES
WITH AND WITHOUT ACCOMPANIMENT.
1. Canons ni rwey slnd nlcht drey. Canon k 3 (printed by J&hns,
% Die Senate soli ich splelen. Canon 8i 3 (Jfthns, No. 89). 1810.
3." Eln Gftrtchen und eln HSuschen drln. Soprano, tenor, and
bass, without accompaniment ; MS. 1803.
4. Gelger und Pleiffer. Swablan Dance-song ; soprano. 2 tenors,
'"s HeU8e,stllle Llebe schwebet Soprano, 2 tenors, and bass. 1812.
e! HO«t du der Klage dumpfen Schall. Mixed chorus and wind
instruments ; MS. 1811.
7 Leek' mloh Im Angeslcht. Canon k 3 (Jfthns. No. 95). 1810.
s! Lels* wandeln wlr, wle Gelsterhauch. Dirge ; soprano, 2 tenors,
and bass, with wind Instruments. 1803.
9. Lenz erwacht und Nachtigallen. 2 soprani, 2 tenors, and 8
basses, with PF. ; MS. 1812.
10. M&dchen, ach melde Hannerschmelcheleln. Canon k 3 (Jfthns,
11. Bchelden und melden 1st elnerleU Canon k 4 (Jfthns, No. 167)
12.' Well Maria TOne hext. Canon k 3 ; MS. 1816.
13. Zu dem Reich der TOne schweben. Canon k 4 (Jfthns, No. 164)t
14! Zur Fremde ward geboren. Soprano, 2 tenors, and bass. 1813.
Vin. BCOTOH SONGS, ACCOMPANIMENTS TO, FOB FLUTB.
' VIOLIN, CELLO, AND PF. 1826.
1. The soothing shades of gloaming.
2. Glowing with love, on fire for fame.
3. O poortlth cauld and restless love.
4. True-hearted was he.
6. Yes thou mayst walk.
6. A soldier am I.
7. John Anderson my Jo.
8. O my Luve's like the red red rosa.
9. Robin Is my Joy.
10. Where hae ye been a dar,
IX SYMPHONIES, OVERTURES, ORCHESTRAL DANCES,
AND MARCHES.
1. First Symphony. C major ; Allegro con fuoco ; Andante ; Scheno,
presto ; Finale, presto. 1806—1807.
2. Second Symphony, C. Major ; Allegro j Adagio ma non troppo ;
Menuetto, allegro; Finale, scherzo presto. 1*7.
3. Grande Ouverture k plusleurs instruments, Bp— B». vui. oee
4." Overture. Beherrscher der Gelster ; D minor. 1811. See 1. 8.
6. Jubel-Ouverture ; E. 1818. . „ ^ j r,^
6. Waltz for wind Instruments ; Eb. MS. The trio is Weber's L.ed
• Malenbiamleln so schOn.' 1812.
7. Deutscher for full orchestra ; D. Subject same as the second of
*t T£cofor*fulU«he.t«;D. Unprlnted; used for the Preclosa
music. 1816.
WEBER.
9. Marcia vivace, for 10 trnmpets; D. Unprlnted; nied for
Euryanthe. 1822.
la March, for wind instruments ; 0. Subject partly the same ai
XI. 22. 1826.
X. C0NCEET08 AND CONCERTED PIECES WITH
OKCHESTBA.
1. First PF. concerto ; 0. Allegro ; Adagio ; Finale, presto. 1810.
2. Second PF. concerto ; Eb. Allegro maestoso ; Adagio ; Rondo,
presto. 1812.
3. Concert-stack for PF. s F minor. Larghetto afifettuoso ; Allegro
passionato ; Marcia e Rondo glojoso. 1821.
4. Concertino for clarinet ; C minor— Eb. Adagio ma non troppo ;
Thema (Andante) with variations, and Finale, Allegro. 1811.
6. First concerto for clarinet ; F minor. Allegro moderato ; Adagio
ma non troppo ; Rondo allegretto. 1811.
6. Second concerto for clarinet ; Eb. Allegro ; Eomanze i Alia Po-
lacca. 1811.
7. Quintet for clarinet and string-quartet ; Bb. Allegro ; Fantasia
Adagio ; Menuetto ; Rondo, allegro giojoso. Classed here as being of
the nature of a concerto. 1815.
8. Concerto for bassoon ; F major. Allegro ma non troppo ;
Adagio ; Rondo, allegro. 1811.
9. Adagio e Rondo Ungarese, for bassoon ; 0 minor. Revision of
No. 13. 1813.
10. Concertino for horn ; E minor. Adagio ; Andante con moto
with variations ; Polacca. 1815.
11. Romanza Slciliana for flute ; G minor. 1805.
12. Six variations for viola on the Volksli^d, 'A Schtlsserl und a
Belnd'ri ■ ; C. 1806.
13. Andante and Rondo Ungarese for viola ; C minor. See No. 9. 1809.
14. Potpourri for cello ; D. Maestoso ; Andante with variations ;
Adagio ; Finale, allegro. 1808.
16. Andante and variations for cello ; D minor, F major. 1810.
16. Adagio and Rondo for the Harmonichord ; F major. 1811.
XI. PIANOFORTE MUSIC.
A. For tvro hands.
1. First Sonata ; C, Allegro ; Adagio ; Menuetto, allegro ; Rondo,
presto. 1812.
2. Second Sonata; Ab. Allegro moderato con spirito ed assal
legato ; Andante : Menuetto capriccio ; Rondo, moderato e molto
grazioso. 1816.
3. Third Sonata ; D minor. Allegro feroce ; Andante con moto •
Hondo, presto. 1816.
4. Fourth Sonata ; E minor. Moderato ; Menuetto ; Andante quasi
Allegretto ; Finale, La Tarentella. 1822.
5. Six variations on an original theme ; C. 1800.
6. Eight variations on a theme from Vogler's ' Castor and Folloz ';
P. 1804.
7. Six variations on a theme from Vogler's " Samori ' ; Bb. 1804.
8. Seven variations on Bianchi's ' Vien qui Dorina bella ' ; 0. 1807.
9. Seven variations on an original theme ; F. 1808.
10. Seven variations on a theme from M6hul's ' Joseph ' ; C, 1812.
11. Nine variations on a Russian air, ' SchOne Minka ' ; C minor
1815.
12. Seven variations on a Gipsy air ; C. 1817.
13. Momento capriccloso ; Bb. 1808.
14. Grande Polonaise ; Eb. 1808.
15. Polacca brilllante ; E major. 1819,
16. Rondo brilllante ; Eb. 1819.
17. Aufforderung zum Tanze, Rondo brilliant ; Db. 1819L
18. Six Fughettl, Op. 1. 1798.
19. Twelve AUemandes (Valses, Nos. 11 and 12, for 4 hands.) 1801.
20. Six Ecossalses. 1802.
21. Eighteen Yalses (Yalses favorites de llmperatrice de France)
1812.
B. For four hands.
22. Six easy little pieces : (1) Sonatina, 0 ; (2) Romanze, F ; (S) Me-
nuetto, Bb ; (4) Andante con variazloni, Q ; (5) Marcia, maestoso, 0 ;
(6) Rondo, Eb.
23. Six pieces: (1) Moderato, Eb ; (2) Andantino con moto, C minor;
(3) Andante con variazloni, G ; (4) Masurik, 0 ; (5) Adagio, Ab : (6)
Rondo, Eb. 1809.
24. Eight pieces : (1) Moderato, D ; (2) Allegro, 0 ; (3) Adagio, F ;
(4) Allegro, A minor; (5) Alia Slciliana. D minor ; (6) Tema varlato
(loh hab* mir elns erwfthlet, see V. 40), E ; (7) Marcia, Q minor :
(8) Rondo. Bb. 1818-1819.
Xn. PIANOFORTE MUSIC VTITH ACCOMPANIMENT.
1. Nine variatlona on a Norwegian air ; D minor. PF. and rlolin.
1808.
2. Six Sonatas for PF. and violin : a) F, Allegro, Romanze, Rondo
amablle ; (2) G, Moderato, Adagio, Rondo allegro ; (3) D minor. Al-
legretto moderato. Rondo presto ; (4) Eb, Moderato, Rondo vivace ;
(5) A, Andante con moto Tvlth variations, Finale Siciliano; (6) 0, Al-
legro con fuoco. Largo, Polacca. 1810.
3. Seven variations for PF. and clarinet : Bb. 1811.
4. Grand Duo concertant for PF. and clarinet ; Eb. Allegro con
fuoco. Andante con moto. Rondo allegro. 1816.
5. Divertimento assal facile for PF. and gultJir: (1) Andante, 0;
(2) Valse, A minor ; (3) Andante con Variazloni, G ; (4) Polacca,
A major. 1816.
It is scarcely necessary to mention that the
foregoing summary is drawn up from Jahns's
*Carl Maria von Weber in seinen Werken'
WEBER FAMILY.
419
(Berlin, Schlesinger, 1871), a first-rate book, on
which all future writers about Weber must rely.
I have altered Jahns's arrangement. [I'-S.]
WEBER FAMILY, known fortheirconnection
with Mozart, who first knew them in Mannheim,
and married the third daughter. The father,
Fridolin, bom 1733 at Zell (in Breisgau)^
studied law at Freiburg, and succeeded his
father as bailiff of the Schonau estates. He was
a clever violinist, and the Elector Karl Theodor
invited him and his brother Franz Anton to
Mannheim, where however, according to Mo-
zart, he occupied quite a subordinate position
as copyist, prompter, and supernumerary vio-
linist in the band. In 1756 he married Marie
Cacilie Stamm of Mannheim. His brother, and
junior by a year, Franz Anton, was the father
of Carl Maria von Weber, who was thus Mozart's
first cousin by marriage. Mozart writing to his
father about Fridolin Weber's four daughters, says,
* I have never met before with such a variety of
dispositions in one family.' The eldest,
JoSEPHA, was a bravura singer, with a high
and flexible voice, but a poor musician. Mozart
wrote for her the part of the Queen of Night ia
the 'Zauberflote' and a bravura air (Kochel,
No. 580). She married in 1789 Hofer, violinist
at Schikaneder's theatre, and after his death
Meyer, a bass-singer, who sang Pizarro in ' Fi-
delio.' She died in 1820. The second,
Alotsia, born 1750, was Mozart's first love.
Her voice was exceptionally high, and extremely
pleasant in tone, though perhaps rather weak for
the stage. In 1780 she was engaged for the
opera in Vienna, and married an actor at the
court theatre, named Lange, who died in 1827.
Mme. Lange made several professional tours be-
fore her final retirement in 1808. She died at
Salzburg in 1839. Mozart wrote for her tho
part of Constanze in the ' Entfuhrung,' 6 airs
(Kochel, Nos. 294, 316, 383, 418, 419, 538),
and a rondo (No. 416).^ The third,
Constanze, bom 1763 at Zell, became Mo-
zart's wife. When the Archbishop of Salz-
burg dismissed Mozart from his household in
Vienna, the latter took up his abode with Frau
Weber (her husband had died of apoplexy), then
living with three of her daughters, Aloysia being
married, in a house called ' Zum Auge Gottes,' in
the Peters-Platz. Here began the love affair
which caused Mozart's father so much anxiety.
The marriage took place Aug. 4, 1782, and in
nine years Constanze was left a widow. For
the support of herself and children she made
several professional tours. In 1809 she married
a Danish official named Nissen,* but in iSaS
was again left a widow, and died at Salzburg
March 6, 1842.' The youngest of the four,
Sophie, bora 1764, also a talented singer,
married Haibl, tenor and composer, attached ta
Schikaneder's theatre. During widowhood she
lived with Constanze at Salzburg, and died there
in 1843. She was present at Mozart's death,
and in 1825 wrote, at Niesen's request, a touch-
ing account of the last sad moments. [C.F.P.]
» See ante, vol. 11. 387. 2 lb. U. 460. » lb. 11. 406.
430
WEBER'S LAST WALTZ.
WEBER'S LAST WALTZ— LetzterGedanke,
Dernifere Pens^e. The piece known by these
names and beginning thus, and once enormously
popular —
'1^^ j fa-^l I I I 11 I \ ^ ^ ^
'^ — '^ — T 1 — ^K — — — "
is not Weber's at all, but Reissiger's, and forms
no. 5 of his * Danses brillantes pour le PF.,'
written in 1822, and published by Peters of
Leipzig in 1824. The probable cause of its being
ascribed to Weber is that a MS. copy of it, given
by Reissiger to Weber on the eve of his departure
for London, was found among Weber's papers
after his death here. It has been also published
as a song — in Germany * Wie ich bin verwichen*;
in London as ' Weber's Farewell ' (Chappell),
* Song of the dying child ' (Cramer), etc. [G.]
WECHSELNOTE, DIE FUX'SCHE— Fux's
Changing-note. A term supposed to represent in
the Strict or ancient style of Counterpoint a very
striking 'licence,' of which Palestrina and his
contemporaries sometimes made use. The Third
Species of Simple Counterpoint — i. e. Four notes
figainst one — demanded that * discords by tran-
sition ' (or, as we should now say, Passing-notes)
should be approached and quitted by conjunct
degrees. In spite of this rule the composers of
that time allowed themselves to proceed by a
skip from the second or fourth note in the bar
(provided it be a discord) to the third below,
ascending afterwards to the note on which the
discord should properly have resolved itself.
The following examples show that this note can
appear in two different places in the bar ;—
Ex. 1.
Ex.2.
This licence was but rarely used by the old
masters, and rather as an interesting exception.
It has, however, given rise to much discussion
among theorists. Some admired it for its grace-
fulness, some objected to it. Under the name of
NotaCamhiata, Changing-note, and Wechselnote,
they have attempted to explain or justify it by
saying that the note which the composers had
skipped could be supplied by imagination, thus —
Ex.8.
But this explanation attempts to account for the
licence by a process contrary to the composers'
intentions, and even purposely avoided by them.
It may frequently be observed in the history of
the development of music, that able and gifted
musicians have chosen what is right by instinct,
regardless of its contradicting the then existing
rules. We, however, have a complete system
of harmony at our disposal — which the old 1
WECKERLIN.
masters had not — and can therefore regard the
licence as perfectly justifiable. We must now
remark that Examples i and a ought not to
come imder the same heading, as they have
often hitherto done ; each demands and admits
of a totally different and separate explanation.
According to our present musical terminology,
in neither case would the note marked * be
called a Changing-iwte. To us, in Ex. i, this
note would appear to be a Passing -note, which
proceeds regularly, though not immediately, to
the expected interval. B passes to A, inter-
rupted by G. Such interruptions are quite
familiar to us. A striking analogy in the music
of our time is to be found in the interrupted
resolution of another discord (though on a
different beat in the bar), namely the Suspen-
sion, which is of frequent occurrence nowadays ;
In Example a, on the contrary, the B * is, from
our point of view, nothing more than an Antici-
pation of the chord of G which immediately
follows. In this manner the figure can be well
explained, justified, or at least shown to be fully
admissible. In the course of time this melodic
phrase seems to have lost favour, for we seldom
find it used by later generations. By Bach,
Handel, and some of their successors, it is only
employed in recitatives, and even there it is
limited to the skip to the third below j an
Anticipation being the result.
Ex. 5.
The note in question (which is marked with a *
in our examples) is, harmonically regarded, a
major or minor seventh, although this does not
always appear at first sight. — As this note * has
been called by the old theorists Nota Cambiata
or Changing-note, and Fux in his *Gradus ad
Pamassum ' was the first to devote special and
careful attention to it, some modem writers
thought it advisable to name it the Fux'sche
Wechselnote, Fux's Changing-note, in distinction
to our modem 'Changing-note,* [F.L.]
WECKERLIN, Jeait Baptiste, bom at
Guebwiller in Alsace, Nov. 9, 1821, son of a
manufacturer. So strong were his musical in-
stincts, that though educated for trade, he ran
WECKERLIN.
away to Paris, and in 1844 entered the Conser-
vatoire, where he learned harmony under Elwai-t,
and composition under Hal^vy. Not succeeding
in the Institut examinations, he left the school,
and took to teaching and composition. Eager to
produce, and very industrious, he let slip no
opportunity of making himself known, and
attempted all branches of composition, though
soon finding that success at the theatre was out
of the question. Musical bibliography was
his main resource, and he brought to light
many curious old compositions, such as the
•Ballet comique de la Eeyne,' which was given
with others of the same class, at the concerts of
the Society de Sainte Cecile, of which he was
chorus-master from 1850 to 55.^ He also made
a fine collection of scarce books of poetry, with
airs in notation, and song- writers, which he
turned to account in his Collections of national
airs. In 1863 ^® was selected to form the
library of the newly-founded * Soci^t^ des Com-
positeurs de Musique,' and in 1869 was placed
by Auber in the Library of the Conservatoire,
of which he became head-librarian Sept. 9,
1876— a post which he still (1885) ^^ with
success.
His vocal and operatic works include 6 operas;
2 ode-symphonies ; 2 antique dramas ; a large
number of choruses for female voices and for
male do. ; 6 Quatuors de Salon ; various exten-
sive collections of pieces, and over 300 airs for
voice and PF. ; a Mass and sundry Motets.
His instrumental works comprise a Symphony
and Suite, both for full orchestra; arrange-
ments, etc.
His bibliographical works are as follows : —
• Chansons populaires des provinces de la
France' (i860), with Champfleury; *Les Echos
du Temps passe,' 3 vols. ; * Les Echos d'Angle-
terre'; 'Album de la Grandmaman,' 20 old
melodies; 'Chansons et Rondes pour les enfants'
(1885); 'Chansons de France pour les petits
Fran9ais ' (1885) ; * Ballet comique de la Reine * ;
Cambert's operas ' Pomone,' and ' Les Peines et
les Plaisirs de 1' Amour ' ; * Le Bourgeois Gen-
tilhomme,' divertissements by Molifere and Lully.
Various articles in the 'Bulletin de la Socidtd
des Compositeurs* ; ' Musiciana,' extracts fi:om
rare books (Paris, 1877) ; 'Chansons populaires
de I'Alsace,' 2 vols. (1883) ; and 'La Biblio-
thfeque du Conservatoire de musique,' i vol. 8vo
(1885), a catalogue raisonne of the books in the
Reserve.
He has still in MS. 400 airs and 25 operas, and
an 'Essai sur I'Histoire de I'lnstrumentation,'
commended by the Institut (1875). [G.C.]
WEDDING OF CAMACHO, THE (Die
Hochzeit des Gamacho). A comic opera in 2
acts ; words by Klingemann, after Don Quixote ;
music by Mendelssohn (op. 10) ; score dated
Aug. 10, 1825. Produced in the small theatre,
Berlin, April 29, 1827, and not performed a
second time. The music was published in PF.
score by Laue of Berlin. [See vol. ii. p. 259.] [G.]
> Seghen 0801—1881) was conductor.
WEELKES.
431
WEDNESDAY CONCERTS, London. These
concerts were established in 1848 at Exeter Hall
by Mr. Stammers, in order to give a miscel-
laneous musical entertainment at a cheap price
of admission. The prices charged were about
the same as are now paid at the Popular Con-
certs. The first series, consisting of fifteen con-
certs, began Nov. 22, were continued once a
week until Feb. 28, 1849. The second and third
series were continued until June 27, twenty-
seven having been given in all. There was a
small orchestra under Willy as leader, and
the programmes consisted of light overtures,
operatic selections, vocal and orchestral, ballads,
and light instrumental pieces. Occasionally more
important works were tried, such as Mendels-
sohn's Antigone, Rossini's Stabat Mater, or
Mendelssohn's G minor Concerto. A fourth
series of fifteen concerts was given, extending
from Oct. 24, 1849, to Jan. 30, 1850, and a
fifth was attempted, first under Mr. Stammers,
and afterwards under Mr. Jarrett, but twelve
of the fifteen only were given. The third and
fourth series showed some slight improvement in
the programmes ; the orchestra was increased
to forty, Herr Anschiitz was conductor, and sym-
phonies of Mozart and Haydn were occasion-
ally given in their entirety. For some reason or
other, in spite of the fine artists engaged, these
concerts failed then to hit the popular taste.
Among the artists who appeared must be named
Mesdames Birch, Dolby, Poole, M. and A. Wil-
liams, Angri, Jetty Treffz, Rainforth, Mr. and
Mrs. Sims Reeves, Braham, Ronconi, Pischek,
Formes, etc., vocalists ; Miss Kate Loder, Thal-
berg, Billet, Sainton, Ernst, Vivier, Maycock,
Lavigne, Distin and sons, instrumentalists; for
the recitation of the Antigone, Mr. and Miss
Vandenhofi", George Bennett, etc. [A.C.]
WEELKES, Thomas, Mus. Bac, one of the
most distinguished of English madrigal writers,
published in 1597 a set of ' Madrigals to 3, 4, 5
and 6 Voyces,' which he described in the dedi-
cation as * the first fruicts of my barren ground.'
This was reprinted in score by the Musical An-
tiquarian Society under the editorship of Mr. (now
Dr.) E. J. Hopkins. In 1598 he published a set
of ' Ballets and Madrigals to five voyces, with one
to 6 voyces,' in the dedication of which he speaks
of his years being unripened. A second impres-
sion appeared in 1608. In 1600 he issued two
works, viz. ' Madrigals of 5 and 6 parts apt for
the Viols and Voyces,' and 'Madrigals of 6
parts, apt for the Viols and Voices,* describing
himself upon the title-pages of both as * of the
Coledge at Winchester Organist.' In 1601 he
contributed to * The Triumphes of Oriana ' the
fine madrigal ' As Vesta was from Latmos hill
descending.' In 1602 he took the degree of
Mus. Bac. at Oxford as of New College, his
Christian name being erroneously entered in the
University Register as 'William.' In 1608 he
published * Ayeres or Phantasticke Spirites for
three voices,' upon the title-page of which he
described himself as ' Gentleman of his Majesties
Chappell, Batchelar of Musicke, and Organist of
432
WEELKES.
the Cathedral Chvirch of Chichester,' but as his
name is not to be found in the Cheque-book of
the Chapel Royal it is doubtful whether he held
any regular appointment there. In 1614 he was
a contributor to Leighton's ' Teares or Lamenta-
cions.' His five published works contain 94
compositions distinguished by originality and ex-
cellent part-writing, as well as by a certain
characteristic stiffness ; many of them are still
popular and have been often reprinted. Amongst
them may be named * Lo ! country sports,' * To
shorten winter's sadness/ *In pride of May,*
* Sing we at pleasure,* and 'The nightingale.'
An anthem by him, * 0 Lord, grant the king,' is
printed in Barnard's collection ; and two others,
* All people clap your hands,' and * When David
heard that Absalom was slain,' are in the Collec-
tion of Anthems by Madrigal Composers pub-
lished by the Musical Antiquarian Society.
Eleven anthems more are in Barnard's MS.
collections in the Library of the Royal College
of Music. [W.H.H.]
WEHLT, or WEHLE, Karl, a brilliant pianist
known in London some years back, was the son
of a merchant in Prague, and bom March 1 7,
1825 ; learned the PF. under Moscheles and
KuUak, composed very much, and exhibited his
talent in Europe, America, Australia, India, etc.
Paris was for long his headquarters. The list
of his works given by Pougin comprises a Sonata
(op. 38), Impromptus (10, 73), Ballades (ii, 79),
Nocturnes, Waltzes, and Allegro hongroise (81),
etc., etc. [G.]
WEIGL, Joseph, a native of Bavaria, entered
Prince Esterhazy's band at Eisenstadt as first
cellist in 1 761, left in 1769 for the orchestra of
the Imperial Opera at Vienna, was admitted
member of the Imperial Chapel 1792, and died
Jan. 25, 1820, in his 79th year. He was a great
friend of Joseph Haydn, who stood godfather to
his eldest son,
Joseph, bom at Eisenstadt, March 28, 1766.
Joseph's first teacher was Sebastian Witzig,
choirmaster of Korneuburg, and later he studied
with Albrechtsberger and Salieri. At 16 he
wrote his first small opera * Die betrogene Arg-
list,' which was produced at Gluck's recom-
mendation, and secured him the favour of the
Emperor Joseph, of which he had henceforth
repeated proofs, including a present of 100 ducats
(about £50) for his first Italian opera • II Pazzo
per forza ' (1788). A letter of congratulation
written him by Haydn on the production of his
*Principessa d'Amalfi' is well known. Weigl
was also fortunate enough to gain admittance to
the performances of classical music under Mo-
zart's direction, at Baron van Swieten's house.
Salieri took a special interest in him, and em-
ployed him up to 1790 as assistant-conductor of
the National Court Theatre. In 1792 he became
composer to the Opera with a salary of 1,000
florins, then Capellmeister, and finally conductor.
This post he resigned in 1823, and in 1827 was
appointed ViceCourt-Capellmeister. Before that
date he had composed a series of operas, German
WEIGL.
and Italian, and ballets, many of which became
exceedingly popular. Amongst these, special
mention must be made of the 'Schweizer Familie*
(1809), which long kept the boards, and by its
pleasing melodies won all hearts. Reichardt*
gives a pointed description of Weigl : * he is a
really charming, affectionate, good-hearted Vien-
nese, and his eye and whole expression are
thoroughly in keeping with his tender, graceful,
pleasing melodies.' Other favourite operas were
* Das Waisenhaus,' • Nachtigall und Rabe,' * Der
Bergsturz,' * L'Amor Marinaro,' and * L'Uni-
forme.' Beethoven has preserved the air • Pria
ch'io impegno' in the 'Amor Marinaro' from
oblivion, by taking it as the theme for the
Finale of his Clarinet Trio, op. ii. [See vol. i.
1786]. L'Uniforme (libretto by Carpani) was
composed at the request of Maria Theresa, pro-
duced at Schonbrunn, and repeated in concert-
form (1805) with the Empress in the principal
part (Pauline). Treitschke translated it into
German, and * Die Uniform ' was given at both
court theatres, and in many foreign towns.
Weigl was a special favourite of the Empress
(to whom Beethoven dedicated his Septet), and
had to preside at the piano at all chamber- con-
certs, besides composing cantatas and small ballets
for many court festivities. He had an advan-
tageous offer for Stuttgart, but the Empress, to
retain him, made his appointment for life. Soon
after her death (1807) he accepted the post of
Capellmeister at Dresden, but the negotiations
were broken off^, and Morlacchi appointed in hia
stead.^ Weigl was twice invited to Milan to
compose for the Scala — in 1807, when he produced
two operas, * Cleopatra,' and * II rivale di s^
stesso, ' and 1 8 1 5, when he produ ced ' L'imboscata,'
and a cantata, 'II ritorno d'Astrea,' all with
great success. Of his earlier cantatas, * Minerva
e Flora* was given at Prince Auersperg's in
honour of a visit from the King and Queen of
Sicily (1791), and 'Venere ed Adone' at Ester-
haz in 1792, when the Archduke (afterwards
Emperor) Joseph was staying with Prince
Esterhazy at his country seat on the Neusied-
lersee. Haydn was at the time in London, so
Weigl was called upon to supply his place. This
cantata figured several times in the programmes
of the Tonkiinstler-Societat concerts. Of his two
oratorios, • La Passione di Gesti Cristo ' (libretto
by Carpani), first produced at Court (1804), was
performed at Prince Lobkowitz's, at the Burg
Theatre (181 1), at an extra concert of the Gesell-
schaft der Musikfreunde (1821), and in Prague
and Milan. After 1827 he wrote only for the
church, composing his last mass in his 71st year.
Weigl received many distinctions, amongst others
the large gold Ehrenmedaille (1839) ^^^ *^^
freedom of the city of Vienna. He was an
honorary member of the Conservatoire of Milan,
the St. Cecilia Academy of Rome, the Gesell-
schaft der Musikfreunde, and other musical
societies of Austria. He died Feb. 3, 1846.
His works include 13 Italian and 18 German
I 'Vertraute Briefe,' I. 21B.
s A letter from Grleslnger, dated Dresden, Feb. 11 1810.
WEIGL.
operas, 17 ballets, 2 oratorios, 12 Italian and 7
German cantatas, 9 masses, 6 graduales, 6 offer-
toires ; scenas in various laiiguages ; airs for in-
sertion in operas ; songs, airs and duets with PF.
accompaniment ; and various instrumental pieces.
His younger brother,
Thaddaus, born 1776, wrote a number of
operas and ballets for the Leopoldstadt Theatre
and the two Court Theatres, and was at one
time Capellmeister and director of the musical
archives of the Court Theatre. His name lives,
however, not as a musician, but as a music
publisher. He set up in business in 1801, and
devoted himself chiefly to supporting the * Kunst-
und Industrie Comptoir' in its endeavour to
establish a home-trade in music, for which Haydn
gave him a flattering testimonial (dated Eisen-
stadt 1801). After the production of his last
ballet, 'Bacchus und Ariadne' (Dec. 1803), ^e
withdrew from the theatre, and occupied himself
entirely with his business till 1826, when he re-
signed it to his second son Peter. Later it
passed into Diabelli's hands. Thaddaus Weigl
published Schubert's ops. 57, 58, 88, 95, and
130. [C.F.P.]
WEINLIG, Christian Theodor, born at
Dresden, July 25, 1780, was instructed first by
his uncle, Christian Ehregott — who as a scholar
of HoMiLius had the Bach traditions — and then
by Padre Mattel at Bologna. In 1823 he suc-
ceeded ScHiCHT as Cantor of the Thomas-School
at Leipzig, and remained there till his death,
March 7, 1842, when lie was followed by
Hauptmann. He published a German Magnifi-
cat for solos, chorus, and orchestra, and some
singing exercises. But it is as a teacher of
theory and as the master of Wagner for six
months in 1830, that his name will be remem-
bered. Wagner has left his recollections of
Weinlig's teaching on record in words which
deserve to be pondered by all teachers of theory.
[See Wagner, vol. iv. p. 347 a.] [G.]
WEISS, Franz, born in Silesia Jan. 18, 1778,
died at Vienna Jan. 25, 1830, a distinguished
viola-player, and long a member of the celebrated
string-quartet maintained by Prince Rasoumow-
sky^ at his palace in Vienna. By these distin-
guished players most of Beethoven's quartets
were studied for the first time, Schuppanzigh ^
taking the first violin, the Prince himself the
second, and Linke the cello. Weiss was also
a composer of merit, and published, among other
works, •Variations brillantes' for violin and
orchestra, op. 13 (Vienna, Artaria), quartet
(Vienna, Haslinger, and Ofienbach, Andre), and
duets for flutes and for violins, and PF. sonatas.
A symphony of his for flute, bassoon, and trumpet
concertantewith orchestra, was played with great
success by the brothers Alois, Joseph, and Anton
Khayll. [C.F.P.]
WEISS, WiLLOUGHBT HuNTER, bom April 3,
1820, at Liverpool, son of Willoughby Gaspard
Weiss, professor of the flute and music-publisher.
He learnt singing from Sir George Smart and
I See vol. ill. 77. I Ibid. 424.
VOL. IV. PT. 4.
WEISSENBACH
433
Balfe, and on May 12, 1842, made his first ap-
pearance in public at a concert of his own at
Liverpool. He next sang in London at the con-
certs of Balfe, Thalberg, etc., and then joined
the farewell tour of Miss Adelaide Kemble, and
made a successful dibut on the stage at Dublin
July 2, as Oroveso in 'Norma.' On Dec. 26 he
made his first London appearance in opera at
the Princess's as the Count in an English ver-
sion of ' Sonnambula.' He established a reputa-
tion both as an operatic and concert singer. In
the former capacity he sang in the various en-
terprises of Bunn, Maddox, JuUien, Pyne &
Harrison, and the English Opera Company
Limited, and in various operas of Auber, Balfe,
Benedict, Hatton, Macfarren, etc. But he ex-
celled in oratorio, in which his rich voice and
musicianly feeling showed to advantage. He
made his first appearance in oratorio in 1 844 at
the Gloucester Festival, and was continually en-
gaged at the London oratorio concerts and" pro-
vincial festivals until close upon his death, Oct.
24, 1867. Weiss also composed songs and bal-
lads, of which 'The Village Blacksmith' has
become very popular. He also arranged a PF.
edition of Weber's Mass in G. His wife,
Georgina Ansell, whose maiden name was
Barrett, was born in 1826 at Gloucester, the
daughter of a professor of music of that city.
She was a pupil at the Hoyal Academy of Music
(1842-45), and first attracted notice at theGlou-
cester Festival of 1844. On Sept. 15, 1845, she
married Weiss. On Dec. 20, 1847, she made her
first appearance on the stage at Drury Lane as
Queen Elizabeth in Balfe's 'Maid of Honour,'
and was afterwards engaged at the Princess's
and Co vent Garden (1864-5). She failed to
maintain the great promise of her early career,
and became a useful second-class singer. She
married again, Feb. 13, 1872, Mr. C. Davis of
New Maiden, Surrey, and died at Brighton Nov.
6, 1880. [A.C.]
WEISSENBACH, Aloys, born at Telfs.
Tyrol, March i, 1766, died at Salzburg Oct.
26, 1 82 1, entered the Austrian army as assistant-
surgeon before he was twenty, and had risen to
the highest rank in that service when, in 1804,
he was called by Archduke Ferdinand, then
Archbishop of Salzburg, to the professorship of
surgery in the University there, a position which
he held with very great reputation to his death.
Weissenbach held an honourable place among
the periodical writers of his day ; composed
dramas, one of which (Die Brautkranz) was
acted at Vienna in 1809; and specially distin-
guished himself, 181 2-14, by his patriotic poems.
He receives a place here as author of the text to
Beethoven's * Glorreiche Augenblick,' and for his
notices of the composer in his account of his visit
to Vienna at the time of the Congress of 1814.'
That "Weissenbach was an enthusiastic admirer of
Beethoven (says Graeffar) is a matter of coarse. Their
natures were akin, even physically ; for the one was as
hard of hearing as the other, and both were manly,
frank, open, upright characters. Just as Weissenbach
• 'Meine BeiM zum Oongresi.'
Ff
484
WEISSENBACH.
came to Vienna, in 1814, ' Fidelio ' was given. An inex-
pressible longing filled him to make the personal ac-
quaintance of its composer. Returning to his lodging,
there on the table was a card of invitation from Bee-
thoven, who had called on him. Next day it was hand
and kiss with them. After this one often met them at
table in the parterre dining-room of the Kfimische Kaiser
Hotel. But it made one sad to hear them shout so to
each other, and there was little enjoyment in meeting
them. Singular, that in a smaller room, like that of the
Rose Inn in the Wollzeile, Weissenbach heard much
better, and spoke more freely and easily. He was a man
full of matter ; a most kindly, lively, lovable companion ;
a blooming, elderly person, always neatly and elegantly
clad. How learned as a physician he was will not be
forgotten. [A.W.T.]
WEIST-HILL, Henet, was bom in London
in 1830; was taught violin-playing by Sainton
at the Royal Academy of Music, and in 1845
was elected King's Scholar. He first appeared
at an Academy Concert in 1847, in Spohr's 9th
Concerto, and subsequently went to America,
where he introduced Mendelssohn's Violin Con-
certo. He afterwards undertook a professional
tour in Europe, and in 1849 became a member
of Costa's band at the Royal Italian Opera
and elsewhere. In 1871 he followed his old
conductor to Drury Lane, where he filled
the post of Director of the Ballet Music, and
then to Her Majesty's till 1879.^ In 1874-76
he was Conductor at the Alexandra Palace,
and displayed great energy in that depart-
ment, giving performances of Handel's 'Esther'
and 'Susanna,' Gade's 'Spring Fantasia,' Ber-
lioz's * Danse des Sylphes,' compositions of Saint-
Saens, etc. Mr. Hill introduced to the British
public the works of Bizet and Massenet, the
former by his Symphony 'Roma,' and 'Patrie'
Overture, the 'Arlesienne' Suite, and Ballet
music, ' Fair Maid of Perth ' ; the latter by his
'Scenes pittoresques.' British composers were
invited by the Alexandra Palace Company to com-
pete for the composition of the two best sympho-
nies, and the prizes were awarded to Mr. F. G.
Davenport and Mr. C. V. Stanford by Professors
Joachim and G. A. Macfarren, as judges. In
i878-79he was conductor of Mme. Viard-Louis's
orchestral concerts, and gained much reputa-
tion for himself and his orchestra during the
short term of their existence. Among the novel-
ties produced were Svendsen's ist Symphony ;
Salvayre's Stabat Mater, and ' Fandango ' Bal-
let ; Cherubini's ' Ali Baba ' Ballet ; Davenport's
'Twelfth Night' Overture; 'The Rivulet,' by
Corder; Danse Macabre by Saint-Saens ; Berlioz-
selections and works by Bourgault-Ducoudray
and Gevaert. Massenet also conducted his orches-
tral suite, called 'Shakespeare,' April 30, 1878,
on his first appearance in England, and again on
Dec. 1 7, 1878. Goetz was first introduced to the
British public by his only Symphony. — In 1880
Mr. Weist-Hill was appointed Principal of the
Guildhall School of Music. This post he still
retains, and under his energetic direction the
number of pupils has risen to upwards of
2500. [A.C.]
WELCH, John Bacon, well-known teacher
of singing, bom at Pattishall Vicarage, North-
I In 1878 he conducted at Her Uajesty's the winter Miuion
of Englisb open.
WELCKER V. GONTERSHAUSEN.
ampton, Dec. 26, 1839. He began his musical
education in London, and in 186 1 went to Milan,
and studied for three years under Signer Nava.
Ultimately he settled in London, where he has
a large number of private pupils, and is Professor
of Singing at the Guildhall School of Music.
Among his most successful pupils may be men-
tioned Miss Anna Williams, Miss A. Marriott,
Miss Santley (now Hon. Mrs. R. Lyttelton), Mr.
H. Blower, Mr. Bridson, Mr. Brereton, Mr. H.
Piercy. [G.]
WELCKER VON GONTERSHAUSEN,
Heinrich, Court pianoforte maker to the Grand
Duke of Hesse, and a writer on the construction
and history of musical instruments, particularly
the pianoforte, was bom at Gontershausen, a
village in the Grand Duchy of Hesse Darmstadt,
in the year 181 1. He died at Darmstadt, June
I5j 1873- His published works include : —
1. Die musikalischen Tonwerkzeuge in technischen
Zeichnungen aller Saiten-, Bias-, Schlag-, und Frictions-
Instrumente, mit spezieller Beschreibung ihres Baues,
Tonumfangs, und fasslicher Angabe ihrer Behandlung
und Erhaltung. Idit 160 Abhildungen. Frankfurt am
Main.
2. Der Fltlgel oder die BeschafTenheit des Pianos in
alien Formen. Eine umfassende Darstellung der Forte-
Piano-Baukunst vom Entstehen bis zu den neuesten
Verbesserungen mit specieller Hinweisung auf die
rationelle Praxis flir Bearbeitung und Zusammensetz-
ung der Mechanismen, nebst grlindlicher Anweisung
zur Intonirung, Stimmung, und Saitenbemessung. Mit
75 Zeichnungen. Frankfurt am Main (neue vermehrte
Ausgabe, 1856).
3. JDie Clavierbau in seiner Theorie, Technik und
Geschichte, unter Hinweisung seiner Beziehungen zu
den Gesetzen der Akustik. Mit 91 Abhildungen.
Frankfurt am Main (vierte mit einem Nachtrag ver-
mehrte Ausgabe, 1870).
4. Ueber den Bau der Saiteninstrumente und deren
Akustik, nebst Uebersicht der Enstehung und Verbes-
serung der Orgel. Ein Anhang zum Clavierbau in
seiner Theorie, Technik und Geschichte. Frankfurt
am Main, 1870.
Or in English : —
1. Technical drawings of musical instruments, whether
string, wind, percussion, or friction; with special de-
scriptions of their construction and compass, and an
intelligible statement of their treatment and preserva-
tion. With 160 illustrations. Frankfort.
2. The Grand Piano, or the manufacture of the piano
in all forms. A comprehensive explanation of Piano-
forte construction from its origin up to the latest im-
provements, with special reference to the rational
practice of making and setting up the action, together
with well-grounded instructions for Toning, Tuning,
and Stringing. With 75 drawings. Frankfort (new
enlarged edition, 1856).
3. Pianoforte-making In its theory, practice, and his-
tory, with reference to its relations with the laws of
Acoustics. With 91 illustrations. Frankfort (Fourth
edition, with an ethnological and historical supplement
dealing with the musical instruments of the Chinese
and other Eastern nations, the Egyptians, Hebrews,
Greeks, Romans. Gauls, etc.).
4. On the construction of stringed instruments and
their acoustical explanation, togetner with a survey of
the origin and improvement of the Organ. An appendix
to Pianoforte-making in its theory, practice, and history.
Frankfort, 1870.
These very meritorious works bear witness to
Welcker's great industry. They are not, however,
to be always accepted as authorities, and a com-
parison of the * Clavierbau* with the 'Flilgel'
shows that the earlier works, for which he had
presumably his note-books at hand, are more
trustworthy than the later ones. Where reference
to them is made in this Dictionary it has been with
due correction, if necessary. [A. J.H.]
WELDON.
WELDON, Geokgina, was born at Clapham,
May 24, 1837. Her maiden name was Thomas,
which was afterwards changed to Treherne.
On April 21, i860, she married Captain Weldon,
of the 1 8th Hussars. For many years she was
known in society as the possessor of a lovely
voice, but she afterwards adopted music as
a profession on charitable grounds, and made
her first appearance in public in 1870. She
undertook a tour in Wales with her pupil, Miss
Gwendoline Jones, and became a member of
Leslie's choir, in which she sang the solo in
Mendelssohn's 'Hear my prayer,' on March 9,
1 87 1. She afterwards sang at the Popular Con-
certs, the Crystal Palace, the Philharmonic, and
elsewhere. In 1872 she took the solo soprano
part in Gounod's * Gallia ' at Notre Dame, the
OpdraComique and the Conservatoire, Paris. Her
romantic friendship with Gounod is well known.
She assisted in training his choir in London,
and established an orphanage at her residence,
in order to give musical instruction to poor
children, with objects and on principles which
she has fully described in a letter to the
♦ Menestrel,' and with a zeal and energy rarely
equalled. She also published songs by Gounod
and other composers in aid of her orphanage,
among which mention must be made of Clay's
beautiful setting of * The Sands o' Dee.' She has
also composed songs translated from the French
by herself, viz. ' Choses du Soir,' * Le Chant du
Passereau,' *Le petit Garfon et le Nid du Rouge-
gorge ' ; also * The Brook ' (poetry by Tennyson),
etc. In 1879 she sang at Riviere's Promenade
Concerts, with a female choir trained and directed
by herself. This ti-ansaction gave rise to a pro-
tracted law-suit, which was matter of consider-
able notoriety. Her last professional engagement
was at a popular music hall in 1884, where her
selection of songs was of a higher order than its
habituds are accustomed to hear. Other points
in Mrs. Weldon's chequered career, not being
connected with music, cannot be touched upon
in this Dictionary. [A.C.]
WELDON, John, born at Chichester, was
educated at Eton College, and whilst there
studied music under John Walter, the college
organist. He afterwards became a pupil of
Henry Purcell. In 1694 he was appointed
organist of New College, Oxford. In 1700 he
gained the first of the four prizes offered for
the best compositions of Congreve's masque,
*The Judgment of Paris,' the others being
awarded to John Eccles, Daniel Puecell,
and Godfrey Finger. [See those names.]
Weldon's music was not printed, and is now
unknown, with the exception of Juno's song,
* Let ambition fire thy mind,' the air of which
was adapted by Arne to the opening duet of
' Love in a Village.' On June 6, 1701, Weldon
was sworn in a Gentleman extraordinary of the
Chapel Royal. In 1702 he resigned his appoint-
ment at New College. Upon the death of
Dr. Blow in 1708, Weldon was appointed his
successor as organist of the Chapel Royal, and
on Aug. 8, 1 71 5, upon the establishment of a
WELSH MUSIC.
435
second composer's place there he was sworn
into it. He was also organist of St. Bride's,
Fleet Street and in 1726 was appointed to the
same office at St. Martin's-in-the-Fields. He
died May 7, 1736, and was buried in the
churchyard of St. Paul, Covent Garden. Wel-
don's principal compositions are for the Church ;
he published, under the title of 'Divine Har-
mony,' six solo anthems composed for Richard
Elford; other anthems are printed in the col-
lections of Boyce, Arnold, and Page, and many
are still in manuscript in the books of the
Chapel Royal and some of the cathedrals. The
two anthems printed by Boyce — *In Thee,
0 Lord,' and * Hear my crying,' — are admirable
compositions, combining pure melody, fine har-
mony, and just expression. They have a certain
anticipation of the sweet natural melody of Stern-
dale Bennett. Weldon published three books
of his songs, and many other songs are contained
in the collections of the period. A song by him,
*From grave lessons,' is printed in Hawkins's
History. [W.H.H.]
WELL - TEMPERED CLAVIER. [See
Wohltemperirte Klavier.]
WELSH MUSIC. With regard to the source
whence the ancient Britons derived their music
and musical instruments, the general belief in the
Principality is that they were brought from the
East, either by the inhabitants in their original
migration, or by the Phoenicians, who, as is
well known, had commercial intercourse with
Britain from the earliest times. Of this however
there is no historical proof, nor do the arguments
sometimes adduced from an alleged similarity of
musical terms in Hebrew and Welsh bear the
test of examination.
In ancient Welsh works, * to 'platj upon the
harp' is expressed 'to sing upon the harp' —
Canu ar y Delyn. The same expression is used in
regard to the Crwth, an old Welsh instrument,
which was so popular in Britain in olden times
as to have been mistaken, by historians of the 6th
century, for its national instrument. [Crwth.]
The harp, of all instruments, is the one which
has been held in the most general esteem, and
has for ages been the companion of Prophet,
King, Bard, and Minstrel. In the 7th century,
according to the Venerable Bede, it was so
generally played in Britain that it was customary
to hand it from one to another at entertainments ;
and he mentions one who, ashamed that he could
not play upon it, slunk away lest he should expose
his ignorance. In such honour was it held in
Wales that a slave might not practise upon it ;
while to play upon the instrument was an indis-
pensable qualification of a gentleman. The an-
cient laws of Hywel Dda mention three kinds of
harps : — the harp of the King ; the harp of a
Pencerdd, or master of music ; and the harp of
a Nobleman. A professor of this instrument en-
joyed many privileges ; his lands were free, and
his person sacred.
With regard to the antiquity of the Welsh
music now extant, it is difficult to form a con-
jecture, excepting when history and tradition
Ff 2
436
WELSH MUSIC.
coincide, as in the case of the plaintive air ' Morva
Rhuddlan' (Rhuddlan Marsh). 'At this time,'
says Parry in his 'Royal Visits,' * a general action
took place between these parties, upon Rhuddlan
Marsh, Flintshire. The Welsh, who were com-
manded in this memorable conflict by Caradoc,
King of North Wales, were defeated with dread-
ful slaughter, and their leader was killed on the
field. All who fell into the hands of the Saxon
Prince were ordered to be massacred. According
to tradition, the Welsh who escaped the sword
of the conqueror, in their precipitous flight across
the marsh, perished in the water by the flowing of
the tide.' Tradition says that the plaintive melody,
• Morva Rhuddlan,' was composed by Caradoc's
Bard immediately after the battle, a.d. 795.
Morva Rhuddlan. (The Plain of Rhuddlan.)
Mournfully,
One of the finest melodies of this class is
Davydd y Garreg Wen — David of the White
Rock ; and although there is no historical account
concerning it, it is, nevertheless, supposed to be
very ancient. Tradition says that a Bard of this
name, lying on his deathbed, called for his harp,
composed this touching melody, and desired that
it should be played at his funeral.
Davydd y Qarreg Wen. (David of the White Rock.)
m I Lj I~ I LLrP-* F- — ^Fi — t=l=: =
WELSH MUSIC.
The following is also one of the most pathetic
melodies, and supposed to be very ancieut.
Torriad y Dydd.
Andante.
±
(The Dawn of Day.)
There is no denying that Welsh music is more
artistic than either that of the Scotch or the
Irish, and on that account it may, to a superficial
observer, appear more modern ; but to those who
are acquainted with the harp, the national in-
strument of Wales, with its perfect diatonic scale,
the apparent inconsistency disapj>ears. This is
admitted by the most eminent writers on music,
among others, by Dr. Crotch. In the first volume
of his Specimens^ of the various styles of music,
referred to in his course of lectures, he writes as
follows : —
British and "Welsh music may be considered as one,
since the original British music was, with the inhabi-
tants, driven into Wales. It must be owned that the
regular measure and diatonic scale of the Welsh music is
more congenial to the English taste in general, and ap-
pears at first more natural to experienced musiciansi.
than those of the Irish and Scotch. Welsh music not
only solicits an accompaniment, but, being chiefly com-
posed for the harp, is usually found with one; and,
indeed, in harp tunes, there are often solo passages for
the bass as well as for the treble. It often resembles
the scientific music of the 17th and 18th centuries, and
there is, I believe, no probability that this degree of
refinement was an introduction of later times. . . . The'
military music of the Welsh seems superior to that of
any other nation. ... In the Welsh marches, ' The March
of the men of Hatlech,' ' Captain Morgan's March,' and
also a tune called 'Come to Battle,' there is not too
much noise, nor is there vulgarity nor yet misplaced
science. They have a sufiBciency of rhythm without it*
injuring the dignified character of the whole.
We give the melodies of the three marches
mentioned.
Rhyfelgyrch Gtoyr Harlech. (March of the Men of Harlech.)2
■hz
i
1 See vol. in. p. 648-650.
2 Many alterations have recently crept Into the ordinary verslont-
of this tune ; but the above is the form In which it Is given by
Edward Jones In his ' Rellcks of the Welsh Bards.' 1794.
WELSH MUSIC.
WELSH MUSIC.
437
Rhyfelgyrch Cadpen Morgan. (Captain Morgan's March.)
i^^^^^Pl
Detvch i'r Frwydr. (Come to Battle.)
i
pSEi
W
^
==&
e
1^
^=P
zst
'=^-^1
:^^4z.JEg
E^
^
-f^-^"
-f^-F=]-[^— j^
The Welsh are specially rich in Pastoral
Music, which is graceful, melodious, and un-
affected. It is chiefly written for the voice, and
the subject of the words is generally taken from
the beauties of Nature, with an admixture of
Love. The collection is so numerous, that it is
no easy matter to make a selection; however,
the following specimens will serve to show the
natural beauty of these melodies : —
Codiad yr Hedydd. (The Rising of the Lark.)
Moderato, fmm^i^m
i
s
3tz!!:
P^
^^ I f rn I M" La' mSU
Bugeilio'r Gwenith Gwyn. (Watching the Wheat.)
Andante.
J*u^'^^__-z:ifi;rj^.
tsntzint
Andante.
Mentra Gwen. (Venture Gwen.)
The following melody has the peculiarity of
each part ending on the fourth of the key.
Dadle Dau. (Flaunting Two.)
Cheerfully.
^^=^
_^_^_
5sEa^3?33?=*^
Of the Dance Music of the Welsh, the Jig ap-
pears to be the favourite. Of these there are
many interesting examples, from which the fol-
lowing are selected : —
IJqffedd Modryb Marged. (Aunt Margaret's Favourite.)
Up.
Gyrrti'r B^d o'm Blaen. (Drive the World before us.)
-P-P-*-
438
WELSH MUSIC.
The most remarkable feature in connection
with Welsh music is that of Penillion singing, —
singing of epigrammatic stanzas, extemporaneous
or otherwise, to the accompaniment of one of the
old melodies, of which there are many, very
marked in character, expressly composed or
chosen on account of their adaptability for the
purpose, and played upon the harp. This prac-
tice is peculiar to the Welsh, and is said to date
from the time of the Druids, who imparted their
learning orally, through the medium of Penillion.
The word Penill is derived from Pen, a head;
and because these stanzas flowed extempore from,
and were treasured in the head, without being
committed to paper, they were called Penillion.
Many of the Welsh have their memories stored
with hundreds of them ; some of which they have
always ready in answer to almost any subject
that can be proposed ; or, like the Improvisatore
of Italy, they sihg extempore verses; and a
person conversant in this art readily produces a
Penill apposite to the last that was sung. But
in order to be able to do this, he must be con-
versant with the twenty-four metres of Welsh
poetry. The subjects afibrd a great deal of mirth.
Some of these are jocular, others farcical, but
most of them amorous. It is not the best vocalist
who is considered to excel most in this style of
epigrammatical singing ; but the one who has the
strongest sense of rhythm, and can give most
effect and humour to the salient points of the
stanza — not unlike the parlante singing of the
Italians in comic opera. The singers continue
to take up their Penill alternately with the harp
without intermission, never repeating the same
stanza (for that would forfeit the honour of being
held first in the contest), and whichever metre
the first singer starts with must be strictly
adhered to by those who follow. The metres of
these stanzas are various; a stanza containing
from three to nine verses, and a verse consisting
of a certain number of syllables, from two to eight.
One of these metres is the Triban, or triplet;
another, the Atodl Gi/wydd, or H4n Ganiad,—
WELSH MUSIC.
the ode-measure or the ancient strain ; another,
what in English poetry would be called anapaestic.
There are two kinds of Penillion singing ; the
most simple being where the singer adapts his
words to the melody, in which case words and
music are so arranged as to allow of a burden, or
response in chorus, at the end of each line of the
stanza, as in the following example : —
With spiriL ^^' ^"^«"- ^^"^ ^'^'* ^^®-)
Solo. Chorus.
Hob y Deri Danno. (Away, my herd, to the Oaken Grove.)
As sung in North "Wales.
Cheerfully. Solo Burden
I
p f
Solo Burden
^-t*-
S
£E
^0I0
-F — i— •— r--t^ -t-tiT-r-F- T-F- f r F- ■
rg g^ ^—^^-: \ > ^ r^
Burden
Hob y Deri Dando. (Away, my herd, under the Green Oak.y
The same song as sung in South Wales.
Cheerfully. Solo Burden
• •!!.•
Burden
rt=-t
^
The most difficult form of Penillion sing-
ing is where the singer does not follow the
melody implicitly, but recites his lines on any
note that may be in keeping with the liarmony of
the melody, which renders him indifferent as to
WELSH MUSIC.
whether the harper plays the air or any kind of
variation upon it, as long as he keeps to the
fundamental harmony. In this style of Penillion
singing there is no burden or chorus, the singer
having the whole of the melody to himself, first
and second part repeated. What renders it more
diflBcult, is the rule that he must not begin
with the melody, but, according to the length of
the metre of his stanza, must join the melody at
such a point as will enable him to end with it.
The following examples admit of the introduc-
tion of two of the most famous melodies in con-
nection with this style of singing.
Air. ' Pen Rhaw* (The name of a Harper.) i Penillion.
3Ioderato.
Voice.
WELSH MUSIC.
439
Air. « Serch HudoV (Love's Fascination.) Penillion,
Spirited.
1 Dr. Bhys's Grammar makes mention of a Bard named Gruffydd
Ben Bhaw ; and probably this tune was composed about the begin-
ning of the 15th century, or at least acquired this title at that time.—
Edward Jones' Belief cffihe Welth Bards, p. 165.
440
WELSH MUSIC.
WELSH MUSIC.
Until within the present century, very little
Welsh music was known beyond the Principality ;
and even then, for the most part, through an un-
favourable medium. For example, the graceful
• Llwyn onn ' (The Ash Grove), appeared in a
mutilated form as 'Cease your ftinning,' in Gay's
* Beggar's Opera,' a.d. 1728.
Llvoyn onn. (The Ash Grove.)
:i=t
q^t
=F=F
\ r I ■ — p I r I uj —I — I — k: TfM
M ■-»-• ' M 1 1 . J ■ 1 m 1 1 1
SEiEl
Gay's version, as ' Cease pour funning.'
m
w
j— .'—!.-?-
irta
^^
rr-r
^
The melodious 'Clychau Aberdyfi' (The Bells
of Aberdovey) was caricatured in Charles Dib-
din's play 'Liberty Hall,' a.d. 1785.
Clychau Aberdyfi. (The Bells of Aberdovey.)
Lively.
TTTJ^^T^ ^ .^ ^.
^.£=f^:L^[r^^i^Z4\
The bold and warlike strain, *Y Gadlys'
(The Camp), suffered the degradation of being
wedded to Tom Durfey's doggrel song 'Of noble
race was Shenkin,' introduced into 'The Rich-
mond Heiress,' a.d. 1693.
Y Oddlys. (The Camp.)
I I I I J
, Tj-I m I 1—4—^
-w-rrw
is^
^^^^^
- ^ I -g-F-i * f T— .— >J
The beautiful little melody, *Ar hyd y nos'
(All through the Night), was introduced into a
burlesque, under the title of ' Ah ! hide your
nose.' It is often known as ' Poor Mary Ann.'
Ar hyd y nos. (All through the Night).
Slowlv.
Even Handel was not above introducing the
spirited air, ' Codiad yr Haul* (The Rising of the
Sun), into 'Acis and Galatea,' as a duet and
chorus, under the title of ' Happy, happy we.*
The following is the original air : —
r. .'): rirT'Trrpiyr^r^-iLJ
WELSH MUSIC.
WELSH MUSIC.
441
I m
-r^^teTftlrTgrffn^l
Handel's version is as follows : —
Happ!/, happy we, (Duet.)
Presto. fr
Hap-py. hap - py,
The opening bar of the chorus imitates tht
original melody still more closely : —
Handel also turned this air into a gigue (' Suites
de Pieces,' ist collection, p. 43, Leipzig edition).
But it must be admitted that the beauty of
the original theme has been greatly enhanced by
his masterly treatment.
According to a Welsh manuscript of the time
of Charles I, now in the British Museum —
which though itself of the 1 7 th century was doubt-
less copied or compiled from earlier records ^ —
Gryffudd ab Cynan, King of North Wales, held
a congress, in the nth century, for the purpose
of reforming the order of the Welsh bards, and
invited several of the fraternity from Ireland to
assist in carrying out the contemplated reforms ;
the most important of which appears to have
been the separation of the professions of bard
and minstrel — in other words, of poetry and
music ; both of which had before been united
in one and the same person. The next was
the revision of the rules for the composition and
performance of music. The ' 24 musical measures'
were permanently established, as well as a num-
ber of keys, scales, etc. ; and it was decreed that
henceforth all compositions were to be written
in accordance with those enactments ; and that
none but those who were conversant with the
rules should be considered thorough musicians,
or competent to undertake the instruction of
others.
In this manuscript will also be found some
of the most ancient pieces of music of the
Britons, supposed to have been handed down
from the ancient bards. The whole of the music
is written for the Crwth, in a system of notation
by the letters of the alphabet, with merely one
line to divide bass and treble. Dr. Burney, after
a life-long research into the musical notation of
ancient nations, gives the following as the re-
sult : —
It does not appear from history that the Egyptians,
Phoenicians, Hebrews, or any ancient people \viio culti-
vated the arts, except the Greeks and Komans, had
musical cliaracters ; and these had no other symbols of
sound than the letters of the alphabet, which likewise
served them for arithmetical numbers and chronological
dates.
The system of notation in the manuscript
resembles that of Pope Gregory in the 6th
century, and may have found its way into this
country when he sent Augustine into Britain to
reform the abuses which had crept into the
services of the western churches.
St. Gregory's Notation.
A, B, C, D, E, F, G, a, b, c, d, e, f, g, aa, bb,
cc, dd, ee, fF, gg.
Notation in the Ancient Welsh Manuscript,
cc dd ee IF gi ai b| C| d| Ci f| g a b c d e f
g* a* b" c* d* e* f-
A close resemblance to the ancient Welsh
notation is to be found in a work entitled
Musurgia,
praxis musicae, illius primo
quae Instrumentis agitur certa ratio, ah Otto-
1 The prose contained In the MS. Is to be found In Dr. John David
Ehys's Welsh and Latin Grammar of 1592.
2 Not to be confounded with the 'Musurgia' of Klrcher. [See
vol. 11. p. 438.] Othmar Luscinlus was a learned Benedictine monk,
and native of Strassburg. His work is In two parts; the first con-
taining a description of the Musical Instruments in his time, and
the other the rudiments of the science. To these are added two
commeutaries, cuntainiug the precepts of polyphonic music.
442
WELSH MUSIC.
WELSH MUSIC.
maro Luscinio Argentino duobus Lihris absoluta.
Argentorati apud loannem Schottum, Anno
Christi, 1536. The following is a facsimile
of the specimen alluded to, as applied to the
keys of the organ (which instrument was in-
vented about the middle of the 7th century),
with additional marks for the flats and sharps,
in keeping with the rest of the notation :—
m
fe G« b
n
C« de
f e Ge b
n
C« de
f|g|a|j c|d|e f|g|a|l? c|d|e fjg|a|b cc|dd)ee fFJgg
m
feG« b
M
ccdd«
T
The circumstance of Irish names being
attached to the 24 musical measures in the
British Museum MS. alluded to, has led to
the erroneous conclusion that Wales derived the
whole of her music from Ireland, at the time
of Gryffudd ab Cynan ; when, as is alleged,
the measures were constructed. Even Welsh
chroniclers, such as Giraldus Cambrensis, Caradoc,
Powel, and others, have made this statement in
their works upon the strength of the circumstance
alluded to; it is, therefore, not surprising that
Gunn, Walker, Bunting, Sir John Hawkins,
and other modern writers, should have been de-
ceived by relying upon such apparently good
authority. But, independently of the extreme
dissimilarity of the Welsh and Irish music that
has been handed down to us, it happens that
other parts of the document bear ample testi-
mony to the contrary. The Welsh had their
24 metres (or measures) in poetry, as well as
their 24 athletic games ; and the following
circumstance is in favour of their possessing their
musical measures centuries prior to Gryffudd ab
Cynan. Among the ancient pieces included in
the manuscript, is one bearing the following title,
and written in one of the 24 measures — Mac Mwn
hyr — Gosteg yr JSalen (* Prelude to the Salt ' ), and
at the end is the following account concerning it :
* Tervyn Gosteg yr Halen, yr hon a vyddid yn ei
chanu o vlaen Marchogion Arthur pan roidy Salter
a'r halen ar y bwrdd ' — 'Here ends the Prelude
to the Salt, which used to be performed before
the Knights of King Arthur, when the Salt-cellar
was placed on the table ' — that is, if the tradition
can be sustained, the middle of the 6th century,
when King Arthur is supposed to have flourished.
In the manuscript, the notation is as follows : —
Dechre Gosteg yr Halen.
Bys hyd y Maro :
a'r diwedd yma
sy ar ol pob
cainc.
f £
f 1
a c a
a c a
fifff,
fiflFfi
ci ci
CI 01
ai ai
ai ai
g- a- a- ^•
3 s
0
1 k
e f e
I i
fg-dific
c a d c
0 d e c
tittfi s
g CC g CC
fifffiflf
gccgcc
CI CI
CI CI
CI CI
CI CI
ai ai
«i gi
ai ai
gl gl
Bys y cwbyl
o'r diwedd
etto hyd y-
ma, a'r ail
tro hyd y
marc, ac
velly ter.
vyn y di-
wedd.
The above specimen consists merely of the theme,
to which there are twelve variations; and
although the counterpoint is very primitive, and
the whole is written for the Crwth, it is not
without interest, as having been handed down
from a remote period, and being thus, perhaps, the
most ancient specimen of music in existence.
Those who wish to look further into the matter
will find the theme and variations, with the 24
musical measures, etc., transcribed into modem
notation and published in the second edition of
the * My vyrian Archaeology of Wales.'
It is also asserted that even the keys used in
Welsh Music were brought over from Ireland at
the same time as the twenty-four measures. Five
keys are mentioned in the manuscript : —
I. Is-gywair — the low key, or key of C,
a. Cras-gywair — the sharp key, or key of G.
3. Lleddf-gywair — the flat key, or key of F.
4. Go-gywair — the key with a flat or minor
third ; the remainder of the Scale, in every other
respect, being major.
5. Bragod-gywair — called the minor or mixed
key.
A curious circumstance is related by two Welsh
historians, Dr. John David Rh^s and John Ehy-
dderch, as having occurred in the middle of the 7th
century : — * King Cadwaladr sat in an Eistedd-
fod, assembled for the purpose of regulating the
bards, and taking into consideration their pro-
ductions and performances, and of giving laws to
music and poetry. A bard who played upon the
harp in presence of this illustrious assembly in a
key called Is gywair, ar y hragod dannau (in the
low pitch and in the minor or mixed key), which
displeased them much, was censured for the
inharmonious effect he produced. The key in
which he played was that of Pibau Morvyddy
i. e. "Caniad Pibau Morvydd sydd ar y bragod
gywair." (The song of Morvydd's Pipes is
in the minor or mixed key.) He was then
ordered, under great penalties, whenever he
came before persons skilled in the art, to adopt
that of Mwynen Gtvynedd, " the pleasing melody
of North Wales," which the royal associates first
gave out, and preferred. They even decreed
that none could sing or play with true harmony
but with Mwynen Gwi/nedd, because that was in
a key which consisted of notes that formed per-
fect concords, whilst the other was of a mixed
nature.' This incident possibly arose from a
general desire to suppress an attempt to intro-
duce into Wales the pentatonic, or so-called
Scotch Scale, where the fourth and leading note
I
WELSH MUSIC.
of the key are omitted, a fact which accounts
for the peculiar effect produced upon a cultivated
ear by the Scotch bagpipe of the present day .where
the music passes from minor to relative major, and
back, without the least regard for the tonic and
dominant drones of the original key, which con-
tinue to sound. The story, if true, would show that
the Welsh were already in possession of a Scale or
Key, which, by their own showing, consisted of
notes that formed perfect concords ; whereas
the other, which they objected to, was of a mixed
nature, neither major nor minor, but a mixture
of the two — which is not altogether an inapt way
of describing the pentatonic or Scotch Scale.
The «Cat)iad Pibau Morvydd' (The Song of
Morvydd's Pipes), above alluded to, is also in-
cluded in the ancient manuscript.
The 'twenty-four measures ' consisted of a given
number of repetitions of the chords of the tonic
and dominant, according to the length of each
measure, and are represented by the following
marks, 1 standing for the tonic chord, and 0
for the dominant : —
Long Measure (Mac y Mwn Hir.)
iiiiooooioioniiooooiou or nil nil ii 1 1 iiu mi ii 1 1*
or in modem notation
i__l 1 1 ! ! !
Short Measure (Mac y Mwn Byr.)
J-U-I
A X ft
11001111 or 11 11 im-
U-l
3^-^^^i
The positions of the chords are arranged so as
to admit of their being played on the open
strings of the Crwth.
These measures do not appear in Welsh music
after the date to which the manuscript refers,
a circumstance which may be considered most
fortunate ; for, though well adapted to their
purpose at that early period, viz. for the guid-
ance of performers on the Harp and Crwth
— the latter being used as an accompaniment
to the Harp — had such rules remained in force,
they would have rendered the national music of
Wales intensely monotonous and uninteresting,
and thoroughly destroyed all freedom of imagi-
nation in musical composition; whereas, it is
remarkable for its beauty of melody, richness of
harmony and variety of construction.
Printed Collections of Welsh Melodies.
Ancient British Music. John Parry of Ehuabon.
Vol. i. 1742.
Welsh, English, and Scotch Airs. John Parry of
Ehuabon. Vol. ii. No date.
British Harmony, Ancient Welsh Airs. John Parry
of Ehuabon. Vol. iii. 1781.
WELSH TRIPLE HARP. 443
Eelicks of the Welsh Bards. Edward Jones (Bardd y
Brenin). Vol. i. 1794. '
Bardic Museum. Edward Jones (Bardd y Brenin).
Cambro-British Melodies. Edward Jones (Bardd v
Brenin). Vol. iii. No date.
Welsh Melodies. John Parry (Bardd Alaw). 1809.
to^^^ Welsh Harper. John Parry (Bardd Alaw). Vol.i,
led9 ; vol. iijl848.
Original Welsh Airs, arranged by Haydn and Bee-
thoven. George Thompson, Edinburgh. Vol. i, ISUJ :
vol. 11, 1811 : vol. iii, 1814. * ' '
,o^"*^^^ Melodies. John Dovaston, Dublin. Parti.
1817 ; part ii, 1820.
Welsh Melodies. J. Thompson. 1817.
182!?.°'^"*'' Harmony. Eichard Boberts of Caernarvon.
The Ancient Airs of Gwent and Morganwg. Miss
Jane Williams of Aberpergwra. 1844.
The Cambrian Minstrel. John Thomas of Merthyr.
Welsh National Airs. John Owen (Owain Alaw) of
?oi?*^A"\- ^^*. ^^^'i^^' I860 ; 2nd series, 1861 ; 3rd series,
1802 • 4th series, 1864.
Welsh Melodies. John Thomas (Pencerdd Gwalia) of
London. Vols, i and ii, 1862 ; vol. iii, 1870 ; vol. iv, 1874.
MS. Collections.
The Welsh manuscript mentioned in the fore-
going article as in the British Museum is in Add.
MS. 14,905. The writing shows it to be of the
date of Charles I. It came to the Museum
from the 'Welsh School.' The book contains
the name of Lewis Morris 1742, and Richard
Morris, Esq., 1771, and the following MSS.
Fol. 3. Cerdd Dannau. Extract from an old Manu-
script of Sir Watkin Williams Wynn.
3rt. Copy of an order by Elizabeth as to the bestowal
of a Silver Harp on the best harper. 1567.
4a. Drawing of the harp (16 strings). Title— ' Musica
neu Beroriaeth. The following Manuscript is the
Musick of the Britains, as settled by a Congress, or
Meeting of Masters of Music, by order of Gryffudd ap
Cynan, Prince of Wales, about A.d. 1040; with some
ot the most antient pieces of the Britains, supposed to
have been handed down to us from the British Druids •
in Two Parts {i. e. Bass and Treble) for the Crwth. This
Manuscript was wrote by Robert ap Huw of Bodwigen
in Anglesey, in Charles ye Ists time. Some Parts of it
copied then, out of Wm. Penllyn's Book."
The MS. up to f. 10 (including the above) is in a later
hand, apparently written about 1783, which date occurs
in it. At f. 10 the old music begins, the writing is
about the early part of the 17th cent. The music is iu
tablature— the words are Welsh. At fol. 58 is (appar-
ently) a draft of a letter in English, dated 1648. At fol. 69
the later hand begins again, with extracts from Welsh
works, and MSS. relating to Welsh Music. The whole
MS. contains 64 £f.
The portion containing the Ancient Music is
printed in vol. iii. of the ' Myvyrian Archaeology
of Wales' (1807). See Transactions Cymmro-
dorion Soc. i. 361.
Other collections of Welsh music in the Mu-
seum are, Ad. MS. 14,939, 'Collections by R.
Morris, 1779.' Do. 15,021, Account of the Old
Welsh Notation. Do. 15,036, Tracts on ancient
Welsh Music transcribed by Hugh Maurice for
O. Jones, from a MS. by John Jones. [J.T.]
WELSH TRIPLE HARP {Telyn dair-rhes).
This instrument has three rows of strings ; the
two outside rows being tuned in unison, accord-
ing to the diatonic scale, and the inner row tuned
so as to supply the flats and sharps required to
complete the chromatic scale.
The Welsh Triple Harp is the only instrument
of its kind that has ever been known with the
strings on the right side of the comb ; thereby
444
WELSH TRIPLE HARP.
necessitating its being tuned with the tuning-
hammer in the left hand, which is exceedingly
awkward to any one who is not left-handed.
This also explains why it is held on the left
shoulder, and played upon with the left hand in
the treble and the right hand in the bass, bo
as to leave a full view of the strings ; otherwise
the comb would inconveniently intercept the
view.
Vincentio Galileo, in his ' Dissertation on An-
cient and Modem Music,' published in Florence
in 1581, states that a double
harp (or harp with two rows
^K. ^SMB ^^ strings) was common in
ft iln Italy in his day. It con-
M sBm ^i^^^^ of ^ diatonic scale on
mSS *^® right side from the upper
tKm part down to the centre of
I fln ■ the instrument, with an-
other row of accidentals on
the opposite side, to be
played, when required, by
putting the finger through ;
and the diatonic scale con-
tinued on the left side from
the centre to the lower part
of the instrument, with the
accidentals on the other row
on the opposite side. This
shows that it was played on
with the right hand in the
treble and the left in the
bass.
Galileo alleges that Italy
derived this instrument from
Ireland; but it is difficult
to conceive how the Irish
could have possessed such a
harp, inasmuch as it has left no trace upon their
national music, thepeculiarity of the scale of which
consists in leavingout all the notes and accidentals
which indicate the least modulation from key to
key, but which notes and accidentals would have
been available on the above instrument. The
invention of the Welsh Triple Harp, with three
rows of strings, naturally followed ; for, as music
advanced, the inconvenience of being circum-
scribed within the limited compass of only half
the diatonic scale on either side of the instru-
ment would soon be felt ; therefore the diatonic
scale was extended on each side to the full ex-
tent of the instrument, with a centre row of
accidentals equally extended and accessible from
either side. This invention, so far in advance of
any other instrument of its kind hitherto known,
must have given a powerful impetus to the
progress of music in the Principality, and
may go far to account for the beauty, in an
artistic point of view, of the national music of
Wales.
Nevertheless, the great difficulty of playing
accidentals on the inner row of strings in
rar)id^ passages, and the impossibility of mo-
dulating out of the key in which the instru-
ment was tuned, gave rise to the invention of
the Pedal Harp, which is an immense improve-
WERT.
ment, in a musical sense, upon any former inven-
tion, as it admits of the most rapid modulation
into every key, and enables the performer to
execute passages and combinations that would
not have been dreamt of previously. In the
double- action harp, as perfected by Erard, each
note has its flat, natural, and sharp, which is
not the case with any other stringed instrument ;
and this enables the modern liarpist to produce
those beautiful enharmonic effects which are
peculiar to the instrument. Another remarkable
advantage is the reduction in the number of
strings to one row, which enables the performer
not only to keep the instrument in better tune,
but to use a thicker string, and thus attain a
quality of tone which, for mellowness and rich-
ness, may be advantageously compared with that
of any other instrument. [J-T.]
WELSH, Thomas, bom at Wells, Somerset-
shire, about 1780, became, when six years old,
a chorister in the cathedral there. He made
such rapid progress that in the course of a few
years Wells became the resort of lovers of music
attracted by the beauty of his voice and excellence
of bis singing. His fame at length drew the atten-
tion of Sheridan and Linley, and he appeared in
1792 at the Bath concerts, in the concerts given
at the King's Theatre during the rebuilding of
Drury Lane, and also on the stage in Attwood's
* Prisoner. ' He subsequently performed at Drury
Lane in Attwood's 'Adopted Child,* Storace's
*Lodoiska,* and other pieces. John Kemble
thought highly of his abilities as an actor, and
taught him to perform the part of Prince Arthur
in Shakspere's ' King John.' After the breaking
of his boyish voice Welsh pursued his studies
under C. F. Horn, John Cramer, and Baum-
garten. In 1802, his voice having become a
deep and powerful bass, he was admitted a Gen-
tleman of the Chapel Royal. A few years later
he essayed dramatic composition, and produced
'Twenty years ago,' a melodramatic entertain-
ment, 1810 ; 'The Green-eyed Monster,' musical
farce, and ' Kamtchatka,' musical drama, 181 1.
But his greatest reputation was gained as a sing-
ing master and instructor of pupils for the stage.
Foremost among those whom he taught were
John Sinclair, C. E. Horn, Miss Stephens, and
Miss Wilson. He joined Hawes in carrying on
the Royal Harmonic Institution. [See Argyll
Rooms.] He published some glees and piano-
forte pieces and a * Vocal Instructor.' He mar-
ried Miss Wilson, who had been his pupil, and
had issue an only child, who became the wife of
Alfredo Piatti, the eminent violoncellist. Welsh
died Jan. 24, 1848. [See Wilson, Maey Ann,
p. 463]. [W.H.H.]
WERT,^ GiACHES (or Jacques) de, a Flemish
composer of the second half of the i6th century,
has been the subject of much confusion at the
hands of biographers. F^tis, in his first edition,
regarded him as the same person with Jacques
I For the spelling: of the name, see the facsimile of his autograph
signature in Vander Straeten, ' La Muslque aux Pays-Bas,' vl. S4S.
Other forms are ' Jaquet (Giacche, etc.) de Weert,' or 'Weerdt': cj*.
Ibid. i. U9.
f
WERT.
Vaet ; and the frequent custom of designating
musicians by their Christian name alone, has
made it difficult to discriminate De Wert's pro-
ductions from those of other * Jachets,' * Jaquets,'
or * Jacques ' of his time, particularly of Jacques
Brumel, Jacques de Buus, and Jacques Berchem.^
The last-named has been plausibly identified
with him, and M. Vander Straeten has found
himself reduced to distinguishing an elder and
a younger De Wert.'' The biographical mater-
ials, however, which this writer has for the first
time brought together, appear not incompatible
with their reference to a single person. On this
supposition, De Wert was bom in the Low
Countries in the second quarter of the i6th
century, and went as a child to Italy, where
he was received into the choir of Maria de
Cardona, Marchesa della Padulla. Afterwards
he passed into the service of Count Alfonso of
Novellara, not (as has been stated) of the Duke
of Ferrara; and published in 1558 a volume of
madrigals which appears to have excited so
much attention, that a couple of years later he
could be reckoned by Guicciardini among the
famous musicians of the day. About 1568 he
removed to the court of the Duke of Mantua ;
but his life was soon embittered by the mis-
conduct of his wife.' He seems to have turned
for help to the Duke of Ferrara, the magnificent
Alfonso II., and to have formed a sort of un-
official connection with his court, then at the
height of its splendour, which lasted beyond the
immediate purpose of his resort thither. His
musical attainments rendered him extremely
serviceable on state occasions, his special feat
in composition being a 'Concerto Maggiore' for
57 singers; and so late as 1586* the epistle
dedicatory to his eighth book of madrigals re-
cords his intimate attachment to the court of
Ferrara, whether in actual service or not is
doubtful, since it seems clear that all the while
he remained connected with Mantua.^ His
visits to Ferrara involved him in an intrigue,
as it turned out, with one of the court ladies,
the poetess Tarquinia Molza : her relations re-
fused her marriage, and she was induced to
withdraw into privacy. She went to live with
her mother at Mantua, where she died in 161 7 ;
but it does not appear that she ever resumed
her intimacy with the musician. De Wert,
however, was still resident in the town, as we
learn from the 'Canzonette Villanelle,' which
he published at Venice in 1589, and dedicated
to Leonora, Duchess of Mantua. The tenth and
last volume of his madrigals is dated Venice,
Sept. 10, 1 59 1, about which year his death may
be presumed to have happened.
The ten books of madrigals' which he pub-
lished at Venice between 1558 and 15 91, and
1 See Vander Straeten, ' La Mualque aux Pays-Bas.' i. 176 ; vl. 102, 3.
» Ibid. TOl. Tl. 329-348.
s His letter to the duke on the subject (March 22, 1570), Trhich is
printed by M. Vander Straeten. tI. 334-836. is full of a characteristio
Interest.
4 F^tis (2nd ed.) vill. 464 a.
» The seventh book of De Wert's Madrigals bears date Mantua.
April 10, 1581. and Is dedicated to Margaret, Duchess of Mantua t
F^tls. p. 454 o.
< See F^tis.and Eitner, v. $.
WESLEY.
445
which were several times reprinted by Gardano,
contain evidently the best of De Wert's work.
They are mostly written for 5 voices, but in the
sixth and ninth volumes we meet with pieces
for 6 or even 7. His other compositions include
only the Canzonette already mentioned, and a
number of motets which were principally pub-
lished by Gerolamo Scoto at Venice. Luca
Marenzio,'^ it should be added, is said to have
been at one time his pupil. [R.L.P.]
WESLEY, Chaeles, son of the Rev. Charles
Wesley and nephew of the celebrated Rev. John
Wesley, was born at Bristol, Dec. 11, 1757.
His musical instinct displayed itself in early
infancy, and at two years and three-quarters old
he could play * a tune on the harpsichord readily
and in just time,' and 'always put a true bass
to it.' He was taken to London, and Beard
offered to get him admitted as a child of the
Chapel-Royal, but his father declined it, having
then no intention of educating him as a musi-
cian. He was also introduced to Stanley and
Worgan, who expressed themselves very strongly
as to his abilities. After receiving instruction
from Kelway and others he embraced music as
his profession, and became an excellent per-
former on both organ and harpsichord. He
held at various times the appointment of organ-
ist at Surrey Chapel, South Street Ciiapel, Wel-
beck Chapel, Chelsea Hospital and St. Mary-
lebone Church. Having attained to a certain
degree of excellence as a performer he made no
further progress. He composed a set of 'Six
Concertos for the Organ or Harpsichord, Op. 1,'
a set of Eight Songs, 1784, some anthems (one
printed in Page's 'Harmonia Sacra'), music for
' Caractacus,' a drama, and other pieces. He
died May 23, 1834.
His younger brother, Samuel, born Feb. 24,
1 766 (the anniversary of the birth of Handel),
although also a precocious performer, did not
develop his faculties quite so early, for he was
three years old before he played a tune, and did
not attempt to put a bass to one until he had
learned his notes. He proved to be, notwith-
standing, the more gifted of the two brothers.
From his cradle he had the advantage of hear-
ing his brother's performances upon the organ,
to which, perhaps, his superiority might be
partly ascribed. Before he was five years old he
learned to read words by poring over Handel's
oratorio, ' Samson,' and soon afterwards learned,
without instruction, to write. When between
six and seven years of age he was taught to
play by note by Williams, a young organist of
Bristol. Before then he had composed some
parts of an oratorio, ' Ruth,' which he completed
and penned down when about eight years old,
and which was highly commended by Dr. Boyce.
About the same time he learned to play the
violin, of which he became a master, but his
chief delight was in the organ. He was now
introduced into company as a prodigy, and ex-
cited general admiration. In 1777 he published
T Vander Straeten, 7I. 102, 3.
446
WESLEY.
' Eight Lessons for the Harpsichord,' and about
the same time an engraved portrait of him
when eight years old appeared. Before he
attained his majority he had become a good
classical scholar, acquired some knowledge of
modem languages, successfully cultivated a taste
for literature, and obtained distinction as an
extemporaneous performer upon the organ and
pianoforte. In 1787 an accident befel him, the
consequences of which more or less affected him
during the remainder of his life, and from which
undoubtedly sprung those erratic and eccentric
habits for which he became remarkable. Pass-
ing along Snow Hill one evening, he fell into
a deep excavation prepared for the foundation of
a new building, and severely injured his skull.
He refused to undergo the operation of trepan-
ning, and suffered for seven years from de-
spondency and nervous irritability which occa-
sioned him to lay aside all his pursuits, even
his favourite music. On his recovery he re-
sumed his usual avocations, and became ac-
quainted with the works of John Sebastian
Bach, the study of which he pursued with en-
thusiasm, and to propagate a knowledge of which
among English musicians he laboured assiduously.
During 1808 and 1809 he addressed a remark-
able series of letters to Benjamin Jacob upon
the subject of the works of his favourite author,
which was edited by his daughter, and pub-
lished in 1875. [See Jacob, vol. ii. p. 28 &.]
In 1 8 10 he put forward, in conjunction with
C. F. Horn, an edition of Bach's 'Wohltem-
perirte Clavier,' and promoted the publication of
an English translation of Forkel's Life of Bach
(1820). In 18 1 1 he was engaged as conductor and
solo organist at Birmingham Festival. In 181 6
he suffered a relapse of his malady, and was com-
pelled to abandon the exercise of his profes-
sion until 1823, when he resumed his pursuits
until 1830; but a further attack again dis-
abled him, and he was afterwards unable to
do more than make occasional appearances.
One of his latest public performances was at
the concert of the Sacred Harmonic Society on
Aug. 7, 1834, when at the organ he accom-
panied the anthem, *A11 go unto one place,'
which he had composed upon the death of his
brother Charles. His actual last appearance
was at Christ Church, Newgate Street, on
Sept. 12, 1837. He had gone there to hear
Mendelssohn play upon the organ, and was
himself prevailed upon to perform. He died
within a month afterwards, Oct. 11, and was I
buried Oct. 17, in the vault in the graveyard
of Old St. Marylebone Church, in which the '
remains of his father, mother, sister, and brother
had been previously deposited. Wesley was
indisputably the greatest English organist of
his day, and both in his extemporaneous playing ;
and in his performance of the fugues of Bach i
and Handel he was unrivalled. His compositions j
were numerous and varied, and of the highest '
excellence. By the kindness of Miss Wesley, his
daughter, we are enabled to give a complete list
of them. — S. Wesley's religious tenets have been
WESLEY.
matter of doubt. At a late penod of his life he
disclaimed having ever been a convert to the
Roman Catholic faith, observing that * although
the Gregorian music had seduced him to their
chapels, the tenets of the Romanists never ob-
tained any influence over his mind.* But there
is extant, in the national archives at Paris, a
series of letters addressed by him to a lady,
believed to have been connected with a conven-
tual establishment at Bell Tree House, Bath,
without year-date, but evidently written in his
youth, which points to the conclusion that at
that time he must have had at least a strong
leaning towards the Romish faith, though he re-
frained from avowing it out of respect for the
feelings of his fatlier. He left several children ;
his eldest son. Rev. Charles Wesley, D.D. (bom
I795> died Sept. 14, 1859), was Sub-dean of the
Chapel Royal, and editor of a collection of words
of anthems.
List of Samuel Wesley's Compositiom.
Those marked with • are published.
Oratoriot. Ruth (composed at 8 years old). Death of AbeL Parti
2 and 3 complete.
Mn$$es. Missa solemnis (Gregorian) for voices only; Mlssa, Kyrle
eleison ; Missa de S. Trinitate ; Missa pro Angelis.
Antiphont. •In exitu Israel k 8; •Exultate Deo, k S; •Dixit
Dominus: •OmniaVanitas; Tu es Sacerdos ; Te decet hymnus ; Ho-
sanna in excelsis ; Domine salvum fac (org. oblig.) all a 4 ; •Oonflte-
bor for solos, chorus, and orchestra ; »IV, In Natlvitate Domini ;
V ; VI ; Vll ; VIII ; IX ; X, In Epiphania ; XI ; XII, In Festo Cor-
poris ChrlstI ; XIV, In Epiphania ; XVI, Ad Benedictum, for Cor-
pus Chrlsti ; XVII, XVIII, In Festo Corp. Chrlstl ; Dixit Dominus ;
Salve Regina ; Ad Magnificat j Qualem sinistrum ; Agnus Dei, in D
(1812) ; Agnus Dei (1812) ; Hymns in Festo Ascensionis. Versus 3 de
Ps. cxxxvl. Ave Maris Stella (1786); Salve Regina; Magna opera;
Omnes gentes.
Services. »MornIng and Evening Church Service In F & 4 : also
Te Deum, Sanctus, Kyrie, Nunc Dimittis, and Burial Service a 4 ;
Jubilate Deo ; Sanctus in F.
Anthems. ♦All go unto one place. Funeral Anthem for Charles
Wesley ; #1 am well pleased ; Behold how good (org. obilg.) ; •Thou,
O God, art praised; Who can tell? (July 4, 1823); Hear, O Thou
Sheplierd ; Be pleased, O Lord ; I will take heed.
Choruses. My delight (Ap, 11, ISlfi) ; Thus through successive
ages ; On the death of W. Kingsbury (1782) ; Why should we shrink
(orch.. May 1813).
Parochial Psalm-tunes, with Interludes, »Bk. I. only ; Chorales or
Psalm-tunes, 600 or more.
Ode to S. Cecilia's day, for solos, chorus and orch. Words by Rev.
8. Wesley.
Olees. For 4 voices :— Circle the bowl ; •O sing unto my roundelale
(Madr.) : No more to earth ; Now the trumpet's (1815) ; While every
short-lived (1822); •Father of Light ; Here shall the morn; Join
with thee ; No more to earth's. For 3 voices :— Thou happy wretch ;
These are by fond mama (1778) ; Harsh and untuneful (178S) ; • Goosy.
goosy, gander (1781); Adieu, ye soft; When Orpheus went down;
When first thy soft lips (1783); What bliss to life (1807); When
Friendship ; On the salt wave (1793) ; Roses their sharp spines (1822) ;
Say can power (1791) ; The rights of man ; Blushete mio caro ; How
grand In age ; • from Anacreon ; Nella cara.
Duels, Beneath, a sleeping infant lies ; Belle Gabrlelle (1792) ; Since
powerful love (1783) ; Sweet constellations (1782).
Songs. •True Blue; Within a cowslip's; England, the spell;
Gentle warbling (1799) ; What shaft of Fate's relentless power; In
gentle slumbers ; Farewell, If ever fondest prayer ; Think of me ;
Behold where Dryden ; Louisa, view ; • Come all my brave boys ;
Election squib ; sThe House that Jack built ; •Love and Folly ; • The
Autophagos : Adieu, ye Jovial youths (1783) ; The world, my dear
Mira (1784) ; Yes, Daphne ! (1781) ; When we see a lover languish
(1783) ; Too late for redress (1783) ; Pale mirror of resplendent night ;
Love's but the frailty ; Oh how to bid ; Parting to death we will
compare (1783) ; The white-robed hours (1783) ; Armln's lamentation
(1784) ; Fluttering spread (1783).
Symphonies. In D (1784) ; in Kb a784) ; In Bt> (
unfinished.
in A : in D.
Overture*. In D a778) ; In 0 (1780) ; In D ; ' to the 2nd Act,' un-
finished.
Organ Concertos. In El) (1776); In D a781): In O (1782); In Bf»
0785) , On Rule Britannia ; In 6 ; In Bb ; In Eb ; in G ; In C ; In D
(taompipej.
WESLEY.
Grand Duet, •So. 1 j Do. No. 2 ; •Do. In S movements. Insc. to
F. Marshall.
roluntarieg. In D, In C, In C minor, In 0, In Eb, in O minor, In F
lu C (all in • op. 6) ; » Do. In G, in D, In D, In A, In F ; • 3 Voluntaries
ded. to W. Harding; a 2nd set of do.; #6 Voluntaries for young
Organists ; • One do. Insc. to Thos. Attwood ; • Do. In Q minor Insc.
to W. Linley ; • Do. In G, Insc. to H. J. Gauntlett ; • One do. Insc.
to W. Drummer, Esq.; sA 2nd In D, Insc. to the same; •Easy
Voluntaries; •B do. ; •A short and familiar Voluntary in A; ^12
short pieces with full Voluntary added ; •W short pieces with Grand
Fugue; • A Book of Interludes; "Fugue In D; • Preludes and Fugues
or Exercises ; "S Introductory movements, and Fugue in D ; •Charac-
teristic airs for the Seraphine j Concerto in D for Organ and Violin
(1800).
Pianoforte. •Eight lessons 0777); •Duet March in D, No. 25;
8 Sonatas, op. 3 ; 4 Sonatas and 2 Duets, op. 5 ; Sonata with fugue on
subject of Salomon's ; 2 Sonatas for PF. or Harpsichord with ace.
for Violin, op. 2 ; • Sonatina, ded. to Miss Meeking ; • Do. on Air in
Tekell, in G; Bondo in D. Oflf she goes; •Bo. in D, Lady Mary
Douglas; Do., Fly not yet; Orphan Mary; Patty Kavannah; The
young May moon ; • Do. in G minor, Kitty alone and I ; •Do. in A,
I attempt from Love's sickness ; Do.. "Will Putty ; • Belllsima Signora ;
• Pastorellis Polacca ; • Do. in B fc>, the Lass of Richmond Hill ; Do. in
D, Old Towler ; • Do. from an Organ Concerto ; • Do. on Polish Air,
in D minor ; •Do. in G ; •Bay of Biscay (Bb) ; • Christmas Carol (E
mln.) ; • Moll Pately (in F) ; • WIddow Waddle (in A) ; • La Melange ;
• Scots wha hae; •The Deserter's Meditations; » A favourite Air
from Der Freyschiitz ; • Jacky Homer, with Flute ; Adagio, March,
and Waltz ; »Duet in La Cosa rara; Divertimento, ded. to Miss Walker ;
• Siege of Badajoz, with March in D ; Rondo in A (1778) ; Waltz, the
Skyrocket ; •Do. the Coburg ; Introd. and Air, insc. to Mrs. Stirling ;
Sweet Enslaver, with Vars. ; •Hornpipe and variations with Introd. ;
• Variations on a lav. Italian air, InF; •Grand Fugue with March
from Ode to S. Cecilia's day ; Grand Coronation March ; • Do. in
D ; New March as performed on Parade ; Preludes throughout the
8ve both major and minor; •Fugue, insc. to J. B. Logier.
String Quintet, in A ; Do. Fugue In Bb asOO). Quartet O.7S0) ; Do.
(1799). Trio. Aria for Strings ; for Oboe, Violin and Cello ; • lor PF.
and 2 Flutes ; for 3 PF's. Duet. Violin and Cello. Sonata k Violino
Solo, in A. Solo per Violino e Basso. March, Corni, Oboi, Bassoni,
Serpent (1777). [W.H.H.]
WESLEY, Samuel Sebastian, Mus. Doc,
third son of the above, whose genius he in-
herited, was born August 14, iSio. Educated
at the Bluecoat School, in his 14th year he was
elected chorister of the Chapel Koyal, St. James's ;
in 1827 organist at St. James's Church, Hamp-
stead Road ; two years later organist of St. Giles's,
Camberwell, of St. John's, Waterloo Eoad, and
of Hampton-on-Thames, holding these four ap-
pointments simultaneously. In 1832 he became
organist of Hereford Cathedral, conducting
the festival there in 1834, and a year later
marrying the sister of Dean Merewether, when
he migrated to Exeter, and remained at that
cathedral several years, during which period his
reputation as the first English church composer
and organist of his country became established.
About 1842 he was induced by a good offer from
Dr. Hook to accept the organistship of Leeds
Parish Church. In 1844 he was a candidate
for the Professorship of Music in the Univer-
sity of Edinburgh, then vacant by the resignation
of Sir Henry Bishop. Among Wesley's testi-
monials on that occasion was the following from
Spohr: — 'His works show, without exception,
that he is master of both style and form of
the different species of composition, and keeps
himself closely to the boundaries which the
several kinds demand, not only in sacred art,
but also in glees, and in music for the pianoforte.
His sacred music is chiefly distinguished by a
noble, often even an antique style, and by rich
harmonies as well as by surprisingly beautiful
modulations.' Before his candidature at Edin-
burgh Wesley took a Doctor's degree, by special
grace, at Oxford, and wrote, as exercise, his fine
WESLEY.
447
anthem in eight parts, * O Lord, Thou art my
God.' In 1849 he was appointed to Winchester
Cathedral, where the school offered facilities for
the education of his sons. After fifteen years
in Cathedral and School Chapel, Wesley, being
consulted by the Dean and Chapter of Glou-
cester as to the claims of candidates for that
organistship then (1865) vacant, intimated that
he would himself accept it, an offer which was
naturally taken advantage of. This post brought
him more prominently forward in the musical
world, as conductor ex ofiicio, once in three
years, of the Three-Choir Festivals, and the
change seemed for a time to reanimate energies
and powers which had not received adequate
public recognition. While at Gloucester, he
received from Mr. Gladstone's Government a
Civil List pension of £100 per annum, in con-
sideration of his services to Church music.
But the best years had been spent of a life
which, to a less sensitive nature, might have been
happier and more eventful; and long- deferred
hopes for restorations of founder's intentions,
and for thorough reforms in Cathedral matters
generally — reforms which, both with pen and
voice, he warmly and constantly advocated —
combined with other disappointments and cares,
shortened his days, and after some ten years
tenure of his Gloucester post, he died there in
April 1876, and his last words were *Let me see
the sky' — words appropriate for one whose
motto as a composer seemed always 'Excelsior.*
According to his own wish he was buried at
Exeter, by the side of an only daughter, who
died in 1840, and some eminent musicians were
present at the funeral. A tablet to his memory
has been placed on the north wall of the nave
of the Cathedral, on which these words are
inscribed — ' This monument has been placed
here by friends as an expression of high esteem
for his personal worth, and in admiration of his
great musical genius.' But a more lasting
monument, of his own creation, exists in his
works. For as composer for the Church of
England, Dr. Wesley may fairly be placed in
the highest rank of his contemporaries, i.e.
1830-1860. In his elaborate Service in E major,
published with an interesting preface whilst he
was at Leeds, advantage is taken of modern
resources of harmony and modulation, without
departure, now so often the case, from the lines of
that true church school to which the composer
had been so long habituated. And this judicious
combination of ancient and modem is character-
istic of his church music, in which he gives
practical illustration of the reform which he
was always urging. His fame will chiefly rest
on his volume of twelve anthems, published
about the year 1854. Two of these, composed at
Hereford, ' Blessed be the God and Father,* and
'The Wilderness,' are now universally recognised
as standard works of excellence. Later in life
Wesley soared even higher — for instance, in his
noble * 0 Lord, Thou art my God,' above men-
tioned, in his 'Ascribe unto the Lord,' composed
. in the Winchester period, and also in the exquisite
as
WESLEY.
WESTBROOK.
little anthem, *Thou wilt keep him in perfect
peace,' wherein knowledge and dignity of true
church style is so conspicuous, and which is one
of the brightest gems in a collection of choral
jewels.
As an organist, Wesley was for a considerable
period acknowledged the first in this country.
His touch was eminently legato, his style always
noble and elevated. At Winchester he was
lieard to great advantage on Willis's fine or-
gan. His extempore playing after the Psalms,
before the Anthem, or after the Service, is a
thing to be remembered, and various players
after hearing him changed their style for the
better, some of them catching a ray of the
afflatus divinus which, as organist, may be
fairly ascribed to him. His views, formed from
early habit, on two important points in the
construction of organs were curiously divergent
from opinions widely held, for he was an ad-
vocate both of unequal temperament and of a
*G,' or *F' compass — two bites noires to most
organists and organ-builders. But in support-
ing such "exceptional views, he could give not
unpractical reasons for the belief that was in
him.
Those well-acquainted with Wesley could not
fail, notwithstanding a manner at times reserved,
retiring, or even eccentric, to appreciate his
kindness and sympathy. To those he liked and
trusted he could be an agreeable and interest-
ing companion and friend, and these will not
forget their pleasant intercourse with him,
even on occasions when music formed little or
no part of conversation. That he felt deeply
and aimed high is proved in the devotional
and masterly works with which, at a period
when our ecclesiastical music was at a low ebb,
he enriched the choral repertory of the Church
of England.
The following is a list of Dr. Wesley's pub-
lished compositions.
ANTHEMS, ETC.
Ascribe unto the Lord.
All go unto one place. (Funeral.)
S.A.T.B.
Blessed be the Lord God of Israel.
(Christmas.) 4 voices.
Blessed be the God and Father.
SS.A.T.B.
Cast me not away from Thy pre-
sence. SS.A.TT.B.
Give the King Thy judgments.
8.AA.TT.B.
Glory be to God on high. Full.
4 voices.
God be merciful unto us. (Mar-
riage.) 4 voices.
I am Thine, O save me. Full.
5 voices.
I will arise ; and O remember not.
Let us lift up our heart. 8 voices.
Man that Is born of a woman.
8.A.T.B.
O give thanks unto the Lord.
8.A.T.B.
O God, Whose nature and pro-
perty. Full, 4 voices.
O how amiable. (Weekes).
O Lord, my God (Solomon's
Prayer), 8.A.T.B,
O Lord, Thou art my God. 8
voices.
Praise the Lord, O my soul.
S.A.T.B.
The Face of the Lord. 8 voices.
The Lord Is my Shepherd.
(Weelces.)
The WilJerness. S.A.T.B.
Thou wilt keep him in perfect
peace. S.A.TT.B.
Three Collects for the three first
Sundays in Advent. Two for
Treble, and one for Bass.
Wash me throughly. S.A.T.B.
The Hundredth Psalm, arranged
with various harmony for
choirs.
By the rivers of Babylon (Soprano
solo).
Ditto. (Alto solo.)
Services, etc.
(In E). Te Deum. Jubilate. Ky-
rie, Sanctus, and Creed. Mag-
nificat and Nunc Dlmittis.
(In F). Chant Service. Te Deum
and Jubilate ; Magnificat and
Nunc Dlmittis.
(In F). Chant Service, Letter B.
Te Deum, Jubilate. Magnificat
and Nunc dlmittis.
(InQ). Chant Service. Te Deum,
Jubilate, Magnificat, and Nunc
Dlmittis.
(In 0). Glory be to God on high,
(early work.)
For Organ,
Biz Pieces for a Chamber Organ
(Set 1 and 2).
Introduction and Fugue, in Cj(
minor.
Andante in G,
„ in A (posthumous),
in E minor, (do.)
National anthem, with variations
An Air, varied, composed for
Holsworthy church bells, (do.)
'Studio 'for Organ.
Grave and Andante for 'The Or-
ganist's Quarterly Journal
and some other contributions
to collections.
The Psalter, pointed for Chanting,
The European Psalmist.
Ode, for the opening of an In-
dustrial Exhibition, words by
VV. H. Bellamy.
The praise of Music, for Gounod's
Choir at Albert Hall, 1873.
Numerous Chants and Hymn
tunes.
Glees.
I wish to tune my qulv'rlng lyre.
A.TT.BB.
When fierce conflicting passions.
Shall I tell you whom I love ?
SONOS.
Shall I tell you whom I love (with
Violoncello, ad lib.)
When from the great Creator's
hand (from the Ode).
Strong in heart and strong in hand
(Ditto).
Silently, silently (Ditto).
There be none of beauty's daugh-
ters.
Wert thou like me.
The Butterfly.
Orphan hours, the year Is dead.
Hoher Muth und sUsse Minne
(with Violoncello ad lib.).
Fob PF.
Air and variations.
March in 0 minor, and Rondo
inO.
Also a pamphlet entitled • A Few
Words on Cathedral Music
and the Musical System of the
Church.with a plan of Reform.'
(Rivington8,]S49.)
A few MS. sketches are preserved at Leeds
Church and elsewhere. [H.S.O.]
WESSEL, Christian Rudolph, boin in 1797,
at Bremen, came to England in 1825, and esta-
blished, with an amateur named Stodart, at No. i
Soho Square, the firm of music-publishers Wes-
sel & Stodart, for the popularisation of foreign
music in this country. In 1838 Stodart re-
tired and Wessel continued the business until
1839, when he took in Stapleton as a partner,
and removed to 67 Frith Street, Soho. About
this time the firm entered into a contract with
Chopin for the exclusive right to publish his
works in England, paying him £12 for each fresh
composition. In 1845 Stapleton left the firm,
and Wessel again carried on business by himself,
from 1846 at 229 Regent Street, and from 1856
at 19 Hanover Square, until i860, when he re-
tired in favour of Messrs. Edwin Ashdown and
Henry John Parry, both of them long in his
employ. In 1 88 2 Mr. Parry retired, and since then
it has been in the hands of Mr. Ashdown alone.
Wessel was a great benefactor to the spread
of music in England. Among composers whose
works were introduced by him are Schubert,
Schumann, Mendelssohn, Abt, Kiicken, Gade,
Schulhof, Heller, etc. Of the works of Heller, as
of those of Chopin, Wessel and his successors have
had, and still hold, the exclusive copyright in
England, though by a decision of the Court of
Chancery in 1853, several important works were
lost to them. [See Boosey & Co.] Since that
period they have turned their attention to the
publication of the works of resident composers,
such as Brinley Richards, Sydney Smith, Ganz,
Elliott, etc. In 1867 they were the first to esta-
blish a monthly musical magazine by the pub-
lication of * Hanover Square.' Mr. Wessel died
at Eastbourne, March 15, 1885. [A.C.]
WESTBROOK, William Joseph, Mus. Doc,
bom in London Jan. i, 1831. His instructor
was Mr. R. Temple, a blind organist. In 1848
he became organist of St. Bartholomew's, Beth-
nal Green, which he exchanged in 1851 for St.
Bartholomew's, Sydenham, where he has since
remained. He took his degree of Mus. Bac. at
WESTBROOK.
Cambridge in February 1876, the exercise being
a setting of Psalm xxiii. for chorus, solo voices
and orchestra; and his Doctor of Music degree in
May 1878, his exercise, • Jesus, an oratoriette,'
for solo voices, eight-part chorus, and orchestra,
having been performed with great success in the
chapel of Queen's College, Cambridge. He is
Examiner in Music to the College of Preceptors;
was sub-organist at the Crystal Palace for some
three years, and conductor for thirteen years of
the South Norwood Musical Society, with which
he has given 73 concerts of high-class music.
Dr. Westbrook has published much in various
branches: very many organ-pieces, original or
arranged ; songs, part-songs, madrigals, canons ;
English text to many songs of Mozart, Schubert,
and Fesca, etc. ; in part or entirely the English
text of De Beriot's, Dancla's, and Alard's Violin
Schools ; Organ Tutors ; a large portion of the
first 12 volumes of the 'Musical Standard';
very many pieces for the harmonium, etc., etc.
He has a large number of pupils in the neigh-
bourhood of his residence. [G.]
WESTERN MADRIGAL SOCIETY, THE,
was one of the results of that impulse to the
study of ancient music which began in England
in the latter part of the first half of this century,
and which produced the Musical Antiquarian,
Handel, and Motet Societies, V. Novello's Purcell,
and edition of Boyce's Cathedral Music, Burns's
Services and Anthems, the Parish Choir, and
other monuments.
It was founded at a meeting held at 27 Soho
Square, Feb. 24, 1840: its first president was
Mr. Joseph Calkin, and its first conductor Mr.
W. Hawes, who was succeeded by Messrs. J.
Turle and James Coward, Dr. E. J. Hopkins
and Dr. J. F. Bridge. Ten practice- meetings
are held annually, from October to April, at the
house of the Royal Society of Musicians, Lisle
Street, Leicester Square. The annual subscrip-
tion is two guineas, and the number of ordinary
members forty. Prizes are occasionally given for
the composition of madrigals. The Society has
accumulated a fine library. [G.]
WESTLAKE, Fuederick, pianist and com-
poser, bom 1840, at Romsey, Hants. From
1855-59 ^^ was a student at the Royal Academy
of Music, of which institution in i860 he was
made Sub-professor, then Associate, and in 1863
Professor. Mr. Westlake played in public with
success, until the demands made on his time for
teaching became too great. He re-appeared,
Oct. 22, 1873, at Mr. W. H. Holmes's concert,
and played, with his pupil Miss Agnes Channel,*
Chopin's Rondo for Two Pianofortes, probably
for the first time in England. Mr. Westlake is
a member of the Philharmonic Society and the
Society of Musicians. His compositions include
a Mass in Eb ; an O Salutaris ; a Kyrie and Gloria
(with orchestra) ; hymns included in * Hymns
Ancient and Modem'; a Duo Concertante for
Piano and Cello ; an Allegro con forza, a set of nine
* Episodes,* and aFugue in Octaves for Piano Solo;
1 Chosen by Sterndale Bennett to introduce to the public his
'Uaid of Orleans' sonata.
VOL. IV. PT. 4.
WESTROP.
449
Songs and Part Songs, * Lyra Studentium,' etc.
He also completed Sterndale Bennett's edition of
Bach's 48 Preludes and Fugues. [A.C.]
WESTMINSTER. Under this head may be
mentioned theCATHOLicGBEGORiAN Association
for the study, practice, and use of Plain Chant,
founded in 1882 by Mr. W. Marsh, under the
patronage of Cardinal Manning and several other
Bishops. The Society consists of active, honorary,
and corresponding members ; the subscription of
the active members is 2«. 6d. a year ; the affairs
are managed by a Council ; the Musical Director
is the Rev. Charles A. Cox, and the Secretary
Mr. W. Marsh, Archbishop's House, Westmin-
ster, S.W. [G.]
WESTMORELAND, John Fane, eleventh
Earl of (of the creation of 1624) — better known
in the musical world by the courtesy title of
Lord Burghersh, which he bore before his suc-
cession to the earldom — was bom Feb. 3, 1784.
He entered the army and served in the various
campaigns from 1805 to 181 5, and was subse-
quently envoy at Florence, and ambassador suc-
cessively at Berlin and Vienna. His love for
music manifested itself in early youth, and he
became a good violinist. Whilst a student at
Cambridge he obtained instruction from Dr.
Hague, the University professor ; he also studied
under Zeidler at Berlin and Mayseder at Vienna.
He essayed composition, and produced 6 Italian
operas, * Bajazet,' ' II Tomeo,' * Fedra,' * L'Eroe
di Lancastro,* • II Ratto di Proserpina,' and ' Lo
Scompiglio teatrale ' ; an English opera, * Cathe-
rine'— a re-setting of Cobb's 'Siege of Bel-
grade ' ; a Grand Mass, a Service, a Magnificat,
and two anthems, besides h)Tims, madrigals,
songs, duets, etc., etc. In 1817 he was one of
tlie unsuccessful competitors for the prize offered
for the best setting of William Linley's Ode on
the death of Samuel Webbe. His real claim to
distinction, however, is not his musicianship,
but the energy, perseverance and success with
which he advocated, and ultimately succeeded in
procuring, the establishment of an Academy of
Music in London, and the zeal with which, as
its President, he strove at all times to advance
its interests. [See Royal Academy of Music]
In 1832 he was appointed a Director of the
Concert of Antient Music. He succeeded to the
earldom on the death of his father, Dec. 15,
1844, and died Oct. 16, 1859. [W.H.H.]
WESTROP, Henry John, born July 22,1812,
at Lavenham, Suffolk ; made his first appearance
at 13, at the Sudbury Theatre as pianist, violinist
and singer. He afterwards became organist at St.
Stephen's, Norwich; in 183 1 at Little Stanmore ;
1832, at Fitzroy Chapel, and April 3, 1834, ^-t St.
Edmund, Lombard Street, which he held till his
death. He at one time played the violin at the
Royal Italian Opera and the Philharmonic Society,
of which he was a member.' Westrop's abilities
as a composer were greater than his reception by
musicians and the public would imply. His com-
2 See Mr. C. E. Stephens In the ' Musical World,' Oct. 11, 1879, tfr
whom we are Indebted for our information.
450
WESTROP.
positions include Quartets for strings and for
piano and strings (Purday, and Augener) ; Duo
Concertante, op. 6, for piano and flute (Wessel);
Sonata for piano and violin (Stanley Lucas);
a PF. pieces, 'Greeting and Parting (Cocks):
in MS. 2 PF. Quintets in C minor and JJb,
produced by the Society of British Musicians;
also an opera, * The Maid of Bremen,' libretto
by Fitzball, written for Pyne and Harrison. He
died of paralysis, Sept. 23, 1879. His daughter
Kate, a pianist, has succeeded to his organ in
the City. His younger brothers. East John,
and Thomas, were also musicians ; Thomas's
name is affixed to the translation of Catel's
Treatise on Harmony (London, 1876). [A.C.]
WEYRAUCH, August Heinrich von. A
composer whose name must be mentioned because
he is the author of a song * Adieu,' or *Lebe
wohl,' often attributed to Schubert, and at one
time very much sung. It was published by the
author in 1824, under his own name, with the
title of * Nach Osten,' to words by Wetzel. Its
attribution to Schubert is due to Paris, where it
was published about 1840 as * Adieu ! Paroles
fran9aise8 de M. B^langer,' etc. A transcription
of it as Schubert's by Dohler (op. 45, no. 3),
appeared in Germany in 1843, and lastly it was
published in Schubert's name by Schlesinger of
Berlin as a song with German text, in 1845.
Weyrauch is not mentioned in any Dictionary,
nor even in Whistling's 'Handbuch,' and the
above information is taken from Nottebohm's
Thematic Catalogue of Schubert, p. 254.
Whistling (1828) mentions a Sophie von Wet-
BAUCH as the composer of an Overture (op. 3),
and two books of Dances for PF. [G.]
WHISTLING AND HOFMEISTER'S
HANDBUCH. The origin of this useful work
is due to C. F. Whistling, a Leipzig publisher,
who in 1 81 7 brought out the first volume, under
the title * Handbuch dermusikalischen Literatur,
oder allgemeines systematisch geordnetes Ver-
zeichniss gedruckter Musikalien, auch musikal-
ischer Schriften und Abbildungen mit Anzeige
des Verlegers und Preises,' 8vo. This work was
published anonymously by A. Meysel, and con-
tains a tolerably complete list of the music
published in Germany, with some additions from
neighbouring countries, between the years 1 780
and 1817. In 1819 the publication was bought
by the elder Hofmeister (also a Leipzig pub-
lisher), but in 1825 it was resold to Whistling.
The 18 1 7 volume was followed by ten yearly
supplements, carrying the work down to 1827.
In 1828 the second volume (or rather a new
edition of that of 181 7) appeared. This work,
to which Whistling's name appears, is an 8vo.
volume of 1158 pages; it is divided into three
parts, and was followed by a supplement, con-
taining a list of the works published while the
book was in the press. In 1829 Whistling sold
his whole business to the Hofmeisters, who
thus again obtained possession of the work, and
brought out two more supplements, carrying it
down to 1833 and ^838 respectively. In 1844 a
WHITAKER.
third edition appeared under the following title :
• C. F. Whistling's Handbuch der musikalischen
Literatur, oder allgemeines systematisch-geord-
netes Verzeichniss der in Deutschland und in
den angrenzenden Landem gedruckten Musika-
lien auch musikalischen Schriften und Abbil-
dungen, mit Anzeige der Verleger und Preise.
Dritte, bis zum Anfang des Jahres 1844 erganzte
Auflage. Bearbeitet und herausgegeben von A.
Hofmeister.' This edition (a 4to. volume) was
published by Friedrich Hofmeister. It consists
of three parts with separate pagination (Part I,
pp. 144; Part II, pp. 336; Part III, pp. 340) ;
the third part is dated 1845, and is preceded by
a list of the changes which have taken place in
the various firms of music-publishers during
the period covered by the volume. In 1851 a
series of yearly 8vo. volumes was begun, con-
taining lists of the music published during
the year preceding that of each publication.
This series is still continued. In 1852 another
volume (382 pp.) of the 4to edition carried the
collection on from January 1844 until the end
of 1851. In i860 a second volume (470 pp.)
carried it down to the end of 1 859, and in 1 868
a third (561 pp.) down to the end of 1867.
These volumes were all edited by Adolph Hof-
meister, and published by Friedrich Hofmeister,
but since 1876 the work has been both edited
and published by the latter. The last two
volumes of the 4to series which have hitherto
(March, 1886) appeared, are those of 1876 (575
pp.) and 1881 (685 pp.). Tlie titles the volumes
at present bear, according to which the i860
issue appears as ' Fiinfter Band oder Zweiter
Erganzungsband,' seem a little ambiguous un-
less it is remembered that the editions of 181 7,
1828, 1844, and 1852 are treated as the first
four volumes, though the issue of 1852 is at
the same time regarded as the first supplement
to its predecessors. [W.B.S.]
WHITAKER, John, bom 1776, was organist
of St. Clement, East Cheap, and composer of the
music of many popular dramatic pieces, amongst
which were 'The Outside Passenger,' 18 u ;
'Orange Boven,' 1813; 'A Chip of the Old
Block,' and 'My Spouse and I,' 1815 ; 'The
Broken Sword,' 1816; 'A Friend in Need,'
1 81 7; 'Three Miles from Paris," 18 18; 'A
Figure of Fun,' 182 1 ; ' The Apprentice's Opera,*
' The Rake's Progress,' ' Sixes and Sevens,' etc.
He joined Reeve in composing music for * Who's
to have her,* and contributed some songs to
'Guy Mannering' (18 16), amongst them the
popular * Oh, slumber, my darling.' He also
composed the music for several pantomimes, in
one of which (produced at Sadler's Wells on
Easter Monday, April 12, 1819) occurred the
famous Clown's song, ' Hot Codlins,' written for
Grimaldi. His comic songs ('Darby Kelly,'
'Paddy Carey,' and others) were highly popular.
He composed some anthems, music for English
versions of the Odes of Anacreon and -^sop's
Fables, The Seraph Collections of Sacred Music,
2 vols., and 12 Pedal Exercises for the Or^'an.
He died Dec. 4, 1847. [W.H.H.]
WHITE.
WHITE, Rev. MATiriEW, Mus. Doc, a bass
singer in the choir of Wells Cathedral, became
organist of Ch. Ch. Cathedral, Oxford, i6ii, and
was admitted Nov. 2, 1613, gentleman and gos-
peller of the Chapel Royal. He resigned the
appointment Sept. 25, 1614. On June 2, 1619, he
and Cuthbert Joyner, Serjeant of the Vestry of the
Chapel Royal, were appointed Surveyors of lands,
etc., belonging to rectories, vicarages, and rural
prebends in England and Wales. He accumu-
lated the degrees of Mus. Bac. and Mus. Doc. at
Oxford, July 18, 1629. Anthems by him are
in Barnard's MS. collections, in the Tudway
Collection, in Ely Cathedral Library, and else-
where. The words of some are given by Clifford.
Some catches by him are in * The Musical Com-
panion,'1667. [See White, Robert.] [W.H.H.]
WHITE, Maude Valerie, born of English
parents at Dieppe, June 23, 1855. After
acquiring the rudiments of harmony and compo-
sition from W. S. Rockstro and Oliver May, she
entered the Royal Academy of Music in Oct.
1876, and studied composition under Sir G. A.
Macfarren. In Feb. 1879 ^^^ ^^^ elected to
the Mendelssohn Scholarship, which she held
for two years, studying the while under Mac-
farren and F. Davenport. In April 1881 ill-
health compelled her to give up the scholarship
and reside for a time in South America. Pre-
viously, however, to her departure, a portion
of a Mass of hers was performed at a Royal
Academy Students' Orchestral Concert. In
the winter of 1883 she completed her musical
studies in Vienna, since which she has resided in
London,
It is as a song- writer that Miss White is
known ; her songs are often graceful, melodious,
well-written, and well-adapted to the voice.
Among the most popular of them are * Absent
yet Present,' * The devout lover,' ' Ye Cupids,'
and * When passion's trance.' Her best songs
Ski-e to words by Herrick and Shelley. For
instance, for * To Blossoms,* * To Daffodils,' ' To
Electra,' * To Music, to becalm his fever,' she
has written pure, quaint, and measured music
in thorough accord with Herrick's delicate but
somewhat archaic turns of thought and lan-
guage. But a song of greater scope and merit
than any of these is to Shelley's words, ' My
soul is an enchanted boat,' from 'Prome-
theus Unbound.' Here she has completely
caught the spirit of Shelley's beautiful song, and
has proved herself to be an adequate interpreter
of a most exquisite lyric; and it is not too much
to say that the song is one of the best in our
language. And worthy of all praise is her
-thorough appreciation of the importance of the
words of songs, an appreciation attested alike
by the excellence of the poetry she sets to music,
and by her own careful attention to the metre
and accents of the verse.
Of Miss White's German and French songs
we may mention Heine's * Wenn ich in deine
Augen seh,' and * Im wunderschonen Monat
Mai,' and Victor Hugo's 'Chantez, chantez,
jeune Inspiree/ and ' Heureux qui peut aimer,'
WHITE.
451
also a fine setting of Schiller's 'Ich habe gelebt
und geliebet,' for soprano and orchestra.
• Of her later attempts we may mention some
interesting settings of poems from ' In Memoriam.'
But it may be doubted whether these noble
poems are sufl&ciently lyrical for the musician's
purpose. [A.H.W.]
WHITE.MEADOWS. Alice Mary Meadows
White, n4e Smith, a distinguished English com-
poser, was born May 19, 1839, She was a pupil
of Sir W, Sterndale Bennett and Sir G. A. Mac-
farren ; married Frederick Meadows White, Esq.,
Q.C., Jan. 2, 1867, was elected Female ProfeS'
sional Associate of the Philharmonic Society in
Nov. 1867, Hon. Member of the Royal Academy
of Music in 1884, and died Dec. 4, 1884. She
was a prolific composer of works of all dimen-
sions. The list embraces 2 Symphonies, in C
minor (1863), and G (18 — ); Overtures to 'En-
dymion' (1871), *Lalla Rookh' (1865), 'Masque
of Pandora,' with two Intermezzi (1878), and
'Jason' (1879) ; a Concerto for clarinet and or-
chestra (1872) ; an Introduction and Allegro for
PF. and orchestra (1865) ; 4PF. quartets, in Bb
(1 86 1), D (1864), E, and G minor; a PF. trio
in G (1862); 3 String quartets, in D (1862), A
(1870), and G; also 5 Cantatas for soli, chorus,
and orchestral accompaniment-—* Riidesheim or
Gisela' (1865), Kingsley's * Ode to the North-
East Wind' (Hackney Choral Association, 1S80),
Collins's *Ode to the Passions' (Hereford festi-
val, 1882), Kingsley's 'Song of the Little Bal-
tung' (1S83), Kingsley's ' Red King' (1884), the
four last published by Novellos ; Part Song ' The
Dream ' (1863) ; Duet (S. T.) « Maying' ; many
solo-songs, duets, etc. 'Her music,' says the
'Athenaeum' of Dec. 13, 1884, 'is marked by
elegance and grace rather than by any great
individuality . . . that she was not deficient in
power and energy is proved by portions of the
Ode to the North-East Wind, and The Pas-
sions. Her forms were always clear and her
ideas free from eccentricity ; her sympathies
were evidently with the classic rather than with
the romantic school.' [G.]
WHITE, Robert, a great English musician of
the 1 6th cent., of whose life no particulars seem
obtainable. In an organ book at Ely Cathedral
there is a list of organists, according to which
White was organist there from 1562 to 1567,
and died in the last-named year. The official
register of the organists commences with John
Farrant on Dec. 9, 1567. An old MS. in the
possession of the Rev. Sir F. A. G. Ouseley may
be understood to say that White was organist of
Westminster Abbey 'temp. 1560.' In one of
the MSS. in the library of Ch. Ch., Oxford, he
is constantly described as of Westminster, and
once in full as *Mr. Ro. Whytt, batchelar of art,
batchelar of musick, organist of Westminster,
and m"" of the children of the same.* More defi-
i nite still is a MS. note by Mr. John Stafford
j Smith in the margin of a copy of Bumey's His-
' toiy (vol. iii. p. 66) in the Royal College of
' Music Library, according to which 'Robert
Gga
152
WHITir.
White commenced org*, of West'. Abbey anno
1570, and master of the choristers 1574. ^'^^^
1575.' No corroboration of any of these state-
ments is forthcoming. There is no entry of
White's burial at Ely, and the Westminster Re-
gisters appear to make no mention of him. Nor,
again, can White's degrees be found in the
Registers of either Oxford or Cambridge, which
are unfortunately most defective at the period at
which he, in all likelihood, graduated. Several
persons of the name graduated at Cambridge
during the reign of Henry VIII, but in no case
are the christian names given . Anthony k Wood,
in his Lives of English Musicians, has very little
to say about White, and in the index assigns
him to the reign of Charles I., obviously con-
fusing him with Matthew Whitb.
This almost total want of information is the
more remarkable as White was certainly a man
of very great note in his day. Morley, in his
* Plain and Easy Introduction,' classes him with
the glories of the English School. In a MS.
wiitten in 1 591 by John Bald wine, ' singing man
of Windsor,* that worthy says, in recounting the
principal composers of his age : —
I will begin with White, Shepperd, Tye, and Tallis,
Parsons, Gyles, Mundie, th'oulde one of the Queen's
pallis.
The writer of the beautiful set of Part Books
in the Ch. Ch. Library, from which bo much of
interest with regard to the composers of the
1 6th century is to be gleaned, was an enthu-
siastic admirer of White. At the end of the
Peccatum peccavit in D minor he writes in the
alto and tenor parts : —
Non ita moesta sonant plangentis verba Prophetse
Quam sonat authors musica moesta mei.
[Sad as the mourning Prophet's words fall on the ear.
More sad to me the music's tones appear.]
There may have been another couplet, but, if so,
the binders have destroyed it. Again, at the
end of the Precamur, we find in all the parts —
Maxima musarum nostrarum gloria White
Tu peris ; eeternum sed tua musa manet.
[Thou diest, White, chief splendour of our art,
£ut what thy art hath wrought shall nevermore
depart.]
It is a sad commentary on this that only three
of White's pieces have been printed, * The Lord
bless us,' in Barnard ; * Lord, who shall dwell,'
in Bumey's History, and ' O praise God in His
holiness,' by Bums, in * Anthems and Services ;
Second Series ' (about 1847). The MS. books of
White's time are, however, full of his music,
showing that it was highly esteemed. In man}'
cases we find his music attributed to Thomas,
William, or Matthew White. The first chris-
tian name seems to be a mere blunder.
Matthew White may have been a relation of
Robert. [See p. 451.]
William White appears as the author of a
number of Fantasias, mostly in five or six parts,
in the Libraries of Christ Church and the Music
School, Oxford, the style of which leads to the
conjecture that he lived in the early part of the
1 7 th centuxy. An anthem, to the words ' Behold
WHITE.
now, praise the Lord,' in the part-books at St.
Peter's College, Cambridge, is ascribed to him.
The following list of Robert White's compo-
sitions seems fairly complete. It presents three
noteworthy features : —
(1) The absence of secular compositions, with
the possible exception of the Fantasias for the
Lute.
(2) The great preponderance of Latin in the
words.
(3) The fact that apparently none of the Latin
motets were adapted to English words. The
strangeness of this will be realised by comparing
the numerous adaptations made in the case of
Tallis. (Is it a sign of White's earlier date ?)
COMPOSITIONS to LATIN WOKDS.
FflCcatam peccavit (Lam. I. 8—13, In two parts, the second com-
mencing at Omnls populus), a 6 (A min.). l Cli.Ch., M.S.O., B.M.,
B.C.M.
Peccatum peccavit, i r» (D min.). Ch.Ch.
Portions of Psalm cxix.. viz:—
1. Portio mea (vv. 57-64), i 5 (A min.). Ch.Ch.
2. Manns tuae (and Veniant mlhl, 72-fO), k 5 (D min.) Ch.Ch.
M.S.O., R.C.M.. B.M.
3. Justus es (137—144), k 5. (E min.) Ch.Ch.
4. Approplnquet deprecatlo (169—176), 4 5 (G min.). Ch.Ch.
Portions of a Magnificat, k 6, viz. ;—
1. Quia fecit, a 4 (D min.). Ch.Ch.
2. £t sanctum nomen, i 3 (D min.). Ch.Ch.
3. Sicut locutus est, Ji 4 (D min.). Ch.Ch.
4. Slcut erat In prlnclpio, k 4 (D min.).2 Ch.Ch.
Miserere (Psalm 11., In two parts, the second commenclnv ' Cor
mundum '), ii 6 (D minor). Ch.Ch.
Exaudlat te (Psalm xx.), & 5 (D niln.) Ch.Ch.
Domlne quls hablteblt (Psalm xv.), k 6 (?; (I> min.) Ch.Ch,
Do. Do. (D min.) Do. M.S.O.
Do. Do. (A min.) Do.
Deus mlsereatur (Psalm Ixvil.), a 6 (G min.) Ch.Ch., M.S.O.
Cantate Domino (Psalm xcvill). ii 3 (A min.) B.C.M.
Ad Te levavl (Psalm cxxlll.), i 6 (?) (G min.) Ch.Ch.
Domlne non est (Psalm cxxxl.) it 6 (D mln.)S Ch. Ch.. M.S.O.
Reginacoell, k5(Fmajor). Ch.Ch.
Precamur sancte Domlne, 4, 5 (D dor.).< Ch.Ch.
Tota pulchra es (Canticles Iv. 7), k 6 (?) (A min.). Ch.Oh.
In nomine, i 5 (D min.). Ch.Ch.. M.S.O., B.M.
SInnomlnes, a,4(Dmin.) M.S.O.
In nomine, it 6 (F maJor).S B.M.
Libera me, k 4 (G mln.).< B.1L
Christe qui lux. B.M.
Do. Do.
3 In aomlnet.7 B.M.
1 Ch.Ch. - Christ Church, Oxford. M.S.O. - Music School Library,
Oxford. B.M. - British Museum. B.C.M. - Boyal College of Music.
P.H. — Peter House, Cambridge.
2 All these appear in a book which consists of excerpts, usually for
a small number of voices, from larger works. It seems a tolerably
certain Inference that they are clippings from a Magnificat of con-
siderable dimensions. More than this, there Is In the Oxford Muslo
School Library a Contra Tenor part of a Magnificat i 6, from which,
where comparison is possible, it is clear that the excerpts In Ch. Ch.
were taken. There is the usual difficulty about Christian names.
The Oh. Ch. MS. only assigns the pieces to * Mr. Whight,' by which
In that MS. Robert White is always meant. The Music School MS.
attributes the Magnificat to ' Mr. William White, 1570.' As the Ch. Ch.
MS. seems much older than the other, and everything else points
to William White having lived a good deal later than 1570, It seems
most reasonable to consider Bobert White the author of this work.
Since writing this the author has discovered at Tenbury five parts
of the whole of this Magnificat.
« • Slcut ablactatus,' which appears as a separate Motet In a MS. at
Ch. Ch., Is only an excerpt from this work.
* Several settings of these words by White are to be found. In
Ch. Ch. there Is first of all a melody harmonised note against note,
much as a modem hymn tune, except that In the second of the three
verses of the hymn the melody Is assigned not to the treble but to
the alto. There are also In Ch. Ch. three other pieces to these words,
two in D dor. Immediately following that described, and subsequently
one In G min.. In all of which the melody is used as a C. B". and florid
counterpoints written to It. The second and third of these are also
in B.M. : the first la M.S.O. ; the second, and perhaps the others in
B.C.M. also.
6 This piece, which Is not called an In nomine, appears In a volume
that bears the date 1678. and Is entitled ' A book of In nomlnes and
other solfaing songs of 6, 6, 7, and 8 parts for voices or Instruments.'
« Only ascribed to ' Mr. White.'
7 The Ch. Ch. Catalogue refers to an Ecce Mater by Wblte, but
thli appear* to be a mistake of the Cataloguer.
WHITE.
WHITING.
45a
II. COMPOSITIONS TO ENGLISH WORDS.
O Lord, deliver me from mine enemies, k 5 (D min.). Ch.Cb.
Lorde, who shall dwell (Psalm xv.). a 5 (G miu.}.^ Ch.Ch.
The Lord bless us, i 5 ( A min.).2 Ch.Ch.
Let thy mercyful ears. Ch.Ch. Cataloerue.3
O praise God in His holiness, it 8 (F major).* Ch.Ch., Tenbury, El;
Yorlf. P.H.
O how glorious.5 Ch.Ch.. P.H.
O God the heathen are come. York Catalogue.
Frayse the Lord, O my soul. Ji 6 (D min.).6 R.C.M.
m. IN8TBUMENTAL PIECES.
« Fantazias for the Lute. B.H.
• Bitts of three Parte Songs, in Fartitioa ; vith Ditties, U ; withoute
Ditties, 16.' 7
A certain Magister White was employed by
Magdalen College, Oxford, in the years 1531,
5532. i,«)39, 1542, and 1545, to repair the organ
in the College Chapel. In the 'Parish Choir'
(vol. iii. p. 82) Sir William Cope conjectures, on
the strength of the title Magister, that this was
none other than Robert White. If so, White
would be one of the earliest English organ-
builders as well as one of the chief glories of the
English school of music. Dr. Rimbault declares
in his Preface to the Musical Antiquarian
Society's edition of Gibbons's Fantasies (p. 7)
that Robert White was the First English musi-
cian who adopted the title of Fancies for a col-
lection of instrumental compositions, and refers
to the Fantasias in the Library of Christ Chvu-ch,
Oxford, in support of this statement. These
Fantasias, as already observed, are the work of
William White, but the Fantazias in the British
Museum seem to make good Dr. Rimbault's
statement.
The writer has to tender his sincere thanks to
the Rev. Sir F. A. G. Ouseley, Bart., the Rev.
Sir W. H. Cope, Bart., the Rev. W. E. Barnes,
the Rev. W. E. Dickson, Dr. Naylor, Dr.
Armes, Dr. Mann, Mr. Barclay Squire, and
Mr. Bertram Pollock, for most material assistance
rendered by them in drawing up the foregoing
particulars. [J.H.M.]
WHITFELD, CLARKE. [See Claeke,
John. vol. i. p. 365 5.]
WHITING, George Elbriege, an eminent
American musician, born Sept. 14, 1843, at Hol-
liston, near Boston, U.S. His mother had been
a fine vocalist during her youth. Two of his
brothers adopted music as a profession, and with
one of them, Amos, then organist at Springfield,
Mass., he began to learn the piano when but 5
years old. At 13 he had attained such skill on
the organ as to make his first appearance at a
concert in Worcester, Mass. Two years later he
1 Prlnled by Bumey.
2 This anthent is at York ascribed to VTUUam White ; at Ely, in Mr.
Hawkins's handwriting, to ' Dr. Matthew White of Xt. Church in
Oxford 1611.' But in the Oh. Ch. part-books it is assigned to Robert
White, and these books were written about 15S1. An autograph book
of Dr. Blow in the Fitzwilliam at Cambridge also attributes it to
Jloherl Wliite, and Karnard prints it as Rob. White, which seems con-
•clusive. [See Schools 0* Composition, vol. ill. p. 272 a.]
3 The books that contained this Anth>;m are missing.
* Tills Is printed in vol. 11. of Services and Anthems, published by
Burns. At York it is ascribed to William, and in another copy to
Matthew White. At Ch. Ch. there is no christian name, but the
Tenbury copy ascribes the piece decisively to "Maister Wliytt, orgt.
of Westminster Abbey, temp. 1560.'
5 As this Is only said to be by 'Mr. White,' it may belong to Mat-
tliew AVhite.
« This is only attributed to 'White.' Another anthem. 'O Lord
«ur Governor,' in B.C.M. is ascribed to B. W.. and probablv Robert
White is meant.
' bee Burney's History, vol. Hi. p. 71.
succeeded Dudley Buck as organist of the North
Congregational Church at Hartford, Conn. There
he founded the Beethoven Musical Society for
church practice. In 1862 he began his Boston
career, playing at Dr. Kirk's church, and after-
wards at Tremont Temple, and giving concerts
on the Music Hall organ, and on many other
large organs, and meanwhile studying with G. W.
Morgan, organist in New York. In 1863 he
visited England to study with Mr. W. T. Best,
and while there often deputised for Mr. Best in
church. Returning to America he became or-
ganist of St. Joseph's Church, Albany, where
Emma La Jeunesse, now known as Madame
Albani, was a member of his choir. [See vol. ii.
p. 85.] After three years he returned to Boston,
where he was organist and director of music at
King's Chapel for five years, and at the Music
Hall for one year. In 1874 he visited Berlin, and
studied harmony with H aupt, and orchestration
with Radecke. Returning to Boston again, he
became principal organ-instructor in the New
England Conservatory. He was also organist at
the Cathedral of the Holy Cross, and conductor
of the Foster Club, Boston. While Mr. Whiting
was its director the club sang a number of his
compositions, among others a setting of the pro-
logue to Longfellow's 'Golden Legend,' and the
first sketch of a cantata, * The Tale of the Viking.*
In 1879 he accepted a call from Theodore Thomas
to take charge of the organ department in the
College of Music at Cincinnati, of which Thomas
was then director. A thousand dollars having
been offered by the Musical Festival Association
for a cantata. Buck and Whiting competed. Buck
offered * Scenes from Longfellow's Golden Legend,'
Mr. Whiting submitted his * Tale of the Viking,'
enlarged to a dramatic cantata for three solo
voices, chorus, and grand orchestra. The choice
fell on Buck, not without considerable difference
of opinion outside. In 1882 Mr. Whiting re-
turned to Boston and the New England Conser-
vatory, where he is now (1886) teacher. He is
still young, and it is believed that the world will
yet be greatly enriched by his work.
Besides many organ studies and concert pieces,
and the large works already mentioned, Mr.
Whiting has written a number of songs; a
Mass in C minor for voices, orchestra, and organ
(performed in 1872) ; a do. in F minor ; a grand
Te Deum in C major (written for the opening of
the Cathedral in Boston and performed in 1874) ;
* Dream Pictures,' a cantata (performed in 1 8 76) ;
several sets of Vespers ; a number of four- part
songs; a piano concerto in D minor ; an Allegro
brillant for orchestra; suite for cello and piano,
op. 38 ; overture for orchestra to Tennyson's
* Princess ' ; * March of the Monks of Bangor,*
for male chorus and orchestra, op. 40; 'Free
Lances,' for male chorus and military band ;
'Midnight,' cantata for four solo voices and
piano solo ; * Henry of Navarre,' ballad for male
chorus and orchestra. Many of these pieces
have been performed in public. Mr. Whiting was
last employed on a symphony in C, and suite
for orchestra in E [W.H.D.]
454
WHITMORE.
■ WfllTMORE, Chables SHAPLAito, bom
1805, at Colchester, educated at Rugby and
Cambridge; called to the Bar 1830; Q.C. 1855;
County Court Judge 1857. He was an enthu-
siastic amateur, and composed various songs, viz.
* Oh Sorrow ' (Barry Cornwall), * Oh, the merry
days,' * Farewell, I know thy future days' ; and,
in 1 830, ' Isle of Beauty, fare thee well.* This
last, with accompaniments by Rawlings, enjoyed
very great popularity, and as recently as 1878
was republished with fresh accompaniments, as 'a
celebrated English ditty of the olden time.' Mr.
Whitmore died in 1877, and on his deathbed
composed a Kyrie, which is good enough to be
included in the Temple Church Service Collec-
tion. His brother, Lt.-Gen. Francis Locker
Whitmore, was director of the Military Music
School at Kneller Hall, which he left in 1880.
[See Kneller Hall.] [A.C]
WHYTHORNE, or WHITEHORNE, Tho-
mas, bom in 1528, is known only as the com-
poser of a collection of part-songs Which issued
from the press of John Day in 157 1, bearing the
quaint title of * Songes for three, fower and five
voyces, composed and made by Thomas Whyt-
horne, Gent., the which songes be of sundrie
sortes, that is to say, some long, some short,
some hard, some easie to be sung, and some
between both ; also some solemne and some plea-
sant or mery, so that according to the skill of the
singers (not being musicians) and disposition and
delite of the hearers, they may here find songes
to their contentation and liking.* A woodcut
portrait of the composer is on the back of the
title. The compositions do not rise above me-
diocrity. A portrait of Whythorne, painted in
1569, is in the possession of Mr. Julian Mar-
shaU. [W.H.H.]
WIDERSPANSTIGEN ZAHMUNG, DER
— ^The Taming of the Shrew. An opera in 4 acts,
adapted by J. V. Widmann from Shakspeare,
and set to music by H. Goetz. It was produced
at Mannheim, Oct. 11, 1874. In English (Rev.
J. Troutbeck), by Carl Rosa, at Her Majesty's
Theatre, Jan. 20, 1880. The English version is
published by Augener & Co. [G.]
WIDOR, Charles Marie, organist and com-
poser, born Feb. 22, 1845, ^^ Lyons, where his
father was organist of St. Fran9ois. After an
early training at home he was sent to Belgium,
where he studied the organ with Lemmens, and
composition with F^tis. He then returned to
Lyons, and in Jan. 1870 became organist at St.
Sulpice in Paris, a post he still retains.
M. Widor's intellectual activity and position
in good society did not tempt him to be a mere
virtuoso ; he soon won himself a place among the
composers and writers on music. His duties
as Clitic of the 'Estafette,* under the two signa-
tures of 'Tibicen' and * Auletbs,' leave him ample
time for composition. His works include a quan-
tity of PF. pieces; songs with PF. accompa-
niment; duets for soprano and alto, etc.; 2
orchestral symphonies (in F and A) ; * Nuit du
Sabbat,' caprice symphonique in 3 parts ; 3 con-
WIECK.
certos for PF. and orchestra, cello and orchestra,
and violin and orchestra; PF. quintet in D
minor ; PF. trio ; sonata for PF. and violin ;
suite for flute, and 6 duets for PF. and organ.
He has also published a Mass for 2 choirs and 2
organs; Psalm cxii. for chorus, orchestra, and
organ ; several motets, and two collections of
* Symphonies ' for organ. His Ballet in 2 acts,
called * La Korrigane,' was produced at the Opera,
Dec. 1, 1880, with success, though his * Maitre
Ambros,' an opera in 3 acts and 4 tableaux to a
libretto by Coppde and Auguste Dorchain, pro-
duced at the Op^ra Comique in May, 1886, was
not so fortunate. The work will, however, con-
firm M. Wider in popular estimation and the
respect of connoisseurs; for the pains he bestows
on all his compositions, coupled with the grace
and distinction of his melody, and his horror of
vulgarity, seem to point him out as fitted to please
both the public and the select few. His Sym-
phony in A was played at the Crystal Palace,
March 19. 1887. [G.C.]
WIECK, Friedrich, a remarkable pianoforte
teacher, and father of Madame Schumann, was
born Aug. 18, 1785, at Pretsch, near Torgau, in
Saxony, began life as a student of theology at
Wittenburg, preacher and private tutor, and
was for some time engaged in a piano factory
and library at Leipzig. His first wife was
named Tromlitz, and was the mother of Clara
Josephine, his famous daughter, and of two
sons, Alwyn and Gustav. This union, how-
ever, was broken off, and the lady married
Bargiel, father of Woldemar Bargiel. Wieck
married again, July 31, 1828, Clementine
Fechner, by whom he had a daughter Marie.
About 1 844 he removed from Leipzig to Dres-
den, where he resided till his death, Oct. 6,
1873, spending the summer at Loschwitz, and
leading a very musical life, his house a rendez-
vous for artists. Mendelssohn endeavoured to
secure him as Professor of the Piano in the
Leipzig Conservatorium, but without success,
and Moscheles was appointed instead.
Wieck began to teach the piano on Logier's
system, but soon abandoned it for a method of
his own, if that can be called a method which
seems to have consisted of the application of the
greatest care, sense, and intelligence possible to
the teaching of technique and expression. He
has embodied his views on the piano and singing
in a pamphlet entitled * Clavier und Gesang '
(2nd ed., Leipzig, 1875), translated by H. Kriiger,
of Aberdeen, with three portraits. [See vol. iii.
p. 423 J.] Among Wieck's pupils may be men-
tioned Hans von Biilow, who, in a letter quoted in
the translation just mentioned, speaks of him with
respect and gratitude. But his daughter Clar.i,
is his best pupil, and his greatest glory.
An institution called the • Wieck-Stiftung*
was founded in Dresden on Aug. 18, 1871,
his 86th birthday, partly by funds of his own.
He continued to see his friends almost up to the
end of his life, and an amusing account of a visit
to him in 1872 is given by Miss Amy Fay
(* Music Study in Germany,' London, i886,p. 147).
k
WIECK.
He published some Studies and Dances for the
piano, Exercises in Singing, and a few pamphlets,
• Verfall der Gesangkunst' (Decay of the Art of
Singing), etc. He edited a number of classical
pianoforte works which are published anony-
mously, but distinguished by the letters DAS
(Der alte Schulmeister). For portrait, see p. 492.
Marie Wieck, daughter of the foregoing, was
born in Leipzig about 1830, and educated by her
father. She visited England in 1864, and ap-
pears to have been the first to perform the
Concerto of Robert Schumann, in London, viz.
at the Crystal Palace, on March 5 of that year.
She now resides in Dresden, and is much
esteemed .is a teacher both of the pianoforte and
singing. She has edited several of her father's
works. [Gr.]
WIENER, WiLHELM, violin player, born at
Prague, Aug. 1838 ; learnt violin from Mildner,
and harmony from Tomaschek, in the Conserva-
torium there. After playing a great deal in
Prague, he left it at sixteen for Brussels, and
thence came to London, where he has been
established ever since as an excellent teacher
and player. He held the second violin at the
Musical Union for many of its last years, was
joint leader of the Philharmonic band with L.
Straus for several seasons, and is widely known
and esteemed. [G.]
WIENIAWSKI, Henbi, one of the most
eminent of modern violinists, was the son of a medi-
cal man, and born at Lublin in Poland, July 10,
1835. His great musical talent showed itself so
very early that his mother, a sister of the well-
known pianist Ed. Wolff, took him at the age of
8 to Paris, where he entered the Conservatoire,
and was soon allowed to join Massart's class.
As early as 1846, when only 11, he gained the
first prize for violin-playing. He then made a
tour through Poland and Russia, but returned
to Paris to continue his studies, more especially
in composition. In 1 850 he began to travel with
his brother Joseph, a clever pianist, and appeared
with great success in most of the principal towns
of the Netherlands, France, England and Ger-
many. In i860 he was nominated solo-violinist
to the Emperor of Russia, and for the next twelve
years resided principally at St. Petersburg. In
1872 he started with Anton Rubinstein for a
lengthened tour through the United States, and
after Rubinstein's return to Europe, extended
his travels as far as California. Returning to
Europe (1874), he accepted the post of first pro-
fessor of the violin at the Conservatoire of Brus-
sels, as Vieuxtemps' successor ; but after a few
years quitted it again, and though his health
was failing, resumed his old wandering life of
travel. An incident connected with this last
tour deserves record. During a concert which
he gave at Berlin, he was suddenly seized by a
spasm and compelled to stop in the middle of a
concerto. Joachim, who happened to be among
the audience, without much hesitation stepped
on to the platform, took up Wieniawski's fiddle,
and finished the programme amid the enthu-
WILBYE.
455
siastic applause of an audience delighted by so
spontaneous an act of good fellowship.
Struggling against his mortal disease, Wien-
iawski made for Russia, but broke down at
Odessa, and was conveyed to Moscow, where he
died April 2, 1880.
Wieniawski was one of the most eminent
modern violin-players; a great virtuoso, dis-
tinguished from the mass of clever players by a
striking and peculiar individuality. Technical
difiiculties did not exist for him — he mastered
them in early childhood. Left hand and right
arm were trained to the highest pitch of perfec-
tion, and while the boldness of his execution
astonished and excited his audience, the beauty
and fascinating quality of his tone went straight
to their hearts, and enlisted their sympathy from
the first note. The impetuosity of his Slavish
temperament was probably the most prominent
and most characteristic quality of his style, in
which respect he much resembled his friend
Rubinstein ; but warm and tender feeling, as
well as gracefulness and piquancy, were equally
at his command. At the same time he was so
thoroughly musical as to be an excellent quartet-
player, though perhaps more in sympathy with
the modern than with the older masters. He
was one of the privileged few who, by sheer force
of talent, take hold of an audience and make
even the cold critic forget his criticism. Impe-
tuous, warm-hearted, witty, an excellent story-
teller— such was the man, and such were the
qualities which shone through his performances.
He has been accused of now and then overstep-
ping the bounds of good musical taste, and indeed
his fiery temperament led him sometimes to a
certain exaggeration, especially in quick move-
ments, or to such errors as the introduction of
an enlaiged cadenza in Mendelssohn's concerto ;
but who would not readily forgive such pecca-
dilloes to so rare and genuine a talent ?
His compositions — two concertos, a number of
fantasias, pieces de salon, and some studies — are
not of much importance. The best-known are
the fantasia on Russian airs, that on airs from
Faust, and a set of studies. [P-I^-]
WILBYE, John, the chief of English madri-
gal writers, published in 1598 'The First Set of
English Madrigals to 3, 4, 5 and 6 voices,' con-
taining 30 compositions, among them the well-
known and popular 'Flora gave me fairest
flowers,' and 'Lady, when I behold.' In 1601
he contributed a madrigal, * The Lady Oriana,'
to * The Triumphes of Oriana.' In 1609 he pub-
lished ' The Second Set of Madrigales to 3, 4, 5
and 6 parts, apt both for Voyals and Voyces,'
thirty-four compositions, including the beau-
tiful madrigals, ' Sweet honey-sucking bee,'
'Down in a valley,' 'Draw on, sweet night,'
and 'Stay, Cory don, thou swain.* In 1614 he
contributed two pieces to Leighton's ' Teares or
Lamentacions, etc' The above, which constitute
the whole of Wilbye's known vocal works, were
all printed in score by The Musical Antiquarian
Society. He composed some Lessons for the
Lute, a volume of which occurred in the sale of
456
WILBYE.
the library of Rev. William Gostling of Can-
terbury in 1777. He dated the dedication of
his first set of madrigals from 'the Augustine
Fryers,' and this fact, with the probable conjec-
ture that he was a teacher of music and possibly
a lutenist, are all that is known of the biogra-
phy of one who, in his particular walk, had no
superior. [W.H.H.]
WILD, Fbanz, one of the best-known of Ger-
man tenors, the son of homely country folk, bom
Dec. 31, 1 791, at Hollabrunn in Lower Austria,
At his baptism the cold water made him cry
so lustily that Elacho, the schoolmaster, re-
marked, 'That child will make a fine singer
some day ; he shows a turn for it already, and I
must teach him, let us hope with success' — a
prophecy destined to be brilliantly fulfilled. In
due time the boy, well-trained, entered the choir
of the monastery at Klosterneuburg, near Vienna,
and thence was promoted to the court chapel.
His voice changed with extreme rapidity in his
1 6th year, the process only lasting two months,
after which he became a chorus-singer, first at
the Josefstadt, and then at the Leopoldstadt
theatres. A happy accident brought him into
notice. General excitement about the war pre-
vailing at the time, some battle-songs by Collin
(of Beethoven's * Coriolan '), set to music by
Weigl, were being sung at the theatre, when one
night the solo-singer fell ill, and Wild, though
unprepared, took his place, and sang so finely
that he was received with acclamation. He
was at once ofiered an engagement for the
Kamthnerthor theatre, to sing in the chorus
and take subordinate parts. His powerful
sonorous voice told with so much effect one
night in the quartet in *Uthal,' that Hum-
mel recommended him to Prince Esterhazy
(whose band at Eisenstadt Hummel was con-
ducting), and he entered on an engagement for
six years from Oct. 11, 1810. Soon after, how-
ever. Count Ferdinand Palffy endeavoured to
secure him for the theatre 'an der Wien,' but
Prince Esterhazy declined to let him go. Wild
pressed for his release, which was at last
granted in Sept. 181 1. In the meantime he
had taken the law into his own hands, and
was singing Ramiro in Isouard's ' Cendrillon ' at
the above theatre, first as Ga»t (July 9), and
then (Aug. 28) with a permanent engagement.
His success was great, and when the theatre was
united under one management with the Kamth-
nerthor (181 4) he removed thither, and as Jean
de Paris (1815) excited universal admiration by
the liquid tones of his voice. For two years he
was acting there with those excellent singers
FoRTi [vol. i. 556J and VoGL [vol. iii. 323], his
last appearance being June 4, J 8 16, after which
he started on a tour through Frankfort, Mayence,
Leipzig, Berlin, Dresden, Hamburg, and Prague.
On Nov. 9, 18 1 6, he appeared for the first time
as Sargines at Darmstadt, having been made
Kammersanger to the Grand Duke of Hesse.
Here he remained till 1825, crowds flocking to
see him when he phtyed, anil offering him almost
princely homage. From Darmstadt he went to
WILD.
Paris, principally for the sake of further study
with Rossini and Bordogni, and after this ac-
cepted an invitation to Cassel as Kammersanger.
In July 1829 he went to Vienna, his engagement
being made permanent on Nov. i, 1830, and
there he remained till 1845, except for occasional
tours. One of these brought him to London in
1840, where he appeared with Staudigl and
Sabine Heinefetter at the Princess's in *Das
Nachtlager,' * Jessonda,' 'Iphig^nie enTauride,'
and • Der Freischiitz.' His last appearance on the
stage was at the Kamthnerthor theatre, March
24, 1845, ^is part being Abayaldos in 'Doni
Sebastian.' After this he became rdgisseur.
Wild celebrated the 50th anniversary of the
commencement of his career by a concert (Nov.
8,1857), i" which all the principal singers of
the court opera took part. Even then he was
listened to with pleasure from the perfection of
his style and the remarkable preservation of his
voice. Latterly it had acquired so much the
tone of a baritone that he sang such parts as
Don Juan, Zampa, and Sever with irresistible
power and energy. The parts in which Wild
excelled, besides those from classical and lyric
operas already mentioned, were Telasco ('Cor-
tez'), Arnold ('Tell'), Orestes, Masaniello,
Eleazar, Georges Brown, Licinius ('Veslale'),
Arthur Ravensvvood ('Lucia'), and especially
Tamino, Florestan, Joseph (M^hul), and Othello.
High notes he never forced, but preserved the full
power and freshness of his middle register, which
told most effectively in declamation and recita-
tive. Although short he was well and compactly
built, with eyes full of fire, an expressive coun-
tenance, and all the qualities fitted to give effect
to his acting, which was natural and lifelike
without exaggeration. As a concert-singer he was
always well received, but perhaps his best singing
of all was in church. Those privileged to hear
him sing the Lamentations during Holy Week
will never forget how the full round tones of his
superb voice floated forth in perfect devotional
feeling.
One of the happie.st events of Wild's life was
his meeting with Beethoven in 18 15, at a
festival-concert on the birthday of the Empress
of Russia. The last number of the programme
was the quartet in Fidelio, * Mir ist so wunder-
bar.' Through some curious chance Beethoven
himself appeared, and extemporised for the last
time in public, before an audience of monarchs
and statesmen. Wild had arranged to exchange
an air of Stadler's for 'Adelaide' : Beethoven was
delighted, and at once offered to accompany it.
* His pleasure at my performance,' continues Wild,
* was so great that he proposed to instrument the
song for orchestra. This never came off, but he
wrote for me the Cantata * * An die Hoffnung '
(to Tiedge's words) which I sang to his accom-
paniment at a very select matinde.' On the
20th of April of the next year. Wild gave a little
musical party at which he sang the same songs ;
Beethoven again accompanied him, and this was
• Op. 94, composed In 1816 ; not to be confounded with an earlier
aettUig of the same poem, op. 32, composed 1805.
WILD.
his farewell as an accompanyist, as the other
had been his farewell as a player.* Wild died
in i860, at Ober Dobling near Vienna. [C.F.P.]
WILDER, Jer6mb Albert Victor van,
lyric poet and musical critic, bom Aug. ai, 1835,
at Welteren, between Alost and Ghent. While
studying for his doctor's degree in law and
philosophy at the University of Ghent, he also
frequented the Conservatoire, and thus acquired
a thorough knowledge of harmony. Having
written for a time for the 'Journal de Gand,' he
came to the conclusion that there was no field in
Belgium for a writer on music, and determined,
like his countrymen Vaez and Gevaert,to push his
way in Paris. He began by translating songs,
and ended with adapting Wagner's works for
the French stage. Being not only a clever
versifier, but having a fine musical instinct,
his work of this kind is excellent. His printed
volumes include '40 Melodies 'by Abt; Schu-
mann's * Myrthen ' and an Album ; * Echos d'Al-
lemagne ' ; Rubinstein's * Melodies Persanes '
and duets; Mendelssohn's Lieder and duets;
Chopin's songs ; Weber's songs ; ' Les Gloires
d'ltalie,' etc. ; French versions of Handel's
'Messiah,' * Judas Maccabeus,' and 'Alexander's
Feast'; Schumann's 'Paradise and the Peri,'
* Manfred,' * Mignon,' ' Pilgrimage of the Rose,'
* Sangers Fluch,' and ' Adventlied ' ; Rubin-
stein s ' Tower of Babel,' and A. Goldschmidt's
'Seven Deadly Sins.' He has adapted for the
French stage Abert's * Astorga ' ; Mozart's ' Oca
di Cairo ' ; Schubert's ' Hausliche Krieg ' ; Pai-
siello's * Barbiere di Siviglia ' ; F. Ricci's ' Une
Folie a Rome,' and L. Ricci's ' Festa di Piedi-
grotta'; Weber's 'Sylvana'; J. Strauss*s 'La
lleine Indigo' and 'Tsigane'; Suppe's 'Fati-
nitza' ; and Wagner's ' Meistersinger,' ' Tristan
und Isolde,' and ' Walkure.'
His critiques and feuilletons in 'L'Ev^ne-
ment,' * L'Opinione Nationale,' 'LeParlement,'
and *Le Gil Bias' have not yet been col-
lected. He wrote for the ' Menestrel ' from
June 1871 to 1S84, and has republished
' Mozart : I'homme et I'artiste ' (Paris 1880, 8vo.
and 1881, i2mo.), and * Beethoven : sa vie et
son ceuvre' (Paris 1883, i2mo.). To him also
we owe the publication of Mozart's ballet ' Les
petits Riens,' produced in Paris June 11, 1778,
with a success represented by a French epigram
of the day as but indifferent, but by Mozart
himself in a letter to his father (July 9, 1778)
as very great. [G.C.]
WILHELM, Cabl, worthy of commemoration
only as composer of the Wacht am Rhein ; born
at Schmalkalden, Sept. 5, 1815, and died there
Aug. 26, 1875. He directed the Liedertafel at
Crefeld from 1840-65, composed his famous Song
in 1854, and received an annual pension of £150
foritini87i. [G.]
WILHELMI. AuGUSTE Emil Daniel Fried-
rich Victor, violinist, bom at Usingen in Nassau
Sept. 21, 1845, his mother being a good singer
and pianoforte player ; was first taught by
> Tba:rer. Beethoven, ill. 327 382.
WILHEM.
457
K. Fischer of Wiesbaden, under whom he made
astonishing strides, playing in public as early
as 9. By the advice of Liszt he spent from 1861
to 1864 at the Leipzig Conservatorium under
F. David, learning composition from Hauptmann,
then from Richter, and afterwards at Wiesbaden
from Raff". While at the Conservatorium he
made an appearance at the Gewandhaus Concerts
in 1862, and shortly afterwards began that career
of wandering which he has maintained ever since,
and always with great success. In 1865 he
visited Switzerland; in 1866 Holland and Eng-
land; in 1867 Franxje and Italy. In 1869, 70,
and 71 he was again in England, and made a
long tour with Santley ; in 1868, Russia, etc. —
In 1872 he made his d^but at Berlin, and in
1873 at Vienna. At the Nibelungen perform-
ances at Bayreuth in 1876 Wilhelmi led the
violins. The Wagner Concerts at the Albert
Hall, London, in 1877, were due to his repre-
sentations, and here again he led the first violins.
[See Wagner, p. 363 J.] In 1 878 he made his first
tour in America. — Wilhelmi resides at Biberich
on the Rhine in the intervals of his artistic
tours. He is second to no living artist in his
general command over the resources of his in-
strument, and excels in the purity and volume
of his tone, no less than in the brilliancy of
his execution. His repertoire includes the
principal works of the great masters : but
Bach and Paganini appear to be his favourite
authors. [G.]
WILHEM, Guillaume Lodis Bocquillon,
a musician known chiefly by his efforts to pro-
mote the popular teaching of singing, was born
at Paris, Dec. 18, 178 1. In early youth he was
in the army, but an irresistible passion for music
made him take to it as the pursuit of his life.
After passing through the Paris Conservatoire,
he became one of the Professors in the Lycee
Napoleon, and afterwards had a post in the
College Henri IV. His original compositions
were few — chiefly settings of Beranger's lyrics.
It was about the year 1815 that he began to
interest himself in the class-teaching of music in
schools. Soon after this, Beranger, who knew
him well, met one day in the streets of Paris
the Baron G^rando, who was at the head of a
society for promoting elementary education.
• We are busy,' he said to the poet, ' about getting
singing taught in the schools ; can you find
us a teacher ? ' * I've got your man,' said
Beranger, and told him of Wilhem's work. This
led to Wilhem's being put in charge of the
musical part of the society's work, and after-
wards, as his plans broadened out, he was
made director-general of music in the municipal
schools of Paris. He threw himself into this
cause with an enthusiasm which soon produced
striking results. Besides the school teaching,
he had classes which gave instruction to thou-
sands of pupils, mainly working people ; and
out of this presently grew the establishment of
the Orpheon, the vast organisation which has
since covered France with singing societies. [See
vol. ii. p. 611.]
458
WILHEM.
Wilhem's system has long ceased to be used
in France, and in England it is known only
in connection with the name of Mr. HuUah,
who adapted Wilhem's books for English use.
[See HuLLAH, vol. i. p. 755.] Here it is often
spoken of as a ' Method,' in the sense of a par-
ticular mode of presenting the principles of
music. But this is a mistake. The specialty of
Wilhem's system turned on the point of school
organisation. The plan of * Mutual Instruction,'
as it was called, was then much in vogue in France
as a way of economising teaching power, and the
point of the Wilhem System was the application
of this idea to the teaching of singing. A French
authority describes it in these words : ' Les
^Ifeves, divis^s en groupes de difFerentes forces,
^tudiaient, sous la direction du plus avanc^
d'entre eux, le tableau [sheet of exercises, etc.]
qui convenait le mieux k leur degrd d'avance-
ment. Ces diffdrentes groupes s'exercaient sous
la surveillance g^n^rale du Maitre.* Wilhem's
principal class-book, the 'Manuel Musical k
I'usage des Cioll^ges, des Institutions, des Ecoles,
et des Cours de chant,' is an explanation of the
ordinary written language of music, clefs, staves,
signatures, time-symbols, etc., interspersed with
a number of solfeggio exercises for class practice ;
the explanations are of the kind usually found
in musical instruction books. His special way
of arranging the classes is explained in his
* Guide de la Methode : Guide complet, ou
I'instruction pour I'eniploi simultant^ des tableaux
de lecture musicale et de chant ^I^mentaire '
(4th edition is dated 1839). In this he gives a
number of detailed directions as to class arrange-
ments, the manner in which the various groups
are to stand round the school-room, each in a
semi-circular line; the way in which 'moniteurs'
and * moniteurs-chefs ' are to be selected — the
way in which one class may be doing ' dictation '
while another is singing, and so on.^ The
method depended wholly on the ' enseignement
mutuel,' and when that fashion of school manage-
ment went out, it ceased to be used.
The real merit of Wilhem was the energy and
self-devotion he gave to the task of getting music
brought into the curriculum of primary schools.
Before his time part-singing, in a popular or
general way, was apparently unknown in France,
and it is for what he did to popularise it,
irrespective of any specialty of method, that
his name deserves to be held in honour. His
life was entirely given to the cause. It brought
him no profit — ^his • appointements ' were but
6000 francs a year — and though his particular
method has gone out of use, the effect of his work
has been lasting. The Orph^ou testifies to its
vitality. He died in 1842.
The Wilhem system was brought into England
by the late Mr. John Hullah,'' acting under
the direction of the then educational authori-
I Probably the fact that village schools, and primary schoola
generally, are or were usually carried on in one schoolroom, gave
•peclai Importance to these mechanical arrangements.
> Mr. Hullah died In the year 1884. His adaptation was entitled
in early editions ' Wilhem's Method of teaching Singing, adapted to
Eiig ish use. under the superintendence of the Committee of Council
•n Education. By Johu UulUb.'
WILLAERT.
ties of the country in the years 1 840, 1 841 . [See
Hullah, vol. i. p. 756a.] Mr.HuUah's ' Manual'
(in its earlier forms) was framed pretty closely
on the model of Wilhem's, but the principle of
the monitorial, or so-called 'mutual,' instruction
was dropped. And in another important detail
the aspect of the method here was different from
that of its prototype in France. Wilhem had
used the ' Fixed Do ' plan of solmisation, the
common mode, in that country, of using the
ancient sol-fa syllables. [See Solmisation, vol.
ii. p. 552.] But in England the old primordial
' tonic ' use of the syllables had always prevailed
— the use known as 'Moveable Do,' from the
Do being always kept to signify the tonic of the
piece, and therefore having a different place on
the staff according to the key in which a piece is
written. This use has been traditional in Eng-
land for centuries, and as the Wilhem plan of
the * Fixed Do ' went in the teeth of the ancient
practice, hot controversy arose on its introduc-
tion. This controversy is now chiefly of historical
interest, for the matter has settled itself by the
nearly total disappearance of the * Fixed Do as a
method of class or school teaching. School
teachers have found the other plan to be the
only one which produces the desired result of
training ' sight-readers,' and ' Moveable Do ' iu,
its modern and fully developed form of ' Tonic
Sol-Fa ' • has become largely recognized. But
it would be unfair to underrate on this account
the great public service done by Mr. Hullah in
the matter. The decisive step here, as in
France, was the introduction of any kind of
musical teaching into the schools, and the proof
that it was possible to teach singing to large
classes. In this sense Mr. Hullah's plans were
truly a great step forward, and had for some
time a great success.
The errors and deficiencies of the system
are easier to perceive now, when the general
principles of teaching are better understood,
than they were when Wilhem and Hullah
successively attacked the problem of teaching
the whole world to sing. Ill-directed in many
ways as their work was (chiefly because it de-
parted from the old lines), it was work for which
the people of both countries have good reason
to be grateful. [R.B.L.]
WILIS, THE, or The Night-Dancers.
An opera of E. J. Loder's. [See The Night-
Dancers, vol. ii. p. 488 a.]
WILLAERT, Adrian, the founder of the
Venetian school of musicians, was born in
Flanders about the year 1480. His birthplace
has been generally given as Bruges, a statement
which, according to F^tis, rests on the authority
of Willaert's own pupil Zarlino : but this refer-
ence appears to be an error ; while on the other
hand we have the express assertion of a con-
temporary, Jacques de Meyere (1531), that he
was born at Roulers, or Rosselaere, near Court-
rai.' Willaert was bred for the law and sent to
2 See the opposite views In F^tls. vlll. 470 (2nd ed., 1867), and E.
vander Straeten, ' La Muslque aux I'ays-bas,' 1. 249-257. Sweertius.
•Athenae Belglcae,' p. 104 (Antwerp, 1628, folio), also describes Wll-
WILLAERT.
Paris for the purpose of study; but his energies
were soon turned aside into their natural chan-
nel, and he became the pupil ^ either of Jean
Mouton or of Josquin des Pr^s — which, it is not
certain — in the theory of music. He returned
to Flanders for a while, then went to Venice,
Rome, and Ferrara. It was during this visit
to Rome, when Leo X was Pope, that Willaert
heard a motet of his own ('Verbum dulce et
suave ') performed as the work of Josquin. As
soon, it is added, as the choir learned its real
authorship, they refused to sing it again. Wil-
laert's name evidently had not yet become that
power which it was soon to be, under the
naturalised form of 'Adriano,' among Italian
musicians. From Ferrara he went northward,
and became cantor to King Lewis of Bohemia
and Hungary; and as on December 12, 1527,
he was appointed chapel-master of St. Mark's
at Venice by the doge Andrea Gritti, it is
^presumed that he returned to Italy at the
king's death in the previous year. His career at
Venice, where he lived until his death, Dec. 7,
1562,3 is associated principally with the foun-
dation of the singing-school which was soon to
produce a whole dynasty of musicians of the
highest eminence in their day. Among the first
of these may be named Willaert's own pupils,
Zarlino and Cyprian de Rore ; the latter was
Willaert's successor at St. Mark's.
Willaert's compositions are very numerous.*
Those published at Venice include (i) three
collections of motets, 1539-1545; (2) two of
madrigals, 1548 and 1561 ; (3) a volume of
'Musica nova,' 1559, containing both motets
and madrigals ; (4) several books of psalms and
of hymns; (5) Canzone, 1545; (6) Fantasie e
Ricercari, 1549. Besides these a variety of his
works may be found in different musical collec-
tions published during his lifetime at Antwerp,
Louvain, Nuremberg, Strassburg, and other
places. Willaert holds a remarkable position
among those Flemish masters whose supremacy
in the musical world made the century from 1450
to 1550 distinctively * the century of the Nether-
lands.' * He did not merely take up the tradi-
tion of Josquin des Pres ; he extended it in
many directions. From the two organs and the
two choirs of St. Mark's he was led to invent
double choruses ; and this form of composition
he developed to a perfection which left little
even for Palestrina to improve upon. His motets
for 4, 5, and 6 voices are of the pure Belgian
style, and written with singular clearness in the
different parts. In one instance he advanced to
the conception of an entire narrative, that of
the history of Susannah, set for five voices.* It
laert as of Bruges. Very possibly the discrepaney ts to be explained
by supposing Bruges to have been the seat of Willaert's family, and
Boulers that of his actual birth.
1 See A. W. Ambros, 'Geschicbte der Musllc,' 111. 502 ; Breslau, 1868.
a F6tls, Tlii. 471.
i A fine portrait of the musician is siven by H. vander Straeten,
i.2S8.
* See the lists in F^tis, I. e., and, for those published In the Nether-
lands, M. Goovaert's 'HIstorle et Blbllographle de la Typographie
musicale dans les Fays-bas,' under the different years.
s Ambros, 1. 3. See this writer's excellent criticism of Willaert,
TOl. ill. 503-509.
• Compare F^tls, vill. 471.
WILLIAMS.
459
would be absurd to describe such a work as an
oratorio, yet the idea of it is not dissimilar. In-
deed, in departing to some extent from the
severity of his predecessors and creating for him-
self a richer style of his own, Willaert ventured
to be more distinctively declamatory than any
one before him. The complexion, therefore, of
his writing, though it might appear 'dry' to
M. Fdtis, is markedly more modern than that of
his masters. He has also a good claim to be con-
sidered the veritable father of the madrigal, and
it is his compositions in this field which are
probably the best remembered of all he wrote.
To contemporaries, however, if we may believe
Zarlino, his church-music appealed most strong!}' ;
his psalms, and in particular a Magnificat°for
three choirs, being peculiarly admired. [R.L.P.]
WILLIAMS, Anna, born in London, daughter
of Mr. William Smith Williams, reader to
Messrs. Smith Elder & Co., to whose insight
the publication of 'Jane Eyre' was due. She
was taught singing by Mr. H. C. Deacon and
Mr. J. B. Welch, and on June 29, 1872, took
the first soprano prize at the National Prize
Meeting Festival at the Crystal Palace. She
afterwards studied for fifteen months at Naples
with Domenico Scafati, and on Jan. 17, 1874,
reappeared at the Crystal Palace. Since then
she has taken a very high position as an oratorio
and concert singer at the Principal Festivals and
Musical Societies of the United Kingdom. Her
voice is powerful and 2| octaves in compass, and
she sings like a thorough musician. She has
occasionally played in opera in the provinces,
but it is as a versatile, refined and accomplished
concert singer that she is best known and appre-
ciated. Her repertoire embraces music of all
schools, from the classical composers to Wagner,
Liszt, Sgambati, Parry, etc, [A. C]
WILLIAMS, George Ebenezer, born 1 784,
was a chorister of St. Paul's Cathedral under
Richard Bellamy. On quitting the choir (about
1 799) he became deputy organist for Dr. Arnold
at Westminster Abbey. In 1 800 he was appointed
organist of the Philanthropic Society's chapel,
and in 1814 succeeded Robert Cooke as organist
of Westminster Abbey. He composed, when a
boy, some chants and Sanctuses, printed in
'Sixty Chants . . . composed by the Choristers
of St. Paul's Cathedral,' 1795, ^^^ was author of
'An Introduction to the Pianoforte,' and 'Exer-
cises for the Pianoforte.' He died April 1 7, 1 819,
and was buried April 24, in the south cloister of
Westminster Abbey. [W.H.H.]
WILLIAMS, the Sisters, born at Bittei-ley,
near Ludlow — Anne, in 181 8, Martha in 182 i.
They received instruction in singing from T. S.
Cooice ('Tom Cooke') and Signer Negri, and in
1840 first appeared in public in the provinces,
speedily established a reputation in oratorio and
other concerts, and in 1846 sang subordinate parts
on the production of * Elijah ' at Birmingham.
In concerts, their singing of duets of Mendelssohn,
Macfarren, Smart, etc., was greatly admired,
and is still remembered with pleasure. The
460
WILLIAMS.
elder sister i-etired from public life on her mar-
riage with Mr. Alfred Price of Gloucester,
May 1 6, 1850, and is thus mentioned in the
Athenaeum of May 18, *A more modestly
valuable or more steadily improving artist was
not among the company of native soprani.'
Martha, the contralto, married Mr. Lockey,
May 24, 1853, and continued her career until
1865. She now resides with her husband at
Hastings. [See Lockky.] [A.C]
WILLING. Christopheb Edwin, son of
Christopher Willing, alto singer and assistant
Gentleman of the Chapel Royal (born 1 S04, died
May 12, 1840), was born Feb. 28, 1830. He
was admitted a chorister of Westminster Abbey
under James Turle in 1839, and continued such
until 1845, during which time he also sang in
the chorus at the Concert of Antient Music, the
Sacred Harmonic Society, etc. Upon leaving
the choir he was appointed organist of Black-
heath Park Church, and assistant organist of
Westminster Abbey. In 1847 he was engaged
as organist at Her Majesty's Theatre, and held
the post until the close of Luniley's management
in 1858. In 1848 he was appointed organist to
the Foundling Hospital, and shortly afterwards
also director of the music. In 1857 he was in-
vited to take the place of organist of St. Paul's,
Covent Garden, which he held in conjunction
with his appointment at the Foundling, but re-
signed it in 1 860 to accept the post of organist
and director of the music at All Saints, Mar-
garet Street, which he held until 1868. In 1872
he was appointed organist, and afterwards also
chorus master, to the Sacred Harmonic Society.
In the same year he was re-engaged as organist
in the company of Her Majesty's Theatre (then
performing at Drury Lane), and in 186S was
made, in addition, maestro al piano. In 1879
he resigned his appointments at the Foundling
Hospital. For several years past he has been
conductor of the St. Alban's Choral Union, which
holds a triennial festival in St. Alban's Abbey
— now Cathedral. Mr. Willing is an able and
highly esteemed professor. [W.H.H.]
WILLIS, Henry, one of the leading English
organ-builders; born April 27, 1821 ; was ar-
ticled in 1835 to John Gray ; and in 1847 took
the first step in his career by re-building the
organ at Gloucester Cathedral, with the then
unusual compass of 29 notes in the pedals.
In the Great Exhibition of 1851 he exhibited
a large organ, which was much noticed, and
which led to his being selected to build that for
St. George's Hall, Liverpool, which under the
hands of Mr. Best has become so widely known.
The organ which he exhibited in the Exhibi-
tion of 1862 also procured him much fame, and
became the nucleus of that at the Alexandra
Palace, destroyed by fire on June 9, 1873,
shortly after its completion. His next feat was
the organ for the lioyal Albert Hall (opened
1871), which in size, and for the efficiency of its
pneumatic, mechanical and acoustic qualities,
shares its high reputation with the second Alex- |
WILLMANN.
andra Palace organ, which was constructed for
the restoration of that building, and was opened
in May 1875.
Mr. Willis has supplied or renewed organs to
nearly half the Cathedrals of England, viz. St.
Paul's (1872), Canterbury (86). Carlisle (56),
Durham (77), Hereford (79), Oxford (84),
Salisbury (77), Wells (57), Winchester (53),
Truro, St. David's, (81), Edinburgh (79), Glas-
gow (79), as well as many colleges, churches,
halls, etc. The award of the Council Medal to
Mr. Willis in 1851 specifies his application of
an improved exhausting valve to the Pneumatic
lever, the application of pneumatic levers in a
compound form, and the invention of a move-
ment for facilitating the drawing of stops singly
or in combination. In 1862 the Prize Medal was
awarded to him for further improvements. In
1885 *^6 Gold Medal was given him for * excel-
lence of tone, ingenuity of design, and perfection
of execution.' His only patent is dated March 9,
1868.
Mr. Willis has always been a scientific organ-
builder, and his organs are distinguished for their
excellent engineering, clever contrivances, and
first-rate workmanship, as much as for their bril-
liancy, force of tone, and orchestral character. [G.]
WILLMAN,* Thomas Lindsay, the most
celebrated of English clarinettists, was the son
of a German who, in the latter half of the 1 8th
century, came to England and became master of
a military band. The time and place of the
younger Willman's birth are unknown. After
being a member of a military band and of va-
rious orchestras he became, about 181 6, principal
clarinet in the Opera and other chief orchestras,
and also master of the Grenadier Guards' band.
His tone and execution were remarkably beauti-
ful, and his concerto-playing admirable. He died
Nov. 28, 1840. His age was recorded in the
register of deaths as 56, but, by comparison with
his own statement made more than 8 years be-
fore, when he joined the Royal Society of Musi-
cians, should have been 57. He is believed
however to have been much older. [W.H.H.]
WILLMANN.' A musical family, interest-
ing partly in themselves, but chiefly from their
connection with Bonn and Beethoven. Maxi-
milian, of Forchtenberg, near Wiirzburg, one of
the distinguished violoncellists of his time, re-
moved with his family to Vienna about 1780.
There they became known to Max Franz, son of
the Empress Maria Theresa, who in 1784 became
Elector of Cologne, with Bonn as his capital.
When he, in 1788, reorganised the court music,
he called Willmann and his family thither, the
1 His name was always spelt in English with one ' n,' but doubt-
less it had two oiiginally.
2 The notices of the various WiUmanns in the old musical peri-
odicals and calendars are so confused and contradictory, as to
render it exceedingly difficult, perhaps impussibi?, to fully disen-
tangle them. Baptismal names, dates of birth and death, and direct
means ef identification are largely wanting; and the German
muMcal lexicons, coiying each other, only add to the confusion.
Must of the latter make of Max Willmann and hU daughters, m
brother, and sisters! Neefe, their muse director In Bonn, writes In
17SW. ' Herr Willmaoji with his two demoiselle daughters.* This !•
concluaire.
WILLMANN.
father as solo violoncellist ; thus he was a col-
league of the young Beethoven. Of the concert
tours made by the Willmanns during the succeed-
ing years, some notice is given in the two follow-
ing sections of the article. On the dispersion of
the Bonn musicians (1794) in consequence of the
French invasion, Willmann appears to have been
for a short time in the service of the Prince of
Thurn and Taxis at Ratisbon, but was soon called
to the position of solo cellist in the Theater-an-
der-Wien at Vienna, He died in the autumn
of 1812.
Willmann, — , baptismal name and date of
birth unknown, elder daughter of the preceding,
studied the pianoforte with Mozart, and became
one of his most distinguished pupils. She came
to Bonn with her father in 1788, where she
played at court and gave lessons. She took
part in his private Sunday concerts, and was one
of the few musicians selected by the Elector to
accompany him to Munster in December 1792.
At Bonn she occasionally sang in the opera. In
later years, as Madame Hiiber- Willmann, she
made successful concert tours. Flattering notices
of her performances, especially in Leipzig in
1801, 1802 and 1804, appear in the contemporary
journals. Of her later life we find no informa-
tion.
Magdelena, bom at Forchtenberg, date
unknown, younger sister of the preceding,
studied singing with Righini at Vienna, and
made her first appearance on the stage, Dec.
3, 1786, in XJmlauf's 'Eing der Liebe.' She
came to Bonn (1788) as prima donna. In the
summer of 1790, Madame Todi sang in Bonn.
Magdelena's quick apprehension caught her style,
and a few months later she surprised her au-
dience with a grand aria perfectly in the great
Italian manner. The ever ready Neefe sent her
a poem, the point of which was, that if, like
* Herr Paris,' he had to decide between Mara,
Todi, and Magdelena, he would give the apple
to the • blooming rose.'
In the summer of 1791 she made a concert
tour with her father and sister, visiting Mainz,
Frankfort, Darmstadt, Mannheim, Munich, etc.
At Dischingen, the summer residence of Prince
Thurn and Taxis, she took the part of Belmonte
in Mozart's Entfiihrung, other parts being taken
by the Princess, the Duchess of Hildburghausen
and others of the aristocracy. On the 13th
of July, 1793, the Willmann family left Bonn
for Italy, and Peter Winter engaged her for
the opera which he composed for the carnival
at Venice in 1794. Returning thence the
next summer, they gave a concert (July 30)
at Gratz, on their way to Vienna. Meantime
the Electorate of Cologne had disappeared, and
its musicians were scattered. In 1 795 Magde-
lena made a tour through Germany. In Berlin,
in Vincent Martin's * Lilla,' she sang a passage
as it was written, which the Berliners had only
heard sung an octave higher. Instead of ap-
plauding her deep, rich tones, they hissed her.
Returning to Vienna, she was engaged in the
imperial openi, both for Italian and German.
WILLMANN.
461
She married (1799) a certain Galvani, and ex-
cept a 'star' tour or two she remained in the
Vienna opera until her premature death near the
end of the year 1801.^
She was very beautiful in person, and upon
her return to Vienna, Beethoven renewed his
acquaintance with her and (on the testimony of
her niece'') offered her his hand. Her voice
was of phenomenal extent, ranging from high
soprano to contralto. E. L. Gerber writes, ' She
belongs to the most celebrated German singers,
renowned for her wonderfully deep and at the
same time remarkably pleasing voice, for her
execution and fine taste in delivery, and for her
exquisite acting; so that nothing remains to be
desired.'
Willmann, Carl, was a younger brother of the
preceding, and of him it is only known that, be-
fore the dispersion of the court at Bonn, he was
accessist to the violins, that is, played as candi-
date for a place, when one should become vacant.
Willmann, Madame Tribolet, was the
daughter of Tribolet, Professor of French in the
new University founded at Bonn by Max Franz.
She did not belong to the 'Court music,' but
sang in the opera, her first recorded appearance
being in Nov. 1 790. She soon after became the
second wife of Max Willmann, and accompanied
him and Magdelena to Venice in 1793. She
sang in the concert at Gratz the next year, and
in 1 795 made her first appearance in Vienna, in
XJmlauf's 'Schone Schusterin,' and 'greatly
pleased.' How long she remained on that stage
does not appear. Tn Hamburg (Sept. 20 to Oct.
4, 1 801) she sang to crowded houses, departing
thence, says the correspondent of the Allg. Mus.
Zeitung, 'delighted with her extraordinary recep-
tion and emoluments.' In 1 803 she sang at the
Theater an-der-Wien, at Vienna; in July 1804 at
Munich. She was next engaged for the Opera in
Cassel. Upon the organisation of Jerome Bona-
parte's French Theatre there, she retired for a
time, and sang only in concerts, e.g. for Ries, on
Jan. 25, 181 1. In October and November of
that year she was again in Munich, where she
was a favourite. On the 24th of March, 1S12,
she was again in Munich, and gave a concert
in which the PF. Fantasia, op. 80, of her old
Bonn friend, Beethoven, was performed. It was
her last. On her way thence to her dying hus-
band in Vienna, she herself passed away. The
Leipzig correspondent sums up her qualities
thus : ' A splendid execution, an imposing
voice, practised skill and science in singing, dis-
tinguish her most favourably above many cele-
brities.'
Willmann, Caroline, daughter of the pre-
ceding, was both singer and pianist. The ear-
liest notice of her is her appearance with her
mother in Ries's concert in Cassel, Feb. 23, 1811.
'As a pianist,' says the A.M.Z. correspondent,
'she has several times received well-earned ap-
plause. On this occasion she appeared for the
first time as a singer in a grand and effective
1 Not January 12. 1802, as the German lexlcoiu state.
» £l«e Thayer's Beethoven. toL U. 68.
462
WILLMANN.
Bcena ; the execution and fine intonation already
acquired, under the instruction of her mother,
justify the expectation that, if she so continues,
we shall have in her a very fine singer. She
deserves all encouragement, and received it in
loud applause.' On the reorganisation of the
Cassel Opera, in l8ii, she was engaged. On
Feb. 8, 1 812, she sang and played a PF. concerto
by Dussek. After the death of her mother, she
sang for a time in Pesth, fvnd in March 1814
sang a few times in the Court Opera, Vienna.
Her voice — she was but eighteen years old —
was not powerful, but very pure and sweet,
except in the middle tones, and of remarkable
extent in the upper register. Before the close
of the year she was engaged in Breslau as prima
donna. There the great beauty of her voice,
its excellent cultivation by her mother and Blan-
gini, her fine taste, her ch.arming acting and her
beauty, made her a general favourite. In July
1 81 6 she was again in Vienna, and sang in the
Theater-an-der-Wien, but from some unknown
cause, on her first appearance, subjected herself to
criticism of great severity. She remained upon
that stage with varying success, astonishing her
audiences by magnificent perforn)ances of the
Queen of Night, and Elvira (Opferfest) until the
end of 1818. In 1819 she sang in Munich and
Stuttgart, and in 1 821 in Dresden, with varied
success. (See A.M.Z. xxiv. 497.) In 1823 she
returned to Cassel. In 1825 she sang in Berlin,
and thenceforward disappears.
A Miss WiLLMANN sang guccessfully in
Breslau in May 181 5, a few months after
Caroline had left that stage, and was said to be
the daughter of J. Willmann, formerly (1804-8)
Theatre and Music Director in Cassel. [A.W.T.]
WILLMERS, Heineich Rudolf. A pianist ;
pupil of Hummel and Fr. Schneider ; bom at
Berlin, Oct. 31, 182 1. He was at one time
widely known both as a brilliant player and
composer for the PF., and was teacher at Stern's
school in Berlin from 1864-66. He then re-
sided in Vienna, where he died insane, Aug, 24,
1878. • [G.]
WILLY, John Thomas, violin-player, bom
in London, July 24, 1812. He was for some
time a pupil of Spagnoletti's, and became a
member of the King's Theatre band. He played
under Costa as a first violin, and later as principal
second, during the whole of his career. He led the
* Elijah ' at Birmingham in 1846, and was leader
at various other festivals ; at Jullien's and the
London Wednesday Concerts, the new Philhar-
monic, the National Choral, the Society of
Briti.sh Musicians (of which he became a mem-
ber in 1837), etc. etc. In 1849-50, and again
in i860, he gave classical chamber concerts at
St. Martin's Hall, very much on the plan of the
present * Popular Concerts.' Among the artists
who appeared were MesdaK-es Goddard, Louisa
Pyne, Dolby, Mr. Sims Reev;s, Sterndale Bennett,
Ernst, Piatti, Pauer, etc. He retired from active
work in 1880, owing to failing health, and died
in London, Aug. 8, 1885. [A.C.]
WILSON.
WILSON, John, Mus. Doc., was bora at
Feversham, Kent, April 5, 1594. Of his early
career nothing certain is known. He has been
conjectured to have been a singer at the theatre,
and identical with the * Jacke Wilson ' whose
name appears in the first folio edition of Shak-
spere's plays, in * Much Ado about Nothing,'
instead of that of Balthazar, the character
represented. But the grounds for such conjec-
ture are merely that he was a singer, and that,
at some period of his life, he composed music for
some of Shakspere's songs, viz. ' Take, O take
those lips away,' *Sigh no more, ladies,' 'Lawn
as white as driven snow,' and * Where the bee
sucks.' Besides which, it must be remembered
that Mr. Payne Collier has proved,^ from the
registers of St. Giles, Cripplegate, the existence
of a contemporary John Wilson, a musician, sou
of a minstrel, baptised in 1585. Edward Alleyn,
in his diary, under date Oct. 22, 1620, mentions
* Mr. Wilson, the singer,' who was, doubtless,
the theatrical singer, but there is nothing to
identify him with the subject of this notice.
Wilson is said to have been a Gentleman of the
Chapel Royal to Charles L, but his name is not
to be found in the Chapel cheque-book, nor in the
list of the Chapel musicians contained in a
warrant, dated April 20, 1641, exempting them
from payment of subsidies. It occurs, however,
in a similar warrant, dated April 17, 1 641,
affecting others of the king's musicians, as one
of the * Musicians for the Waytes.' In 1644 he
obtained the degree of Mus. Doc. at Oxford,
and took up his abode in that cit}', which, howr
ever, he quitted in 1646, and went to reside with
Sir William Walter, of Sarsden, Oxfordshire,
who, with his wife, were great lovers of music.
Songs by Wilson were published in 'Select
Musicall Ayres and Dialogues,' 1652, 1653, and
1659. In 1656 he was appointed Professor of
Music in the University of Oxford, and again
became a resident there. In 1657 he published
* Psalterium Carolinum. The Devotions of His
Sacred Majestic in his solitudes and sufferings,
Reudred in Verse [by Thomas Stanley], Set to
Musick for 3 Voices, and an Organ or Theorbo '
— a series of 26 passages from the Psalms
presumed to be apj)licable to the position of
Charles I. in his latter days. This he described as
* his last of labours.' In some lines prefixed to
the work, Henry Lawes, the writer of them, begs
him to ' call back thy resolution of not composing
more.' In 1660 he published ' Cheerful Ayres
or Ballads, first composed for one single voice,
and since set for three voices.' On Oct. 22,
1662, he was sworn in as a Gentleman of the
Chapel Royal in the place of Henry Lawes,
deceased, upon which he resigned his professor-
ship at Oxford and came to reside in London.
Some glees and catches by him are included in
Playford's * Musical Companion,' 1667, and the
words of some anthems in Clifford's collection.
Many songs by him are extant in MS., and in
the Bodleian Library is a MS. volume, pre-
I Introduction to ' Uemotn of the Frlncip*! Acton In Shakspere's
^ WILSON.
'^ sented by him to the University, containing set-
tings of some of the Odes of Horace and passages
from other Latin poets. He died at his house
near the Horse-ferry, Westminster, Feb. 22, 1673,
aged 78 years, 10 months and 17 days, and was
buried Feb. 27, in the Little Cloisters of West-
minster Abbey. A portrait of him is in the Music
School, Oxford. He is said to have been a fine
lutenist. We learn from some lines prefixed
to the ' Cheerful Ayres ' that Charles I. greatly
admired his singing, and Herrick,in an epigram
addressed to Henry Lawes, mentions him as a
great singer, styling him * curious Wilson.'
Henry Lawes, in the lines prefixed to the
• Psalterium Carolinum,' thus speaks of him as a
composer: —
Thou taught'st our language, first, to speak in tone;
Gav'st tlie right accents and proportion;
And above all (to shew thy excellence)
Thou understand'st good words, and do'st set sense.
Lawes, when writing these lines, had evidently
not forgotten Milton's sonnet addressed to him-
self. In the same lines he alludes to Wilson's
* known integrity,' * true and honest heart, even
mind,' and ' good nature.' [W.H.H.]
WILSON, John, born in Edinburgh, accord-
ing to some accounts Dec. 25, 1801, and to
others Nov. 25, 1805, was apprenticed to a
printer, and afterwards became corrector of the
press to Ballantyne & Co., in which capacity
many of the Waverley novels passed through his
hands. In 18 16 he applied himself to the study
of music. After officiating as precentor in a
church, he became in 1824 ^ pupil of Finlay
Dun, and soon afterwards appeared at the Edin-
burgh concerts. In 1827 he commenced teach-
ing singing. He studied under Creselli, and in
March 1830 appeared at the Edinburgh theatre
ias Henry Bertram in * Guy Mannering.' His
success was so decided that he was straightway
engaged for Covent Garden, where he came out
Oct. 16, 1830, as Don Carlos in 'The Duenna,'
He continued at that theatre until 1835, when
he removed to Drury Lane, where he sang in
Balfe's ' Siege of Rochelle ' and other operas.
In 1838, in company with Miss Shirreff and Mr.
and Mrs. E. Seguin, he visited America, where
he was warmly welcomed. On his return to
England he commenced giving those Scottish
table entertainments with which his name sub-
sequently became identified, and to which from
May 1 841 he exclusively devoted himself. He
gave them throughout England and Scotland with
the greatest success. Their titles were ' A Nicht
wi' Bums,' ' Anither Nicht wi' Bums,' * Adven-
tures of Prince Charlie,' * Wandering Willie's
Wallet,' * Mary Queen of Scots,' * Jacobite Re-
lics,' ' The Jameses of Scotland,' * The Wallace
and the Biuce,' and * A Haver wi* Jamie Hogg.'
Early in 1 849 he revisited America. At Quebec
he was attacked by cholera and died there July
8, 1 849. Wilson's voice was a pure, sweet-toned
tenor, and he sang with great taste. [W.H.H.]
WILSON, Mary Ann, bom 1802, was
taught singing by Thomas Welsh. Her first
appearance in public at Drury Lane Theatre,
WIND-BAND.
463
Jan. 18, 1 82 1, as Mandane in * Artaxerxes,*
caused an immediate furore, as much for her
youth and looks as for her fresh sweet voice
and brilliant singing. She remained there un-
til July 5, 'about 65 nights' according to
Geneste, 'wonderfully attractive.'^ Her other
parts were Rosetta (Love in a Village), Clara
(Duenna), and Lady Gayland (False Alarms),
etc. After an equally successful provincial tour
ghe went the next year to Italy. The premature
strain of her early exertions, however, soon
ruined her health, and then destroyed her voice.
But her short career was very lucrative, and in
the year of her dehut she made the unprece-
dented sum of £10,000.^^ On June 9, 1827, she
married Welsh, and by him had an only daughter,
who married Signer Piatti. Mrs. Welsh died at
Goudhurst, Kent, Dec. 13, 1867. [A.C.]
WILT, Marie, born about 1835, at Vienna,
of poor parents, whom she lost in early life. She
afterwards married a civil engineer named Franz
Wilt. In 1863 she sang in Schubert's ' Lazarus'
under Herbeck with success, received instruction
from Dr. Gansbacher and Wolf, made her ddbut
in 1865 ^^ Gratz as Donna Anna, and in 1866
sang at Vienna and Berlin. For the seasons
1866-7 she was engaged at the Royal Italian
Opera, Covent Garden, first appearing May i,
1866, as Norma, under the name of 'Maria
Vilda.' In spite of a voice of extraordinary
power and richness, and extending over two
octaves, she did not realise the anticipation
that she would prove a successor to Grisi. For
ten years she remained at Vienna, a great
favourite both in opera and concerts. In the
former she displayed great versatility of style
in such varied parts as Norma, Lucrezia, Aida,
Valentine, and The Queen (of the Hugenots),
Alice, and the Princess ('Robert'), Donna
Anna, Constance (Entfiihrung), Reiza, Elisa-
beth, etc. She returned to Covent Garden for
the seasons 1874-5, and was more successful
than before in the parts of Donna Anna, Semi-
ramide, Alice, Valentine, Norma, etc., having
improved both in singing and acting. Whether
from the fact of her figure being unsuited to
the 'young' parts she essayed (although this
never militated against Titiens at the rival
theatre), or from having commenced her theatri-
cal career somewhat late in life, she again failed
to obtain the highest position. Her best part
was Norma. With her fine voice she would
probably have done better here at concerts. On
leaving Vienna she sang at Leipzic in 1878, as
Briinnhilde, etc., and afterwards at Pesth. She
is now again in Vienna, where, on Oct. 31, 1884,
she played Donna Anna in the centenary per-
formance of * Don Giovanni.' [A.C.]
WIND-BAND. The history of the develop-
ment of wind-instrument music is so closely inter-
woven with the political and social state of Central
> According to the lame authority, a * novel mode of puffing was
Instituted by Elliston, by printing press notices on playbills in red
Ink '—called by the wags of the day ' EUiston's blushes.'
2 Her own statement to Ella, quoted by J'ougin In his Supplement
to F^tis.
464
WIND-BAND.
Europe in the Middle Ages, that it is almost
impossible to sketch the one without touching
upon the other. Before the 12th century music
of a popular kind was almost entirely in the
hands of the wandering or • roving ' musicians,
who, associated with actors, acrobats, loose
women, etc., led an unsettled life. That their
free and lawless existence offered greakt' tempta-
tions to those of an unstable character may be
inferred from the fact that their numbers in-
creased so much that severe imperial and pro-
vincial edicts were enacted for their repression.
• Boving men ' were considered * shadows,' and
as such out of the pale of law ; they could not
inherit landed property, recover debts, nor par-
take of any Christian sacrament.
Yet by the agency of these wandering vaga-
bonds most of the ancient tunes or songs that we
have were preserved. If a new melody grew up
like a wild-flower, these fifers, fiddlers, or min-
strels took it up and made it known far and wide.
Although a social outcast, it was no breach of
etiquette to allow the musician in the houses
of high or low degree, and learn from him the
last ballad or the newest dance-tune. On all
great occasions, fetes or church festivals, large
numbers of them flocked together for the exercise
of their merry calling. But their associating
together as a ' band ' was a matter of mere mo-
mentary convenience, and their performances
only consisted of playing the melodies of songs,
vocal dance tunes, and marches. Bagpipes being
favourite instruments in these bands, we can
form an idea of the quality of the 'music'
Trumpets and kettle-drums were strictly for-
bidden to ordinary minstrels, being reserved for
the exclusive use of princes and men of high
rank.
These instruments predominated in the bands
which officially performed on state occasions, or
at royal banquets. It is said that King Henry
VIII's band consisted of fourteen trumpets, ten
trombones, and four drums, in conjunction with
two viols, three rebecs, one bagpipe, and four
tambourines. Queen Elizabeth's band consisted
(1587), beside a small number of other instru-
ments, of ten trumpets and six trombones.^ The
Elector of Saxony had in 1680 twenty court-
trumpeters and three kettledrums, with ap-
prentices trained for the performance of each
instrument. Other courts had their trumpeter-
corps, and their respective numbers were con-
sidered an indication of the importance, wealth,
or power of the court. In the German Empire
they formed the guild of • Royal Trumpeters
and Army Kettle-drummers,' which enjoyed
many privileges and were under the special
protection and jurisdiction of the Grand Marshal
of the Empire, the Elector of Saxony. No one
could be admitted to this corporation without
having previously served an apprenticeship of
several years. There is no doubt that this
corporation exercised a very beneficial effect
upon the artistic education of its members.
1 Lavoiz.HistoIre de I'instrumentation depuis le XVIslteleJusqu'it
BOS J ours.
WIND-BAND.
The following example of a trumpet part, from
Bach's Christmas Oratorio, proves what the
instruments and players of those times were
capable of doing, and we must remember that
Bach did not write for artistes of a European
celebrity, but for simple members of the town-
band of Leipzig : —
Andante.
rf-r m I -=rr^»n
3=ds:
^?:^EE
■0 -Tp m •»•,,»
--^m-wi-t-
P--I — •"•-
s^^
^rti-
w-u-
Jt
^
i^tc
^t
The style of trumpet-music, due in a certain
degree to the limits of the instrument, preserved
its individuality down to our time ; and many
a phrase in the great works of Bach, Handel,
and others, may have been played as a ' flourish '
at a royal banquet.
But with regard to the roving musicians : —
As early as the 13th century those ' pipers ' who
were settled in towns, and who felt the igno-
minious position of being classed with the
wandering vagabonds, combined and formed
* Innungen,' or corporations for their mutual
protection, in Germany, France, and England.
The first of these, the * Brotherhood of St. Nico-
lai,' was instituted at Vienna, 128S, and elected
as * protector ' Count Peter von Ebersdorff, a
high Imperial official. He organised a * Court
of Musicians,' obtained an Imperial charter for
its perpetuation, elaborated a set of laws for the
guidance of the members, and presided over it
for twenty-two years.^ In Paris a ' King of
Minstrels ' was appointed and statutes enacted
for the incorporation of the * Brotherhood of St.
Julian,' 1321.^ [See Eoi des Violons, vol. iii.
pp. 145-7.] In England the appointment of
' Patron' of minstrels owed its origin to a curious
circumstance. Randal, Earl of Chester, being
suddenly besieged, 1 212, in Rhydland Castle by
the Welsh at the time of Chester fair, Robert
de Lacy, constable of Chester, assembled the
pipers and minstrels, who had flocked to the
fair in great numbers, and marching at their
t ForkeVs Geachlchte der Muslk. Vol. 1. 2ter Abschnltt. ^73. etc.
(LeipzlET. 1801.)
3 Schletterer's Geschlchte der Splelmannszunft in Fr^kreicb. p. U&
(Berlin. 1884.)
WIND-BAND.
head towards the castle so terrified the Welsh
that they instantly fled. In honour of the event
the earls of Chester received the title of
'patrons of the minstrels.' ^ This dignified title
had however no influence whatever upon the
progress of music, but merely perpetuated some
useless public ceremonies once a year, down to
the end of last century. But in Germany it was
different. There the first guild at Vienna was
imitated during the next two centuries by most
of the large Imperial towns, who established
regular bands of ' townpipers,' or * townmusi-
cians,' under the leadership of the * Stadtpfeifer,'
who had to provide all * musics * at civic or
private festivities. Wandering musicians were
strictly prohibited from playing within the
boundaries of the corporation. In some towns
the number of musicians was regulated accord-
ing to the importance of the occasion, or the
rank of the family requiring a band. The ' full
band' could only oflBciate on civic state occa-
sions, or in connection with religious festivals.
An alderman could only employ a reduced num-
ber ; and if at a citizen's wedding more than
from four to six pipers were employed, both the
Stadtpfeifer and the offending citizen were
mulcted in a fine. Kettledrummers and trum-
peters dared not perform except at a nobleman's
requisition ; the lowest rank of the social scale
who could indulge in this luxury being a doctor-
at-Iaw. Although the town bands had as yet
but poor instrumentation, consisting mostly of
WIND-BAND.
465
fifes, flutes, schalmey, bombard (a sort of tenor
or bass oboe), zinken (or cometti, horns similar
in shape to a cow's horn, with six holes, and
played on a mouth-piece like that of a brass in-
strument), bagpipes, viols and drums, — yet they
are the first germs from which modern bands
originated.
In the year 1426 the Emperor Sigismund
granted as 'an act of special grace' to the
town of Augsburg the privilege of maintaining
a corps of * towntrumpeters and kettledrimi-
mers,' a grant extended during the next century
to most other free towns ; yet it does not seem
that the results, in a musical sense, were of such
importance as we might expect.
In the pieces written for a band, which date
from about three centuries ago and have been
preserved to our time, we find a strange habit of
keeping different classes of instruments separate.
Flutes, reed instruments, trumpets, and hunting-
horns, were mostly treated as forming distinct
bands. Louis XIV entrusted LuUy with the
organisation of certain regimental bands, which
were to form a part of the regular army. Before
that time the great ofl&cers commanding in the
field engaged music, if they wanted it, at
their own expense. These bands consisted at
first of oboes (in four parts — treble, alto, tenor
and bass, or bassoon) and regimental drums.
The following march is one of the many written
by Lully, the notation being that given by
Kastner."
Premier Air de la Marche Franfaite pour let Hauibois fait par M. de Lully.
Dr. BorneT'a 6en«nl History of Muile. roU ii. p. 38S. (London 1 > Georges Kastner, Manuel v6a6t%\ de Huslque Milltalre. etc
(F»rU. 1818.)
VOL. IV. PT. 4,
Hh
466 WIND-BAND. WIND-BAND.
A more ambitious composition is the next i * comets ' are * Zinken,' mentioned previously,
piece, evidently written for town bands. The I [See Zinken.]
Intrade. •••• S ••l»-« /ssJ* Psz*""8- *
ly .1. p ■ ■ f I 1 I I r I r .. r r 1 1— 4-r p p— —i-
COKNCTTO L
CORNKTTO n.
TaoMBOiro Alto.
Till the 1 7th century the music played by the
bands of trumpeters was learned by ear, and
transmitted without notation, as something of a
secret nature. When princes took command of
their armies in the field they were accompanied
by their trumpeters, both for signalling and for
enlivening the dreariness of the march or camp.
As they served on horseback, the custom arose
of looking upon trumpet-music as being specially
appropriate to the cavalry service, and eventually
it became regularly attached to it. The music of
these bands, consisting only of trumpets and
kettledrums, was naturally very simple.
Intrada.*
Trompano L
m.
IV.
The denomination * Trompano ' in the above
score is somewhat singular. The usual names
' Johann PexoUus, fanfttlmmlgo blasende Muslk, eto. (Prankftirt,
» ifM. Mm. S193, KOnigliche Hof- and StaattblbliotlMk, Manloh.
for the four difierent parts of trumpet-music
were — Clarino prime, Clarino secundo, Princi-
pale, and Toccato. In the example above, the
fourth part is either for Trumpet (in which case
the ban written S* are to be played in
WIND-BAND.
WIND-BAND.
467
♦doubletongue,') or for kettledrums, but prob-
ably for both combined.
The fact that all trumpet and horn music
suflFered from the absence of such important
intervals as the third and seventh of the domi-
nant chord, gave it a monotonous character.
To obviate this the device was adopted of
adding to the principal body of trumpets, in the
key of the tonic, a few tuned in other keys. In
the following example we find two trumpets thus
introduced, one in the dominant and one in the
second, the principal reason for the use of the
latter being the note G, by which a modulation
into A minor is effected. Rude as may be
these first attempts for enriching the harmonies,
they are nevertheless the starting-point of the
modern brass band. The adoption and exten-
sion of the custom of mixing in both trumpet-
and horn-bands a variety of differently-tuned
instruments made almost every harmonic pro-
gression possible, providing the band was nu-
merous enough.
Intrada.1
Maestoso.
Ci^RiKi in C.
Tromba In G (alto).
Tromba in D.
Principal in C.
Timpani inC and O.
Although trombones were in frequent requi-
sition they seem not to have been so often com-
bined with either trumpet- or horn-bands as
might have been expected. In a collection of
Lutheran hymns by Johannes Kriiger ('Psalmo-
dia sacra,' publ. 1685) we meet with a fine ex-
ample of the employment of a choir of five trom-
bones, which weave around the simple four-
part chorale a richly figured and most effective
accompaniment. The diversity of duties im-
posed upon town-bands — having not only to pro-
vide the music for all sorts of civic fgtes, but
also on high church-festivals to take part in the
musical portion of the sacred rites — necessarily
led to an enlargement of the limits of ancient
instrumentation. Trombones came into general
use, and being combined with flutes, oboes, pom-
mers, ziiiken (cornetti), and sometimes a couple
t)f trumpets and kettledrums, some very deicent
band-music emerged by slow degrees from the
barbarous noise of former times. Instrumental
music now began to be noted down, and we are
enabled to trace its progress as we come nearer
the 1 8th century. Bands separated more dis-
tinctly into three classes, each striving to perfect
its own special mission — the full orchestra ad-
dressing itself to the cultivated musical intellects,
I ZTvey Aufza^e. etc. V,a. Hus. S194, EOnlgliche Hof- UBd Sttata-
bibliothek, Munich.
whilst the military and brass bands appealed to
the masses at large,
A new era begins with the invention and
rapid improvement of the clarinet, which for
wind-bands is as important as the violin is
for the orchestra. Its brilliant tone, capable of
every shade, from the softest to the loudest ; its
large compass, extended by the introduction of
the smaller clarinets as well as by tenor and
bass clarinets, at once placed it in the rank of
the leading instrument, and the oboe was pushed
into the second place. Two more instruments
were so perfected in their construction as to
become important additions to wind-bands,
namely the bassoon and the French horn.
From 1763 military music assumed a definite
form, and although still very rudimentary, we
can trace in the instrumentation, as fixed by
order of King Frederick II. of Prussia (Fre-
derick the Great), the foundation upon which
further development, in the shape of additions
of other instruments, soon manifested itself.
This first organisation comprised two oboes,
two clarinets, two horns, and two bassoons,
to which after a short time were added a
flute, one or two trumpets, and a contrafagott.
The French bands of the Republic (1795) con-
sisted of one flute, six clarinets, three bassoons,
two horns, one trumpet and one serpent,
besides a number of side-drums. In the time
Hha
i68
WIND-BAND.
of Napoleon military bands made rapid strides,
both with regard to the augmentation of their
numbers and to their executive capacity, and
were admitted to be the best then in existence.
It seems that between the years 1805 ^^^ ^^oS
the addition of bass-drum, cymbals and triangle
was made; and also into the Prussian bands that
most useless of toys, the crescent, found its way.
England having in no way contributed to
improve or even influence the progress of wind
instrumental music, we have of necessity to
pursue its course on the continent, from whence
any important advance was simply adopted.
It is diflBcult to trace the introduction of mili-
tary bands into the English service. In 1783
the Coldstream Guards had a band of eight
musicians — two oboes, two clarinets, two horns
and two bassoons. The Duke of York, wishing
to improve the musical service, imported from
Germany what probably was the first ' full
band' of twenty-four men, who, besides the
above-named instruments, brought flute, trum-
pets, trombones and serpent. To these were
added three negroes with tambourines and cres-
cent.^ A fuller description of the circumstances
attending this introduction of a foreign band
may be found in Parke's * Musical Memoirs,' vol.
ii. p. 239 (London, 1830).
In the beginning of the present century various
inventions were introduced to improve the im-
perfect state of trumpets and French horns and
render them capable of producing a complete
scale. A similar slide to that of the trombone
was added both to trumpets and horns, but its
manipulation was so difficult that it did not
gain ground. A more important addition was
that of keys to the bugle. Although the tone
was thereby rendered unequal, yet this defect
was compensated for by the gain of a complete
chromatic scale, and the key-bugle became
a much-used favourite instrument in most mili-
tary and brass-bands of the time. [See Bugle,
vol. i. p. 280.] The greatest event however
for all brass instruments was the invention
of the Valve. [See vol. iv. p. 215.] Emanating
from two obscure musicians in Prussia, it at
first did not meet with the approval of the
musical profession, who thought that the ' good
old ' character of the brass instruments was
thereby deteriorated.
Valve-trumpets were introduced here and
there, but without creating a favourable impres-
sion. Thus it went on till two men came to the
front— one as a reformer of military music, the
other as the inventor of scientifically-constructed
brass instruments— Wieprecht and Sax. The
former had an anomalous position, for being a
civilian his propositions for reforming a purely
military establishment were received but coolly
by the military authorities. However, persever-
ing in his endeavomrs, he at last succeeded so far
as to be allowed (at the expense of the command-
ing officer) to introduce his instrumentation in a
cavalry brass-band. It consisted of two high
1 0. F. Fohl. Uozart and Haydn in London. (Wien.1867.)
WIND-BAND.
trumpets in Bb (comettinos), two key-bugles in
Bb, two alto-trumpets in Eb (comettos), eight
trumpets in Eb, two tenor-horns in Bb, one bass-
horn in Bb, and three trombones in Bb, the
former all having two or three valves, the latter
being slide-trombones. The great advantage
of this innovation was so apparent that Wieprecht
was requested to introduce it into the bands of
the Prussian Life Guards, and he went so far as
to give the members of these bands personal
lessons, to be assured of a proper perception of
his ideas. In 1838 he was appointed director of
all the Guards' bands, and in this influential
position he successfully dealt with the formation
and style of playing of the military bands
throughout Germany. The first grand effort
of combining many bands for a monster per-
formance, at which he officiated, was at a fi§te
given at Berlin on May 12, 1838, to the Emperor
Nicolaus of Bussia, who was on a visit to the
King of Prussia, when Wieprecht conducted a
performance of sixteen infantry and sixteen
cavalry bands, consisting of 1 000 wind-instru-
ments, besides 200 side-drummers. He directed
this great mass of musicians, all dressed in bril-
liant uniforms, in plain civilian garb, and it is
said that the Emperor was so struck with the
incongruity of the thing that Wieprecht was
hurriedly put into uniform to conduct a second
performance before the crowned heads four days
after.'-* Without following in detail the many
results of his well-directed efforts, we will only
give the instrumentation of the first military
(reed) band, as reformed by him.
2 Soprano Cometts in Eb.
2 Altocornets in Bl7.
2 Tenor Horns in Bb.
1 Bariton Tuba (Eupho-
nium).
4 Bass Tubas (Bombar*
dones).
4 Trumpets,
4 French Horns.
2 Flutes.
2 Oboes.
1 Ab (high) Clarinet..
2 Eb Clarinets.
8B17 Clarinets.
2 Bassoons.
2 Contrabassoons.
2 Tenor Trombones.
2 Bass Trombones.
2 Side Drums, Bass Drum,
(47 men in alio
Cymbals and Crescenti
For the cavalry he organised the bands thus
(trumpet-bands) : —
Cavalry.
1 Comettino in B b.
2 Comettos in Eb.
4 Comets in Bb.
2 Tenor Horns.
8 Trumpets.
1 Euphonium.
3 Bombardones.
(21 men in all.)
Artillery,
3 Comettinos in Bb.
3 Comettos in Eb.
6 Cornets in Bb.
6 Tenor Horns.
3 Euphoniums.
12 Trumpets.
6 Tubas (Bombardones).
(39 men in all.)
And for the light infantry (Jager) the instru-
mentation was called * horn-music,' consisting of.
1 Comettino in Bb,
2 Comettos in Eb.
4 Comets in Bb.
2 Tenor Horns.
4 French Horns.
3 Trumpets.
2 Euphoniums.
8 Bopibardona.
The regulation instrumentation of the Aus-
trian bands at the same period differed from the
above in so far that it regarded less the artistic
completeness than the production of greater
2 For a description of a similar performance see Berllot, * Vorago
Musical,' Letter IX. Berlioz wroDgly calls blm Wlbrecbt.
WIND-BAND.
WIND-BAND.
46»
power, or loudness,
oboes, or bassoons.
We find therefore no flute,
It consisted of —
Austrian Infantry Band I860,
1 Piccolo.
Ihigh A 7 Clarinet.
2 Eu Clarinets.
4 B!) Clarinets.
2 Cornettinos (B »).
2 Cornettos (Eb).
2 Cornets (B t?).
2 Tenor Horns.
2 Euphoniums.
4 Bombardons.
4 Trumpets.
2 French Horns.
2 Tenor Trombones.
2 Bass Trombones.
1 Side and 1 Bass Drum and
one pair of Cymbals.
(35 men in all.)
27ie same at present.
1 Piccolo in Et;.
1 Flute.
1 High A & Clarinet.
2EP Clarinets.
8 Bb Clarinets (in 4 parts).
4 Horns (E b).
2 First FlUgel Horns.
2 Second ditto.
2 ditto. Bb. Bass (or Tenor
Horns).
2 Euphoniums.
10 Trumpets Eb (in 4 or 5
parts).
2 Bass Trumpets (BP).
3 Bombardons in F.
3 Tubas in Eb, C, or Con-
tra B b-
2 Side and 1 Bass Drum
and Cymbals.
(47 men in all.) *
This regulation number has however on nearly
all occasions been overstepped, and there are
frequently bands of from seventy to ninety per-
formers. The natural aptitude of some of the
nationalities, notably Bohemia, Hungary and
Austria proper, for instrumental music, has made
the strengthening of the number of performers a
comparatively easy matter to the bandmaster.
Spontini recommended to the special com-
mission for the reorganisation of the French
military bands, at Paris, 1845, the following as
the best instrumentation for bands of infantry
regiments :—
4 Saxhorns in Bb (Comets).
4 Ditto (Althoms).
4 Bass Saxhorns m B& (Eu-
phoniums).
4 Contrabass Saxhorns
(Bombardones).
2 Horns without valves.
2 Ditto with 3 valves.
3 Trombones (slide — alt.,
tenor, and bass).
3 Ditto, with valves (ditto).
1 Serpent (Ophicleide).
1 or 2 Contrafagotts.
1 Piccolo.
2 Concert Flutes.
2 Eb Clarinets.
8 or 10 First Bb Clarinets.
8 or 10 Second Ditto.
2 Alto Clarinets.
2 Bass Ditto.
4 First Oboes.
4 Second Ditto.
2 Bassethorns (Alt. Clarinet
InF).
2 First Bassoons.
2 Second ditto.
2 high Saxhorns in E b (Cor-
nettos).
But it was not adopted.
Like Wieprecht in Germany, Sax in France
created a revolution in the instrumentation of
the military bands; but, whereas the former
was prompted by purely artistic motives, the
latter acted from scientific knowledge and for
mercantile purposes. [See Sax, vol. iii. p.
232.] He adapted the German invention of
the valve to all classes of brass instruments, and
gave them the generic name of Saxhorns, Sax-
tromba, Saxtuba, etc., ignoring the fact that
valve-trumpets, valve-horns and various other
forms of valve-brass-instruments were known,
although not in general use, long before he
adopted them for his * inventions.' The bombar-
dons (by him called Saxtubas) were designed
by Wieprecht, and introduced into the Prussian
army before * Saxtubas * were heard of. ^ How-
ever, by a unity of design and a great number of
ingenious improvements in the details of manu-
1 A. Kalkbrenner, ' Wllhelm Wieprecht. selnLebenund Wlrken,'
etc. (Berlin, 1882.)
3 Wieprechts Schriften. Fubliibed letter. (Berlio, 1867.)
facture, he deservedly gained a great name as an
instrument-maker. This, combined with influ-
ence at the court of Napoleon the Third, and
the enthusiastic support of Berlioz, enabled
him to bring about a complete reorganisation of
the French military bands, he obtaining almost
the monopoly of supplying the instruments. He
designed a peculiar clarinet of metal, very wide
in diameter and conical in shape, formidable-
looking on account of a great number of keys,
and called the Saxophone. The tone of this
instrument is quite distinct from that of any
other, and imparts to all French infantry bands,
who have from four to six of them (soprano, Bb,
alto Eb, tenor Bb, and baritone Eb), a peculiar
reedy tone. It is a difficult instrument, requir-
ing careful manipulation. The following lists of
French infantry bands show that the instrumen-
tation, as fixed by the government of the time,
has already been considerably departed from :—
In 1884.
2 Piccolos in Eb.
1 Flute in D (concert).
2 Oboes.
1 Eb Clarinet.
4Bb Clarinets.
1 Saxophone soprano.
1 Do. alto,
1 Do. tenor.
1 Do, baritone.
2 Bassoons,
1 Petit Bugle in Eb.
2 Pistons in Bb.
2 Bugles in Bb.
2 Horns inEb.
2 Trumpets inEb.
3 Altos inEb. .
2 Barytones in Bb.
3 Trombones.
Bass in Bb (Euphonium).
Contrabass in Bb.
Do. JnBb.
Drums and Cymbals.*
In 1860.
2 Flutes,
2 Piccolos. ',
4 Clarinets,
2 Oboes,
2 Saxophones soprano.
2 Do, alto,
2 Do. tenor,
2 Do, bariton.
2 Cornets h, pistons.
2 Trumpets (cylinder).
3 Trombones.
2 Saxhorns, Bb alto.
3 Saxtromba, Eb.
2 Saxhorns, baritone B b.
3 Do. bass in Bb (4
cylinders).
1 Do. contrabass in
Eb.
1 Do. contrabass in
Bb.
Side and Bass Drums and
Cymbals.S
The bands of two more armies may be men-
tioned ; the first on account of a rather peculiar
instrumentation, and the second as a curious
illustration of the influence of European ideas
upon a very distant people.
Spain.
1 Piccolo in Eb(Db).
1 Flute inEb.
1 Eb Clarinet.
10 Bb Clarinets.
2 Saxophones sopr. inBb.
2 Do. alto inEb.,
2 Do. tenor in B b.
2 Do; bass in C.
2 Fltlgelhorns in Bb.
4 Comets inBb.
3 Trumpets in Eb.
2 French Horns,
4 Tenor trombones in 0.
1 Bass trombone in P.
2 Euphoniums in Bb.
2 Bombardons in Eb.
2 Tubas in 0.
1 Tuba (Contra F),
1 high (shallow Side Drum),
1 do. (long, old pattern),
1 Bass Drum.
1 Cymbals,
1 Lyra (Glockenspiel),
(To which are added, for
various instruments, 10
pupils under training.)
8 Albert Perrin, Military Bands, etc. (London. 1868.)
* A. Ealkbrenner, 'Pie Organisation der MilitairmusikcbSre.' et«.
(Hanover. 1884.)
sibid.
Japan.
2 Flutes.
1 Oboe.
2 Eb Clarinets.
8 B b Clarinets.
4 Saxophones in Bb.
4 Do, inEb.
2 Do. in B (bass).
2 Baritones in B b.
3 Cornets in B b.
2 Trumpets in Bb.
3 Trombones.
4 Euphoniums.
2 Bombardones in Eb.
2 Contrabasses in B b.
And 2 Drums, with Cym-
balB,«
470
WIND-BAND.
English bands of line regiments consist of —
1 Piccolo.
1 Flute.
1 or, 2 Oboes (C-Clarinets ?).
2 £b Clarinets. ,
From 8 to 10 Bb Clarinets
(3 parts).
1 Alto Clarinet in E I?.
2 Bassoons (or Bass Clari-
nets). ,
4 Horns in £7.
2 Comets inB>>.
2 Trumpets in E>>.
1 or 2 Baritones in Bb.
1 or 2 Euphoniums in B**,
2 Tenor Trombones in Bb,
1 Bass Trombone in G.
2 or 3 Bombardones in £ [>.
1 Contrabass in Bl) (?).
Side and Basa Drum with
Cymbals.
Military bands are now constructed upon the
Same system throughout the civilised world.
Varying from twenty to sixty-five members, the
instrumentation differs only in minor details
from that of the bands named above.
An event of interest in the annals of military
music took place in the year of the French Ex-
hibition, 1867, as in connection with it a grand
contest for military bands was organised, and
every sovereign of Europe invited to allow one
of his military bands to compete. The following
bands responded, England making no appearance.
StaU.
Bands.
II
^1
Conductor.
1. Austria.
2. Prussia.
3. Bavaria.
4. Baden .
6. Belgium
6. Holland
7. France .
8. Spain . .
9. Bnssia .
Band of the 73rd
Kegiment.
Band combined of
two Regiments of
the Guards.
Band of 1st Infan-
try Kegiment.
Band of Grenadier
Kegiment.
Combined bands of
the Guides and
Grenadier Kegi-
ment.
Combined bands of
Chasseurs and
Grenadiers.
(a) Band of Mount-
ed Guides.
(6) Garde de Paris.
Band of 1st En-
gineer Corps.
Band of Mounted
Guards.
76
87
51
54
69
56
62
56
64
71
Zimmermann.
Wieprecht.
Siebenk^B.
Burg.
Bender.
Dunkler.
Cressonois.
PauluB.
Maimo.
Dorfeld.
The jury consisted of twenty members, under
the presidency of General Mellinet, and included
George Kastner, A. Thomas, Hans von Biilow,
Felicien David, Leo Delibes, Grisar, Professor
Hanslick; etc., etc.
The contest took place in the Exhibition before
30,000 spectators. The result was —
First prize : (a) Prussian band ; (6) Paris
Guards ; (c) Austria.
Second prize : (a) Bavaria ; (6) Russia ; (c)
French Guides.
Third prize : (a) Holland; (6) Baden.
Fourth prize : (a) Belgium ; (6) Spain.
About the same time Mr. Gilmore brought the
band of the 22nd Regiment of New York to
Europe, giving concerts at Liverpool, Dublin,
the Crystal Palace, Paris, etc. Although the band
had a great reputation, its performances sur-
passed the expectation of even the most fastidious
critics. Placed under exceptionally favourable
WIND-BAND.
circumstances at New York, Mr. Gihnore was
able to organise a band of unusually good per-
formers, capable of rendering the moat difficult
passages in concerted pieces vnth a precision and
refinement deserving the highest praise, and
containing a number of solo-players of great skill
and taste. Their intonation v^as correct, the
attack vigorous and precise, while the gradations
of tone from the greatest fortissimo to an almost
vanishing point of pianissimo proved not only a
most careful training of the band, but also the
artistic merit of the conductor.
Their programmes (although, like those of
other military bands, consisting mostly of ar-
rangements of orchestral works) were carefully
chosen and interesting. A noteworthy number
was an adaptation of Liszt's ' Rhapsodic Hon*
groise,' the technical difficulties of which are
rather increased by its transference from the
piano to a wind-band, but the rendering of
which created among the audience a genuine
enthusiasm. The daily papers of May 1878, as
well as the musical periodicals, were unanimous
in their praise of * Gilmore's Band.'
Their instrumentation was as follows : — 2 pic-
colos, a flutes, 2 oboes, i Ab piccolo clarinet,
3 Eb clarinets, 8 first, 4 second, and 4 third Bb
clarinets, i alto and i bass clarinet, i soprano,
I alto, I tenor and i bass saxophone, 2 bassoons,
I contrafagotto, i Eb cometto, 2 first and 2 second
Bb comets, a trumpets, 2 fliigelhoms, 4 French
horns, 2 Eb alto horns, 2 Bb tenor horns, 2
euphoniums, 3 trombones, 5 bombardons, 3
drums and cymbals — 66 in all.
A few words are necessary with reference
to horn-bands. Like trumpets, horns enjoyed
the distinction of being reserved for the upper
classes. They were used for signalling during
the progress of the chase, and for playing merry
fanfares and other pieces when the huntsmen
took their meal in the forest or returned home.
They developed a distinct characteristic strain,
which with its lively rhythm, mostly in 6-8
time, suited its purpose admirably. [See Horn,
vol. i. p. 751.] The number of fine compositions
in which phrases for the horns ' k la chasse '
occur give proof of the enduring impression
they made, and they lost nothing of their efiect
by being transferred from the forest to the stage
or concert-room. The most noted of these com-
positions is the overture to the opera * Le jeune
Henri,' by M^hul, which soon after its appear-
ance made itself known over Europe under the
name of 'Hunting Overture,' or * Jagd Sym-
phonic.' It is almost entirely constructed on
old French hunting fanfares, and even yet is a
favourite.
(a) Allegretto.
n r n
fsTn
WIND-BAND.
WIND-BAND.
471
rtft
r
ri
Having already recorded the reformation of
the Prussian cavalry brass-bands by Wieprecht,
a reformation which very soon extended into
nearly every other European state, and the im-
provements of Sax, we may now proceed to the
brass-bands of the present time.
No statistical record of the number of private
brass-bands in Great Britain has yet been
compiled, but their number is very large. A
considerable number of these bands have reached
a high state of excellence. Of course, looked
upon from the point of 'high art culture,'
brass bands are of no account. But viewed as a
popular agent for the improvement of the
musical taste of the people, they are of great
importance. The comparative ease with which
a brass instrument may be learned, the similarity
of execution upon all of them, which promotes a
feeling of equality, and gives no technical ad-
vantage to any player, and the imposing eflfect
which a well-managed brass-band is capable of
producing — these circumstances offer attractions
to the toiling multitude which no other form of
music can equal.
Originally introduced by some of the large
employers of labour in Lancashire as an innocent
and desirable recreation among their workpeople,
brass-bands soon multiplied. As they improved
in executive capability, an honourable spirit of
emulation arose among the better ones for a
public recognition of their respective claims to
superiority. This led to the organisation of
public contests, coupled with the award of prizes
for superior merit. It is really marvellous
that these contests have survived the tests of
half a century, and flourish now more than ever.
The task of employing part of the scanty leisure
in the study of an uninteresting ' part,' the se-
vere rehearsals necessary to ensure pre-eminence,
and the fine results achieved by many of the ex-
isting bands, furnish a sufficient proof of the
love of music among those whose life is passed
in useful activity. These contests are watched
annually by hundreds of thousands of spectators,
and the award of prizes is a source of ever-
increasing interest to the multitude, while it
gives a distinguished position to the winning
band. Mr. Enderby Jackson of Hull deserves
to be mentioned as having been the active pro-
moter of many of these contests in the midland
and northern counties. The highest success
which he acliieved was the organisation of the
'Grand National Brass-band Contest' at the
Crystal Palace, Sydenham, on the loth and nth
of July, t86o. a hundred and sixty -nine
bands were entered as competitors, the actual
number appearing at the Palace being about
seventy less. On six platforms the competition
proceeded from loa.m. till late in the afternoon
of each day. Three judges officiated at each
platform and selected the two best bands of those
which had played before them. The twelve
bands thus selected had a final struggle for the
honour of the first prize before the combined
eighteen judges, whose award on the first day
gave the following prizes : —
First prize. — The Blackdyke Mills band; con-
ductor, Mr. Longbottom.
Second prize. — The Saltaire band ; conductor,
Mr. K. Smith.
Third prize. — ^The Cyfarthfa band ; conductor,
Mr. R. Livesey.
Fourth prize. — The Darlington Saxhorn band ;
conductor, Mr. H, Hoggett.
Fifth prize. — The Dewsbury band ; conductor,
Mr. John Peel.
The bands obtaining the first and second
prizes on the first day were not allowed to enter
into the competition of the second day, when the
following bands respectively succeeded : —
First prize. — The Cyfarthfa band ; conductor,
Mr. R. Livesey.
Second prize. — The Dewsbury band; con-
ductor, Mr. J. Peel.
472
WIND-BAND.
Third prize. — ^The Goldshill Saxhorn band;
conductor, Mr. J. Blandford.
Fourth prize. — The Chesterfield band; con-
ductor, Mr. H. Slack.
Fifth prize. — The Meltham Mills band ; con-
ductor, Mr. H. Hartley.
The united bands, comprising over looo brass
instruments, performed the following programme
each day : — * Rule Britannia,* chorus — * Halle-
lujah,' Mendelssohn's * Wedding March,' chorus
— 'The Heavens are telling,' and *God, save
the Queen.' The Times; report of the proceed-
ings said : — ' The effect of the combined legions
of " blowers " (upwards of 1200 strong) was tre-
mendous. The organ which accompanied them,
and which on less exceptional occasions is apt to
drown everything, was scarcely heard. . . . The
whole performance was conducted with wonder-
ful vigour and precision by Mr. Enderby Jackson
of Hull, a sort of "Delaporte " in his way' ; etc.
Since then the movement has gone on in the
Northern Counties and in Scotland, with fluc-
tuations. There are periodical contests at many
towns in Lancashire, Yorkshire, and elsewhere,
and there is even a monthly organ for the move-
ment, The Brass Band News (Wright & Round,
Liverpool). It is, however, extremely diflBcult
to obtain accurate information on so independent
and fluctuating a matter. [See Brass Bands,
in Appendix.]
In America similar circumstances produced
similar results to those in England. A small
army with a small number of bands leaves the
musical field open to private enterprise, and the
music-loving masses of large areas have them-
selves to provide the bands for their open-air
recreation. It has been stated that in America
there are 200,000 men connected with brass
bands. Although we cannot go the whole length
of this estimate, yet we may safely assume that
the number of private bands is very large.
In all Continental countries the enormous
armies absorb most of the average wind instru-
mentalists for military band purposes. Being
permanent establishments, and carefully culti-
vated by the states as bands, the members of
which have the privilege of following their pro-
fessional pursuits undisturbed when not actually
required on duty, it follows that there is no need
for a development of private brass or other bands.
This fact has to be considered when comparing
the number of private bands on the Continent
with those of England and America.
Brass-bands are confined by the narrow capa-
city of brass instruments to a limited range of
executive possibility; but good work done, in
whatsoever shape, is worthy of praise. Let us
point out some mistakes frequently made. Some
conductors wish to widen the legitimate range
of brass-bands by adding brass clarinets to
them. This is a most absurd proceeding, by
which the very character of the instrumentation
is destroyed. A squealing Eb clarinet, the notes
of which float over the brass tone of the band
like a drop of vinegar in a basin of oil, is to a
cultivated ear an abomination. So is the vigor-
WIND-BAND.
ous drumming. For taarching purposes the
addition of percussion instruments for the
stronger accentuation of the rhythm is allowable,
but out of that limit, if an addition is made, it
should consist of kettledrums (timpani), which
heighten the eflEect and are in character with
the instruments. Another regrettable point is
the absence of trumpets (with shallow mouth-
pieces) and the gradual conversion of brass-bands
into * horn-bands.' [See HoKN, vol. i. p. 748.] By
the universal use of the cornet, which absorbs the
functions of trumpets ajidfliiffelhorns, a variety of
tone-colour is lost, namely the contrast between
a combination of trumpets and trombones, and
one of fliigelhoms, althoms, euphoniums, and
bombardons, each combination quite distinct in
quality. Let us hope that if the monotony of
the brass-bands suggests the introduction of some
variety, it will be made, not in the addition of
reed or such-like instruments, but in the legiti-
mate restoration of those mentioned above.
Finally, we may once more refer to the mili-
tary bands with reference to an estimate of their
strength. On a necessarily incomplete calcula-
tion, made from reports of bandmasters of each
country, excluding all bands of the Indian and
Colonial forces, and not counting the many
smaller bands of the German battalions not
authorised by the state, we find in Europe 1043
regimental infantry bands (reed-bands) and 353
cavalry brass-bands, containing at the lowest
estimation over 51,000 military musicians.
If we examine the musical results achieved by
this small army it must be confessed that the
rapid strides which have been made in the per-
fection of all classes of wind-instruments have
not been accompanied by a proportionate advance
in the artistic capability of these bands. It is
outside our present scope here to analyse the
causes of this stagnation. The connection of the
bands with the military service, by which simple
utility is placed in ' the front rank,* whilst that
of art is relegated to the * rear column,' lies
at the root of the evil. To the same cause
may also be ascribed the state of the literature
of wind-instruments, consisting mainly of dance
music of the trashiest kind, or operatic arrange-
ments of more or less merit. The few examples
we have of pieces for wind-bands by the great
masters are not generally of a high order, and
lack the necessary characteristic of bold outline.
Between the aims and efiects of writing for the
orchestra and writing for military bands there is
the same difference as between a carefully exe-
cuted painting, where the smallest details are
rendered with minute fidelity, and a large fresco,
painted with bold strokes and bright colours.
We may however indulge the hope that wind-
bands (combining all classes of wind- and percus-
sion - instruments) will at no distant period rise
outside the military atmosphere. The variety of
tone-colour, the broad contrast possible in a really
artistic instrumentation, and the brilliant effects
obtainable by a full-sized band of artist-per-
formers, are too palpable to remain neglected for
ever. When this great material is placed on a
WIND-BAND.
better basis, and the attention of ever- varying
fashion brings it before the cultivated world as
something new, then perhaps the composer will
also arise who with broad brush will lay on the
colours of tone-pictures of a new order, which at
present are still hidden in the future.
WINDSOR TUNE.
473
Most of the following pieces were written for
special occasions, to which the instrumentation
had to be adapted. A high-clasS literature for
military bands does not exist, and a fixed instru-
mentation applicable to most European countries
has only been recently attempted.
MozABT wrote : — Ten pieces for 2 flutes,
3 trumpets in C, 2 trumpets in D, and four
kettledrums — C, G, D and A ; two Divertimentos
for similar instruments; six Divertimentos for
2 oboes, 2 French horns, and 2 bassoons ; three
Serenades for 2 oboes, 2 clarinets, 2 French
boms, and 2 bassoons ; two Serenades for 2
clarinets, two alto-clarinets in F (basset-horn),
2 French horns, 2 bassoons, and a contrebass (or
contra-bassoon) ; and two Divertimentos for 2
clarinets, 2 oboes, 2 English horns (alto-oboe V
2 French horns, and 2 bassoons. (See Koch el s
Verzeichniss Tonwerke Mozarts; Leipzig, 1862.)
F. J, GossEO deserves especial mention in
connection with wind-bands. [See vol. i, p.
611]. During the French Revolution he was
appointed bandmaster of the Paris National
Guard, in which capacity he had to write all the
music for the grand national fetes. As most of
these were held in large open spaces, he organised
a full orchestra consisting entirely of wind-in-
struments, which accompanied his patriotic
hymns and funeral cantata. Among these, the
hymn to the Goddess of Reason, to the Deity,
etc., were of so high an order and produced so
deep an impression, that the Directorate of the
Republic decreed him to be *a composer of
the first rank.' On the collapse of the Republic,
the new reign did not encourage popular fetes,
and Gossec's work came to an end. Although
his compositions in this line bore the stamp of
genius, they are now almost forgotten.
Beethoven has left :— (i) Marsch fur Militair
musik (for the Grand Parade, June 4, 1816)
in D. (2)_ March in F for the same. (3) Sextet
for 2 clarinets, 2 horns, and 2 bassoons in Eb
(op. 71). (4) Trio for 2 oboes and English horn
in C (op. 87). (5) Octet for clarinets, oboes,
horns, and bassoons in Eb (op. 103). (6) Ron-
dino for 2 clarinets, 2 oboes, 2 horns, and 2 bas-
soons in Eb. (7) Two ^quale for 4 trombones.
(8) Three Duos for clarinet and bassoon.
Chebubini's autograph catalogue of his works
contains the following pieces for Wind-bands, but
of what instrumentation we are not aware : —
1800. Two marches, (i) MarcheduPrdfetd'Eure
et Loire ; (2) Marclie pour le retour du Prdfet.
1805. March for wind-instruments composed at
Vienna for the Baron de Braun. 1808. March
for Wind-instruments. 1810, Sept. 22. Ditto,
do. 1814, Feb. 8. March for the Band of the
National Guard; Feb. 13. Quick-step for ditto.
SpONTINI wrote several Marches for the Prus-
sian Guards' band.
KuHNEB wrote a number of Fantasias and
Suites of variations for military band about fifty
years ago, mostly published by Schott & Co.
Beblioz. — op. 16, Symphonic funfebre et tri-
omphale, in three parts, for full military band,
and separate string orchestra, with chorus ad lib.
(Paris, Brandus).
Mendelssohn. — Overture in C for wind-in-
struments, op. 24. Although professedly for
military band, this overture is not effective for
outdoor performance. Even in the composer's
time Wieprecht rearranged it for military band.
Meyebbeer's four Fackeltanze, of all modem
compositions, give the true character of military
music full scope. Generally for a trumpet-band
and orchestra, placed opposite each other at
the two ends of a great hall, the interweaving
of true fanfares with the strains of the orchestra
produces a most stirring effect.
WiEPBECHT deserves great praise, especially
as for his admirable arrangements of six com-
plete symphonies by Beethoven (2, 3, 5, 7, 9,
and ' Battle '), two of Mozart, about thirty over-
tures, besides numerous operatic fantasies, etc.
Most of these remain in manuscript.
Anton Reicha has written a number of works
for wind-instruments — twenty-four Quintets for
flute, oboe, clarinet, horn and bassoon (op. 88,
91, 99, 100); one Quartet for 4 flutes (op. 12),
etc.
Various collections of music arranged for mili-
tary bands exist, such as : — I. Boosey's Military
Band Journal — for full Band (monthly). Do.
Supplemental Journal (bi-monthly). Chappell's
Military Band Journal (monthly). Lafleur*s
'Alliance Musicale' (monthly). II. Boosey's
Brass Band Journal (monthly). Chappell's B. B.
Journal (monthly). R. Smith's B. B. Journals ;
and others. [J. A. K.]
WINDSOR OE ETON TUNE. This is first
found in Damon's music to the Psalms, 1591,
harmonised in four parts, and set to Ps. cxvi. It
is not in Damon's earlier work of 1579.* As
no complete set of parts is known to exist, the
melody only can be quoted : —
This aflFords an example of Damon's method of
prolonging a tune by repetition, of which Haw-
kins speaks.
I For an account of tbia extremely scarce work see Hawkins, Hiat.
of Music, chap, cxvil.
474
WINDSOR TUNE.
In 159a the tune appears in Este's * Whole
Booke of Psalmes,' containing the Church Tunes,
and * other short tunes usually sung in London
and most places of the Kealme.' It is marked
as being one of the latter, and must therefore
have been in use for some little time previously.
In Este's Psalter it is harmonised by George
Kirby as follows, the melody in the tenor : —
Damon and Kirby merely harmonised the
melody, but whoever was its composer, it is only
an adaptation of the tune set by Dr. Tye to the
third chapter of his curious work, * The Actes of
the Apostles, translated into Englyshe Metre . , .
with notes to eche Chapter, to synge and also
to play upon the Lute,' 1553. Here we find
the first, third, and fourth strains of Windsor,
and a fragment of the second. For the sake of
comparison Dr. Tye's tune is subjoined, reduced
into score in modern clefs.
Treble
I r I I I
ter and John they took their
Mean J J ^'. J ^ J J.
^^^f^
WINDSOR TUNE.
A - bout the nliith hour for to pray, As they were
'I I
lame, Ev'n from his birth right poor. They brought and
- ^.^- i J J , - J J. ,
2il
I I
ZP^
r^r-r
1 — r
I I I I
■ ly the same, ET'n at
\
In Este's Psalter the tune has no distinctive
name, but in 161 5 it was inserted in the Scottish
Psalter published by Andro Hart, as *Dundie.'
In Ravenscroft's Psalter, 162 1, it is marked as
an English tune, and is doubly named * Windsor
or Eaton.' The tune was popular in Scotland,'
and this, coupled with the Scottish form of its
earliest name led to the belief that it was indi-
genous to that country.
In Hart's Psalter of 161 5 the melody alone is
given : —
Dundie Tune.
=^:zrO-4-^^^=g:
Here a slight variation occurs in the second
strain, and the leading note is omitted in the
1 The crotchet C is probably a misprint for D.
8 Bums, in his ' Cottar's Saturday Night.' refers to this tone;—
•Perhaps Dundee's wild warbling measures rise,
O plaintive Martyrs, worthy of the name."
Care must be taken not to confound It with the ' Dundee ' of Ba7en»-
croft, which is the ' French tune ' of the Scuttisii Psalter.
WINDSOR TUNE.
first, third and fourth strains, thus giving the
melody a modal form. This may have been done
to assimilate its character to that of other tunes
in the collection ; but however this may be, the
accidental was restored to the penultimate note
of the last strain in Eaban's Psalter, Aberdeen,
1633 :—
IX. Dundie Tune.
4 i
WINTER.
475
and throughout the hymn in the harmonised
Scottish Psalter of 1635 • —
Dundie Tune.
~ ^ ^^^^
Tune.
I I
S
J J g^
^^^
3S^
g
g
r^rfTT
[G.A.C.]
WINGHAM, Thomas, bom in London, Jan.
5,1846. Began his career at the early age of
10, as organist of S. Michael's Mission Church,
Southwark. In 1863 entered the 'London Aca-
demy of Music' of Dr. Wylde, and in 1867 became
a pupil of Stemdale Bennett for composition,
and of Harold Thomas for piano, in the Royal
Academy. In 18 71 he was appointed Professor
of the Piano in that institution, a post which he
still holds. Mr. Winghara's compositions, mostly
still in MS., contain 4 Symphonies — in D (1870),
in Bb (1872), in E minor, with choral Finale
(1873), in D (1883); 6 Overtures, one with
chorus ; an Orchestral Serenade in Eb ; a grand
Mass in D ; a grand Te Deum, two Motets ; an
Elegy on the Death of Stemdale Bennett, etc.,
which have been performed at the Philharmonic
Concerts, the Crystal Palace, Leeds Festival,
Antwerp Cathedral, etc. [G.]
WINN, William, bass singer, born May 8,
1828, at Biamham, Yorkshire, taught sing-
ing by Sir G. Smart and Schira, mafle his first
appearance in London in 'St. Paul* Oct, 24,
1855, at St. Martin's Hall. He became popu-
lar in oratorio and glee music. In 1864 was
elected a Gentleman of Her Majesty's Chapels
Royal, and in 1867 Vicar Choral of St. Paul's.
He is a member of the Noblemen and Gentle-
men's Catch Club, and is Honorary Secretary of
the Round, Catch and Canon Club. His song
* Nothing more,' and the prize glee, ' Go, Rose,'
are well-known favourites. His elder daughter
and pupil, Florence, bom Nov. 1857, is a
favourite contralto concert singer. [A.C.]
WINTER, Peter, opera composer, much es-
teemed in his day, born at Mannheim 1754, died
at Munich Oct. 17, 1825. At 10 he played the
violin in the Elector Karl Theodore's celebrated
band. He had some instruction in composition
from the Abbd Vogler, but really formed himself
as a composer later in life. In 1776 he became
Musik-director of the court theatre, and in this
post made acquaintance with Mozart, against
whom he took a great dislike, and whom he
damaged later in Vienna by spreading false re-
ports about his private life.^ When the Court
removed from Mannheim to Munich Winter fol-
lowed, and became in 1788 Court-Capellmeister.
This post he retained to his death, and was
treated with the greatest consideration, receiving
on more than one occasion leave of absence for
two or three years. He visited Vienna twice,
first in 1 78 1, when he produced three ballets, and
again during the years between 1793 and 1797,
when he had nine operas performed at the Burg-
theater and Schikaneder's theatre, including
*Das unterbrocheneOpferfest' (Burgtheater, June
14, 1796), and a cantata 'Timotheus, or the
power of music' (1797), by the Tonkiinstler
Societat. The intercourse he maintained with
Salieri was important as inducing him to pay
more attention to the vocal part of his composi-
tions. This is perceptible in all the works written
in Vienna. He also visited Italy (Naples and
Venice, 1791 and 1793), Prague (1796), Paris
(1802 and i8o6),London(i8o3-5),andItalyagain
(Milan and Genoa, 181 7-19). Besides a number
of operas, of which the greatest and most lasting
favourites were ♦ Maria von Montalban ' (Munich
1 798) and the * Unterbrochene Opferfest,' popular
on account of its catching melodies. Winter
1 Jahn's 'Mozart,' 2nd ed., i. 393, 695.
47e
WINTER.
composed a quantity of church music, cantatas,
Lieder, part-songs, and instrumental works (sym-
phonies, overtures, and concerted pieces for
various instruments), most of which were printed,
but have long since disappeared. His singing
Metbod (Schott, Mayence, with German, French,
and Italian words) is however still of value.
We append a list of his operas, classified ac-
cording to the places where they were first pro-
duced :— Munich : 'Armida' (1778), *Cora ed
Alonzo' and 'Leonardo e Blandine' (i779)»
* Helfene and Paris ' (German, 1780), *Der Bet-
telstudent' (German operetta, 1781), 'Bellero-
phon' (German, 1782), ' Scherz, List, und Rache'
(operetta, 1784), * Circe' (1788), ' Jery und Ba-
tely' (German, 1790), 'Psyche' and 'DerSturm'
(Shakespeare's 'Tempest,' (1793), * Marie von
Montalban ' (German, 1 798), ' Der Frauenbund '
(German, 1805), ' Colmal* (1809), 'DieBlinden'
(German, 1810). Naples: 'Antigone* (1791).
Venice: 'Catone in Utica' (1791), *IFratelli
rivali ' and • II Sacrificio di Creta ' (179a). Vi-
enna : * Armida und Rinaldo ' (German melo-
drama with chorus and dances, 1793), *I due
Vedovi ' and 'Das unterbrochene Opferfest' (Ger-
man, 1796), 'Babylons Pyramid en' (German,
with Mederitsch, nicknamed Gallus, 1797)* aiid
*Das Labyrinth' (sequel to the * Zauberflote,'
German, 1798),^ Prague : * Ogus, il Trionfo del
bel sesso' (1796). Paris: *Tamerlan' (1802),
* Castor e Pollux ' (1806). London : « Calypso '
(1803), 'Proserpina' (i8oa), 'Zaira' (1805).
Milan : * I due Valdomiri and * Maometto '
(1817), 'Etelinda' (1818), 'Sanger und Schnei-
der' written in Geneva, but first produced in
Munich (1820), his last work for the stage.
Of his church works there are now in the
Royal Chapel at Munich 26 Masses, 2 Requiems,
3 Stabat Maters, and a quantity of graduales,
ofiertoires, vespers, etc. For the Protestant
court chapel he wrote 7 cantatas, 2 oratorios, a
German Stabat Mater, and smaller anthems.
Winter's strong points were just declamation,
agreeable melody, brilliant choral writing, and
rich instrumentation, which he never sufiered to
overpower the voices. His weakness was in
counterpoint, which he had never found an
opportunity of mastering thoroughly. As a
whole his church music is preferable to his
operas; which, though vocal and melodious, have
neither originality, greatness, dramatic force,
fire, nor genius. His airs are specially weak,
never seeming fully developed. Winter could
amuse and entertain, but to seize the imagin-
a-tion, to touch, to agitate, was beyond him.
This is why even his best and most popular
works disappeared from the stage soon after his
death. [C.F.P.]
WIPPERN, Louise (Harriers- Wippern),
bom 1835 or 1837 atHildesheim or Biickeburg.''
On June 16, 1857, she made her first appearance
at Berlin and played Agatha in * Der Freischiitz,'
and Alice in ' Robert le Diable ' with such suc-
1 These two were written for Schlkaneder's theatre.
3 ' Neue Berliner Musik Zeltung.'
WISE.
cess as to obtain a permanent engagement in
Berlin in September of the same year. She kept
the post until her retirement, and was a great
favourite both in dramatic and in the lighter
parts, viz. Iphigenia, Jessonda, Pamina, Su-
sanna, Fidelio, Inez (L'Africaine), the Princess
of Navarre (John of Paris), Mrs. Ankerstrom
(Gustavus III.), Gretchen (Faust), Elizabeth
(Tannhaiiser), Valentine, etc. In Dec. 1859
she married at Biickeburg an architect named
Haraers. She sang for three seasons in Lon-
don at Her Majesty's, appearing first, June
II, 1864, as Alice. She pleased ' on account of
the freshness of her tone, her firm delivery of the
notes, her extreme earnestness and her unques-
tionable feeling' (Musical World). She was
an admirable actress. Her parts in London
were but few, viz. Pamina (July 6, 1865), Ame-
lia (Un Ballo), Leonora (Trovatore), Zerlina
(Don Giovanni) ; but several of her best parts
were in the hands of Fraulein Tietjens, then in
the zenith of her fame and powers, and Mme.
Harriers-Wippern was placed at great disad-
vantage. In May 1868, while at Konigsberg,
she was seized with diphtheria, which compelled
her to visit Italy. She reappeared at Berlin
Jan. 5, 1870, and sang there for a year or more,
but her voice and strength were so much im-
paired that she was compelled to retire from
regular work. She died Oct. 5, 1878, from
another throat disease, at the Hydropathic Es-
tablishment at Gorbersdorf (Silesia). [A.C.]
WISE, Michael, born in Wiltshire (probably
at Salisbury), about 1648, was admitted a child
of the Chapel Royal under Captain Cooke in 1660.
In 1663 he became a lay- clerk of St. George's
Chapel, Windsor. In 1668 he was appointed
organist and master of the choristers of Salisbury
Cathedral. On Jan. 6, 1675-6 he was adndtted
a Gentleman of the Chapel Royal in the place of
Raphael Courteville, deceased, being described
in the cheque-book as 'a counter-tenor from
Salisbury.' At the time of the coronation of
James II. (April 23, 1685) he was suspended
from that ofiBce, and Edward Morton officiated
in his stead. The cause of such suspension is
unknown. There is in the Bagford collection in
the British Museum library a coarse political song,
published in London in 1680, entitled 'The
Wiltshire Ballad,'^ from which it appears that
Wise had been engaged with other Wiltshire men
in getting up a petition for calling a parliament.
It is possible that this siding with those opposed
to the Court policy may have been made the
pretext for his suspension. On Jan. 27, 1686-7,
Wise was appointed almoner and master of the
choristers of St. Paul's Cathedral. But he did
not hold those offices long. On Aug. 24, 1687,
being at Salisbury, he had a dispute with his
wife, in the heat of which he rushed out into the
street, and the hour being late, was challenged
by a watchman, with whom he commenced a
quarrel, and received a blow on the head from
the man's bill which killed him. The place of
* Reprinted by the BalUd Societj in ' Tbe Bacford Ballada.'
[
WISE.
bis burial is unknown ; no traces of it can be
found in the registers of the cathedral or any of
the churches in Salisbury. Wise's principal
compositions are for the church, and they are
* among the glories of our cathedral music. He
added melody to science, and in setting sacred
words evinced as much judgment as genius. His
anthems, " Awake up, my glory," " Prepare ye
the way of the Lord,'' and " The ways of Zion
do mourn," have lost none of their charm by use
or age, and are still listened to with admiration
by all those who hear them, and whose feelings
are attuned to church music of the most elegant
and expressive kind.'
Six of his knthems are printed in Boyce's
* Cathedral Music,' and an Evening Service in Eb
in Rimbault's * Cathedral Music' Other anthems
and services exist in MS. in the Tudway collec-
tion, the library of the Royal College of Music,
and the choir-books of many of the cathedrals.
Some catches by him are included in * The
Musical Companion,' 1667, and his duet *01d
Chiron thus preached to his pupil Achilles,' has
often been reprinted. [W.H.H.]
WITTECZEK, Joseph von, imperial councillor
in Vienna, died about 1859, became acquainted
with Franz Schubert through Spaun.^ Im-
pressed by the great musical genius of the in-
spired youth he endeavoured to collect all Schu-
bert's compositions, manuscript or printed, with
extracts from newspapers and biographical
notices, concerning him, and also drew up
several thematic lists of his vocal and instru-
mental music, etc. The whole collection he
bequeathed to Spaun under the condition that
on his death it should become the possession of
the Gesellschaft der Musikfreunde in Vienna,
and be deposited in their archives, where it now
forms one of the most precious treasures, and
where its materials have since been consulted
in many Schubert-questions. The collection is
now often known as Spaun's ; it is however an
act of gratitude and justice to record the name
of its proper founder — Witteczek. [C.F.P.]
WIXOM, Emma (Mme. Nevada), bom in
i86a, at Austen, Nevada, U.S.A., from which
territory she has taken her professional name.
She learnt singing at Vienna under Mme. Mar-
chesi. On May 17, 1880, she made her first
appearance on the stage, at Her Majesty'sTheatre,
as Amina. Although praised for the fresh-
ness of her voice, and for her evident intel-
ligence and earnestness, her appearance in such
an important character was considered prema-
ture, and she did not re-appear. In Italy she
had better fortune, and after singing there in
various places, made her first appearance May 1 7,
1883, at the Op^ra Comique, Paris, as Mysoli on
the revival of * La Perle du Brdsil ' (F^licien
David), and was favourably received in that,
and Sept. 28 in Mignon. In 1884 she sang as
Lucia at the Italiens. She was engaged at the
Norwich Festival of 1 884, and on the whole made
a decided success, especially in Mackenzie's 'Rose
I See Spatjk, toI. Ui. p. 618 o.
WOELFL.
477
of Sharon' (Oct. 16), and at the miscellaneous
concerta^ but in the soprano music of 'Elijah'
she was overweighted. On Nov. 7 she sang in
the^ • Rose of Sharon ' at the Sacred Harmonic
Society on its production in London. During the
winter of 1884 she sang in the United States
in Italian opera. On Oct. i, 1885, she married
at Paris Dr. Raymond Palmer. She was an-
nounced for a concert tour in America for the
winter of 1885, and is now (1887) in Mapleson's
Opera Company at Covent Garden. [A.C.]
WOELFL, 2 Joseph, was bom at Salzburg,
probably in 1772, and his instruction in com-
position and pianoforte-playing was due to
Leopold Mozart' and Michael Haydn. No
mention of him occurs, however, in the corre-
spondence of Leopold Mozart and his son. In
1792 or 1793 he began his public career at
Warsaw. He was already a brilliant pianist,
and his performances brought him into great
request as a teacher. Amongst his pupils was
one, the son of a banker named Ferguson, who
subsequently attained some notoriety as a per-
former and composer.* But Warsaw, in the
throes of the partition of Poland (1794), was no
place for an artist, and Woelfl betook himself
to Vienna, where he was received with favour,
both as composer and performer. His first
opera, 'Der Hollenberg,' was composed to a
libretto by Schikaneder, and brought out at his
theatre in 1795. This was followed by *Das
schone Milchmadchen ' for the National Theatre
in 1797, and *Der Kopf ohne Mann' at
Schikaneder 's in 1798. The value of these
pieces does not appear to have been great, but
they were successful at Vienna, and the last
two were performed at Leipzig, and * Der Kopf
ohne Mann ' at Prague also.^ To this period the
curious combination-piece, ' Liebe macht kurzen
Prozess,* may possibly belong. On the whole,
Woelfl was not of much account as a composer
for the stage. As a pianoforte virtuoso, he
stepped into the first rank, and was even able
to contest the palm of supremacy with Bee-
thoven.* Socially, Woelfl's pleasing manners
may have helped him to sustain the rivalry,
from their contrast to his competitor's brusque
demeanour. His strength lay in contrapuntal
skill and in remarkable execution, in part due
to the immense size of his hands. The heat
of their partisans recalled the strife of the
Gluckists and Picinnists,' but the two artists
themselves appear to have respected and ad-
mired each other. We hear of them as im-
provising duets at the house of Von Wetzlar,
and Woelfl dedicated one of the best of his
earlier works (op. 6) to Beethoven.^ At Vienna
« The uncertainties that envelope Woelfl extend even to the spell-
tag of his name, vrhlch appears variously as WOlffl, Woefel. Woelflei
Waifel, Wolfell. Woelt Woelft, Wulff, and Woelfl, the last of which,
on the whole, seems most probably correct. The Parisians despaired
of either pronouncing or spelling his name, and called him Wolf, as
they spell Kreutzer Kretsehe, and to this day persist in writing Littz.
3 In the Prospectus of ' The Harmonic Budget,' Woelfl is stated to
be ' a scholar of the great Mozart,' which seems most improbable.
* Schilling— who spells the name Furguson.
8 A. M.Z. vol, 1.448. andIntell.BUtt.xl.,vol. Iy.p.263; vol. v. p.249i
• See Bekthovkn. vol. i., p. 178 6. » Seyfried.
» See Bkbthoven, vol. 1. pp. 189 a and 1786.
478
"WOELFL.
the youn^ composer married, in 1798, Therese
Klemm, an actress at the National Theatre;
and in the summer of the same year set out on
an extended tour, whether with or without
Madame Woelfl seems uncertain. He travelled
through Brunn to Prague, where he gave a suc-
cessful concert, and thence to Leipzig. Two
concerts, about Michaelmas,* signalised his ar-
rival, and his stay was of considerable length.
On April ii and 23, 1799, he gave two more
concerts,* and then pursued his way through
Dresden and Berlin to Hamburg, arriving there
in May.' At Hamburg he made another con-
siderable stay, and won many friends. More-
over, though the traditions of C. P. E. Bach
Btill lingered in the place, his playing elicited
great admiration. From Schmieder he obtained
the libretto of an opera called * Der trojanische
Pferd,' and set himself to the composition of the
music. It does not, however, appear that the
work was ever produced, and perhaps it was
never completed. Woelfl had intentions of going
on to London,* but seems to have left Hamburg
at the beginning of December with Righini,
probably for Berlin.'*
The next clear mention of Woelfl is at a con-
cert in Leipzig, Oct. 21, 1800.* On Dec. 10,
he gave a concert in Berlin at which Mozart's
' Davidde Penitente ' was performed. In the
next year he journeyed to Paris, perhaps through
Brunswick and Mayence,'^ certainly through
Hanover,* reaching the French capital in Sep-
tember 1 801. There he soon began to attract
great attention. On the 5th Brumaire (Oct. 26)
the Journal de Paris described him as 'Tun
des hommes les plus ^tonnans de I'Europe sur
le Piano.' His wit and courtesy suited French
taste, and his execution was at its acme. He
speedily assumed a leading position, and in the
next spring was reported to be writing an
opera for the ThdS,tre Feydeau.* This epoch
may be regarded as the culminating point in
1 A. M. z. vol. 1. p. 479.
2 DOrffel's ' Geschichte der Gewandhaus Concerte.*
« A. M. Z. vol. ii. p. 409. * Ibid. p. SI.
5 Ibid. p. 410. The statement here made differs from that of
•11 other biographers. Schilling seems to suggest that Woelfl
returned to Vienna, but all other writers assert that he went from
Hamburg to London, and from London to Paris, reaching the French
capital in 1801. The facts given in the text show that this account
cannot be correct, and it seems improbable that Woelfl went to
London at all at this time, though Mr. J. W. Davison, in the Preface
to his edition of the ' Non Plus Ultra ' Sonata declares, without giving
any authority, that the Military Concerto (op. 43) was composed in
London in 1800. On the other hand, the following circumstances
seem, taken together, to make strongly against the London visit: —
(1) Woelfl left Hamburg In Dec. 1799 with Righini (A. M. Z. vol. II.
p. 410). Now Bighini almost certainly was going to Berlin to pro-
duce 'Tigrane,' In the early part of 1800 (A. M. Z. vol. 11. p. 620).
(2) Woelfl's letter to Lodi (A. M. Z. vol. ii. Intell. Blatt. no. x.). Is
dated ' Auf der Beise, den 15 Decemb. 1799," which suggests that he
had left Hamburg and was on a Journey in Germany. This is exactly
the date at which he would be travelling to Berlin with Righini.
(3) A Berlin letter of April 1800 (A. M. Z. vol. ii. p. 622), declare!
that Woelfl had been there three separate times since the preceding
June ; it is hardly likely that he went three times from Hamburg to
Berlin and back again belueen June and December, 1799.
(4) No trace of him in England at this time Is forthcoming.
(5) The programme of the concert in London on May 27, 1805, at
which he appeared, pointedly asserts that it was ' his first perform-
ance In England.* (' Morning Chronicle,' May 27, 1805.)
• DOrffel's ' Geschichte.' i A. M. Z. vol. Iv. p. 157.
« A. M. Z.vol. Hi. pp. 690 and 834. The last passage renders it likely
that the hornplayers Gugel accompanied him, and that the Trio for
faorns and PF. was written for this tour.
» A. M. Z. VOL iv. p. 604.
WOELFL.
his career. Henceforward he falls, in some
strange way, under a cloud.
Whether this was the result of a faux pas
cannot be exactly determined. If F^tis's cir-
cumstantial story is to be believed, Woelfl struck
up a friendship at Paris with the bass-singer
EUmenreich, who was given to card-sharping.
In 1804 the pair travelled to Brussels, and gave
a concert which proved a failure. But the little
social clubs of the town offered opportunities to
EUmenreich of making money by gambling.
He was caught cheating, and the pair would
have fallen into the hands of the police but for
the intervention of the Secretary of the Depart-
ment of La Dyle. By his exeftions they es-
caped, and went off together to London, where
they arrived at the beginning of 1805. Woelfl
does not appear to have been a party to the
fraud, but his intimacy with EUmenreich caused
society to avoid him. He was not received as
before, and finally died in obscurity and great
poverty near London, when is quite uncertain.
Of course this story amply accounts for the dis-
appointing close of Woelfl's career. But it seems
to be incorrect in almost every detaU. That
Woelfl was brought into relatit»ns with EUmen-
reich by the project of the latter for establish-
ing a German Opera in Paris is likely enough,'*
but Woelfl appears to have been in Paris
throughout 1804," whereas EUmenreich left
Paris at the end of 1803, and was at Vienna
at the beginning of 1805,'"^ The statement that
Woelfl was received with less favour in England
than on his previous visit can only be true on the
supposition that he had been there before, which,
as already observed, is at all events dubious.
Moreover, Woelfl had no reason to complain of
his reception in England in 1805 ; he certainly
did not die in obscurity, and it is not likely that
he died in poverty .^^
To return to certainties ; the three years and a
half (Sept. i8oi-Apr. 1805) during which Paris
was the centre of Woelfl's life were, on the
whole, years of success. In the early part of
1804, his opera, * L* Amour Romanesque,' was
produced at the Th^S,tre Feydeau with success.
In the next year he made his most considerable
venture with an heroic opera in three acts,
called * Fernando, ou Les Maures,* which was
brought out anonymously at the Th^S,tre Fey-
deau. It was produced under very unfavourable
circumstances, and was more of a faUure than it
deserved to be.^* Perhaps this mischance led
Woelfl to conceive a disgust for Paris. He
certainly left the French capital within a month
or two without any other apparent reason, and
10 Cp. A. M. Z. vol. Iv. pp. Ill and 320.
n A. M. Z. vol. Vi. p. 478 ; vol. vii. p. 142.
12 Ibid. vol. vl. pp. 281, 469, 502.
13 It may be added that It is not easy to see when Woelfl and EU-
menreich could have been at Brussels together. At the beginning of
1802 both were in Paris. In the spring and summer EUmenreich
went to London (A. M. Z. vol. Iv. pp. 323 and 781), but Woelfl stayed
in Paris (A. M. Z. vol. Iv. p. 604). However, In the autumn of 1802
Woelfl was at Amsterdam (A. M. Z. vol. v. p. 115), and was thought to
be going to London, and it may have been about this time that the
two got into trouble at Brussels. They are next heard of In Sept.
1803 (A. M. Z. vol. V. p. 865), and are then both In Paris. But Woelfl'a
position there seems Just as good after this date as before It.
H See on the whole affair, A. M. Z. vol. vU. p. 422.
r
WOELFL.
repaired to London/ where he arrived about the
beginning of May, 1805. The first trace of
him is in an advertisement on May 18, of a
benefit concert by Mr. and Mrs. Ashe, which
states that he had just arrived in England, and
would perform a concerto at this concert on May
3 7 — * his first performance in England.' Besides
the concerto (MS.), a grand symphony (MS.)
by Woelfl was performed at the concert, and
pianoforte concertos by him were played at other
concerts on June i and June 5. on the former
occasion by himself. He was received with the
greatest applause,'^ and everything shows that
he retained his popularity throughout his seven
years* residence in London. In 1806 his con-
certo known as • The Calm ' created a positive
furore, being played at four concerts in about
two months, and new compositions by him were
almost annually put forward as attractions at
the most important concerts.* In 18 10 the pro-
spectus of 'The Harmonic Budget,'* presents
him as tlie fashionable composer of the day, and
a portrait is one of the allurements to sub-
scribers. As a composer for the stage, Woelfl
did not make any greater mark in London
than in Vienna or Paris. Still, two ballets by
him were produced at the King's Theatre,
*La Surprise de Diane,* on Dec. 21, 1805, and
* Alzire ' (founded on Voltaire's * Alzire '), on
Jan. 27, 1807. Both, especially the former,
pleased. His abilities were fully appreciated by
the artists and by the public, nor is any trace
of a falling off in popular esteem discoverable.
On May 16, 181 2, a new concerto of his was
played at Salomon's concert by Mr. Cudmore.*
A week later ' The Morning Chronicle ' of May
33 contained the announcement, 'Died, on Thurs-
day morning, after a short illness, at his lodgings
in Great Mary-le-bone Street, Mr. Woelfl, the
celebrated pianoforte player.' * It is impossible
therefore to understand the uncertainty as to
the circumstances of Woelfl's death. An anxious
discussion was maintained in the 'AUgemeine
Musikalische Zeitung,* in 18 15 and 1816^ as to
whether he was dead or not. It asserted that
Woelfl had played at the Philharmonic Con-
certs, which did not begin till 181 3, and the
matter was only considered as settled by the
marriage of Woelfl's widow to an oboist at
1 One of the strangest of the romantic tales current about Woelfl
must be mentioned here. Schilling asserts that he was named Music-
master to the Empress Josephine in 1804, and followed her after her
divorce («.«., of course, at the beginning of 1810) to Switzerland. Grow-
ing weary of the lonely mountain life, he went down the Bhine by
boat, and so to England. This story seems to be a pure fiction.
Woelfl may have been Music-master to the Empress, but he went to
London In 1805, and Is to be found in London every year from that
date to the time of his death. In 1810 he was engaged on a monthly
publication, 'The Harmonic Budget,' which must have precluded
long absence from London. Finally, the Empress Josephine did not
go to Switzerland In 1810, or at any time after her divorce.
2 A. M. Z. vol. vll. p. 756.
3 Besides MS.works which may have been novelties, and sonatas, etc.,
we find the following ' first performances ' : Symphony (June 15, 1808,
Ferrari's Concert) ; PF. Concerto (Apr. 19, 1809, Ferrari's Concert) :
Symphony (Mar. 28, 1811, New Musical Fund Concert) ; PF. Concerto
(May 16, 1812, five days before his death, Salomon's Concert).
< A copy is in the British Museum, but the torn condition of the
title-page makes It Impossible to say to whom it is dedicated,
s 'Times.' May 16, 1812.
• A similar notice, giving the same date (May 21), appears In the
* Gentleman's Magazine.'
1 A. U. Z. Tol. xvil. p. 311 : ToL xriii. pp. 291 and 762.
WOELFL.
479
Frankfort." The foreign biographies of him are
almost all wrong as to the year of his death,
while they maintain that he died in the most
sordid penury, an assertion for which there
seems to be no ground at all.*
Woelfl possessed remarkable qualifications for
making a success in society. His portrait, about
a year before his death, represents a handsome
man, rather tall, somewhat stout, and of com-
manding presence.^" He possessed that indefin-
able chai-m of manner which so much contributes
to social success. He was, above everything,
a 'good fellow,' and a pleasant, witty talker,
fond of a good dinner (with a special 'penchant
for grapes), a good story, and good company.
His indolent disposition did not prevent him
from being proficient in the amusements of
society ; he played cards with great skill, and it
was difficult to find his equal ab billiards.'-^
As a musician, Woelfl exhibits all the excel-
lences that flow from a sound training. Like
other composers of that time he wrote much
trivial music, but his sympathies were steadily
on behalf of a more elevated style. Pupils
who wished him to teach them how to play
the showy variations that conclude his cele-
8 Mme. Woelfl appears to have been established as a singer at
Frankfort since 1804 (A. M. Z. vol. vi. p. 402). Examination of the
Philharmonic programmes reveals no trace of Woelfl as a performer.
8 This is Schilling's account of his death : ' W. starb . . . Im Beiche
des Mammon, unfern von London, in einem Dorfer mit Schulden
belastet, vergebens gegen Krankheit. Kummer, Noth und Elend
ankftmpfend, jeder Hulfe entbehrend, ungekannt und von Alleu
verlassen—auf einem faulen Strohlager.* It is just conceivable that
Woelfl might, if deep In debt, have given himself out as dead to de-
ceive his creditors, and lived some years after In obscurity. But the
following entry of burial, dated May 25, 1812. in the Keglsters of
S. Marylebone, ' Joseph Woelfl, widower, aged 38." makes this supposi-
tion most improbable, Woelfl's condition Is given wrongly in the
entry, and his age is at variance with most accounts.
10 There was a portrait by Tielker. This, or another, engraved by
Scheffner, was Issued with the A. M. Z. for Feb. 19, 1806. The portrait
in the ' Harmonic Budget ' was drawn by Pyne and engraved by Mayer.
The original water-colour sketch by Pyne is in the Hope collection ol
portraits at Oxford, and from It the woodcut here given Is taken.
n Had Mr. Cipriani Potter, Woelfl's pupil, been still alive, the per-
sonal traits of Woelfl's character might have been more clearly exhi-
bited. Much of what is stated in the text Is due to reminiscences ol
Mr. Potter's conversations, kindly communicated by his son. Dr. Pot-
ter, and by Mr. A. J. HIpklns.
480
WOELFL.
WOELFL.
brated *Non Plus Ultra' sonata always met
with a rebuff, and were not allowed to go on to
the variations till they had mastered the opening
allegro. The ease with which he threw otf
trifles to catch the popular ear did not blind
him to their trivial character or impair his
respect for his art. Consequently, much of his
work, sonatas, quartets, concertos, and sympho-
nies, is thoroughly solid, showing great instrumen-
tal effect and, especially, contrapuntal artifice/
His works, therefore, continued to appear in pro-
grammes for several years." A strongly marked
rhythm and a predilection for sweeping arpeg-
gios, continued, on the pianoforte, from one hand
to the other were regarded by his contemporaries
as his chief mannerisms.^ He also had a knack
of writing minuets with variations, a habit that
diverges somewhat from the beaten track. His
facility in composition was remarkable. When,
on taking some string quartets to a publisher,
he found that worthy disinclined to undertake
the publication of classical music, he forthwith,
by way of sweetening the pill, composed a set of
waltzes in the shop.*
In extempore performance, few attained such
proficiency. At Vienna he rivalled Beethoven,
and was even said to surpass him. At Mayence
a military band came playing down the street in
which the concert-room was situated, in the
middle of an extempore performance. Most per-
formers would have been disconcerted by such
an interruption. Woelfl, however, catching the
rhythm of the drums, worked his themes into
a march, and using this as a middle movement
for his Fantasia so long as the drums could
be heard, proceeded without a break to his
finale.* He had so complete a mastery of the
technique of the pianoforte that he could play
a concerto in C major with equal ease in Cjf
major, transposing it as he went.* He be-
longed to the school that aims at breadth of
effect rather than minute accuracy of render-
ing, and his enormous hands placed almost two-
thirds of the keyboard under his immediate
control, and enabled him to produce with ease
effects that to ordinary players were absolutely
impossible. Two passages may be quoted to
exemplify the size of his hands, the first a
favourite phrase for winding up a cadenza, the
second a passage for the left hand that few could
execute, as he did, clearly and neatly ; —
1 See »^. the Minuet of the G minor STinphonr.
» X.g. a Sjmphony or Overture by Woelfl appears In the Philhar-
monic programmes of May 31, 1813, Feb. 13, 1815, May 1, 1815. May 24,
1819. and Mar. '25, 1822. ' The Calm ' was played at Leipzig In 1819 by
Schneider (A. M. Z. vol. xxll. p. 44).
3 A movement marked MarliuU, and replete with chords thus
iq;>read out. Is the piece that represents Woelfl In that curious series
sl parodies, 'Latour's 26 Imitative Variations.'
« A. M. Z. vol. vll. p. 423.
» Ibid. vol. Iv. p. Iii7.
< Oomp. BfiKTHUVKM, vol. i. p. 160 0.
The only pupil of Woelfl who attained much
eminence was Mr. Cipriani Potter, but, as he
was Principal of the Royal Academy of Music
for more than a quarter of a century, and pro-
fessor of the pianoforte there for ten years before
that, it is probable that Woelfl influenced musi-
cal development in this country more than has
been generally suspected. In opera his impor-
tance is nil. It is as a composer for and a per-
former on the pianoforte that he claims atten-
tion. His performance could scarcely be equalled
in his own time, and his pianoforte compositions
have not yet lost all their interest.
The following is a tolerably complete list of
his works :—
INSTBUMENTAL WOBKg
Op. L 2 Sonatas, PF. ; F, G (1795).
Op. 2. 3 Sonatas, FF. and Violin (1796).
Op. 3. 3 Sonatas. PF. (1797).
Op. :^. Sonata, PF. with Flute obbllgato (1801).
Op. 3. 3 Quartets for Strings (1805 ?).7
Op. 4. 3 Quartets for Strings ; C, F, 0 minor (1798).
Op. 5. 3 Trios, PF. Violin, and Cello ; C, Kb, 0 (1798).
Op. 5. Grand Sonata (' Le diable h, quatre '), PF. ; E. Also ' Op. SO."
Op. 6. 3 Sonatas (dedicated to Beethoven), PF. ; Ab, D, A (179e).8
Op. 6. Trios for PF. Violin, and Cello.
Op. 7. 3 Sonatas. PF. (1799).
Op. 7. 3 Sonatas, PF. and Violin ; Eb. D, A (1800).
Op. 8.
Op. 9. Fantasia and Fugue, PF.
Op. 9. 3 Sonatas, PF. and Violin (or Flute) ; Eb, E minor. C 0800).
Op. 10. 6 Quartets for Strings, in two Books ; Bk. I. C. E, A (1799).
Bk, 11. G, D minor. F (1800).
Op. 11. 3 Sonatas, PF. and Flute (1800).
Op, 12.
Op. 13. Sonata. PF. and Flute ; D (1801).
Op. 14. 3 Sonates sur des Id^es prises de la Orastlon de Hayda.
PF. and Violin ; A, D, O (1801).
Op. 15. 3 Sonatas, PF. (1801).
Op. 16. 3 Sonatas, for PF. Violin obbUgato, and Cello ad lib. ; Jto.
D,C.
Op. 17. Sonata (4 hands). PF. ; 0 0804), Also ' Op. 69.'
Op. 18. 2 Sonatas, FF. and Violin, and Fantasia for PF. solo.
Op. 19. Sonata (or Sonatas), PF.
Op. 19. 3 Sonatas. PF. and Violin ; D minor, 0, Bb (1804).
Op. 20. Concerto (No. 1, in G). PF. and Orcheitra (1802).
Op. 21.
Op. 22. 3 Sonatas (4 hands), PF.a
Op. 22. 3 Sonatas, PF. ; G, A, D minor.
Op. 23. 3 Grand Trios, PF. Violin, and Cello ; D, E, C minor.
Op. 24. 3 Progressive Sonatas, PF. and Violin ; G, A minor, 0 (1804).
Op. 26. 3 Sonatas, PF. Violin, and Cello ; 0, A, E minor (1803).W
Op. 2o. Grand Sonata (preceded by an ' Introduzlone,' consisting of
an Adagio and Fugue In 0 minor), PF. ; 0 minor .u
Op. 25. A Grand Trio. PF. Violin, and Cello.
Op. 26. Concerto (No. 2. in E), FF. and Orchestra (1804).
Op. 26. 8 Sonatas, PF. (1808).
Op. 27. 3 Sonatas, Nos. 1 and 2 for PF. solo } No. 3 for PF. and
Violin (or Flute) obbllgato ; D minor, F. D (1804?)."
Op. 28. Fantasia and Fugue, PF. j D minor (1805?).
Op. 28, Grand SonaU, PF."
Op. 28. Grand Sonata. PF.,with accompaniment for Violin (1206?)^
Op. 28. 3 Sonatas, PF. (1809 ?).M
7 Advertised in Intell. Blatt. of A. M. Z., May, 1806, No. xi.
I The Andante from the second of these Sonatas was arranged a»
a Song (A. M. Z. vol. iv. p. 564 ; Beylage iv. 1801).
> The two titles given under Op. 22 are perhaps only different de-
scriptions of the same work.
10 3 Sonatas for PF. Violin, and Cello, in C, G, and E minor, were
published In London as Op. 25. Probably the second Sonata had been
transposed.
II This Sonata appears to have been printed as No. 12 of a B^pertoire
des Olaveclnistes, by Nfigell of (1805), and the Introduction and
Fugue have been published separately by DIabelll of Vienna.
12 No. 1, Nos. 1-2, and No. 3, also appear as Op. 27. We also find
Op. 27 described as 3 Sonatas, PF. solo ; probably an accidental mis-
description. Sonata No. 3 was also published as Op. 2rt.
u This may possibly be Identical with the work next mentioned.
u A. M. Z. VOL H. , Intell. Blatt. xiL
WOELFL.
WOELFL.
481
Op. 28. Sonata, PF. and Violin ; D. Also In Op. 27.
Op. 29.
Op. SO. 3 Quartets for Strings ; Ek>, C, D (1805?).
Op. 31. Grand Duo, PF. and Cello (or Violin), (1805).
Op. 32. Concerto (No.S, In F, ' dedicated to his friend J. B. Cramer'),
PF. and Orchestra (1807).
Op. 33. 3 Sonatas. PF. ; 0, D, E (1807).i
Op. 34. 3 Sonatas, PF. and Violin (or Flute); F, G, Eb (1804?).
Also ' Op. 37.'
Op. 35. 3 Sonatas. PF. and Flute ; 0, G, D (1806). (Scotch Airs.)
Op. 36. Concerto (No. 4, ' The Calm,' in G), PF. and Orchestra
a806).2
Op. 36. Grand Sonata, PF. ; Vb.
Op. 37. Grand Duet, PF. and Harp ; Bb.3
Op. 38. 8 Sonatas, PF. ; G, D, B minor. (Scotch Airs).
Op. 38. Sonata. PF. ; D (1808 ?). Also ' Op. 58.'
Op. 39.
Op. 40. Symphony (ded. to Cherublnl), No.l ; G minor (1808?).
Op. 41. Symphony, No. 2 ; C (1808?).
Op. 41. Grand Sonata (' Non [or ' Ne '] Plus Ultra '). PF. ; F.4
Op. 42. Sonata (4 hands), PF. with Flute (or Violin), ad lib. ; G.
minor. A Version of his 6 minor Symphony.
Op. 43. Grand Concerto militalre, PF. and Orchestra ; C.
Op. 43. 3 Sonatas (ded. to Catalanl), PF, and Flute (or Violin).
Also • Op. 45.'
Op. 44.
Op. 45. Sonata (or Sonatas), PF.
Op. 45. 3 Sonatas (ded. to Catalanl). PF. and Flute (or Violin).
Also • Op. 43.'
Op. 46. Grand Duet for PF. (4 hands) with Flute ace. Probably
•Op. 42.'
Op. 46. 3 Sonatas, PF. with ace. for Flute ad lib. ; Q, F, C.
(Scotch.)
Op. 47. Sonata (or Sonatas), PF.
Op. 47. 3 Sonatas, PF. with ace. for Flute (or Violin) ad HI. ;
D.G.F.
Op. 48. 3 Sonatas, PF., Flute, and Cello ; G, F, D (1810?).
Op. 49. Concerto (No. 6, ' The Cuckoo,' in D), PF. and Orchestra
1810?). Also 'No. 4,'
Op. 50. Grand Sonata (' Le dlable Ji quatre*), PF. ; B.a
Op. 51.
Op. 52. Sonata for Harp, with ace. for Flute ; C.
Op. 53. 3 Sonatas, PF. ; P, C, Bh>.
Op. 54. 3 Sonatas, PF. ; G, A minor, D.
Op. 55. 3 Grand Sonatas, PF. ; A minor, D, A.
Op. 56. Practical School for the PF., consisting of 50 Ezerclsei. In
two Books.
Op. 57. Duet, Harp and PF ; F.
Op. 58. 3 Sonatas, PF.
Op. 58. Sonata, PF ; D. Also Op. 38.
Op. 59. Divertissement ('La Voyage de V^nus,' at 'V^nos en
voyage '), PF.
Op. 60. Sonata, PF.
Op. 61. Second Sonata, ' "With the Manly Heart.'
Op. 61. Second Divertissement, PF. ; Eb.
Op. 62. Grand Sonata, PF. ; D.
Op. 63.
Op. 64. Grand Concerto (In E), PF. and Orchestra.*
Op. 65.
Op. 66. 8 Trios, PF. Violin, and Cello.
Op. 66. Trio, PF. Flute, and Cello ; 0.
Op. 67. Grand Sonata, PF. and Violin j B.
Op. 68. Grand Sonata, PF. and Violin ; D minor.
Op. 69. Sonata (4 hands), PF. ; C. Also ' Op. 17.'
OPERATIC WORKS.
Der HOllenberg, opera. Libretto by Schlkaneder. Schikaneder's
Theatre, Vienna, 1795.
Das schOne Milchmadchen oder der Guckkasten, operetta. Na>
tional Theatre, Vienna, 1797.
Der Kopf ohne Mann, operetta. Schikaneder's Theatre (?), Vienna,
1798.
Das Trojanlsche Pferd, operetta. Libretto by Schmleder. Written
In 1799 (A. M. Z. vol. II. p. 238), but apparently never performed.
1 The second Sonata In an English edition Is In D minor. F^tls
gives 3 Trios for PF. Violin, and Cello, as Op. 33, but It would appear
to be a misprint for 28.
2 The number of this Concerto Is very doubtful. It Is given as
No. 4 In A. M. Z. vol. Ix. Intell. Blatt. x., and this number has been
adopted, but Breitkopf t Hartel call it No. 1 (cp. Op. 20) In their
Catalogue, and F^tls describes It as No. 6.
3 This Duet seems to have been brought out at Salomon's Concert
on May 21, 1806. It could also be played on two PF.s, and was ar-
ranged for 4 hands on one PF. by the author. The 8 Sonatas for PF.
and Violin or Flute of Op. 34, were published by Clement! with Op.
37, by a misprint, on the title-page.
4 See Non Plds Ultra, vol. 11. p. 465 a.
s This Sonata was also published as Op. 'i. unless. Indeed, this Is a
misprint. It Is possible that Op. SO Included some other Sonatas, as
the publisher (BIrchall) announces this as ' a 4th Grand Sonata for
PF.'
« The publisher (BIrchall) describes this Concerto as ' by the late
J. Woelff, being the last composition of that celebrated author.' It
Is, therefore, probably the Concerto played at Salomon's Benefit Con-
cert, May 16. 1812.
VOL. IV. PT. 4.
Hebe maoht kurzen Process, oder Die Heyrath auf gewlsse Art,
comic opera, composed by Hofifmeister, Haibel. Sflssmayer, Henne-
berg, Stegmayer, Triebensee, von Seyfrled, and Woelfl.7
L'Amour Romanesque, comic opera, in one act. Libretto by D'Ar-
mand Charlemagne. Theatre Feydeau, 1804.
Fernand ou les Maures, heroic opera in 3 acts. Theatre Feydeau,
Paris, 1805. Produced anonymously.
La Surprise de Diane ou le Triomphe de I'Amour, grand ballet.
King's Theatre, London, Dec. 21, 1805.
Alzlre, grand ballet. Composed by Rossi. King's Theatre, London,
Jan. 27, 1807.
VOCAL MUSIC.
Die Gelster des See's (words, from Schiller's ' Musenalmanach ' lor
1799, by Fraulein Amalie von Imhoff). Ballaae, with PF. ace. vol. I.
(1799).
11 Lieder und eine vierstimmige Hymne von Ramler, with PF. mc.
vol. ii. (1799).
6 English songs, dedicated to Mme. Bianchi.s
INSTRUMENTAL MUSIC WITHOUT OPUS-NUMBER,
I. Fob the PF.
Sonata ; C minor.9
Bouquet de Flore (ded. to his pupils), containing (1) Favourite
German air with 9 var. j (2) Favourite Polacca, arr. as a Rondo
with ace. (ad lib.) for Flute ; (3) Augustin, a favourite German
Waltz, arr. as a Capriccio, with Flute or Violin ad lib. ; (4) Sonata
(4 hands) in F ; (5) 6 Waltzes with ace. for Harp uJ lib. ; (6) Turkisli
March and Rondo with ace. for Harp ad lib.
The Cabinet (Rondos, Airs with var., and military pieces). This
was to be completed In 12 numbers to be published monthly. The
titles of the first seven numbers are as follows:— (1) 'Lullaby.'
Variations ; (2) * Alone by the Light of the Moon,' Rondo ; (3) ' What's
the matter now,' Variations; (4) 'The Linnet,' Rondo; (5) ' Lord
Cornwallis's March ;' (6) ' Donna Delia '; (7) ' Fair Ellen was a gentle
maid."
The Harmonic Budget, Issued In twelve monthly numbers, com-
mencing July 1, 1810 10;—
6 Preludes, PF.
12 Waltzes, PF.
Trio, PF. Flute, and Cello ; C.
6 Preludes.
8 Songs—' The Sigh,' ' Soul of my Love,' ' Rosalie.'
March, PF. ; D.
6 Preludes, PF.
8 Polaccas. PF.
Sonata, PF. ; E.
6 Preludes, PF.
Fisher's Minuet with var., PF. and Harp ; Bb.
Duet, PF. and Violin ; D minor.
Overture to ' La Bataille de Salamine,' PF. (4 hands) ; C minor.
Duet, PF. ; C.
Allegretto; Bb.
24 Preludes dans les Modes majeurs et mineurs les plus uslt^.
Bon Jour, Rondeau favorl ; G.
Bon Soir, Rondeau favorl ; D.
La Chasse, Rondo ; C.
Rondo, Bb.
SRondeaux; Bb, D, Bb.
Rondo facile et brillante ; 0.
Helgho, Rondo.
Hark I hear the evening bell. Rondo.
March and Military Rondo.
Grand March.
Portuguese March (ded. to Bishop of Oporto), 1810 ; D.
3 Polonaises, Harp and PF.
Polacca.
12 Valses aSOS).
eValses.
6 Valses (4 hands).
6 deutsche Tftnze (1807?).
Grand Fantasia— O mon cher Augustin.
Two Books of Duets with favourite airs from Le Nozze de Figaro.
7 This work has been variously ascribed to each of the first three
named, but Woelfl's share was far the largest, amounting to nearly
half the work, viz. Nos. 4, 5, 7, 10, 11, 14, and 15, out of a total of 15.
The date usually given is 1801. If internal evidence Is to go for any-
thing, It must have been written for Schikaneder's Theatre, and
Woelfl's participation In the work makes an earlier date more prob-
able.
8 Of these songs, Nos. 2, 3, and 6, were afterwards (1810) printed In
• The Harmonic Budget.'
9 This Sonata did not appear under Woelfl's name. It was pub-
lished by LodI about 1797 as op. 18, and an arrangement of It for 4
hands, in which it was attributed to LodI, was published more than
thirty years after by Crelle. The Sonata, however, was almost cer-
tainly composed by Woelfl, Lodi's share in It being confined to the
insertion of a few errors, after the fashion of the ignorant schoolboy
who has got a good copy of verses done for him. For the whole
history of this very curious transaction see Woelfl's Letter to Lodi,
which remained unanswered. In the A. M. Z. for 1800 (vol. II. Intell.
Blatt. No. 10), and Fink's article on the matter In the same Journal
in 1832 (vol. xxxlv. pp. 737 sq.).
10 A good deal of the music In this publication appears to have
been published separately either before or afterwards, as «. g. the
songs, Fisher's Minuet, the Preludes (?).
• Ii
482
WOELFL.
Badlnage.i
A series of Pieces published by Andrfi :—
>'o. 1. Marcia e Bondo Pastorale ; D.
2. Donald, Bondo ; G.
5. Castle Goring, Bondo ; G.
4. Air with var. ; A.
6. Air (The Storm) with var. ; G.
6. Bomance (Je suls encore) with var. ; O.
7. Variations ; G.
8. Do. ; 0.
9. Do. ; F.
10.
11. The favourite Tambourine avec Introd. et Final, Varia-
tions ; C.
12. Variations, Harp and PF.
13. March and Bondo. Also ' Marcia e Bondo Pastorale."
A series of Airs with variations published in Vienna (by Traeg?) :—
No. 1. 9 var. sur le Terzetto, Pria ch'io impegno. (1797.)
2. 9 var. sur une Piece d'Alcina. (1797.)
8. 9 var. sur Weil der Mond so lieblich schelnt. (1797.)
4. 9 var. sur Ach schOn wlllltommen. (1798.)
6. 9 var. sur Herbey, herbey ihr Leute. (1798).*
6. 9 var. sur La stessa, la siessissima. (Salierl.) 0799.)
7. 9 var. sur Die HOlle ist finster. (1801.)
8. 9 var .3
9 Tar. sur Weibchen treue ; Bb. (Winter's Labyrinth.) a7M.)
9 var. sur Kind willst du ruhlg schlafen. (Winter's Opferfest.)
(1799.)
9 var. sur Wenn ich nur alle Madchen wClsste. (1798.)
9 var. sur Schau, das du bald ein Meister. (Des Schneider HochEelt.)
(1799)
9 var. sur Mein Vater hat gewonnen. (Liebe macbt kurz. Process.)
asoi.)*
9 var. sur 8e vuol ballare. (1802.)
Var. on • Oh cara harmonia ' (air from * Die ZauberflOte.*
Var. on Wenn's Lieserl nur wollte.
Var. sur Menuet de Fischer ; Bb.5
9 var. on a favourite German air, ' by the celebrated J. Woelfl.'
So. 7 ; A.6
Bomance de 1* opera Une Folic par Mdhul var. p. Clav. ; G.
An dante vari^ ; G.
II. Othkb Instrumental Works.
Concerto di Camera, PF. with ace. for Strings and Flute ; B b.T
Eedouten-Tanze for Orchestra.s
2 Trios for two Clarinets and Bassoon.
Grand Sonata for the Harp, in which is Introduced a favourite air
of Cosi fan tutte (sic). Also published for P. F.
Concerto, PF. and Violin.
Trio, PF. and two Horns (1801 ?).9
Overture for Orchestra ; C minor .w r J JJ^]\J *]
WOHLTEMPERIRTE KLAVIER, DAS—
The well-tempered Clavichord, better known
in England as ' The 48 Preludes and Fugues '
— probably the most extensively known of all
Johann Sebastian Bach's works. It is in two
Parts, each containing 24 preludes and 24 fugues.
The first part was completed at Cothen in 1722
when Bach was in his 38th year, and to this
alone he gave the above name. Subsequently
(1744) he finished 24 more preludes and fugues
* through all the major and minor keys ;' and so
like in design to the former series are these,
that they have come to be regarded as the second
part, the entire collection being now universally
known under the one title.
1 Played at Berlin Dec. 10, 1800, but perhaps never printed. See
A. M. Z. vol. 111. p. 237.
2 The airs of Nos. 4 and 5 come from Winter's • Labyrinth.'
3 No. 7 was certainly published by Traeg. No. 8 is assigned to this
series on conjecture only.
* The air, by Henneberg, is taken from ' Liebe Macht,' etc.
B Also published in ' The Harmonic Budget.'
« This is very likely identical with No. 7 published by Traeg.
7 This was No. 3 of a series of pieces published by Chappell A Co.
nnder this title. No. 1 was by J. B. Cramer.
8 See Eedouten-Tanze, vol. 111. p. 896.
» Cp. A. M. Z. voL ill. 834 and v. 71.
w The three works last mentioned were never perhaps printed.
The PF. and Violin Concerto was played at Berlin, Dec. 10, 1800
(A. M. Z. vol. 111. p. 237), the Trio at Leipzig about Michaelmas 1802
(A. M. Z. ToL V. p. 71), and the Overture at a Philharmonic Concert
In London on March 25, 1822. The same (or a similar) Overture had
been played twice before, and the Programmes of the time »ugge$t
the existence of Symphonies and Overtures which were not printed.
The Concerto in 0 which he transposed at Dresden (A. M. Z. vol. 1.
p. 560) may also not have been printed, though it ma; liave been
Op. 43.
WOHLTEMPERIRTE CLAVIER.
His own full title is as follows : — ' Das wohl
temperirte Clavier oder Praeludia und Fugen
durch alle Tone und Sendtonia so wohl tertiani
majorem oder Ut Re Mi anlangend, als auch
tertiam minorem oder Re Mi Fa betreflfend.
Zum Nutzen und Gebrauch der Lehrbegierigen
Musicalischen Jugend als auch derer in diesem
Studio schon habil seyenden besondern Zeit
Vertreib aufgesetzet und verfertiget von Johann
Sebastian Bach p. t. Hochfiirstl. Anhalt. Cothen-
ischen Capell-Meiatevn und Directore derer
Cummer -Musiquen. A nno 1722.'*^
It was Bach's intention by this work to test
the system of equal temperament in tuning. To
this end he furnishes a prelude and fugue in each
key, the keys following one another not according
to their relationship, but simply in the order of
chromatic ascent.
A credible tradition says that most of the first
part was written rapidly ; in a place where Bach
had no regular musical occupation, and where
he was deprived of any musical instrument —
probably when accompanying his prince. This 1
tradition is supported by Gerber, whose father, I
Heinrich Gerber was a pupil of Bach in 1
Leipzig soon after 1722. Forkel, however, who
probably possessed some general information on
the subject from Bach's sons, says that earlier J
compositions were used in compiling the first I
part. Many of the preludes had certainly already
appeared as independent compositions. In re-
writing these Bach often considerably lengthened
them, the one in C# to the extent of nearly forty
bars. Eleven of them were given in a short form
in the Klavierbiichlein (1720), written for his son
Friedemann. When used for the later work,
they were, however, more fully developed,
especially those in C major, C minor, D minor, anci
E minor. The A minor Fugue, too, is without
doubt an earlier composition. Spitta considers
it belongs to 1707 or 1708. It is an open copy
of one in the same key by Buxtehude, and J
judging from the pedal at its conclusion, it was ^
not at first intended for the clavichord. Perhaps
it is therefore somewhat out of keeping with the
rest of the work — written so manifestly for this
instrument. Witness for instance the commence-
ment of the 1 6th bar of the Eb minor fugue,
where the upper part stops short on Cb, evidently
because Db was not available on most clavichords.
Again, in the 30th bar of the A major fugue it
is apparent that the imitation in the right hand
is accommodated to a limited keyboard. In the
second part of the work Db above the line occurs
but once — in the 68th bar of the Ab prelude.
In compiling this, Bach again availed himself
of earlier compositions, though not to such an
extent as in the first part. The prelude in C
is given, however, as a piece of 17 bars' length
in a Klavierbuch of J. P. Kellner's, with the
date * 3. Juli 1726.' The Fugue in G had twice
U The Well-tempered Clavier, or preludes and fugues In all the
tones and semitones, both with the major third or Ut, Be, Ml, and
with the minor third or Be, Mi, Fa. For the use and practice of
young musicians who desire to learn, as well as for those who are
already skilled in this study, by way of amusement ; made and com-
posed by Johann Sebastian Bach, Capellmeister to the Grand Duke
of Anlialt-COthen and director of his chamber-music, 1722.
WOHLTEMPERIRTE KLAYIER.
before been associated with other preludes. The
Ab Fugue first stood in F, it was shorter by moi;e
than one half and it had another prelude. Other
instances of a similar kind may be adduced.
Three or four original MSS. are existing of
the first part of the work : not one (complete)
exists of the second. Still, notwithstanding
the many revisions Bach made of the first part,
there is perhaps, as Carl vonBruyck says (•Tech-
nische und asthetische Analysen,' p. 68), on the
whole a richer and broader display of contra-
puntal art in the fugues of the second part.
The two oldest printed editions appeared in
1 800- 1 80 1. One was issued by Simrock of Bonn
and Paris, the other by Kiihnel (now Peters) of
Leipzig. The former was dedicated to the Paris
Conservatoire de Musique, the matter being sup-
plied by Schwencke. In it the second part is
WOHLTEMPERIRTE KLAVIER. 483
placed first : many of the older readings are given,
and it has the long versions of the preludes which
most editions since have copied. The latter was
revised by Forkel, and it is to that he refers in
his well-known treatise. The first English edi-
tion was that edited by S. Wesley and C. Horn,
and published in 1811-12.'^ The most complete
critical edition is that of the Bach Gesellschaft
(vol. xiv. 1865), l>y Franz KroU, with an ap-
pendix of various readings.
Editors have not been slow to make alterations
in the text of Bach. One of the most glaring of
these is the bar introduced by Schwencke in the
middle of the first prelude. Yet this bar has
been retained by Czerny, by Wesley and Horn,
and by many others. It is even used by Gounod
in his * Meditation.' As an editorial curiosity it
is worth preserving : —
Schwencke.
Bar 23.
Of the First Part two autographs are known ;
one formerly belonging to Nageli, and now in the
Town Library of Zurich, another in the pos-
session of Professor Wagener of Marburg. See
Spitta's Bach (Novello) ii. 665. Of the Second
Part no autograph is known to exist.
Since the above was in type I have discovered
that for years past there have remained in com-
parative obscurity original autographs of nearly
all the Preludes and Fugues of the Second Part.
They were bought at dementi's sale by the late
Mr. Emett. During one of Mendelssohn's visits to
England (June 1842) Mr. Emett showed them to
him, and he at once recognised them as being in
Bach's handwriting ^. Later on, in or about 1855,
Sterndale Bennett saw them, and he too pro-
nounced them to be in the handwriting of Bach.
Since then they have so far lapsed out of sight
that they are not mentioned even by Dr. Spitta.
That they are authentic there can, I think, be
no doubt. Because, first, Clementi knew or
believed them to be so : see the * Second Part
of dementi's Introduction to the Art of Playing
on the Pianoforte, op. 43,' where, at p. 1 20, there
is a • Fuga by J, S. Bach from an original MS.
of the author.' It is the one in C, and was
evidently printed from No. i of this set. Secondly,
Mendelssohn and Bennett witnessed to the writ-
ing. Thirdly, their internal evidence points to
their being the work of a composer, not of a
copyist. Upon this conclusion I have thought
it worth while to make a bar by bar examin-
ation of them. For the most part they agree
with KroU's text, and, for convenience, taking
his edition (including the marginal readings) as
a standard, they compare with it as follows : —
I See Boclutro'i Life of Mendelssohn, pp. 83, 84.
I, Prelude: — In bars i, 2, 6, 9, 17, 21, 23,
where the groups of demisemiquavers occur,
the MS. stands as at (a). The latter half of
(a) bar I. 2. 6. 9.
^^^
bar 3 stands as at (6). At bar 14 five bars are
erased and rewritten differently ; the substitution
a^^^^B^^^B^Eg^^a
accords with our text. Fugue : — the first bar of
the subject is grouped throughout (c) ; bar 24,
the under stave is in the alto clef for four bars ;
bar 66 the middle part is a minim D; bar 67,
the motion of semiquavers is arrested by (d).
id)
Both Prelude and Fugue have the upper stave
in the G clef. The other numbers (with the
exception of No. 17, which is also in that clef)
have it in the soprano clef.
II. Like KroU's text throughout.
III. Prelude: — ten sharps in the signature,
some of the notes being marked both in the
upper and lower octave of the staves. Fugue : —
signature like Prelude; bars 16, 19, 20, 26, 27,
2 Mr. Cummlngs has shown (Mus. Times, March 1885, p. 131) that
the edition projected by Kollmann in 1799 was never published. [See
Bach, vol. 1. p. 117.1 -r .
484 WOHLTEMPERIRTE KLAVIER.
the demisemiquaver passing notes are omitted ;
as is also the semiquaver passing note, bar 28.
IV. Is missing.
V. Is missing.
VI. Prelude: — at bar 10, two bars are erased
and eight bars are substituted at the foot of the
page, the eight bars accord with text ; bar 1 8,
and the seven bars that follow, accord with
marginal reading; at bar 22, the under stave
is in the alto clef till bar 26 ; after bar 37 two
bars are inserted at the foot, the two bars accord
with text. Fugue : — throughout like text..
VII. Prelude :— bar 30, like text ; bar 49,
the C in the upper stave is an octave lower;
bar 66, no flat to D in bass. Fugue : — throughout
like text.
VIII. Prelude : — nine sharps in the signature,
on the same principle as signature of No. 3.
Fugue: — signature like Prelude; bar 14, the
secondB is omitted ; bar 18, like marginal reading.
IX. Prelude : — bar 9, second quaver in bass
B not A ; bar 21, no turn on A J ; bar 50, bass
like neither text nor margin, but (e), this is sub-
stituted in the place of an erasure, apparently
like text :
bar 54, no chord in the upper stave, simply E.
Fugue: — bar 15, trill on tenor D; bar 18, no
natural to second E in alto.
X. Prelude : — throughout like text. Fugue : —
in bar 18 and similar ones, the quaver of the
compound time is written exactly under (or
over, as the case may be) the semiquaver of
the simple time. This throws a light on like
instances in Bach's works, notably so on. the way
the Prelude in D (No. 5 of the Second Part)
should be played ; bars 70, 71, (/), so the Fugue
ends.
XI. Prelude: — throughout like text. Fugue: —
bar 1 2 and the seven bars that follow, in G clef ;
from bar 89 to the end is written at the bottom
of the Prelude, with * Final zur folgend Fuga.'
XII. Is missing.
XIII. Prelude : — nine sharps in the signature
of both Prelude and Fugue, on the same principle
as Nos. 3 and 8.
XIV. Prelude:— end of bar 18 (g); bar 27,
the third E in upper stave is marked (. Fugue : —
bars 3, 6, 11, there is a trill on the final minim
of subject ; bar 15, the last quaver of middle
WOHLTEMPERIRTE KLAVIER.
part is C only ; bar 16, a trill on G in middle
part ; bar 53, the last C in upper stave is not J.
XV. Prelude : — bar 24, no I] to last D ; bar
45, trill on first B. Fugue : — no B to last C in
upper stave, bar 64.
XVI. Prelude: — ^bar 9, like margin; bar 21,
bass like text. Fugue : — bar 9, no Q to first E ;
bars 12, 13, 16, and 22, like text; bar 82, no tl
to last A.
XVII. Prelude : — six flats in the signature, on
the same principle as the extra sharps are marked
in Nos. 3, 8, 13 ; bar 6, the demisemiquaver is
G not F; bar 42, no b to second A ; from the
end of bar 53 to the beginning of bar 56, is as
at {h) ; bar 75, no appoggiaturas. Fugue : — sig-
(h)
nature like Prelude ; from bar 6 the under stave
is in the alto clef for two bars and three quarters ;
the latter half of bar 14 is as at (f) ; bar 32, the
(0
upper part enters at the commencement with a
B minim.
XVIII. Prelude: — bars 12, 14, 15, 40, like
margin. Fugue : — throughout like text.
XIX. Prelude : — throughout like text. Fugue :
— bar 16, like margin.
XX. Prelude: — bar 19, no Q to last G; bar
24, like upper margin ; bar 30, bass like margin.
Fugue:— bars 6 and 15 like margin; bar 28,
JJ to last C only ; JJ to C in last chord ; but, no E
in the upper stave and no upper A in the lower
stave.
XXI. Prelude : — bar 36, third semiquaver
in bass, A not C ; bar 63, like margin ; bar 67,
no fl to B. Fugue : — bars 5 and 6 like margin j
bar 89 as at {Ic).
(fc)
XXII. Prelude :— seven flats in the signature,
on the same principle as Nos. 3, 8, and 13 ; bar
16, b to G in bass ; bar 81, crotchet F in upper
stave, no semiquavers E, D. Fugue : — signature
like Prelude ; no staccato marks in the subject ;
bar 22, B not Cb in tenor; bar 33 like margin ;
bar 77, F not D in tenor.
XXIII. Prelude :— seven sharps in the sig-
nature, on the same principle as Nos. 3, 8, 13,
22; bar 45 like text. Fugue: — signature like
Prelude ; bar 70, no x to C. This manuscript
is in a much worse state of preservation than
are the others.
XXIV. Prelude:— throughout (not likeKroll's
but) like Chrysander's text. Fugue:— bar 16
WOHLTEMPERIRTE KLAVIER.
(Kroll) like margin ; no appoggiatura in the last
bar.
These MSS. (with the exception of No. 9) are
now in the possession of Miss Emett, daughter
of the late Mr. Emett who bought them at de-
menti's sale. No, 9 is in the possession of Mrs.
Clarke of Norwood. They are for the most part
in excellent preservation and very clear. [F.W,]
WOLF, THE. I. A term applied to the
harsh howling sound of certain chords on keyed
instruments, particularly the organ, when tuned
by any form of unequal temperament.
The form of unequal temperament most widely
adopted was the mean-tone system. The rule of
this system is that its fifths are all a quarter of
a comma flat. The thirds are perfect, and are
divided into two equal whole tones, each of
which is a mean between the major and minor
tones of the diatonic scale; hence the name
Mean-tone system.
The total error of the whole circle of twelve
fifths, at quarter of a comma each, amounts to
three commas. Since the circle of twelve perfect
fifths fails to meet by about one comma, the
circle of mean-tone fifths fails to meet by about
two commas, or roughly, nearly half a semitone.
In the mean-tone system on the ordinary key-
board there is always one fifth out of tune to this
extent, usually the fifth G J-E b. There are also
four false thirds, which are sharp to about the
same extent, usually B-Eb, FU-Bb, CJJ-F, and
Gj-C. All chords into which any of these five
intervals enter are intolerable, and are ' wolves.'
The use of unequal temperaments disappeared
in Germany during the latter part of the i8th
century, probably under the influence of Bach.
Unequal temperaments ceased to be employed in
the pianoforte in England at about the termin-
ation of the first third of the present century.
At the same time the transition process began
here in connection with the organ; and by 1870
it was practically complete, few cases only of
the unequal temperament then surviving. The
Wolf has in consequence ceased to have any but
historical and scientific interest. [See also Tem-
perament, vol. iv. pp. 72, 73 ; and Tuning, ibid.
188, 189.] [R.H.M.B.]
II. In bowed instruments the Wolf occurs,
owing to defective vibration of one or more
notes of the scale. When it occurs, it is
generally found more or less in every octave
and on every string. Different instruments
have it in different places : it is most common
at or near the fourth above the lowest note
on the instrument, in the violin at C, in the
violoncello at F. The more sonorous and bril-
liant the general tone, the more obtrusive it
becomes : if the tone be forced, a disagreeable
jar is produced. Hence it is idle to attempt to
play the wolf down : the player must humour
the troublesome note. It is commonly believed
that there is a wolf somewhere in all fiddles, and
it is certain that it exists in some of the finest,
e.g. in Stradivaris. Probably however it is
always due to some defect in the construction or
WOLFF.
485
adjustment. Violins with a soft free tone are
least liable to it : and the writer's viols in all
three sizes are quite free from it. The cause of
the wolf is obscure, and probably not uniform: it
may result from some excess or defect in the
thicknesses, from unequal elasticity in the wood,
from bad proportion or imperfect adjustment of
the fittings, or from some defect in the propor-
tions of the air chamber. It may be palliated
by reducing some of the thicknesses so as to
diminish the general vibration, and by as perfect
as possible an adjustment of the bar, bridge, and
sound-post : but in the opinion of violin-makers
where it is once established it cannot be radi-
cally cured. Some instruments have what may
be termed an anti-wolf, i. e. an excess of vibra-
tion on the very notes where the wolf ordinarily
occurs. The writer has a violin which exhibits
this phenomenon on the B and C above the stave.
When these notes are played /br^e on any of the
strings, the B or C an octave below is distinctly
heard. This is probably a combinational tone
due to the coalescence of the fundamental tone
with that produced by the vibration of the string
in each of its 2-3 parts. In some Forster
violoncellos the wolf is so strong as to render
them almost useless. [E.J.P.]
WOLFF, AuGUSTE D]6siR^ Bernard, pianist
and pianoforte maker, head of the great firm of
Pleyel- Wolff" et Cie., born in Paris May 3, 182 1.
At 14 he entered the Conservatoire, studied
the piano with Zimmermann, and took a first prize
in 1839. -H® was also a pupil of Lebome for
counterpoint, and Haldvy for composition, and
under these auspices composed several pianoforte
pieces, published by Richault. At 2 1 he entered
the staff of the Conservatoire as * r^p^titeur ' —
teacher of pupils in dramatic singing — and kept
it for five years, when he gave up teaching to
become the pupil and partner of the well-known
pianoforte-maker, Camille Pleyel, who, being
old and infirm, was looking out for a dependable
assistant. M. Wolff entered the business in
1850, became a member of the fii-m in 1852,
and naturally succeeded to the headship of it
on the death of Pleyel in 1855. I^'rom that day
his exertions have been unremitting, and while
still adhering to the principles of his illustrious
predecessor, and the processes of manufacture
which made the Pleyel pianos famous, he, with
the scientific assistance of his friend M. Lissajous
the acoustician, has devoted all his attention to
increasing the volume of tone without losing
sweetness. His repeated experiments on the
tension of strings, on the best possible spot for
the hammer to strike the string so as to get the
fullest tone and the best * partials,' on the damper,
etc., have proved very fruitful, and led him to
patent several ingenious contrivances. These are,
a double escapement, which he is still perfecting,
a transposing keyboard, a * p^dalier,' which can
be adapted to any piano, thus enabling organists
to practise pedal passages without spoiling a piano
by coupling the notes, and lastly the 'pt^dale
harmonique,' a pedal which can be used while
486
WOLFF.
plaj'ing chromatic passages, as it can be applied
to the melody alone, or to any specific notes, at
the option of the player. It is owing to such
labours as these, and M. WoliTs indefatigable
activity, that the firm of Pleyel- Wolff still keeps
its place in the front rank of pianoforte makers,
and gains so many distinctions. Thoroughly
liberal, and a philanthropist in the best sense of
the word, he has contrived to give his 600 work-
men a real interest in the success of the business
by forming a special fund, amounting already to
nearly 150,000 francs (£6,000), out of which
benefit societies, retiring pensions, etc., are
provided. Not ceasing to be an artist because
he has gone into trade, M. Wolff has founded a
prize — the Prix Pleyel- Wolff — for a pianoforte
piece with or without orchestra, to be competed
for annually. In fact, whether as artist or manu-
facturer, M. Auguste Wolff was a notable person-
age in the French musical world of his day. His
health had been on the decline for more than a
year, and he died at Paris, Feb. 9, 1887. [A.J.]
WOOD, Mrs. [See Paton, Mabt Anne,
rol. ii. p. 672].
WOODYATT, Emily, daughter of a con-
fectioner, at Hereford, was taught singing by Sir
G. Smart, and first attracted public attention in
Jan. 1834, at a concert of the Vocal Association,
and later at Hereford Festival of same year.
She became a favourite singer of the second
rank at the various festivals, oratorio and other
concerts. In 1839 she became a member of the
Female Society of Musicians, on its foundation,
and in 1840 was elected an Associate of the
Philhannonic Society at the instance of Sir
G. Smart, Cramer, and Edward Loder. On Oct.
37, 1841, she married William Loder the violon-
cellist, who died in 1851, and retired soon after
her marriage. [See Loder.] The dates of neither
her birth nor death have been ascertained. [A.C.]
WORG AN, James, was organist of St.Botolph,
Aldgate, and St. Dunstan in the East. In 1737
he became organist of Vauxhall Gardens, which
office he resigned about 1 7 5 1 . He died in 1753.
John Wobg an, Mu s. Doc. , his younger brother,
born in 1724, studied music under him and
Thomas Roseingrave. He became organist of
St. Andrew Undershaft, and of St. John's Chapel,
Bedford Row. He graduated as Mus. Bac. at
Cambridge in 1748. In 1751 he succeeded his
brother as organist at Vauxhall Gardens, and
in 1753 also as organist of St. Botolph's, Aid-
gate. In 1753 he was appointed composer to
Vauxhall Gardens, and continued so until 1761.
In 1770 he was re-appointed to the office and
held it until 1774, when he resigned both it
and the organistship of the gardens. In 1775
he proceeded Mus. Doc. He died Aug. 24,
1 794. He excelled as an organist, and when-
ever he played, crowds of professors and ama-
teurs resorted to hear him. In a satirical song
npon Joah Bates, composed by Samuel Wesley,
he was placed upon an equality, as a player,
with Handel : —
Let Handel or Worgan go thresh at the organ.
WORKING-OUT.
His compositions include an anthem for a thanks-
giving for victories, 1 759 ; two oratorios, * Han-
nah,' produced at the Haymarket Theatre, 1 764,
and 'Manasseh,' produced at the Lock Hospital
Chapel, 1766; many books of songs composed
for Vauxhall ; psalm tunes, glees, organ music,
and harpsichord lessons. [W.H.H.]
WORKING-OUT; (also called Free Fan-
tasia; and Development ; Burchfiihrung). The
central division of a movement in Binary form,
such as commonly occupies the first place in a
modem sonata or symphony. A movement of this
kind is divisible into three portions. The first of
these consists of the exposition of subjects, and the
last of the final recapitulation of them, and the
central one of free discussion of the figures they
contain. Both first and last are made as defi-
nite as possible— the first, in order that the
subjects may be clearly understood, and the
balance and contrast between two distinct
keys established ; and the last to complete the
cycle by summing up the subjects put forward
in the first division, and to emphasize strongly
the principal key of the movement. The second
or central division of the movement is con-
trasted with both first and last by being made
as indefinite as can be, consistently with some
underlying principle of design, which is neces-
saiy to make abstract instrumental music in-
telligible. The complete and rounded state-
ment of subjects is avoided, and so is any
definite and prolonged settling down into keys ;
so that the mind is led on from point to point
by constant change of phase and aspect in the
figures, and by frequent steps of modulation.
The division is called the ' working-out ' or the
' development ' portion, because the music is car-
ried on by working out or developing the figures
and phrases of the principal subjects, by reiterat-
ing and interlacing the parts of them which are
most striking and characteristic, and subjecting
them to variation, transformation, fugal treat-
ment, and all the devices both technical and
ideal of which the composer is master.
With regard to the form in which this part
of the movement shall be put, the composer is
left to a great extent to his own resources and
judgement. The musical material employed is
almost invariably derived from the subjects and
figures of the first division of the movement, but
they are sometimes so transfigured by ingenious
treatment that they look quite like new. The
contrast of character between the principal sub-
jects and accessories is generally sufficient to
supply plenty of variety, and in most cases
both of the principal subjects are thoroughly
discussed ; but sometimes one subject prepon-
derates over another in strong features of rhythm
or melody ; and as in such a case it is much
more available for working effectively, it oc-
casionally happens that a more tranquil or
plain subject is altogether neglected in the
* working-out.'
The independent introduction of figures and
subjects which did not appear in the first divi-
(
WOEKING-OUT.
sion of the movement (the so-called 'exposition '),
is not strictly consistent with the principle of
design upon which a Binary movement is
founded. In Beethoven's works, which are the
best models of a consistent and liberal treatment
of Instrumental forms, it is only met with con-
spicuously and frequently in early works, such
as the pianoforte Sonatas up to op. 14; and
these obviously belong to a time when he had
not so thorough a grip on the form as he ob-
tained afterwards. Among his Symphonies the
Eroica is the only striking exception ; and in
that great work the fact may be explained by the
poetical undercurrent in his mind. Among his
finest Trios and Quartets an instance is hardly
to be found, and the same is the case with
Mozart's best Quartetts and Symphonies.
The instances in which new features are in-
troduced in company with figures of the first
division of the movement are on a difi'erent foot-
ing, as their appearance does not then make
any break in the development or working
out of the principal ideas, which goes on
simultaneously, and is for the time only en-
hanced by fresh by-play. A very happy in-
stance is in the first movement of Beethoven's
Symphony in Bb, where a figure of the first sub-
ject, after being toyed with for some time is made
to serve as an accompaniment to a new and very
noticeable phrase. In the following example, (a)
is the tune of the first subject in its original
form, (5) the passage in the working-out in which
it serves as accompaniment to a new feature.
Ex. 1. (a)
WORKING-OUT.
487
-^=
^
r
-t-^-
F-^
^-^
-i-i^^-=H
■~~vt
^^^
1 .„.. *
^_^y
Ff%
f&—
k __
-i^
-• 1
-|
-^
T
— T^'
A-
1
r^
■^X:^
-^ _
r r
r
■-^ —
-1= —
— r^
N
=^
F?^
J
-K
^
F^=
—m—
-l|i—
h'==^
it=
With regard to the harmonic or tonal struc-
ture of this part of the movement, composers'
minds came to be exercised very early to find
some way of infusing order into its apparently
indefinite texture. As long as movements were
very short it was sufficient merely to pass
through a key which had been noticeably absent
in the first part ; and this object, combined with
the traditions of the short dance forms, in which
the elementary design of sonata movements was
prefigured, to cause stress to be laid on the Sub-
dominant key. But this was soon found to be in-
sufficient to relieve the design of indefiniteness ;
and composers then hit upon the use of sequences
as a way of making their progressions intel-
ligible ; and this device is afterwards met
with very frequently in the * working-out ' in
every variety of treatment, from the simple and
obvious successions used by Corelli and Scarlatti,
and other masters of the early Italian instrumental
school, up to the examples of sequence piled on
sequence, and spread in broad expanses with
steps of several bars in length, such as are used
by Beethoven, Schumann and Brahms.
In order to show how order may be infused into
the apparently unrestricted freedom of this part
of a movement, the working-out of the first move-
ment of Beethoven's Pastoral Sjonphony may pro-
fitably be examined, as it is singularly clear and
simple, both in the development and distribution
of figures, and also in the plan upon which the
harmonic and tonal successions are distributed.
There is not a single bar in it which is not
clearly based upon some figure from the first
half of the movement ; but it happens that the
superior opportunities for development offered
by the first subject are so great that it alone
serves as the basis of the whole division, the
second subject being ignored.
From the melody of the subject five conspi-
cuous figures are extracted for the purposes of
development, (a) (J) (c) (cZ) (e) in the following
quotation : —
^•^•2- (a) (6) (c)
The working-out begins with the reiteration
of the first figure of aU, as in Example 3 ; and
Ex. 8. (a)
=j^3-^Jffl4i^
then two bars of the subject are given twice,
as if to call the attention of the hearer to the
matter to be discussed. The whole process
in these eight bars is repeated exactly on other
degrees of the scale, for the purposes of design,
and this process ends with the figure (&), which
thereupon becomes the centre of interest, and
taking the form shown in Ex. 4, is launched
Ex. 4. (6)
488
WORKING-OUT.
upon a career which lasts unchecked for thirty-
six bars, embracing a long crescendo. The cli-
max being reached, Beethoven, in a manner very
characteristic of him, drops quickly from fortis-
simo to piano, in order to make another start
in climbing to another fortissimo. But by way
of guarding against the monotony of beginning
again at once with the same materials, he intro-
duces a short passage of more broken character
with quicker changes of harmony, in which
there is a witty bit of by-play founded on the
latter part of the figure just before predominant
(Ex. 5), and pointed allusions to the first subject.
Ex. 5.
Then the rhythmic figure (b) again asserts itself,
and resumes its course for another thirty-six bars,
matching the first thirty-six in distribution, but
starting from another point in the scale, and
making the one vital change of the harmony in
the passage down a third instead of up a third ;
and the whole is followed by the same broken
passage as before, but transposed. The reference
to the subject with which this concludes is carried
a step further to the figures (d) and (e), which
from that time are continually used, in balanced
groups of passages mounting thirds each time,
till the end of the working-out, and always
plainly. The following quotation will serve to
illustrate the manner in which this part of the
subject is worked, persisting through modula-
tions, and even somewhat changing its character,
without losing its identity (Ex. 6).
Ex. 6.
$
^^^
B^B BBS B^B BSSd
JP=^^^EaSffl
This constant use of the first subject through
the whole of the working-out is a little un-
common, but it is made specially effective in
WORKING-OUT.
this instance by the difference of character
which subsists between the two phrases of the
subject. In connection with this is to be
noticed the nicety of management by which
Beethoven avoids making the figure he had
used at the latter part of the working-out
come too soon and too obviously in the re-
capitulation. He not only interpolates a fresh
passage on the Dominant between one phrase of
the subject and another, but when the melody
(d) (e) comes in again it is hidden away under
an ornamental variation, so that its prominence
is reduced to a minimum.
The haimonic structure of this working-out
is as simple as the distribution of subject matter.
Everything from beginning to end is reducible
to balancing groups of passages of different
lengths. To begin with, a passage of eight bars
is divided into groups of four bars, representing
C as tonic and dominant alternately, and this is
directly answered by a similar set of eight bars
divided also into fours and treating the root F in
similar manner. This in its turn is followed by
a long passage of forty bars, in which there is
only one change of harmony. The first twelve
bars are on Bb, and the next twenty-eight on D,
and this in its turn is followed by a short passage
of six bars, in which the harmony changes more
quickly; making altogether forty-six bars of very
definite design ; and this is instantly followed by
another forty-six bars starting from G, of exactly
the same design saving the one very artistic
change before alluded to — namely, that the one
change of harmony in the long passage devoted
to the rhythmic figure (d) is down a third instead
of up. These ninety-two bars are therefore ex-
actly divisible into two groups of forty-six, which
match exactly ; and the remainder of the work-
ing-out (thirty-six bars) is made of a series of
melodic sequences, rising thirds each time, with
a short passage consisting of closer repetitions of
concise figures to prepare the re-entry of the first
subject after the principal key has been reached.
The exactness of these balancing portions will
be best appreciated by a condensed scheme of
the central ninety-two bars, which form the most
conspicuous feature of this working-out. In the
following example the second line represents
the passage which follows immediately after
that represented by the first.
Ex.7.
12 bars.
1 1
28 bars.
1 1
^rs.
^ ^
■^ & —
la bars.
28 bars.
3 bars.
— A
S^B
1 ■—
=^
A point of great interest in connection with
working-out is the device of transforming figures
and subjects by modification of intervals or
rhythms, in such a way that they either take a
new interest without losing their identiljy (as hap-
pens in the case of some of the figures used in
WORKING-OUT.
WOTTON.
489
the working-out of the Pastoral Symphony), or
else are by de.Ljrees divested of such identity as
they had, and merged in some other subject.
Beethoven was the first great master who de-
veloped this device to any degree of importance ;
it became with him quite a marked feature
of instrumental music, and has been used by
every notable composer since his time. In con-
nection especially with working-out, it is used
sometimes to enhance the interest of a figure
which is much used in development; and
sometimes, and with importance, to dovetail one
section of the movement into another, by causing
a subject, or a figure extracted to form a subject,
and change by degrees till it takes the form of
part of the subject of another. A most notable
instance is the dovetailing of the ' working-out ' to
the 'recapitulation' in the first movement of
Beethoven's Sonata, Op. 91, in E minor. An
ornamental passage put over a part of a subject
with a phrase quoted in the working-out ends as
at (a) Ex. 8, which has at first sight no osten-
sible connection with the principal subject. But
in order to make the continuity of the movement
as close as possible, and also of course to intro-
duce a feature of interest, Beethoven makes
this figure pass through five modifications, and
then come out as the first phrase of the subject
in recapitulation. The changes are as follows,
(a) being the end of the ornamental passage,
(b) (c) (d) and (e) its successive modifications,
and (j^) the beginning of the recapitulation of
this principal subject. The device is enhanced
in this case by the echoes of imitation ; and by
the dying away of the old figure in a constant
diminuendo, and its bursting out with renewed
vigour as the impulsive first subject.
Ex. 8.
The actual process of working-out is not con-
fined to the one position of the central division in
a Binary movement ; it is frequently used also
in the Coda, which occasionally is of larger pro-
portions and more full of interest than the
actual working-out — as in the first movement
of Beethoven's Sonata in E^J, Op. 81 a. A
working-out also occurs in many rondos, occu-
pying the place of one of the episodes, in a
central position similar to that which it occupies
in a Binary movement.
In many overtures which are theoretically in
Binary form, the working out is almost entirely
suppressed, and a mere short passage of modu-
lation is interposed in its place between the
exposition of the subjects and their recapitu-
lation. [C.H.H.P.]
WORNUM. The name of Wornum is inti-
mately connected with the invention and
development of the Upright piano, since it
is Robert Wornum's action, patented in 1826,
though not completed until the ' tie ' was added
in 1828, that is the universally adopted Cottage
or Pianino action. Its excellence was early
recognised, but at first in France, where Pape
introduced and Pleyel adopted it. From this
circumstance it has been called the ' French '
action; its use, however, has extended to
wherever upright pianos are made, and it
does not appear likely to be superseded. Robert
Wornum, the father of the inventor, was of a
Berkshire family, originally Wornham, and was
born in 1742. He was a music-seller in Glass-
house Street, and from 1777 in Wigmore-street,
and died in 1815. His son Robert Wornum,
born 1780, was the inventor of diagonally and
upright-strung low upright pianos in 181 1 and
1813, which he named, respectively, the ' Unique'
and the ' Harmonic' He brought out his
well-known 'piccolo' piano, in 1827, and finally
perfected his crank action in 1829. He was
intended for the Church, but the mechanical
bias prevailed, and he went into partnership
with George Wilkinson, in a pianoforte business
in Oxford Street in 18 10. A fire in 181 2 caused
a dissolution of this partnership. He ultimately
established the present Warehouse and Concert
Room in Store Street, and died in 1852. The
present head of the firm of Robert Wornum &
Sons is Mr, A. N. Wornum, who has succeeded
to his grandfather's inventive talent. [See
Pianoforte, vol. ii. p. 7196.] [A.J.H.]
WOTTON, William, *Orkyn maker,' in
i486 built a 'pair of organs' for Magdalen
College, Oxford, for £28, and in 1487 agreed to
make a similar instrument for Merton College,
which was to be completed in 1489. [V. de P.]
WOTTON, William Bale, bassoon-player,
was bom at Torquay, Sept. 6, 1832. His father
was corporal-major in the ist Life Guards, and he
was thus brought up among the best regimental
music. His fondness for the art showed itself very
early ; he learnt the flute and cornet, and at the
age of thirteen entered the band of the regiment.
The bassoon he learned with John Hardy, an ex-
cellent player, under whom he laid the foundation
490
WOTTON.
of that artistic style and charm of tone which
distinguish him. He studied orchestral playing
at the Royal Academy under the late Mr.
Charles Lucas. His first appearance as a soloist
was at the Town Hall, Windsor, where he and
the late William Crozier (a most admirable
player, who died early in 1 8 71, after having been
for many years First Oboe at the Crystal Palace)
played a duet for oboe and bassoon under the
direction of Dr. (now Sir George) Elvey. On the
death of Baumann he would have accepted en-
gagements with Jullien for the Promenade
Concerts, and with Alfred Mellon for the Orches-
tral Union, if Waddell, his bandmaster, had not
peremptorily forbade it. He was then transferred
from the bassoon to the saxophone, of which he
was the earliest player in England. In 1886 he
left the Life Guards and joined the orchestra of
the Crystal Palace, in which he has played
First Bassoon ever since. He is also a member
of the orchestras of the Philharmonic, Albert
Hall, and many others, and is Professor of the
Bassoon at the Royal College of Music. [G.]
WRANIZKY, Paul, conductor of the or-
chestra at the two Court Theatres at Vienna,
and a popular composer of operas and instru-
mental music, born Dec. 30, 1756, at Neureusch
in Moravia, was educated at the monastery
close by, and at Iglau and Olmiitz, where he
perfected himself, especially in violin-playing.
In 1776 he went to Vienna to study theology
at the Imperial Seminary, and at once obtained
a post as conductor. He then studied com-
position with Kraus, a Swedish composer then
living in Vienna, and produced a number of new
works which attracted notice. Towards the
end of 1780 he became conductor of the court-
theatres, and remained so till his death. He was
also for many years capellmeister to Prince Lob-
kowitz. His operas were great favourites, and
became known nearly throughout Germany. The
one which was oftenest and longest performed
was 'Oberon' (May 23, 1791), a serio-comic
fairy opera, libretto adapted by Giesecke from
Wieland, which at one time ran the *Zauber-
flote' hard. Special mention should also be
made of * Die gute Mutter,' comic opera (1795) ;
*Der Schreiner,' Singspiel (1799); 'Mitgefuhl,'
Liederspiel (1804) ; all produced at the court
theatre, as were also many ballets, including : —
* Die Weinlese,' ' Das Urtheil des Paris,' ' Der
Sabinerraub,' aJl between 1794 and 1800. Ger-
ber gives a detailed catalogue of Wranizky's
operas, ballets, and instrumental music. Among
his many works, mostly published by Andri
in Paris and Vienna may be specified : — 12
symphonies ; string-quintets, quartets, and
trios ; 3 trios for 2 flutes and cello, op. 83 ;
concertos for cello, op. 27, flute op. 24; and
sonatas for pianoforte, violin, and cello. He
also left much music in MS. His connection
with the Tonkiinstler-Societat must not be passed
over. He entered it in 1793, and having be-
come secretary undertook at Haydn's instigation
to reorganise its affairs, then in a very bad state.
In 1797 he completely eflaced the difficulties
WRIST lt>UCH.
which existed in 1779, when Haydn had thought
of entering. Haydn had a great respect for him,
both as a man and an artist, and expressly desired
that he might lead the strings at the first per-
formances of the 'Creation' and the 'Seasons.*
Wranizkydied in Vienna, Sept. 26, 1808. [C.F.P.]
WRESTPLANK' and WRESTPINS. The
Wrestplank or Pinblock of a pianoforte is the
carrier of the wrest or tuning-pins, and is of
great importance to the tone and stability of
the instrument, its solidity maintaining the due
continuance of the upper partials of the strings
as it also contributes to the enduring resistjince
against their tension. In modem pianos it is
built up of layers of wood with grain running
alternately longitudinally and transversely ; the
woods employed being generally beech and
wainscot. A brass plate which is to be often
seen covering the wrestplank and is attractive
to the eye, plays no real part in assuring the
solidity of the structure. Broadwoods' metal
pin-piece, a plate of iron f inch thick, through
which the wrestpins screw into the wooden
wrestplank beneath, is the surest means for
keeping the pin in position without crushing
the wood where the leverage of the string is
exerted, or allowing the tuner the facile but
unsound practice of rocking the pin from side to
side. Becker of St. Petersburg exhibited at
Paris, 1 8 78, a grand piano wherein this part of
the instrument was entirely of iron, and cast
together with the frame. The bar was not bored
for wrestpins, but was the bed for a system of
mechanical tuning-pins, the principle of which is
the female screw analogous to the machine heads
used in guitars, etc. Becker has been followed
by others, as was shown in the London Inven-
tions Exhibition, 1885, where four more or less
ingenious adaptations of this principle were
submitted. The prime objection to mechanical
tuning-pins, first introduced in pianos in 1800 by
John Isaac Hawkins, and tried again from
time to time, is in the fact that the elas-
ticity of the wire is rebellious to a method of
tuning that proceeds throughout by very small
degrees. The string requires to be drawn up
boldly, so as to give at once the tension intended.
Without this the operation of tuning becomes
tedious to the ear, which tires with a process
which, through the slow and uncertain response
due to the points of friction, seems interminable.
[See Pianoforte, Tone, Tuning.] [A.J.H.]
WRIGHT, Henry, music-publisher. [See
Walsh, vol. iv. p. 380.]
WRIST TOUCH (Ger. EandgelenJc). In
pianoforte playing, detached notes can be pro-
duced in three different ways, by movement of
the finger, by the action of the wrist, and by
the movement of the arm from the elbow.
[Staccato.] Of these, wrist-touch is the most
serviceable, being available for chords and
octaves as well as single sounds, and at the
1 Wrest from wrastan , A.S., to strain a string to a required tension ;
O.K. wrest, a tuuing hammer or key.
The claricord hath a tunely kynde.
As the wyre U wrested high and lowe.— Bkelton.
WRIST TOUCH.
same time less fatiguing than the movement
from the elbow. Single-note passages can be
executed from the wrist in a more rapid tempo
than is possible by means of finger-staccato.
In wrist-touch, the fore-arm remains quiescent
in a horizontal position, while the keys are
struck by a rapid vertical movement of the
hand from the wrist joint. The most important
application of wrist-touch is in the performance
of brilliant octave -passages; and by practice the
necessary flexibility of wrist and velocity of
movement can be developed to a surprising
extent, many of the most celebrated executants,
among whom may be specially mentioned
Alexander Dreyschock, having been renowned
for the rapidity and vigour of their octaves.
Examples of wrist octaves abound in pianoforte
music from the time of Clementi (wlio has an
octave-study in his Gradus, No. 65), but Bee-
thoven appears to have made remarkably little
use of octave-passages, the short passages in the
Finale of the Sonata in C, Op. 2, No. 3, and the
Trio of the Scherzo of the Sonata in C minor
for Piano and Violin, Op. 30, No. 2, with per-
haps the long unison passage in the first move-
ment of the Concerto in Eb (though here the
tempo is scarcely rapid enough to necessitate
the use of the wrist), being almost the only
examples. A fine example of wrist-touch, both
in octaves and chords, is afforded by the accom-
paniment to Schubert's * Erl King.'
In modern music, passages requiring a com-
bination of wrist and finger movement are some-
times met with, where the thumb or the little
finger remains stationary, while repeated single
notes or chords are played by the opposite side
of the hand. In all these cases, examples of
which are given below, although the movements
of the wrist are considerably limited by the
stationary finger, the repetition is undoubtedly
produced by true wrist-action, and not by finger-
movement. Adolph KuUak {Kunsi des An-
schlags) calls this ' half-wrist touch ' {hcdbes
Handgelenk).
Schumann, • Reconnaisance ' (Carneval).
WULLNER.
491
In such frequent chord-figures as the following,
the short chord is played with a particularly free
and loose wrist, the longer one being emphasized
by a certain pressure from the arm.
Mendelssohn, Cello Sonata (Op. 45).
Such passages, if in rapid tempo, would be
nearly impossible if played entirely from the
elbow. [F.T.]
WUERST, Richard Ferdinand, composer
and critic, born at Berlin, Feb. 22, 1824; died
there Oct. 9, 1881. Was a pupil of Rungen-
hagen's at the Academy, of Hubert, Ries, and
David in violin, and of Mendelssohn in com-
position. After touring for a couple of years, he
settled at his native place and became in 1856
K. Musikdirector, in 1874 Professor, and 1877
Member, of the Academy of Arts. He was for
many years teacher of composition in Kullak's
Conservatorium. He contributed to the ' Berliner
Fremdenblatt,'and in 1874-5 edited the 'Berliner
Musikzeitung.' His works comprise five operas,
symphonies, overtures, quartets, etc. None are
known in this country. He diedOct. 9, 1881. [G.]
WULLNER, Franz, bom Jan. 28, 1832, at
Miinster, son of a distinguished philologist,
director of the Gymnasium at Diisseldorf.
Franz attended the Gymnasium of Miinster till
1848, and passed the final examination; study-
ing the piano and composition with Carl Arnold
up to 1846, and afterwards with Schindler. In
1848 WUllner followed Schindler to Frankfort,
and continued his studies with him and F.
Kessler till 1852. The winter of 1852-3 he
passed in Brussels, frequently playing in public,
and enjoying the society of Fetis, Kufferath, and
other musicians. As a pianist he confined him-
self almost entirely to Beethoven's concertos and
sonatas, especially the later ones. He then made
a concert-tour through Bonn, Cologne, Bremen,
Miinster, etc., and spent some little time in Han-
over and Leipzig. In March 1854 he arrived in
Munich, and on Jan. i, 1856, became PF. Pro-
fessor at the Conservatorium there. In 1858 he
became music-director of the town of Aix-la-
Chapelle, being elected unanimously out of fifty-
four candidates. Here he conducted the sub-
scription concerts, and the vocal and orchestral
unions. He turned his attention mainly to the
orchestra and chorus, and introduced for the first
time many of the great works to the concert-hall
of Aix. In 1861 he received the title of Musik-
director to the King of Prussia, and in 1864
was joint-conductor with Rietz of the 41st
Lower Rhine Festival.
In the autumn of 1864 Wiillner returned to
Munich as court-Capellmeister to the King. His
duty was to conduct the services at the court-
church, and while there he reorganised the choir,
and added to the repertoire many fine church-
works, especially of the early Italian school. He
also organised concerts for the choir, the pro-
grammes of which included old Italian, old Ger-
man, and modem music, sacred and secular. In the
autumn of 1 86 7 he took the organisation and direc-
tion of the vocal classes in the king's new School
of Music, and on Billow's resignation the whole
production department came into his hands, with
the title of * Inspector of the School of Music,'
and in 1875 of 'Professor Royal.' During this
time he wrote his admirable 'Choral Exercises
492
WULLNER.
for the Munich School of Music,' an English
edition of which, by A. Spengel, is now published
(London: Forsyth).
When VViillner succeeded Biilow at the Court
Theatre in 1869, he found himself plunged into
personal difficulties of all kinds connected with
the production of Wagner's ' Kheingold ' ; but
his tact and ability surmounted all, and the result
was an unqualified success. The Rheingold was
followed by the 'Walkiire,* one of the most
brilliant achievements of the Munich stage in
modern times, and in 1870 Wullner was appointed
court-Capellmeister in chief. He also succeeded
Biilow as conductor of the concerts of the Aca-
demy of Music, and carried them on alone till
Levi was associated with him in 1872. In 1877
he left Munich,^ in order to succeed Rietz at
Dresden as Capellmeister of the court-theatre,
and artist-director of the Conservatorium, and
here he remained until called to fill the place of
Hiller at Cologne, April i, 18S5.
Wiillner's works include: — 'Heinrich der
Finkler, cantata for voice and orchestra — first
prize at the competition of the Aix-la-Chapelle
Liedertafel in 1864; PF. pieces for 2 and
4 hands, and chamjaer-music ; several books
of Lieder for single voice ; important choral
compositions, with and without orchestra, such
as masses, motets, Lieder for mixed chorus, a
Miserere for double choir, op. 26; Psalm cxxv.
for chorus and orchestra, op. 40, etc.; a new
arrangement of Weber's 'Oberon,' the additional
recitatives being compiled from materials in the
opera (the libretto by F. Grandaur of Munich).
In this form ' Oberon ' has been put on the stage
at several of the great German theatres. — His
editions of six of Haydn's Symphonies (Rieter-
Biedermann) must not be overlooked. [M.F.]
1 The Universltj confened on him the honorary degree of Doctor.
WYLDE.
WYLDE, Henby, conductor and composer,
born in Hertfordshire, 1822 : though intended
for Holy Orders, had so strong a bent for music,
that he was placed at sixteen under Moscheles,
and in 1843 became a student at the Royal
Academy under Cipriani Potter, of which he
afterwards was appointed one of the Professors
of Harmony. In 1850 he obtained the degree
of Mus. Doc. of Cambridge University. He
acted as Juror in the Musical Instrument
Section in the International Exhibitions of 1851
and 1862, and in 1863 was elected Professor of
Music at Gresham College, London. In 1852
the New Philharmonic Society was founded by
Sir Charles Fox, and others, on the advice of
Dr. Wylde. [See New Philharmonic Society,
vol. ii. p. 452.] In 1858 he assumed the sole
responsibility of the undertaking and conducted
its annual series of concerts till 1879. ^^' Wylde
founded the London Academy of Music, and
built St. George's Hall, Langham Place, for
its purposes, which was opened in the summer of
1867. The London Academy has since opened
blanch establishments at South Kensington and
Brighton. Dr. Wylde's nmsical compositions in-
clude a setting of Milton's Paradise Lost for solos,
chorus and orchestra, performed by the New
Philharmonic Society, May ii, 1853, and May i,
1854 ; and a Cantata ' Prayer and Praise ' for the
same ; selection performed, June 9, 1852 ; Piano-
forte Concerto in F minor performed April 14,
1852 ; Pianoforte Sonatas; a 'Rhapsodie for piano'
(op. 2) ; Fantasia sur un air favori (op. 6) ; English
songs from Goethe and Schiller ; English songs,
' The Sea Nymphs,' vocal duet, etc. Dr. Wylde
is also the author of 'The Science of Music,'
• Modem Counterpoint,' * Music in its Art Mys-
teries.' Mr. John Francis Bamett, the composer,
and teacher of piano at the Royal College of
Music, was a pupil of Dr. Wylde's. [A.C.]
Fbikdbiob Wiece. Seep. 454.
Y.
YANIEWICZ, violin player. See Janie-
wicz, vol. ii. p. 30 h.
YANKEE DOODLE. The origin of the
American national air is enveloped in almost as
great obscurity as that which surrounds the au-
thorship of * God save the King.' Though the
song is but little more than a century old, the
number of different accounts of its origin which
are given in American works is extremely be-
wildering. The most satisfactory course will
therefore be to notice briefly the various existing
statements on the subject, together with a few
remarks on the credibility of the different
theories.
I. It has been stated repeatedly in American
periodicals during the past forty years that a
ballad existed in England which was sung to
the tune of * Yankee Doodle,' .the words of which
ran —
Nankee Doodle came to town,
On a little pony,
He stuck a feather in his cap,
And called him Macaroni.
and that another ballad sung to the same tune
began * The Roundheads and the Cavaliers.'
Both these songs were said to date from the
time of the Rebellion, and the * Nankee Doodle '
in the former is stated to have been a nickname
for Cromwell, and to have alluded to his entry
into Oxford 'on a small horse with his single
plume, which he wore fastened in a sort of knot,
which the adherents of the royal party called
" Macaroni " out of derision.'
This story is said to occur in the ' Musical
Reporter' of May 1841 ('Historical Magazine,'
1857, P- 221), but whoever invented it showed a
lack of antiquarian knowledge in fixing upon the
period of the Civil War as the date of the song.
No scholar could imagine Cromwell 'with a
single white plume,' and the occurrence of the
word * Macaroni ' alone points to the date of the
rhyme, the term having first arisen in connection
with the Macaroni Club, which flourished be-
tween 1750 and 1770. The Rev. T. Woodfall
Ebsworth, undoubtedly the greatest living au-
thority on English ballads, in reply to an enquiry
addressed to him on the subject, writes as fol-
lows : — * I believe that I have seen and weighed,
more or less, every such ballad still remaining in
print, and most of those in MS. that search has
detected : and I can declare unhesitatingly that
I never came across any indication of such an
anti-Cromwellian original as the apocryphal
" Nankee Doodle came to town." I believe that
none such is extant or ever appeared. . . . There
is no contemporary (i.e. 1 640-1 660 — or, say,
1648-1699) ballad specially entitled *'The
t Or 'on a Kentish.'
Roundheads and the Cavaliers," although sepa-
rate rhymed poems on each class are well known
to me — not songs or meant to be sung.'
2. It has not escaped notice that the nursery--
rhjnne,
Lucy Locket lost her pocket,
Kitty Fisher found it,
Not a bit of money in it,
Only binding round it.
which has been familiar as far back as the
memories of those now living, has always been
sung to the tune of 'Yankee Doodle.' This
fact has been pressed into the service of what
we may caU the pre-Revolution theory in a very
ingenious manner, principally owing to that in-
ventive and unreliable antiquary, Dr. Rimbault.
In the 'Historical Magazine' (1858, p. 214) a
letter fx-om this gentleman is printed in which
he states that the tune occurs in Walsh's ' Col-
lection of Dances for the year 1750' under the
name of * Fisher's Jig,' that Kitty Fisher was a
celebrated beauty of Charles II.'s reign, whose
portrait appears among Hollar's engravings of
English courtesans, and that it is certain that
the air is known in England as * Kitty Fisher's
Jig.' Walsh's * Collection of Dances for the year
1 750 ' seems unfortunately to have disappeared :
there is no copy of it in the British Museum,
Royal College of Music, or Euing Libraries, and
though the present writer has examined many
collections of dance tunes of the i8th century,
no copy of ' Fisher's Jig ' has turned up. The
statement that Kitty Fisher lived in the reign of
Charles II. is absolutely wrong. Her real name
was Fischer, and she was the daughter of a Ger-
man. She was for many years a reigning toast
in the last century, and in 1 766 was married to
a Mr. Norris. She died in 1771. It would
therefore have been impossible for her portrait
to have been engraved by Hollar, even if he had
engraved a series of portraits of English courte-
sans, which was not the case. It is not to be
wondered at that in the face of this tissue of
mis-statements we should find Lucy Locket —
whose name is unmistakeably borrowed from the
Beggar's Opera — described as, like Kitty Fisher,
' a well-known character in the gay world.'
3. In Littell's 'Living Age' (Boston, Aug.
1 861), a story is told, on the authority of a
writer in the New York ' Evening Post,' to the
effect that the song is sung in Holland by Ger-
man harvesters, whence it may have come to
America. Unfortunately for the credibility of this
account, its inventor has fitted some words to the
tune which are in no known language, conclu-
sively proving the story to be a hoax, though the
Duyckincks have thought it worth reproducing in
their Cyclopaedia.
494
YANKEE DOODLE.
4. It is stated that in Burgh's • Anecdotes of
Music' (1 8 14), the air of • Yankee Doodle' is
said to occur in J. C. Smith's * Ulysses ' — a state-
ment we have been unable to verify, as no copy
of that opera is accessible.
5. A writer in • All the Year Round * (Feb.
1870) alleges that T. Moncrieff had traced the
air to a fife-major of the Grenadier Guards, who
composed it as a march in the last century. It
is most probable that the air was originally a
military quick-step, but this account of its au-
thorship is too vague to be accepted implicitly.
6. In Admiral Preble's * History of the Flag
of the United States,' it is stated that the tune
occurs in an opera of Arne's to the words ' Did
little Dickey ever trick ye ? ' This is an error :
the song in question is in Arnold's * Two to One '
(1784), and there the tune is called * Yankee
Doodle.' As this is probably the earliest in-
stance of its appearance in print, it is given
below, the words of the song being omitted.
7. Passing by the fanciful opinions that ' Yan-
kee Doodle ' is of Spanish or Hungarian origin,
we come to the traditional account of its origin,
which agrees with what may be gathered from
the above accounts, viz. that the tune is of Eng-
lish origin and not older than the middle of the
last century. The Boston 'Journal of the
Times' for September 1768 is said to contain
the earliest mention of it, in the following para-
graph (quoted in the * Historical Magazine ' for
1857):— 'The [British] fleet was brought to
anchor near Castle William ; that night . . .
those passing in boats observed great rejoicings,
and that the Yankee Doodle song was the
capital piece in the band of music' It is only a
few years before this that the traditional account
places the origin of the song. In 1755, during
the French and Indian war, General Amherst
had under his command an army of regular and
provincial troops. Among the former was a
Dr. Schuckburgh (whose commission as surgeon
is dated June 25, 1737), to whom the tune is
traditionally ascribed, though it seems more pro-
bable that he was only the author of the words.
It is said that ' the fantastic appearance of the
colonial contingent, with their variegated, ill-
fitting, and incomplete uniforms,' was a continual
butt for the humour of the regular troops, and
YANKEE DOODLE.
that Dr. Schuckburgh recommended the tune to
the colonial ofl&cers 'as one of the most cele-
brated airs of martial musick. The joke took,
to the no small amusement of the British corps.
Brother Jonathan exclaimed that it was " 'nation
fine," and in a few days nothing was heard in the
provincial camp but the air of Yankee Doodle.'
This account is said to have appeared in the
* Albany Statesman ' early in the present cen-
tury ; it is also to be found in vol. iii. of the
'New Hampshire Collections, Historical and
Miscellaneous* (1824). The words evidently
date from about the year 1755. The original
name of the song is * The Yankee's Return from
Camp,* and it begins : —
Father and I went down to camp,
Along with Captain Gooding;
There we see the men and boys
As thick as hasty-pudding.
The author of the account of the song in the
* New Hampshire Collections ' quotes a version
printed about 1 790, and there are several others
extant, though even in 1824 it is said that the
burlesque song was passing into oblivion. It is
noticeable that in the later versions of the song
the early notices of ' Captain Washington ' are
replaced by the following : —
And there was Captain Washington,
And gentlefolks about him;
They say he's grown so 'tamal proud,
He will not ride without 'em.
The tune itself seems also to have suffered several
changes. Mr. A. W. Thayer has kindly favoured
us with the following version as it was sung
sixty years since, and as it has been handed
down by tradition in his family from revolu-
tionary times : —
Mind the mtulc and the step. And viith the girls be han - dy.
In spite of various attempts to dislodge it,
* Yankee Doodle ' remains the national air of
the United States. As a melodj^ it has little
beyond simplicity in its favour, but there is a
quaint direct and incisive character about it
which redeems it from vulgarity, beside which
the historical associations of the tune, connected
as it is with the establishment of American
Independence, should have saved it from some of
the criticisms to which it has been subjected.
In the words of the Hon. Stephen Salisbury,
• Yankee Doodle is national property, but it is
not a treasure of the highest value. It has
some antiquarian claims for which its friends do
not care. It cannot be disowned, and it will not
be disused. In its own words.
It suits for feasts, it suits for fun.
And just as well for fighting.
YANKEE DOODLE.
It exists now as an instrumental and not as a
vocal performance. Its words are never heard,
and, I think, would not be acceptable in Ame-
rica for public or private entertainments. And
its music must be silent when serious purposes
are entertained and men's hearts are moved to
high efforts and great sacrifices.' ^ [W.B.S.]
YONGE, or YOUNG, Nicholas, the com-
piler of MusiCA Transalpina [see vol. ii.,
p. 416], is probably identical with a Nicholas
Young who was a singing-man at St. Paul's
Cathedral in the time of Elizabeth. Bumey,
misled by a passage in the Dedication to the
ist Book of Musica Transalpina, says that he
was an Italian merchant, whereas all that Yonge
says is 'Since I first began to keepe house in
this citie, a great number of Gentlemen and
Merchants of good accompt (as well of this
realme as of forreine nations) have taken in
good part such entertainment of pleasure, as
my poore abilitie was able to affoord them, both
by the exercise of Musicke daily used in my
house, and by furnishing them with Bookes of
that kind yeerely sent me out of Italy and other
places.' Young was born at Lewes, Sussex. His
mother's maiden name was Bray. During the
greater part of his life he lived in the parish of
St.Michael's, Cornhill : he had nine children, most
of whom survived him and settled in the same
parish, where his descendants remained until the
1 8th century, when some of them are found in that
of St, James, ClerkenweU. His wife's name was
Jane, and he was probably married about 1584.
The title-page of the first Book of Musica Trans-
alpina has been already given (vol. ii, p. 416 a) ;
that of the second Book runs as follows —
•Musica Transalpina. The Second Booke of
Madrigalles, to 5 & 6 Voices : translated out of
Bundrie Italian Authors, and newly published by
Nicholas Yonge. At London Printed by Thomas
Este. 1597.' Lists of the contents of both volumes
are printed (with many mistakes) in Rimbault's
* Bibliotheca Madrigaliana ' (1847). Both books
(copies of which are in the British Museum,
Eoyal College of Music, and Huth Collections)
seem to have been very successful. Bodenham
printed the words of three of the madrigals in
* England's Helicon' (1600), and Dr. Heather,
in his portrait in the Music School, Oxford, is
represented holding a volume lettered ' Musica
Transalpina.' Yonge died in October 16 19.
His will (which was proved by his wife on Nov.
12) is dated 19 October, 16 19, and he was buried
at St. Michael's, Cornhill, on the 23rd of the
same month." [W.B.S.]
YORK MUSICAL FESTIVAL. The first
festival was in 1791, and they were continued
annually till 1803. [See Festivals, York ; vol.
i. p. 5 1 6 i.] After that no other festival took place
until 1823, when the performance was revived
1 Address delivered before the American Antiquarian Society,
Oct. 21, 1872. The writer of the aboTe article is greatly indebted
for assistance kindly rendered by the Hon. Robert 0. Wlnthrop,
Mr. Clement K. Fay, and Mr. A. W. Thayer.
2 The information contained in this article Is chiefly derived from
the Registers of St. Michael's, Cornhill, and the Visitation of London,
both published by the Harleian Society.
YORK MUSICAL FESTIVAL.
495
for the benefit of the York County Hospital,
and the Infirmaries at Leeds, SheflSeld and
Hull. The scheme consisted of four sacred
concerts, including tlie Messiah in its entirety,
held in the Cathedral on the mornings of
Sept. 23 to 25, three secular evening concerts,
and two balls given in the Assembly Rooms.
The vocalists were Mme. Catalan! (who usurped
'Comfort ye,' 'Every valley,' and 'Non piti
andrai'), Mrs. Salmon, Misses Stephens, D.
Travis, and Goodall, sopranos ; Knyvett and
Buggins, altos ; Bellamy, Sherwood, and Placci,
bass. The band and chorus contained 180 in-
strumentalists and 285 vocalists ; in the former
were Cramer and Mori, leaders; Griesbach,
Ella, Lindley, Dragonetti, Puzzi, Harper, etc.,
Greatorex was conductor, Matthew Camidge
(who had oflBciated in 1791) and his son John,
Knapton, and White, organists. The festival was
rendered noteworthy from the receipts being
larger than those at any previous meeting, viz.
£16,174 16*. 8c?. The sum of £7200 was
divided between the charities. A long and
voluminous account is given of the above in a
4to. volume by Mr. John Crosse, F.S.A. York,
1825, to which we are indebted for the above
information.^ One of the evening concerts was
rendered memorable by the performance of
Beethoven's C minor Symphony under unusual
circumstances. A parcel with duplicate or-
chestral parts did not arrive, and in consequence
it was proposed to omit the Symphony. No
sooner, however, did Miss Travis begin with
the ballad, * Charlie is my darling,' than a general
murmur arose, and one of the stewards (F.
Maude, Esq., Recorder of Doncaster), with a
stentorian voice, to his honour, called out ' Sym-
phony, Symphony, I insist on the Symphony
being played ! ' Apology was in vain, and at
last the Symphony was played with six or eight
fiddles to a part. ' The reader might naturally
suppose' says Crosse (p. 353), 'that the per-
formance failed in giving satisfaction : the con-
trary, however, was the case ; every movement
was listened to with attention and hailed with
prolonged applause.' ^
A second festival was held in Sept. 1825, on
a similar plan and for the same charities. The
band and chorus were increased to 600, and
among the vocalists who appeared for the first
time were Madame Caradori-AUan, Madame
Malibran (then Miss Garcia), Braham, Phillips,
and De Begnis. The receipts were stiU larger,
viz. £20,876 10*. ; but owing to the cost of a
concert-haU for the evening concerts, the profits
were not in proportion, £1900 only being divided
among the charities.
A third festival was held in Sept. 1828. Cata-
lan! reappeared, and Miss Baton, Madame
Stockhausen, and Mr. Edward Taylor sang for
the first time. Beethoven's Symphony in F was
a novelty to the audience, and not so successful
as the C minor in 1823. It was described in the
1 A satire on his somewhat bombastic style was published in Lon-
don the same year, by an anonymous writer ' Cutis.'
2 gee Ella's ' Musical Sketches,' p. 143.
496 YORK MUSICAL FESTIVAL.
'Harmomcon' as 'eccentric and very difficult/ and
consequently was coldly received. The receipts
diminished to £16,769 11*. 6d., and £1400 only
was obtained for the charities. Since then no
other festival has been held at York. [A.C.]
YORKSHIRE FEAST SONG, THE. An
ode for solos, chorus, and orchestra, in four-
teen numbers, composed by H. Purcell in 1689,
for ' the Assembly of the Nobility and Gentry of
the City and County of YorJc, at the Anniver-
sary Feast, March the 27th, 1690.' The feast
was held in Merchant Taylors' Hall, London,
and the anniversary was that of the proclama-
tion of William and Mary (Feb. 13, 1689), the
day originally fixed for the festivity having
been Feb. 14. All this and much information will
be found in Mr. Cummings's Preface to the
edition of the Song by the Purcell Society, 1878.
It had previously been published by Goodison
in 1 790. The title of the poem mentioned that
the piece * cost £100 the performing' — a sum
quite equal to £200 of our present money. [G.]
YOUNG, Thomas, born at Canterbury, 1809,
received his musical education there, and from
1831 to 36 was first principal alto singer at
the cathedral. In 1836 he became deputy and
afterwards lay vicar at Westminster Abbey,
and March 3, 1848, first alto at the Temple.
This last post he held until his death, with the
exception of a year's interval, when he married
the widow of a Canterbury alderman and went
into business without success. Young was an
excellent solo singer, and was successor in public
favour to Knyvett and Machin, being the last
male alto soloist of eminence. As such he was
frequently heard at the Antient and Sacred
Harmonic Concerts. With the latter Society he
sang for a period of ten years : he first appeared
Nov. 14, 1837, in the *Dettingen te Deum' and
Mozart's ' Twelfth Mass,' etc. He took the parts
of Hamor and Joad on the respective revivals of
* Jephthah' and 'Athaliah.' He also sang in the
revival of Purcell's Jubilate and in various
anthems and services. He died at Walworth,
Aug. 12, 1872. [A.C.]
YRIARTE, Don Tomas de, author of a
Spanish poem on music published in 1779. The
work, which is in irregular metre, is divided
ZACCONl.
into five cantos. The first two deal with
elements such as the notes, scales and ornaments,
and with musical expression in its various
branches. In the third, which treats of Church
music, the writer distinguishes three principal
species — (i) the Gregorian, having no measure
of time in its five varieties ; (2) the Mixed or
Florid, measured by common or triple time,
admitting of various cadences and ornaments;
and (3) the Organic, to some extent a combin-
ation of the two former, in which both voices
and instruments were employed. Here the writer
takes occasion to praise the Spanish composers
Patino, Roldan, Garcia, Viana, Guerrero, Vit-
toria, Ruiz, Morales, Duron, Literes, San Juan,
and Nebra. The canto closes with a description
of the examinations for admission to the Koyal
Chapelle, from which it appeai-s that candidates
were required to show proficiency on the organ,
violin, flute and hautboy, and to play sonatas at
sight. The fourth canto treats of theatrical
music : the shade of Jomelli appears, and after
assigning to Spain the palm for pure vocal music,
to Germany and Bohemia for instrumental, to
France for science, and to Italy for the opera,
gives a lengthened description of the Orchestra,
of Recitative, 'greater than declamation, less
than song,' which he limits to the compass of
an octave, and of the Aria with its various
graces, the Rondeau, Cavatina, Duos, Trios,
Quartets, etc. Among dramatic authors the
palm is assigned to Gluck, whose rivalry with
Sacchini and Piccini was distracting the musical
world. The fifth and last canto, which treats of
chamber music, contains a long eulogy of Haydn,
who is said to have enjoyed special appreciation
in Madrid, where prizes were given for the best
rendering of his compositions. The poem con-
cludes with a wish for the establishment of a
Royal Academy of Music. Not the least in-
teresting portion of Yriarte's book is the Notes :
altogether it presents an amusing picture of
music a century ago, which may be compared
with Salvator Rosa's Satire ' La Musica * a
century earlier. It was translated into French,
German and Italian ; and an English version by
John Belfour, who acknowledges the assistance
of Dr. Burney, Dr. Callcott, and S. Wesley, was
published in 1807. [E.J.P.]
Z.
ZACCONl, Lttdovico, one of the most learned
musical theorists of the early Italian School,
was bom, about the middle of the i6th cen-
tury, at Pesaro, but spent the greater part of his
life at Venice, where he was admitted to the
priesthood, received the tonsure as a monk of the
Order of S. Augustine, and officiated, for many
years, as Maestro di Cappella in the great church
belonging to the Order. In 1593 he was invited
to Vienna by the Archduke Charles, who made
him his Kapellmeister, and in 1595 he received
a similar appointment at the Court of the Pfalz-
graf Wilhelm, Duke of Bavaria, at whose in-
vitation he removed to Munich. In 16 19 he
retuined to Venice, and devoted himself to the
completion of his great theoretical work, the first
ZACCONL
portion of which was published before his depar-
ture to Vienna. The year of his death is unknown.
The work on which Zacconi's fame is based,
is entitled 'Prattica^ di Musica utile et neces-
saria si al compositore si anco al cantore,' and
is dedicated to Guglielmo Conte Palatino del
Keno, Duca dell' alta e bassa Baniera, etc. The
First Part was published at Venice in 1592, and
reprinted in 1 596. The Second Part, also printed
at Venice, first appeared in 161 9. The contents
of the work are divided intQ Four Books, wherein
the treatment of Consonant and Dissonant Pro-
gressions, the complications of Mode, Time, and
Prolation, the laws of Cantus Fictus, with many
like mysteries, are explained with a degree of
lucidity for which we seek in vain in the works
of other theoretical writers of the Polyphonic
Period — the Dodecachordon of Glareanus, and
the * Musicae activae Micrologus ' of Ornithopar-
cus, alone excepted. It may, indeed, be con-
fidently asserted that we are indebted to these
two works, in conjunction with the 'Prattica
di Musica,' for the most valuable information
we possess on these subjects — information, in the
absence of which Josquin's * Missa Didadi '
and portions even of Palestrina's * Missa
I'homme arm^,' to say nothing of the Enigma-
tical Canons of the earlier Flemish Schools,
would be as undecipherable as were the inscrip-
tions on an Egyptian sarcophagus before the
discovery of the Rosetta Stone. Mediaeval
musicians worked on a method so complicated
that, even in the i6th century, mistakes and
misunderstandings were not uncommon, some
of them so serious, that Zacconi has thought
it necessary to point them out, with a clearness
for which we can never be sufficiently grateful.
While Zarlino dazzles us with learned disserta-
tions, and our own Morley distracts his reader's
attention with the quaint sallies of Philomathes
and Polymathes, Zacconi goes straight to the point,
and, in a few words, aided by a pei'tinent ex-
ample, explains the facts of the case, beyond all
doubt. And, as his work is of considerably
later date than either the Dodecachordon or the
'Musicae activae Micrologus,' his information
is peculiarly valuable, as showing the methods
in general use at the period at which the
Polyphonic Schools had already attained their
highest degree of perfection.
Lib. I. of the 'Prattica di Musica' is sub-
divided into eighty chapters, twenty-three of
which are occupied with dissertations on the
origin and history of Music, interspersed with
definitions, and other introductory matter, of no
great practical utility. Cap. xxiv. treats of the
Harmonic Hand ; Cap. xxv. of the figures used
in Notation; Cap. xxvi. of the Stave of five
lines; and Cap. xxvii. of the Clefs, of which
several forms are given. Caps, xxviii.-xxxiii.
treat of Measure, Time, and various forms of
rhythmic division (misiira, tatto, e lattuta).
Caps, xxxiv.-xxxv. describe the Time Table, be-
ginning with the Maxima, and ending with the
Semicroma, Caps, xxxvi.-x xxvii. describe the
1 F^tla Cftlls it Praliea di Mutiea.
YOL. IV. PT. 4.
ZACCONI.
497
Time-Signatures (Segni del Tatto). Caps,
xxxviii.-xl. treat of Solmisation. Caps, xli.-xlii.
describe the office of Points generally, and es-
pecially that of the Point of Augmentation — equi-
valent to the modem Dot. Caps, xliii.-xlvi.
furnish some very valu able information concerning
the Ligatures in common use towards the close
of the 16th century. Cap. xlvii. treats of Rests ;
xlviii.-xlix. of the B moUe and B quadro ; l.-li.
of the Diesis ; and lii. of Syncope. Caps, liii.-
Iv. are devoted to the consideration of certain
difficulties connected with the matters pre-
viously discussed. Caps. Ivi.-lvii. treat of Canon,
and the different ways of singing it. Caps. Iviii.—
Ixvi. contain the rules to be observed by Singers,
illustrated by many examples and exercises, and
throw great light upon the laws oi Cantus fictus,
the management of complicated rhythmic com-
binations, and other mysteries. Caps. Ixvii.-lxxi.
treat of the duties of the Maestro di Cappella
and Singers. Caps. Ixxii.-lxxiii. describe the
Villanella and Canzonetta, while Caps. Ixxiv.-
Ixxx. state the mutual qualifications of Singers
and Composers.
Lib. II. is divided into fifty-eight chapters, of
which the first five treat of the diff'erent species
of Mode, Time, and Prolation. Caps, vi.-vii.
describe the Points of Division, Alteration, and
Perfection. Cap. viii. corrects some prevalent
errors in the matter of Perfect Time. Caps, ix.-
xxxvii. treat of the mutual adaptation of Mode,
Time, and Prolation, and the different kinds of
Proportion. In illustration of this subject, Cap.
xxxviii. gives, as examples, the Kyrie, Christe,
Second Kyrie, the beginning of the Gloria, the
Osanna, and the Agnus Dei, of Palestrina's
'Missa I'Homme arme,' with full directions as
to the mode of their performance. Without
some such directions, no modern musician would
ever have succeeded in deciphering these very
difficult Movements ; while, aided by Zacconi's
explanations, Dr. Burney was able to score them
as easily as he would have scored a Concerto of
Handel from the separate orchestral parts.'^
Caps, xxxix. -Iviii. bring the Second Book to an
end, with the continuation of the same subject.
Lib. III. consists of seventy-seven chapters,
treating of the different kinds of Proportion.
Lib. IV. is divided into fifty-six chapters, of
which the first thirty-seven treat of the Twelve
Modes. Of these, Zacconi, in common with all the
great theoretical writers of the Polyphonic School,
admits the use of six Authentic and six Plagal
forms, and no more ; and, not content with ex-
punging the names of the Locrian and Hypo-
locrian Modes from his list, he expunges even
their numbers, describing the Ionian Mode as
Tuono XI, and the Hypoionian as Tuono XII.^
Caps, xxxviii.-xlvi. treat of Instrumental Music,
as practised during the latter half of the i6th
century, and are especially valuable as describing
the compass and manner of using the various
Orchestral Instruments as played by Peri, Mon-
teverde, and their immediate successors, in their
s See Dr. Burney's ' Extracts,' Brit. Mus. Add. MSS. 11,581.
• SeeT0l.ll.p.3i2a.
K k
498
ZACCONL
early essays in Opera and Oi*atorio.' Caps.
:dvii.-lv. treat of the tuning of Musical Instru-
ments ; and the concluding chapter, Ivi., furnishes
us with a Table, exhibiting on a great Stave of
eleven lines, the compass of the Instruments
most commonly used at the time the book was
written. We subjoin the compass of each instru-
ment, on an ordinary Stave, and translated into
modern Notation : —
Cornetti Bianchi
e Negri.
Dolziane. _
Corno Torto.
Comamuti torti. Fagotto chorista. Trombone,
Flauti.
Tenore. Basso. I
i2_
^^^^1^^
Viole.*
I Canto.!
^^^^^^^^
Doppiani,
Canto. Tenore. ^^^ Basso. I
Pi
EE=— ^=[}-3^
The foregoing synopsis gives but a slight in-
dication of the value of the * Prattica di Musica,'
which supplies information on every important
subject connected with the music of the i6th
century : information in many cases obtainable
from no other source. The work is now ex-
tremely scarce and costly ; complete copies will,
however, be found in the British Museum and
the Royal College of Music. [W.S.R.]
ZACHAU,* Friedrich Wilhelm, though
now known only as the instructor of Handel,
seems, in reality, notwithstanding the calumnies
circulated after his death, to have been one of
the best and most industrious musicians of his
time. He was born Nov. 19, 1663, at Leipzig,
where his father was Stadtmusikus. Under
his father's direction he learned to play on all the
1 See vol. U. pp. 600. 562.
3 It will be seen tbat theTloIln !i here treated In the First Position
only.
2 This note is omitted In the Brit. Hus. copy.
* The tuning of the Tenor and Bass Viols differs materially from
the usual form.
5 The Viola clef Is wanting in the original.
< Called by Mainwarlng, Zackaw ; and by Schoslcber, Sackau.
ZACHAU.
instruments then in general use, including the
violin, hautboy, harpsichord, and organ, devoting,
however, his chief attention to the two last, on
both of which he attained a degree of proficiency
far exceeding that which generally prevailed at
this period. While still a youth, he removed,
with his father, to Eilenburg, and continued his
studies there until 1684, when he was elected
organist of the Liebfrauenkirche at Halle, a large
and important church still standing.'
Here it was that, if Mainwaring's account is
to be trusted, the little Handel was first taken
to Zachau for instruction in music, * while he was
yet under seven years of age ' — that is to say,
some time before the end of the year 1692.
Chrysander places the event a little later, but
upon no trustworthy evidence. The circum-
stances which led to it have already been nar-
rated in detail, and are too well known to need
repetition here. [See vol. i. p. 648 a.] There
can be no doubt that Zachau took great interest
in his pupil, who — Mainwaring tells us —
• pleased him so much that he never thought he
could do enough for him.'* That the child was
placed under an excellent and thoroughly con-
scientious teacher is indeed conclusively proved,
both by Mainwaring and Coxe.' The former
says, ' Zachau had a large collection of Italian
as well as German music. He showed his pupil
the different styles of different nations; the
excellencies and defects of each particular author ;
and, that he might equally advance in the prac-
tical part, he frequently gave him subjects to
work, and made him copy, and play, and com-
pose in his stead. And Zachau was glad of
an assistant, who, by his uncommon talents,
was capable of supplying his place whenever
he was inclined to be absent. It may seem
strange to talk of an assistant at seven years of
age. But it will appear much stranger that by
the time he was nine he began to compose the
Church Service for voices and instruments, and
from that time actually did compose a service
every week for three years successively.' '" And
in confirmation of this account, Coxe" describes
a volume, formerly in the possession of Lady
Rivers, dated 1698, signed G. F. H., and filled
with transcripts, in Handel's handwriting, of
airs, fugues, choruses, and other works, by
Zachau, Frohberger, Krieger, Kerl, Heinrich
Albert, Ebner, Adam Strunck, and other com-
posers of the 1 7th century. After Lady Rivers's
death, this volume disappeared. But its existence
has never been doubted, and its testimony to
Zachau's method of teaching is invaluable.
Handel always spoke of his old master with
the deepest respect; visited him at Halle for
the last time in 1710 ; and after his death, which
took place August 14, 1721, sent 'frequent
remittances' to his widow. These tokens of
T Known also as the Harienklrche. the Hauptklrche, and the
Oberpfarrkirche zu UnserLIeben Frauen am Markplatz.
8 'JMemolrs of the Life of the late George Frederic Handel' (Lon-
don, 1760). p. 14.
> ' Anecdotes of George Frederick Handel and John Christopher
Smith,' by the Rev. W. Ooxe (London, 1799).
10 • Memoirs,' pp. 14, 15. u • AnecdotM^' P> 6.
ZACHAU.
esteem did not, however, preserve the memory
of Zachau from a cruel aspersion, which origin-
ated in this wise. A certain Johann Christoph
Leporin, organist of the Dom Kirche zur Moritz-
burg at Halle, was dismissed from his office
in 1703 on account of his dissolute life and
neglect of duty ; and Handel, then seventeen
years of age, was chosen to supply his place.
After Handel's death, his biographers attri-
buted Leporin's misdeeds to Zachau, accusing
him of irregularities of which he was wholly
innocent. Main waring^ speaks of his frequent
neglect of duty * from his love of company, and
a chearful glass.' Mattheson'' feebly protested
against the cruelty of resuscitating a scandal
so grave forty years after its victim's death;
but did not attempt to disprove it. Schoelcher ^
reproduced it with inconsiderate levity; while
T>r. Chrysander* traces the libel to its source,
and proves it to be utterly unfounded.
The Berlin Library possesses a large collection
of Zachau's compositions, consisting principally
of MS. Church Cantatas, and pieces for the
organ : and some fragments have been printed
by Dr. Chrysander and von Winterfeld. They
are not works of genius, but their style is
thoroughly musicianlike, and is marked both by
good taste and earnestness of puipose. [W.S.R.]
ZAIDE, Operetta in two acts ; text by
Schachtner, probably from the French ; music
by Mozart, 1 7 79 or 1780. It does not appear
to have been ever produced. Mendelssohn pro-
duced a Quartet from it in a Historical Concert,
March i, 1838,
The autograph contains fifteen numbers, but
lacks the title, the overture, and the concluding
chorus, which were all supplied by Andr^. The
words of the dialogue (not given by Mozart
beyond the cues) were added by GoUmick, who
has also altered the composed text here and
there. It was published in full and vocal scores
by Andrd of Ofienbach in 1838, and in Breit-
kopfs edition, Ser. 5, No. ii. [G.]
ZAIRE. Opera in 3 acts ; words by Romani,
music by Bellini. Produced at Parma, May 16,
1829. [G.]
ZAMBONA [Stephano?], apparently an
Italian, resident in Bonn at the latter part of
the last century, who, according to the narrative
of B, J. Maurer, cellist in the Bonn court
orchestra, gave Beethoven lessons in Latin,
French, Italian, and Logic for about a year.
It is said that the lessons began in 1 780, and that
the boy advanced so rapidly as to read Cicero's
letters in six weeks ! Zambona was evidently a
shifty, vague personage — ^now an innkeeper,
now a book-keeper, and then again applying
for the post of kammerportier about the Court ;
but the service which he rendered Beethoven
■was so far a real one, and without his lessons we
should probably not have those delightful poly-
> ' Memoirs,' p. 15.
' > * G. F. Hfindel's liebensbeschrelbung ' fHamburg, 1761), p. 10.
» • Life of Handel,' p. 6. « • U. V. Hfindel,' Tol. 1. p. 61.
ZANETTA.
^4i)'d
glott dedications and remarks which are so
amusing in Beethoven's works.^ [G.]
ZAMPA, ou La Fiancee de Marbre (The
marble Bride). Opdra comique in 3 acts ;
libretto by Melesville, music by Harold. Pro-
duced at the Opera Comique, Paris, May 3, 1831.
In^ London, in Italian, at the King's theatre
(with a new finale to the 3rd act, by Hummel),'
April 19, 1833, and at Coven t Garden Aug. 5,
1858 ; in French at St. James's, Jan. 16, 1850;
in English, Covent Garden, April 19, 1833, and
again at Gaiety theatre, Oct. 8, 1870. [G.]
ZANDT, VAN, Marie, bom Oct 8, 1861, at
New York, of American parents of Dutch ex-
traction on the father's side. Her mother, Mrs.
Jeanie van Zandt, was a singer, and formerly a
member of the Royal Italian and Carl Rosa
Companies. Marie was taught singing by
Lamperti at Milan, and in 1879 made her debut
at Turin as Zeilina in ' Don Giovanni.' On May 3
of the same year, and in the same part, she made
her first appearance at Her Majesty's. In that
part, and in those of Cherubino and Amina, she
was favourably received on account of the fresh-
ness of her voice and her unaffected style. On
March 20, 1880, she appeared in Paris as Mignon,
with such success that she was engaged by the
Opdra Comique for a term of years, and be-
came a great favourite. She also played there
Cherubino, Dinorah, and Lakme on the successful
production of Delibes's opera of that name April
14, 1883. On Nov. 8, 1884, on the revival of
Rossini's * Barbiere,' Miss van Zandt was seized
with a total extinction of voice arising from
nervousness and physical prostration, in con-
sequence of which calamity she was subjected
to the most gross treatment and calumny by
portions of the Parisian press and public. On
leave of absence from Paris she played in the
provinces, and at Copenhagen, Monte Carlo, and
St. Petersburg, where she appeared Dec. 17, 1884,
and during the season with great success. On
her return to Paris in 1885 her position was
rendered intolerable by hostile attacks, and
she threw up her engagement. On June 6,
1885, she re-appeared in England at the Gaiety
on the production of ' Lakm^,' and created a highly
favourable impression in that and * Mignon ' and
also in scenes from * Dinorah * and ' II Barbiere.*
She has a soprano voice of more than two octaves
in compass, from A below the line to F in alt.,
very sweet in quality, albeit of no power or
volume, with considerable powers of execution.
She is a pleasant actress, with great charm of
manner, and should ultimately achieve a lasting
success. [A.C.]
ZANETTA, ou II ne faut pas jouer aveo
LE FEU (never play with fire). Opdra comique
in 3 acts ; libretto by Scribe and St. Georges,
music by Auber. Produced at the Opera
Comique, Paris, May 18, 1840. The title origin-
ally stood as above, and the opera was given,
in French, under that title in London at St.
James's theatre, Feb. 12, 1849. [G.]
« See Thayer's ' Beethoven,' L 115.
« Harmonicon, 1833, p. 116.
Kk 2
500
ZAPFENSTREICH.
ZARLINO.
ZAPFENSTREICH. The German word Zap-
fenstreich is said to owe its origin to General
Wallenstein, who during the Thirty Years War
in Germany found his unruly troopers so fond of
nightly revels and drinking, that to prevent it he
introduced the tattoo, or * last call/ after which
every soldier had to retire to rest. To insure
obedience to this call, he ordered that when it
was sounded the provost of the camp should go
to all the sutlers' booths, and see that the barrels
of drink were closed and a chalk-line drawn
over the bung, as a precaution against serving
drink during the night. Heavy penalties were
enforced against the sutlers, if on the morning's
inspection the chalk line was found to have
been meddled with overnight. This act of
'sealing the bungs* appealed more forcibly to
the senses of the revellers than the tattoo which
accompanied it, and led to the signal being
called Zapfenstreich — literally • bung-line,' whicli
it has retained in that country ever since. [See
Tattoo, vol. iv. p. 63.]
The * Grosse Zapfenstreich ' (grand tattoo) of
modern times, is in reality a monster serenade,
which usually terminates the grand annual
manoeuvres of the German army. On the last
evening before the troops are dismissed to their
homes, the bands of all the regiments who have
taken part in the mimic war, combine, forming a
monster mass of from 1000 to 1400 instrumen-
talists, who perfprm by torchlight, in presence
of the Emperor and numerous high officials
assembled, a suitable programme, immediately
followed by the proper Zapfenstreich, in which,
besides the band, all buglers, trumpeters and
drummers of the army take part. After an in-
troductory eight bars for fifes and drums, a few
drummers commence a roll very piano, gradually
increasing in power ; this crescendo is aug-
mented by all the drummers to the number of
over 300 rapidly joining in until a thunderous
forte is reached, when they break into four bars
of simple beats in march-tempo, followed by the
combined bands playing the proper Zapfenstreich
(an ancient Quickstep).
/-^ Quick March. Band.
:f=±±l
t=:-r-r-r^ti=^s
-J^iiJ:
When this is finished, the 'Retraite' of the
combined cavalry bands is played, consisting of
the old trumpet calls, interspersed with rolls of
kettledrums <and full chords of brass instruments.
A short 'call' by fifes and drums is then fol-
lowed by the * Prayer,' a slow movement executed
by all the combined bands—
P
Adaoio.
S
-P— •-
^
=3=^
:i=r-
-.^=.
Then a roll for the drums, — the trumpet signal
* Gewehr ein ! ' — and finally two bars of long
chords bring the whole to a conclusion : —
Lento,
Such a mere description as the above, even with
the assistance of the published full score of the
Grosse Zapfenstreich (Berlin, Sehlesinger), can-
not convey an idea of the purely traditional
manner of the performance, which must be wit-
nessed, with all the brilliant surroundings accom-
panying it, to get an idea of the stirring effect it
produces. [J.A.K.]
ZARLINO, GioSEFFE, one of the most learned
and enlightened musical theorists of the i6th
century, was born in 1517^ at Chioggia — the
Clodia of the Romans — whence he was generally
known as Zarlinus Clodiensis. By the wish of
his father, Giovanni Zarlino, he spent his youth
in studying for the Church ; was admitted to the
Minor Orders in 1539, and ordained Deacon in
1 541. In that year he came to reside in Venice,
where his proficiency as a theologian, aided by
his intimate acquaintance with the Greek and
Hebrew languages, and his attainments in Philo-
sophy, Mathematics, Astronomy, and Chemistry,
soon gained him an honourable position. But
his love for Music, for which, as he himself tells
us, in the Dedication prefixed to his ' Istitutioni
armoniche,' *he had felt a natural inclination
from his tenderest years,* tempted him to forsake
all other studies, for his favourite pursuit; and he
was at once accepted as a pupil by Adrian©
Willaert, the founder of the Venetian Polyphonic
School, under whom he studied, in company with
Cipriano di Rore and other promising neophytes.
On the removal of Cipriano di Rore to Parma,
Zarlino was elected, in 1565, first Maestro di
Cappella at S. Mark's, with every demonstration
of honour and respect* The duties connected
with this appointment were not confined to the
Offices sung in the Cathedral. The Maestro
was in the service of the Republic, and his
talent was called into requisition, to add to the
interest of all its most brilliant festivals. After
the Battle of Lepanto, Oct. 7, 15 71, Zarlino was
commissioned to celebrate the greatest victory
that Venice had ever won, with music worthy of
the occasicm. When Henri III. visited Venice,
I Not, aa Burney and Havvkins pretend, in 1640 ; for he himself telli
us (Soppl. Mus. Till. 131) that he came to reside In Venice In 1541.
in which year he was ordat ned Deacon. Burney's mistake U rectified
by CafB (Storia della musica sacra, 1. 128).
ZARLINO.
<m his return to France, from Poland, in 1574,
he was greeted, on board the Bucentaur, by a
composition, the Latin verses for which were fur-
nished by Rocco Benedetti and Comelio I'rangi-
pani, and the music by Zarlino, who also com-
posed the music sung in the Cathedral, and a
dramatic piece, called ' Orfeo,' ^ which was per-
formed, with great splendour, in the Sala del
Maggior Consiglio. Again, in 1577, when the
Church of S. Maria della Salute was founded in
memory of the terrible plague, to which the
venerable Titian fell a victim, Zarlino was com-
missioned to compose a Mass for the solemn
occasion. None of these works have been pre-
served, and we can only judge of their merits
by the immense reputation the Composer en joyed.
But Zarlino did not entirely neglect the duties
of his ecclesiastical status. On the contrary, in
1582, he was elected a Canon of Chioggia ; and,
on the death of Marco de' Medici, Bishop of
€hioggia, in 1583, he was chosen to fill the
vacant See. This proceeding was, however,
so strongly opposed by the Doge, Niccolo da
Ponte, and the Senate, that Zarlino consented
to retain his appointment at S. Mark's in pre-
ference to the proffered Mitre ; and he con-
tinued to perform the duties of Maestro di Cap-
pella until his death, Feb. 4, ISQO.'* He was
buried in the church of San Lorenzo. No in-
scription now marks the spot ; but his bust has
been placed in the Corridor of the Doge's Palace ;
and during his lifetime a medal was struck in his
honour, bearing his effigy, and, on the reverse, an
Organ, with the legend, Laudate eum in chordis.
The only compositions by Zarlino that have
been preserved to us, besides the examples given
in his theoretical works, are a MS. Mass for four
voices, in the library of the Liceo filarmonico at
Bologna, and a printed volume of * Modulationes
sex vocum ' (Venice, 1566). His chief fame,
however, rests upon three treatises, entitled:
*Istitutioni armoniehe ' (Venice, 1558,' re-
printed 1562, and again, 1573); * Dimostrationi
armoniehe' (Venice, 1571,* reprinted, 1573);
and * Sopplimenti musicali ' (Venice, 1588). The
best edition is the complete one, entitled ' Tutte
rOpere del R.M. Gioseffo Zarlino da Chioggia '
(Venice, 1589).
The * Istitutioni ' comprise 448 pp. fol. ; and
^je divided into four sections.
Lib. I. contains sixty-nine Chapters, chiefly
devoted to a dissertation on the excellence of
Music ; a mystical elucidation of the transcen-
dental properties of the number six ; and a de-
scription of the different forms of Arithmetical,
Geometrical, and Harmonical Proportion.
In Lib. II., comprising fifty-one chapters,
Zarlino demonstrates the superiority of the
system known as the Syntonous, or Intense
Diatonic, of Ptolomy, above all other systems
1 Caffl calls It ail 'opera.* This is manifestly a misnomer, since
the ' opera.' properly so called, was not then Invented. In all prob-
Abllity, the piece consisted of a chain of madrigals, strung together
alter the manner of the ' Amflparuasso ' of Orazio Vecchl.
2 Hawkins and Burney say 1699.
3 Ambro* mentions an edition of 1557, but we have never met with
ZARLINO.
501
whatsoever. In this system, the Tetrachord
is divided into a Greater Tone, a Lesser Tone,
and a Greater Hemitone— the Diatonic Semi,
tone of modern music — as represented by the
fractions ^, ^%, ff . The system was not a new
Fio. 1.
io8 I 96 f. 90
.Ton.maj iTon.min^Sem.niaj.Ton.niaj Ton.niin JTon.maj .Sein.maj
one : and Zarlino, naturally enough, made no
attempt to claim the honour of its invention.
The constitution of the Lesser Tone had been
demonstrated, by Didymus, as early as the 6oth
year of the Christian sera. The misfortune was,
Fio. 2.
that Didymus placed the Lesser below the
Greater; an error which was corrected about
the year 130, by Claudius Ptolomy, who gave
his name to the system. The merit of Zarlino
lay in his clear recognition of the correctness of
this division of the Tetrachord, which, in Lib. II.
Cap. xxxix, p. 147 of the complete edition, he
illustrates as in Fig. i, above.'
By following the curves in Fig. i we may
5 Want of space compels us to omit one or two unimportaut detail!
of the Diagram, u given in the edition ot 1688.
S02
ZARLINO.
aiscertain the exact proportions, in Just In-
tonation, of the Diatonic Semitone, the Greater
and Lesser Tone, the Major and Minor Third,
the Perfect Fourth, and the Perfect Fifth, in
different parts of the Octave. Like Pietro Aron
(•Toscanello della Musica,' Venice, 1523),
Ludovico Fogliano (*Musica teoretica,' Venice,
1539), and other theoretical writers of the i6th
century, Zarlino was fond of illustrating his
theses by diagrams of this kind : and it was, no
doubt, the practical utility of the custom that
tempted Des Cartes to illustrate this self-same
system by the Canonical Circle (Fig. 2), which
later theorists extended, so as to include the
proportions, in commas/ of every possible Diatonic
Interval within the limits of the Octave (Fig. 3).
Fio. 3.
PerfV!'>
'"^S
S5
Perrs'"-
. ./K
. /
^V. Mhi.6"'-
Maj|^'.7
\ /
X \' ? .,
5 -A^-^^
X ^^' Maj.6"'-
8 * V°X^
O'^^^^;;^ .GraveMin.7t'i
Acute^Maj.2^^-\/^
\/* Acute Mill.;"'-
Grave Maj.2«'- ^v/
soxT 'rs^'aj-?'''-
Min.2 '^■14- .
It
' 0,
St
3en
It needs but a very slight examination of the
foregoing diagrams to prove that the Syntonous
Diatonic of Ptolomy, coincided, to the minutest
particular, with the sj'stem advocated by Kepler
(Harmonices Mundi, Lib. Ill, Cap. 7.) Mersenne
(Harm. Univers. Lib. II), Des Cartes (Compen-
dium Musi cae), and all the most learned theoretical
writers of later date, who, notwithstanding our
acceptance of Equal Temperament as a practical
necessity, entertain but one opinion as to the true
division of the Scale in Just Intonation — the
opinion defended by Zarlino, three centuries ago.
Lib. III. of the * Istitutioni ' treats of the
laws of Counterpoint, which, it must be confessed,
are not always set forth, here, with the clearness
for which Zacconi is so justly remarkable. In the
examples with which this part of the work is
illustrated, an interesting use is made of the well-
known Canto fermo which forms so conspicuous a
feature in ' Non nobis Domine,' and so many
other works of the i6th and 1 7th centuries.
Fig.
Lib. IV. treats of the Modes: — more es-
pecially in the later forms introduced by the
Early Christians, and systematised by S.Ambrose,
and S. Gregory. In common with Glareanus,
and aU the great theorists of the Polyphonic
i A comma is the ninth part of a Greater Ton*.
ZARLINO.
School, Zarlino insists upon the recoghition
of twelve Modes, and twelve only; reject-
ing the Locrijiu and Hypolocrian forms as
inadmissible, by reason of the False Fifth in-
separable from the one, and the Tritonus which
forms an integral part of the other. But, though
thus entirely at one with the author of the
Dodecachordon on the main facts, he arranges
the Modes in a different order of succession.'
Instead of beginning his series with the Dorian
Mode, he begins with the Ionian, arranging his
series thus : —
Authentic Modes.
I. Ionian. Final, C.
III. Dorian, Final, D.
V. Phrygian. Final, E.
VIL Lydian. Final, F.
IX. Mixolydian. Final, G.
XL iEolian. Final, A.
Plagal Modes,
II. Hypoionian.
Final, 0.
IV. Hypodorian.
Final, D.
VI. Hypophrygian.
Final, E.
Vin. Hypolydian.
Final, F.
X. Hypomixolydian.
Final, Q,
XII. Hyposeolian.
Final, A.
This arrangement — which no other great
theorist of the century has followed^ — would
almost seem to have been dictated by a prophetic
anticipation of the change which was to lead
to the abandonment of the Modes, in favour of a
newer tonality : for, the series here begins with
a form which corresponds exactly with our
modem Major Mode, and ends with the prototype
of the descending Minor Scale of modern music.
In the course of the work, Zarlino introduces
some very valuable memoranda, and occasionally
records as facts some very curious superstitions.
In one place he tells us that the human pulse
is the measure of the beats in music — a state-
ment fortunately corroborated by other early
writers, and furnishing us with a comparative
estimate of the duration of the two beats which
are included in the normal Semibreve. In
another, he asserts that Josquin treated the
Fourth as a Consonance. In a third, he
records his observation that untaught singera
always sing the Third and Sixth Major — which
is in all probability true. Occasionally, too, he
diverges into the region of romance, and assures
us that deer are so delighted with music that
hunters use it as a means of capturing them.
The * Dimostrationi armoniche,' occupying
312 folio pages, is disposed in the form of five
Dialogues, carried on by Adriano Willaert,
Claudio Merulo, and Francesco Viola, Maestro
di CappeUa of Alfonso d'Este, Duke of Ferrara.
Zarlino tells us, that, in the year 1562, the
friends met at the house of Willaert, who was
then laid up with the gout ; and, that their con-
versation is faithfully reported in the five Ra-
gionamenti of the Dimostrationi. The first of
these treats chiefly of the Proportions of In-
tervals ; the second, and third, of the ratios of
the Consonances, and Lesser Intervals ; the
fourth, of the division of the Monochord ; and
the fifth, of the Authentic and Plagal Modes.
« See Lib. IV. cap. x. p. 899, In edition of 1680.
• See MoDKs, ths Kcclbbiastioai..
ZARLINO.
ZAUBERFLOTE.
503.
Not long after the publication of these works,
Vincenzo Galilei — who had formerly been
Zarlino's pupil — printed, at Florence, a tract,
entitled * Discorso intorno alle opere di messer
Gioseffe Zarlino di Chioggia,' in which he vio-
lently attacked his former master's principles ;
and, in 1581, he followed up the subject, in his
famous * Dialogo della miisica antica et della
moderna,' in the second edition of which (Fior-
enza, 1602), the title-page bore the words, *in
sua difesa contra Joseflfo Zarlino.' Galilei at-
tacked, in very uncourteous terms, the division
of the Scale advocated by Zarlino ; and proposed
to substitute for it the Ditonic Diatonic Tetra-
chord, consisting of two Greater Tones and a
Limma;^ as set forth by Pythagoras — a division
which all modern theorists agree in utterly re-
jecting. While accusing Zarlino of innovation,
he inconsistently complained that the Syntonous
Diatonic was advocated by Lodovico Fogliano,
half a century before his time. This is perfectly
true'^: and in all probability, it was this division
of the Scale that the Aristoxenians unconsciously
sang by ear. But Galilei was not satisfied with
an empirical scale ; and his admiration for the
Greeks blinded him to the fact that his theory,
reduced to practice, would have been intolerable.
His favourite instrument, the Lute, imperatively
demanded some reasonable power of Tempera-
ment : and Zarlino, who was, in every respect,
in advance of his age, actuallj- proposed, that,
for the Lute, the Octave should be divided into
twelve equal Semitones — that is to say, he advo-
cated in the i6th century the practice that we,
in the 19th, have only seen universally adopted
within the last thirty-five years. That he ex-
tended the system to the Organ, is sufficiently
proved by the fact that his Organ, at S. Mark's,
remained in the condition in which it was left by
Monteverde.' It is evident, therefore, that he
advocated Equal Temperament for keyed instru-
ments, and Just Intonation for unaccompanied
Vocal Music, and instruments of the Violin
tribe — a system which has been successfully
practised by the most accomplished vocalists and
violinists of the present century.
In defence of his principles, and in answer to
Galilei's caustic diatribes, Zarlino published, in
1588, his 'Sopplimenti musicali,' containing
330 pages of valuable and interesting matter,
much of which is devoted to the reinforcement
of the principles laid down in the * Istitutioni,'
and the * Dimostrationi.* The system of Equal
Temperament, as applied to the Lute, is set
forth in detail in Lib. IV. Cap. xxvii. et seq.
In Lib. VI. the author recapitulates much of
what he has previously said conceraing the
Modes ; and in Lib. VIII. he concludes the
volume with a dissertation on the organ ; illus-
trating his subject, at p. 291, by an engraving of
the soundboard of a very early Organ removed
1 The Limma, or remaining portion of a Perfect Fourth, after two
Greater Tones have been subtracted from It. U less than a Diatonic
Semitone by one comma.
2 See Fogliano's ' Husica teorica ' (Venice, 1029), Sect. II. Do
Utilitate toni majoris et minorls.'
> fioutempi, Uiat. Mus. Parte Ima, Coroll. IT.
from a Church at Grade ; and giving many par-
ticulars concerning Organs of very early date.
In 1589, Zarlino reprinted the * Sopplimenti,'
preceded by the 'Istitutioni,* and the 'Dimo-
strationi,* in the complete edition of his works
already mentioned, together with a fourth
volume, containing a * Trattato della pazienzia,'
a * Discourse on the true date of the Crucifixion
of Our Lord,' a treatise on • The Origin of the
Capuchins,' and the • Resolution of some doubts
concerning the correctness of the Julian Calen-
dar.' He survived the issue of the four volumes
but a very short time : but his death, in 1 590, was
far from ternlinating the controversy concerning
his opinions ; for Galilei published the second
edition of his 'Dialogo* as late as 1602 ; and,
in 1704, Giovanni Maria Artusi published an
equally bitter attack, at Bologna, entitled ' Im-
presa del R. P. Gio. Zarlino di Chioggia, etc'
In truth, Zarlino was too far in advance of his
age to meet with fair treatment from his oppo-
nents, though we of the 19th century can agree
with every word of his arguments.
The works of Zarlino are now very scarce
and costly. Perfect and complete copies will be
found at the British Museum and the Royal
College of Music. [W.S.R.]
ZAUBERFLOTE, DIE, i.e. The Magic flute.
Mozart's last opera, in two acts. The book was by
Schikaneder and was first proposed to Mozart
early in 1791 ; the music was written partly in
a 'garden pavilion' close to the theatre, and
partly in the Casino at Josephsdorf on the
Kahlenberg. It was produced at the Theatre
auf der Wieden, Vienna, Sept. 30 of the same
year (by which time the Requiem was begun),
and had not at first a great success ; but this
soon altered, and by Oct. I2, 1795, it had been
performed at the one theatre 200 times. The
overture was as usual written last — with the
march. Mozart was a great Freemason, and the
work is said to abound with Masonic indica-
tions, especially in the noble trombone chords —
which should not be ' tied ' ; and elsewhere
throughout the opera.* A likeness has been dis-
covered between the subject of the Allegro and
that of a sonata of dementi's once played by
Clemen ti to the emperor in Mozart's presence;
and it has certainly a curious resemblance to an
overture by CoUo of 1779.' The air ' Ein Mad-
chen oder Weibchen ' is taken from the two last
lines of the chorale 'Nun lob mein Seel den
Herren.' The melody sung by the men in armour
is that of another much older chorale, 'Ach
Gott vom Himmel sieh darein,' with a closing
phrase added by Mozart. [See Appendix, AcH
Gott.]
In Paris, 'arrange par Lachnitch,* as *Les
Mystferes d'Isis,' Aug. 20, 1801. [See Lachnith.]
In London, in Italian, as ' II Flauto Magico,' at
the King's Theatre, for Naldi's benefit, June 6,
1811; in German, at Covent Garden, May 27,
1833; in English, as *The Magic Flute,' Drury
Lane, Mar. 10, 1838. [G.]
4 Jahn's Mozart. Kng. transl.. iil. 309, 310, S16. 317. 320.
• Ibid. iU. 315, SIS.
504
ZAVERTAL.
ZAVERTAL, the original Bohemian name
(Zavrtal) of a musical family, several members
of which have become prominent both in Ger-
many and this country, (i) Josep Rudolf,
horn-player, bom at Polep, Leitmeritz, Bohemia,
Nov. 5, 1819, was educated at the Prague Con-
servatorium. He entered the Austrian army as
bandmaster in 1840, and gradually rose. In
1846 he established the Pension Society for
bandmasters of the Austrian army. After several
promotions, in 1864 he became director of military
music to Maximilian, Emperor of Mexico. Shortly
after this he left Austria for England, and in
1868 was made bandmaster of the 4th King's
Own Regiment, and in 1871 was placed at the
head of the band (wind and string) of the Royal
Engineers, a post which he still holds. (2)
Wenceslas Hugo, brother of the foregoing,
bom at Polep, Aug. 31, 1821, clarinettist and
composer. He has been bandmaster of several
regiments in the Austrian army, during the
Franco-Italian war saw much service, and was
recognised as a very eminent bandmaster. In
1866 he quitted the service, and in 1874 came
to this country, where he resides at Helensburgh,
near Glasgow, much esteemed as a teacher of
music, and where his compositions are much re-
lished. In 1847 he married Carlotta Maironi, an
eminent musician, who died in 1873. His son, (3)
Ladislaus, bom at Milan Sept. 29, 1849, was
taught music by his parents, and first appeared
at Milan in 1864. Four years later he produced
an opera at Treviso. Next year he was made
conductor and composer to the theatre at Milan.
In 1 87 1 he removed to Glasgow, where he re-
mained teaching and conducting for ten years.
In 1881 he succeeded the late James Sraythe
as master of the Band (wind and string) of the
Royal Artillery, at Woolwich. An opera of
his, * Una notte a Firenze,' was successfully pro-
duced at Prague in 1886, and another, ' Myrrha,'
at the same city Nov. 7, 1886. He was created
Cavaliere of the Order of the Crown of Italy. [G.]
ZELMIRA. Opera seria in 2 acts ; words
by Tottola, music by Rossini. Produced at
Naples, Feb. 16, 182a. [G.]
ZELTER, Cabl Friedrich, Director of the
Berlin Singakademie, and founder of the Lieder-
tafeln now so general throughout Germany, was
bom at Berlin, Dec. 1 1 , 1 758. His father, who
was a mason, embodied in a series of maxims his
lofty ideal of the mason's prerogatives. Carl's
mother taught him * pretty Bible sayings and
severe modesty'; his father, more intent on
building houses in Germany than castles in Spain,
declared that ' handicraft ranks before every-
thing; the handicraftsman is the true citizen;
the law which binds him protects him,* etc.,
etc. — aphorisms which were soon forgotten by
Carl, who practised on a small fiddle presented
to him on his eighth Christmas Eve, and at ten
years of age employed a whole summer in the
construction of an organ 'with a pedal that
1 Similar travesties are found In Zlazenger, Shoobert, aad other
German names iu the London Directory.
ZELTER.
could be trod upon.* He has recorded the first
indelible impression that he received on hearing
Graun's opera 'Phaeton,' to which his parents
treated him in the Camival of 1770. 'The
grand powerful masses of tone riveted my at-
tention far more than the melody and construc-
tion of the airs. ... I thought the orchestra a
riddle as wonderful as it was beautiful. I was
seated amongst the musicians. ... I swam in
a sea of delight,' etc., etc. Of the opera
itself he says little, except that the sweet un-
known Italian words added to the magic of the
whole, so that he afterwards agreed with the
Great Frederic as to the profanity of allowing
Art to speak in the vulgar tongue, and sym-
pathised heartily with the royal dislike of the
German opera. When nearly 14, his father
sent him to the Gymnasium, but here, though
the lessons got on tolerably well, his relations
with his fellow-students were so stormy that the
place became too hot to hold him ; he was rusti-
cated for a time, and a bar sinister drawn across
his name — ' Est petulans, petulantior, petulan-
tissimus.' He was then handed over to the organist
of the Gymnasium, who had a school of his own.
This was only a temporary expedient, for Zelter
returned to the Gymnasium, where some of the
masters were well disposed towards him, not-
withstanding his taste for practical jokes. At
the age of 17, after another course of the or-
ganist's teaching, necessitated by a little affair of
honour, he left school, and now his real education
began. Though apprenticed to his father's trade,
he was but a half-hearted mason. He made friends
with any one who happened to have musical pro-
clivities, and amongst others with the town
musician, George, an original even in those
days. In his household Zelter was always a wel-
come guest; George appreciated his musical
skill and enthusiasm, and gave him free access
to all his musical instruments. Meantime
Zelter was ripening into a capable musician.
In 1777 his apprenticeship was declared over,
and a great longing seized him to join his friend
Hackert, the artist, in a journey to Italy, a
longing which often returned upon him through
his life, though he never fulfilled it. Hackert
went without him, and he remained at home
to do a good deal of love-making. His love
affairs, described minutely in his autobiography,
are of little interest, except perhaps his flirtation
with an artistic Jewess, at whose father's house
Moses Mendelssohn and other scholars used to
meet. The lady and her lover quarrelled over
the theory of suicide, and parted company be-
cause they differed about Goethe's treatment of
Werther, who, in Zelter's opinion, ought to have
shot Albrecht instead of iimself. I'he episode
is worth recording, as it marks the first con-
nection of the names of Goethe and Mendels-
sohn with that of Zelter. In spite of such
distractions, Zelter passed his examination easily
and successfully, and was made a master mason
in consequence. When he was 18, his first
Cantata was performed in St. George's Church,
and Marpurg the theorist thought so highly of it.
ZELTEK.
that Zelter applied to Kirnberger and Fasch
for further instruction in musical science. In
gratitude for his old master's teaching, he ulti-
mately became the biographer of Fasch,^ the
pupil of Sebastian Bach, and the original founder
of the Berlin Singakademie. From 1 792 to 1 800,
Zelter acted as accompanyist to that institu-
tion, and at the death of Fasch he succeeded
to the Directorship: A few years previously,
Zelter's music to some of Goethe's songs
had so attracted the poet, that a correspondence
began which shows that Goethe was capable
of a real affection for at least one of his blind-
est worshippers.' There are frequent allusions
in these letters to the progress of the Sing-
akademie, over which in his later years Zelter
reigned as a musical dictator from whose decision
there was no appeal. Its influence was unques-
tionably due to the man who revived Sebastian
Bach's music, and was the first to inspire his
pupil, Felix Mendelssohn, with his own love for it.
The Akademie consisted originally of only 30
members, who met weekly at different private
houses, and during Fasch's life they practised
little except his compositions. It was reserved
for Zelter to enlarge the area of selection, and
under him some of the greatest works of the time
were added to the repertoire. The Liedertafel,
a more modern institution, at first consisted of
25 men, singers, poets and composers. The
society met once a month for supper and music,
the songs were the compositions of the guests
themselves, and the gatherings are amusingly
described in Zelter's letters to Goethe. As the
teacher and friend of Felix Mendelssohn, Zelter
is entitled to lasting gratitude, for though his
judgment of contemporary art was at times mis-
taken, his faith in his pupil never waned.
Mendelssohn, on the other hand, never ceased
to regard him as * the restorer of Bach to the
Germans.' The real history of the first per-
formance of the Matthew Passion is to be found
in Devrient's 'Recollections of Mendelssohn,* and
in ' Erinnerungen aus meinem Leben,' by A. B.
Marx. [SeeMENDELSSOHNjVol.ii. p.26oa.] The
joint enthusiasm of Mendelssohn and Devrient
for Bach's music had been kindled by the study
of the score of the ' Passion,' which Zelter had
bought years before as waste paper at an
auction of the goods of a deceased cheese-
monger. In spite of his devotion to every one
of the name of Bach, Zelter rashly ventured
on simplifying some of the recitatives and choral
parts, after the method of Graun. The purity
of the work was saved by Felix Mendelssohn's
grandmother, who prevailed on the fortunate
possessor of the score to present the treasure
to her grandson. Not only was the work well
bestowed and rescued from sacrilege, but its
publication and performance inaugurated a
fresh era in the art of music. The ex-
pediency of printing the work was discussed
at a dinner party given by Schlesinger, the
1 Karl Frledrlch Christian Fasch. von Karl Frledrlch Zelter.
4to. Berlin, 1801, with a Portrait (drawn by Schadow).
2 Briefwechsel zwischen Goethe und Zelter, 6 vols. Berlin, 1833<4.
Translated by A. D. Coleridge, 1887.
ZEMIRE ET AZOR.
505
publisher. Marx was appealed to for an
opinion. * All I can say is, that it is the great-
est thing I know in Church music,' was his
reply, whereupon old Schlesinger struck the
table with his fist, and called out, * I will pub-
lish it, should it cost me three thousand thalers.
I will do it for the honour of the house.'
The zeal of Mendelssohn and Devrient, in
league to prevail on Zelter to allow a public
performance, eventually triumphed over every
obstacle. Their old teacher was at first in-
credulous ; it may well have been that he was
conscious of the original sin of tampering with
the score, and felt that the * lynx eyes ' of Felix
had silently convicted hiin. The concession was
wrung from him with difficulty, but once given
he put the forces of the Akademie at his pupil's
disposal. The first and ever-memorable per-
formance of the * Passion ' music was given
March ii, 1829, under Mendelssohn's baton,
his friend Edward Devrient singing the part
of Christ. For Goethe, Zelter had the devotion
of a faithful dog, the great man's slightest wish
was law to him ; nay, so strong was the musi-
cian's adoration of the poet, that after the
suicide of his favourite step-son, he writes that
even in the midst of his misery he is happy — yes,
truly happy, for has not the sympathy of his
immortal friend moved him to use the brotherly
Du instead of the ordinary Sie in his letter
of condolence? 'Mark my words; Zelter will
not live long now,' said Mendelssohn, when he
heard of Goethe's death in 1832; and he was
right. Zelter sank almost immediately, and died
on the 15 th May following. He is best described
in his own words, * strong, healthy, full of sap
and good-will,' a rough diamond and of good
hard lasting stuff. He composed several songs
and quartets for the Liedertafel of Berlin, and
set many of Goethe's songs to music. These
songs were interpreted in their day by Mara and
other great singers. [For their characteristics
see Song, vol. iii. p. 626 a.] Amongst his
numerous works, now forgotten, was a Cantata
on the death of Frederick the Great, which seems,
by the account of it in a journal of 1786, to have
been thought worthy of the occasion. He also
wrote an oratorio called ' The Ascension,' a
Requiem, a Te Deum, and several other works
which were never published. A list of these is to
be found in * A Sketch of the Life of Carl Friedrich
Zelter, arranged from autobiographical MSS.,'
by Rintel (Janke, Berlin, 1861). [A.D.C.]
ZEMIRE ET AZOR. Fairy comedy in 4
acts ; words by Marmontel, music by Gr^try.
Produced at Fontainebleau Nov. 9, 1771, and
repeated at the Italiens, Paris, Dec. 16. The
score is one of Gr^try's best. It was revived,
the libretto reduced by Scribe to 2 acts, and the
score reinforced by Adam, on Feb. 21, 1832.
The story is that of * Beauty and the Beast,'
and has been set to music under the above title
by Baumgarten (1775), Neefe — Beethoven's
teacher— (1778), Tozzi (1792), Seyfried (1818),
and Spohr (1819). The last, under the name of
*Azor and Zemira, or the Magic Rose,' was
506
ZEMIRE ET AZOR.
brought out at Co vent Gaxden Theatre, April 5,
1831. The song, * Rose softly blooming,' has
remained a favourite piece to this day. [G.]
ZENOBIA. An opera, worthy of notice because
of the great number of times it has been set,
often to the same libretto. The following list
is collected from Clement's * Diet. Lyrique ' and
Riemann's * Opern-Handbuch.'
'Zenobia': to various texts, G. A. Boretti,
Vienna, 1661 ; N. A. Strungk, Leipzig, 1697;
G. K. Reutter, jun., Vienna, 1732 ; Earl of Mt.
Edgcumbe, London, 1800. To Metastasio's
text; L. A. Predieri, Vienna, 1740; G. Sbacci,
Venice, 1740; B. Micheli, Venice, 1746; D.
Perez, Turin, 1751 ; N. Piccinni, Naples, 1756;
G. Cocchi, London, 1758; N. Sala, Naples,
1 76 1 ; J. A. Hasse, Viexma, 1763; J. G. Sch wan-
berg, Brunswick, 1767; A. Tozzi, Munich,
1773 ; V. Federici, London, 1795 ; Fr. Bianchi,
London, 1797.
* Zenobia in Palmira.* F. Clielleri, Milan,
1711 ; F. Fio, Naples, 1713 ; L. Leo, Naples,
1725; P. Anfossi, Venice, 1790; G. Paesiello,
Naples, 1 790.
* Zenobia regina de* Palmireni.* T. Albinoni,
Venice, 1694.
* Zenobia, Queen of Palmvra.' Pratt, New,
York, 1883. ' [G.]
ZERETELEW, Elizabeth Andbejewna,
the Princess of, nie Lawrowskaja, well-known
as Mme. Lawrowska, was bom Oct. 12, 1845, at
Kaschin, Twer, Russia. She was taught sing-
ing by Fenzi, at the Elizabeth Institute, and by
Mme. Nissen-Saloman at the Conservatorium,
St. Petersburg. In 1867 she made her d^but as
Orf^e at three performances of Gliick's opera,
given by the students of the Conservatorium
under Rubinstein, at the Palace of the Grand
Duchess Helena, thanks to whose kindness she
was enabled to study abroad. From 1868-72
she was engaged at the Russian Opera-Theatre
Marie, and in the mean time (viz. on July 31,
1 871), she married the Prince Zeretelew. In
1868 she was announced to sing at the Italian
Opera, Covent Garden, but did not appear. She
left the opera for a time and sang in concerts
all over Europe, having received further in-
struction from Mme. Viardot- Garcia. She
visited this country in 1873, *"d made her first
appearance Feb. 24 at the Monday Popular
Concerts, and March i at Crystal Palace.
During her stay she made a great impression
by her grand mezzo soprano voice and fine
declamatory powers of singing in operatic airs
of Handel and Glinka, and in the Lieder of
Schubert, Schumann, etc. In 1881 she re-
appeared in England in concerts, but for a very
short period. In 1878 she returned to the
St. Petersburg Opera, where we believe she is
still engaged. The principal Russian operas in
which she has performed are ' La Vie pour le
Czar ' and ' Russian and Ludmila' of Glinka,
'Russalka' of Darjomizsky, and 'Wrazyia Silow'
of Serow. [A.C.]
ZERLINE, ou LA CoRBEiLLE d'Oranges
ZERRAHN.
(The Basket of Oranges). Grand opera in 3 acts ;
libretto by Scribe, music by Auber. Produced
at the Academic Nationale May 16, 1851. In
London, in Italian (but under the French title),
at Her Majesty's theatre, July 22, 1851. [G.]
ZERR, Anna, bom July 26, 1822, at Baden-
Baden; was taught singing by Bordogni, and
first appeared in opera at Carlsruhe, in 1839,
where she remained until 1846, and was subse-
quently engaged at Vienna. In 1851 she
obtained leave of absence, and made her first,
appearance in England May 19 at Catherine
Hayes* Concert, at the Hanover Square Rooms,
and sang with great success there and at other
concerts, including one given for the benefit of
the Hungarian Refugees. On this account, on
her return to Vienna, she was deprived of her
diploma of Court chamber singer, and was not
permitted to sing again at the opera during the
remainder of her engagement. On July 10 she
made her ddbut at the Royal Italian Opera as
Astrafiammente, on the production of the Zau-
berflote, with great effect. She reappeared in
1852 in the same part, and in that of Lucia ; on
July 15 as Rosa on the revival of Spohr's Faust ; on
Aug. 17 as Catherine on the production of 'Pietro
il Grande' (JuUien). She afterwards sang at the
Birmingham Festival, at Jullien's concerts, went
to America, and retired fi-om public life in 1857.
On June 14, 1881, she died, at her residence,
Winterbach, near Oberkirch, Baden. [A.C.]
ZERRAHN, Carl, bom at Malchow, Meck-
lenburg-Schwerin, July 28, 1826. Began the
study of music at Rostock, under F. Weber,
and continued it at Hanover and Berlin. The
revolution of 1848, in Germany, had the effect
of expatriating a number of young musicians,
among whom was Zerrahn, who went to the
United States, and, under the title of the
• Germania Musical Society,' gave concerts of
classical music for orchestra, in many of the
larger cities, with considerable success. In this
orchestra Zerrahn played first flute. He was,
in 1854, appointed conductor of the Handel
and Haydn Society at Boston, succeeding Carl
Bergmann, who had also been director of the
* Germania,' and he still retains the position
(1887). For several years the only classical
orchestral concerts in Boston were given by
Zerrahn at his own risk. On the establish-
ment of the Harvard Symphony Concerts, in
1865, Zerrahn received the appointment of
conductor, and remained in charge until the
concerts were given up (1882). The festivals
given by. the Handel and Haydn Society in May
1865, and triennially thereafter, until 1883,
when they were suspended, were all under his
direction. He occupied a prominent position
among the directors at the Peace Jubilees at
Boston, 1869 and 1872, and for several years has
directed the annual autumn festivals at Worces-
ter, Mass. Similar enterprises, generally on a
large scale, at New York, San Francisco, and
elsewhere, have been conducted by him. The
Oratorio Society of Salem, Mass., has been under
ZEERAHN.
Zerrahn*8 care ever since its organisation in 1868,
as have also been numerous choral and orchestral
societies and male singing-clubs belonging to
Boston or its neighbourhood. [F.H. J.]
ZEUGHEER, Jakob (known also as J. Z.
Herrmann), bom at Zurich in 1805, learned
the violin first from Wassermann in his native
town, and in 1818 was placed at Munich under
Ferdinand Franzel, for the violin, and Gratz
for composition and musical science. A visit
to Vienna in 1823 confirmed his enthusiasm for
chamber-music and Beethoven, who remained
through life the object of his highest veneration.
The example of Schuppanzigh, and of the four
brothers Moralt, suggested to Zeugheer the
idea of attempting the same with his friends
in Munich, as *das Quartett Gebriider Herr-
mann.' Zeugheer was leader; Joseph Wex
of Immenstadt, second violin ; Carl Baader,
viola ; and Joseph Lidel (grandson of Andreas
Lidl, the eminent performer on the baryton,
see Baryton), violoncello. They started Aug.
24, 1824, for the south, and gave perform-
ances at the towns of south Germany and
Switzerland, and along the Rhine to Holland
and Belgium. In the spring of 1826 they
played in Paris, before Cherubini and Baillot,
and gave a public performance assisted by Mile.
Sontag and M. Boucher. They first performed
in Paris Spohr's double quartet in D minor, the
second quartet being played by Boucher and
his three sons. From Boulogne they crossed
the Channel ; in England they seem to have
been successful, at Dover, Ramsgate, and es-
pecially at Brighton, where they resided for
five months. They gave concerts throughout
the South and West of England, and in Ireland
from Cork to Dublin, where they arrived in
November 1827. Early in 1828 they proceeded
by Belfast to Glasgow, Edinburgh and London.
In London they had only a few engagements
in private houses ; Wex retired ill, and the
quartet was broken up till a new violinist
was found in Anton Popp of Wurtzburg. The
concerts began again with a series of six at
Liverpool in the summer of 1829, and were con-
tinued through the northern counties. But in
the spring of 1830 the •brothers' had had
enough of a roving life. Zeugheer and Baader
settled at Liverpool, Lidel and Popp at Dublin.
Zeugheer resided in Liverpool till his death,
Baader till his retirement in 1869.
The importance of the work achieved by the
brothers Herrmann will be appreciated if it be
remembered that, in England at least, except
the Moralts they were the earliest four vio-
linists who constantly played together. The
Herrmanns were the second party of the kind
ever seen here, and were the first to play in
England any but the first six of Beethoven's
quartets. In many towns they found that no
one knew what a quartet was.
In 1 83 1 he took the conductorship of the
Gentlemen's Concerts at Manchester, which
lie retained till 1838. The Liverpool Phil-
harmonic Society, originally a private society.
ZIMMERMANN.
507
began in Jan. 1840 to give public concerts with
an orchestra, and in 1843 appointed Zeugheer
director. He conducted their concerts from
that date to March 28, 1865, shortly before his
death, which took place suddenly June 15,
1865. But the great work of his life at
Liverpool was tuition. Although not a pianist,
he fully understood the art of training the
hand. Mr. Chorley, the musical critic of the
* Athenaeum,' never had any musical teacher but
Zeugheer, whose genius he estimated highly and
proclaimed in print.
Zeugheer's playing was very piure in tone and
refined in expression, though his position was
not favourable to original composition. He wrote
two Symphonies, two Overtures, a Cantata, two
sets of Entr'actes, a Violin Concerto op. 28, a
Potpourri for violin and orchestra op. 6, an
instrumental Quartet, an Andante and Rondo
for piano and violin op. 21, and a Polacca for
four voices, few of them published. In Liver-
pool he wrote an opera ' Angela of Venice ' to
Chorley's words, but it was neither produced
nor published, owing to the badness of the
libretto. He published two sets of waltzes, a
vocal duet ' Come, lovely May,' and other songs
and glees. [R.M.]
ZEUNER, Charles. A German musician,
born in 1797; resided for many years in the
United States, conducting, composing, and teach-
ing. He died at Philadelphia, Nov. 1857. [G.]
ZIMMERMANN, Agnes, pianist and com-
poser, though bom at Cologne, July 5, 1847,
came to England very early, and at 9 became a
student at the Royal Academy of Music, under
Cipriani Potter and Steggall. Later she learnt
from Pauer and Sir George Macfarren. Though
occasionally playing outside the Academy, Miss
Zimmermann did not relax her studies, and her
works were often heard at the Royal Academy
Students' concerts. In i860 and 62 she obtained
the King's Scholarship, and on Dec. 5, 1863,
made her first public appearance at the Crystal
Palace in two movements of Beethoven's Eb
Concerto. In 1864 she followed this up by
playing at the Gewandhaus, Leipzig, and else-
where in Germany. Though occasionally travel-
ling abroad (as in 1879-80 and 1882-3), and
always with success, she has made England her
home, where her name is now a household word,
and where its appearance in a concert-bill
always betokens great execution and still greater
taste and musicianship.
In playing she has always devoted herself to
the classical school, once or twice in a very in-
teresting manner. Thus it was she who per-
formed (for the first and only time in England)
Beethoven's transcription of his Violin Concerto
for the Pianoforte at the Crystal Palace, Dec. 7,
1872. Her compositions are also chiefly in the
classical form and style, and include three
sonatas for piano and violin (ops. 16, 21, and 23),
a sonata for piano, violin, and cello (op. 19), a
sonata for piano solo (op. 22), a mazurka (op.
II), and Presto alia Tarantella (op. 15), also
several songs, duets, and 4 -part songs, and
1^08
ZIMMERMANN.
various arrangements of instrumental works,
etc.
She has also edited the sonatas of Mozart
and Beethoven for Messrs. Novello, and has an
edition of Schumann's works in the press for the
same firm. [G.]
ZIMMERMANN, Pierre Joseph Gdil-
LAUME, distinguished pianist and teacher, born in
Paris, March 1 7, 1 785. The son of a pianoforte-
maker, he entered the Conservatoire in 1798,
studied the piano with Boieldieu, and harmony
with Rey and Catel. In 1800 he carried off
first prize for piano, Kalkbrenner taking the
second. His musical education was completed
by a course of advanced composition under
Cherubini. In 1 8 1 1 he was appointed ' r^p^-
titeur,' or under-master of the pianoforte at the
Conservatoire, became joint-professor in 18I7,
and professor in chief in 1820. This post he
held till 1848, when he retired with the title of
honorary inspector of pianoforte classes. During
this long period he fulfilled his duties with
indefatigable zeal and entire devotion, so much
so indeed that for the sake of his constantly in-
creasing pupils he entirely gave up appearing in
public, and found little time for composition. He
did however produce at the Op^ra Comique in
1830 * L'Enlfevement,' in three acts, libretto by
Saint -Victor, Scribe, and d'Epagny, wholly
forgotten, and composed ' Nausica,* a grand
opera, which was never perfoi-med. He also
wrote a number of pianoforte pieces of various
kinds, but his most important work is the
'Encyclopedic du Pianiste,' which comprises a
complete method of pianoforte-playing, and a
treatise on harmony and counterpoint, thus
enabling a pupil to carry on his studies in play-
ing and composition simultaneously. In 181 1
Zimmermann won the post of Professor of Fugue
and Counterpoint thrown open to competition on
the death of Eler, but satisfied with the honour
of victory decided to retain his favourite piano
class. This excellent and devoted professor, a
worthy recipient of the Legion of Honour, died
in Paris Oct. 29, 1853. A daughter of his
became Mme. Charles Gounod. [A. J.]
ZINGARA, LA. An Italian version of
Balfe's Bohemian Girl. Produced at Her
Majesty's theatre, London, Feb. 6, 1858. [G.]
ZINGARELLI, NicooLb Antonio, born in
Naples, April 4, 1 752, eldest son of Riccardo Tota
Zingarelli, a tenor singer and teacher of singing.
In 1759 his father died, leaving his mother with
four children and very poor. The eldest boy
was chief clerk in the Musical College of S.
Maria di Loreto, and Niccol6 was at once ad-
mitted there as a resident pupil.^ Here he and
Ciniarosa learnt composition under Fedele Fena-
roli, whose • Partimenti ' are still studied in the
Neapolitan Conservatorio. Fenaroli was learned
and religious, and his pupils loved him as a
father. Although no great composer, he loved
music, and as a teacher well deserves the grati-
titude of posterity. Zingarelli pursued his studies
I See Naples. toL U. p. 414.
ZINGARELLL
with such devotion as often tasked the patience
of his master. When Fenaroli went for his.
autumn holidays to Ottaiano, his pupil would plod
the eleven miles from Naples on foot, in order to
submit to his master a fugue or motet, the return
journey seeming but light if his composition
were satisfactory. By the rules of his College
he was bound to study an instrument, and he
selected the violin, on which he soon became
very proficient. In Latin he made great pro-
gress, and in old age was fond of airing his
classical knowledge by frequent quotations.
Among his teachers was Speranza, a learned
contrapuntist, and the best pupil of Durante.
Before leaving his College, Zingarelli produced
his first opera, or rather intermezzo — * I Quattro
Pazzi' — which was performed by the pupils in
the Conservatorio.
Soon after leaving the Conservatorio we
find him teaching the violin in the Gargano
family at Torre Annunziata, near Naples.
Later on he gave lessons to the Duchess of
Castelpagano, under whose patronage he pro-
duced his first work at the San Carlo in 1779,
the cantata ' Pigmalione,' which met with
some success. On Aug. 13, 1781, his first opera,
* Montezuma,' was represented at the same
house. It shows a style of the greatest sim-
plicity and purity; and when afterwards per-
formed in Vienna, Haydn praised it greatly,
and foretold a career of success to its com-
poser. Strongly recommended to the Arch-
duchess Beatrice of Austria, he went to Milan,
and was well received at the vice-regal court.
Milan was to be henceforth the scene of Zinga-
relli's many triumphs, and for La Scala he
wrote most of his serious and all his comic
operas. He began there with ' Alsinda' in 1785,
which greatly pleased the Milanese public,
though composed in seven days and in ill
health, if we are to believe Carpani, who
wrote most of Zingarelli's librettos, and asserts
that he was an ocular witness, not only of the
above feat, but also of the composition of the
whole of ' Giulietta e Romeo ' in forty hours less
than ten days. This really astounding facility
was the result of Speranza's method of obliging
his pupils to write the same composition many
times over, with change of time and signature,
but without any change in its fundamental
poetical ideas. 'Alsinda' was soon followed by
'Armida,' 'Annibale,' *Ifigenia in Aulide,' and
•Ricimero,' all given at La Scala during the
two following years with enormous success.
Whilst thus satisfying the theatrical public,
Zingarelli did not neglect his more congenial work
of writing sacred music, and in 1787 he com-
posed an oratorio of * The Passion,' given at the
church of S. Celso in Milan. From 1786 to
1788 he wrote nine cantatas, 'Alceste,' 'Hero,*
* Sappho,' 'Nice d'Elpino,' * L'Amor filiale,*
' Alcide al bivio,* * Telemaco,* * Oreste,' and
* II Trionfo di David ' ; all in Milan, except the
last, which was given at San Carlo, Naples.
In 1789 Zingarelli was called to Paris to
compose an opera for the Acad^mie Royale de
ZINGARELLI.
Musique. He arrived in the thick of the fijjht
between the Piccinnists and Gluckists. Mar-
montel wrote for him the book of * L'xlnti-
gone/ which was represented on April 30,
1 790. This opera was performed in Paris only
three times consecutively, the Revolution having
more attractions than music for the Parisian
public. Zingarelli, as both a conservative and a
religious man, soon fled from Paris, and returned
to Milan through Switzerland at the beginning
of 1 79 1. There he produced at La Scala, *La
Morte di Cesare,' and in the following year
* L'Oracolo sannita ' and ' Pirro.'
In 1792 there was an open competition in
Milan for the place of Maestro di cappella of
the Duomo, the subject being a canon for eight
voices, and Zingarelli was appointed. The inde-
pendence and leisure of his new position did not
prevent him from working as hard as ever, and
he continued giving lessons and writing for the
theatre. Among his many pupils of this time
we may mention F. Pollini, to whom he dedi-
cated his 'Partimenti' and his 'Solfeggi,' which
soon became recognised text-books.
With *La Secchia rapita,' in 1793, Zingarelli
began a series of comic operas, which, although
not to be compared for real worth with his
serious operas, made his name popular, not
only in Italy, but throughout Germany, where
they were widely performed. * II Mercato di
Monfregoso ' soon followed, and is reputed his
best opera buffa. In 1 794 he composed * Arta-
serse ' for Milan, the ' Orazi e Curiazi ' for the
Teatro Reale of Turin, and 'Apelle e Cam-
paspe ' for the theatre La Fenice of Venice, in
which opera Crescentini made his deb<it. The
'Conte di Saldagna ' was unsuccessfully pro-
duced in 1 795 .it the same theatre in Venice ;
but this failure was grandly retrieved the fol-
lowing year by the performance of his greatest
work, ' Komeo e Giulietta ' at La Scala. Its
beauty and popularity are shown by the fact
that it has been played all over the continent
for the greater part of a century.
Zingarelli was appointed in 1794 Maestro di
Cappella at Loreto, which place he held for ten
years. Here he wrote many operas, of which we
may mention ' Clitennestra,' written expressly
for Catalani, and ' Inez de Castro,' for Silva.
His principal work, however, during these ten
years was sacred music, to which he was inclined
by his nature and by the duties of his office. In
the archives of the Santa Casa of Loreto is
accumulated an immense quantity of manuscript
music, known by the name of 'Annuale di Loreto.'
To this great collection Zingarelli contributed the
astounding number of 541 works, inclusive of 28
Masses, which are still sung in that church. As it
is forbidden to copy the music of the 'Annuale,'
the outside world must remain ignorant of its
merits. Zingarelli's masses, to those who heard
them, have a spontaneity of expression, an easy
facility of style, a simplicity, and, above all, a
most entrancing melody. In the style called
di cappella, in the music a pieno, no one has
ever surpassed him. The writer of this notice
ZINGARELLL
509
has obtained a complete list of them, the only
one ever made, which, duly certified and attested
by the present Maestro di cappella of Loreto, is
now deposited in the Library of the Royal
College of Music.
When Napoleon was at Loreto, in 1796, he
admired Zingarelli's music and befriended him,
a fact which subsequently became very useful to
the musician.
In 1804 Zingarelli succeeded Guglielmi as
Maestro di cappella of the Sixtine Chapel in
Rome. Here he set to music ]iassages from the
great Italian poets. Tancredi's Lamento, from
the twelfth Canto of Tasso's 'Gerusalemme
Liberata,' was performed in Naples in 1805, in
the palace of the Prince di Pantelleria, where
Zingarelli met Mme. de Stael, whom he had pre-
viously known in Paris as Mile. Necker. The
same year he gave in Rome ' La Distruzione di
Gerusalemme ' at the Theatre Valle, where it
kept the boards for five consecutive years. He
produced, seven years after, in Florence, * La
Riedificazione di Gerusalemme,' one of his very
few failures. His opera * Biildovino ' was given
in 1810 at the Theatre Argentina, and the fol-
lowing year 'Berenice' at the Theatre Valle,
both in Rome. * Berenice ' was Zingarelli's
last opera, and had a run of over a hundred
consecutive representations ; a thing unheard
of in the thinly populated towns of Italy. But it
was not his last work, as he continued writing
to the last day of his life. ' Berenice ' was com-
posed after leaving Rome for Civita Vecchia on
his forced journey to Paris; and one of its finest
numbers, the finale of the first act, ' Gia sparir
vedo la sponda ' was written on board ship.
We have now arrived at a memorable epoch
of Zingarelli's life, when his already well-known
name became illustrious among those of Italian
patriots. When Napoleon, in the zenith of his
imperial power, gave his son the pompous title
of ' King of Rome,' he ordered rejoicings through-
out all his dominions. ATe Deum was therefore
arranged to be sung at St. Peter's in Rome;
but when the authorities, both French and
Italian, were assembled for the performance of
this servile work, it was found to their conster-
nation that the Maestro di cappella refused to
have anything to do with it, and that nothing
could induce him to acknowledge the rule of the
Corsican usurper. He was arrested and, by
Napoleon's orders, taken to Paris, where he was
immediately set free and granted a pension.
This he owed to the fact that Napoleon was
fond, above all other, of Zingarelli's music,
which he had heard in Italy in 1796, in Vienna
in 1805, and in Paris in 1809. On the last
occasion, when Crescentini sang the part of
Romeo, Napoleon, much affected, sent him from
his own breast the star of the order of the Iron
Crown. He also ordered Zingarelli to compose
for his Imperial Chapel a Mass that should not
last more than twenty minutes, had it rehearsed
in his presence, and was so pleased with it as to
give the composer 6000 francs. During his stay
in Paris, Zingarelli was replaced at Rome by
ino
ZINGARELLI.
Fioravanti. In July 1810 he left Paris for
Naples, where in February 1813 he was ap-
pointed Director of the Royal College of Music.
In 1 81 6 he succeeded Paisiello as Maestro di
cappella of the Neapolitan Cathedral; and
held both these places until his death, May 5,
1837, at Torre del Greco, in his 86th year.
For the Birmingham Festival of 1829 Zinga-
relli wrote a Cantata on the 12th Chapter of
Isaiah. As he could not take it to England
himself he entrusted his pupil, Costa, with the
mission, and this was the occasion of Costa's
introduction to the English public. [See vol. i.
p. 406.] Zingarelli's next conposition was a
Hymn to commemorate the inauguration of the
Philharmonic Society of Naples in Jan. 1835.
His oratorio, *The Flight into Egypt,' was
written and performed only a few weeks before
his death in 1837, thus proving how, even at that
advanced age, Zingarelli still continued working.
Of his very numerous Masses, without reckon-
ing the 28 in the 'Annuale di Loreto,' the best
are— that of Novara; that of Dresden (commis-
sioned by the King of Saxony, and performed in
1835 under the direction of Morlacchi, one of
his pupils); a Requiem for the Neapolitan
minister Medici ; and another Requiem, com-
posed for his own funeral.
Zingarelli was very simple and almost primi-
tive in his way of living : rose early, worked
hard all day, and, after partaking of a piece of
bread and a glass of wine for his supper, retired
early to rest. He used to write out his thoughts
as soon as they occurred to him, and was quicker
in composing than others would be in copying :
when his imagination failed him he stopped.
He had always more than one work on hand;
and passed from one to another with the greatest
ease. When composing he never touched the
piano; and seldom erased or revised what
he had once written. His strong religious
feelings led him to live the life of an anchorite ;
nor was he free from the superstition so com-
mon among Italians. Never having married he
loved his pupils as his children, working very
hard with them; and he was happy in the
great success which attended many of them,
foremost among them being Bellini, Mercadante,
Ricci, Costa, Floriino, etc. Many anecdotes are
related of his indiscriminate almsgiving, which
sometimes left him without the means of buying
his own dinner, and caused him to die almost as
poor as those whom he had helped.
Although in his * Mercato di Monfregoso * and
in his 'Secchia rapita' Zingarelli gives many
proofs of a comic musical vein, he shone more in
serious operas, and most of all in his numberless
sacred compositions. Eminently conservative in
style, and never deviating from the ancient
landmarks, he was a most successful follower
of Palestrina and Marcello. His sacred music is
always well adapted to express the religious
sentiment which he wishes to convey; it is
never vague, extravagant or obscure; but is
always limpid and natural, like a stream of placid
water. His tunes invariably sustain each other,
ZINGARELLI.
and do not infringe the laws of harmony, of good
taste and of propriety. Whether his nuisic weeps
with Jeremiah, exults with Ambrose, threatens
with the Prophets, prays with the Shunammite,
or triumphs with the Angels, it is invariably
solemn and worthy of the Temple. The adapt-
ation of profane music to religious services, so
common in Italian churches, * he strenuously
combated. His melodies originated in his heart,
so full of faith and of charity ; and for this reason
his sacred music breathes something utterly
devout and of celestial fragrance. In this lay
the secret of his success. Art and science fade
before the pious fervour of faith, which alone
can lead the soul to worship and religious
ecstasy. The design of his choruses is perfect
and their colouring never false or overcharged.
His fugues are held in high commendation for
the completeness of their arrangement, and the
clearness and taste with which they are written.
The writer has consulted all the published
biographies of Zingarelli, and desires to express his
obligations to Monsignor Muzzarelli's 'Biografie
degli illustri Italiani,' to the Marchese Puoti's
•Brevi Notizie,' and to Villarosa's 'Elogio Storico.*
The following is a list of Zingarelli's operas
and oratorios.
OPERAS.
Date.
Name.
First Performed.
1771
I quattro pazzi . .
Conservatorlo. Naplai.
1781
Montezuma . .
S. Carlo. Naples.
1785
Alsinda . . ,
Scala. Mllao.
1786
Armlda .
Do.
1787
Annibale .
Do.
t>
Iflgenia in Aullde .
liicitnero . . .
Do.
Do.
1790
Antigone . . .
Opera, Paris.
1791
Morle di Cesare .
Scala. Milan.
1792
L'Oracoio Sannlta .
Plrro ....
Do.
Do.
1793
La Secchla rapita .
Do.
n Mercato dl Moiitfregoio
Do.
1794
Artasei-se .
Do.
Apelle e Campaspe .
Fenice. Venice.
^,
Orazii e Curiazli
Reale, Turin.
1795
Conte di Saldagna .
Fenlco. Venlc«.
1796
Romeo e Giulietta .
Scala, Milan.
*
La Danalde . .
Meleagio . , .
MitrUiato . . .
Do.
Do.
Fenice, Venice.
1798
Carolina e Menzikoflf
Do.
1799
Edipo a Coloua
Do.
11 Ritratto
Scala, Milan.
1800
n Ratto delle Sablue
Do.
1801
Clltennestra
Do.
1803
11 Bevltore fortunate
Do.
••
Le Nozze dt Doriua .
Inez dl Castro .
Do.
Do.
1810
Baldovlno . . .
Torre Argentina, BomCi
1811
Berenice .
Valle, Rome.
ORATORIOS AND CANTATAS.
1779
1786
1804
1805
Plgmallone
S. Carlo, Naples.
Alceste
Milan.
Hero
Do.
Sappho
Do.
The Passion . . , . .
S. Celso, MllM. t
NIced'Klpino
Do.
L'Amor fllialo
Do.
Alclde al bivio
Do.
Telemaco
Do.
Oreste
Do.
11 Trlonfo dl David ....
S. Carlo. NaplA.
Francesca da Rlmlnl . . .
Rome.
Tancredl al Sepolcro dl Clorlnda .
Naples.
La Dlstruzlone di Gerusalemmo .
Valle. Rome.
Conte Ugolino
Paris.
[ia RIedlficazlone di Gerusalemme
Florence.
Isaiah
Birmingham.
Saul
S. Michael. Rome.
Hymn of Inauguration . . .
Philharmonic Soc. Naples.
The Flight Into Kgypt . . .
Naples.
> See Ueadelssobn's Iietter front Yenlce, Oct. 16,
ZINGARELLI.
Also 541 MS. works in the • Annuale di Loreto,*
a detailed and complete list of which is in the
library of the Royal College of Music.
One of the few of Zingarelli's works published
in England is a motet 'Go not far from me,'
translated from ' Christus e miserere ' in Hullah's
Part Music. [L. R.]
ZINKE or ZINCKE, also called Cornetto
or Cornet k Bouquin (Fr.), is one of the oldest in-
struments known. It consists of a wooden tube,
slightly conical, covered with leather, having six
holes for the fingers, and one hole for the thumb on
the lower side, while the tone is produced through
a cup mouthpiece, similar to that of a trumpet.^
Its compass consists of a chromatic scale of a
lew notes more than two octaves. About the
14th and 15th centuries, when wind -bands gradu-
ally assumed a definite design, Zinken were
most important instruments. Their powerful
tone combined well with that of trombones, and
bands consisting mainly of these two kinds of
instruments were great favourites both at public
fetes and religious ceremonials. Many ancient
writers on music mention it in terms of great
praise. Artusisays: * As to its tone, it resem-
bles the brightness of a sunbeam piercing the
darkness, when one hears it among the voices in
cathedrals, churches, or chapels.' He further
mentions two cornetto players at Venice as
great artists on their instruments.* Mattheson
laments their partial disuse as early as 1739,
and says : * The fine zinken and trombones,
which formerly were considered to be of one
family, and equally respected by players and
composers, are now seemingly banished from our
churches, as if they were useless ; especially the
Zinke, which, in spite of its harshness, is so
penetrating,' etc.'* Schubart, who says much in
favour of the instrument, finds the probable
reason of its disuse in the severe exertion re-
quired to perform on it. ' A good player on the
zinke can now (end of last century) only be
found in Germany, and even there it seems that
the power of lungs is degenerating, as but very
few are left,' etc.* Seb. Bach employed theui
for strengthening the upper voice parts in his
chorales and choruses.* Gluck was the last com-
poser of importance who endeavoured to draw
the instrument from its obscurity, employing it
in several of his best operas. The original scores
of ♦ Paride ed Elena,' * Orphee et Euridice,' * Al-
ceste,' *Armida,' and both ' Iphigenias,' have
parts for zinken, though they are only used for
the purpose of strengthening the voices in the
chofus, or doubling either the trumpet or horn
parts. The difiiculty of procuring eflBcient players
as well as the harshness of the tone, were a bar
to its reintroduction, and the zinke became merely
an interesting historical relic.
1 That Is, hemispherical, in contradistinction to the mouthpiece of
the Horn. See the cuts, vol. 1. p. 748.
2 L'Artusl, * Dalle imperfezloni della moderna Muslca, etc.*
Venerla, 1600.
3 Mattheson ; ' Der vollstandlge Capellmeister.' Hamburg. 1739.
* Oh. F.D. Schubart's ' Ideen z. e. Aesthetik d.Tonkunst.' Wlen,1806.
s He seems usually to call them 'Cornetto.' Bee the publications
«r the Bachgesellschaft.
ZITHER.
'611
They were made of various lengths and shapes,
so as to form a complete choir among themselves.
The common zinken were of three different
shapes, although their pitch was the same, viz. (a)
below. No. I, Straight Zinke, Cornetto recto,
Cornetto diritto, with a separate small mouth-
piece. No. 2, Stille Zinke, Cornetto muto, soft
Zinke, of a narrower tube than No. i, the mouth-
piece forming part of the instrument, and pro-
ducing a soft tone. No. 3, Krumme Zinke, Cor-
netto curvo, having a louder tone, of a rather
coarse quality, was mostly used by the guards
on the watch-towers of towns, for giving alarm
in case of fire, or to signal the approach of the
enemy in time of war. Hence this kind of zin-
ken also received the ironical designation of the
' Stadtkalb ' or • Towncalf.*
Besides these there was the ' Kleine Zinke '
or Cornettino, four notes higher in pitch, with a
compass as at (5) ; and the 'Grosse Zinke' (No. 4),
f
I
variously called Corno, Cornon, Cornetto turto,
etc., five notes lower than the common zinke,
as at (c). The • Serpent,* recently obsolete, be-
(a)
^
*or3t W
i
(c)
n
1=
-••
longs to the same family. The Italian name,
Cornetti, and the fact of their being wood in-
struments, has led to curious mistakes, one writer
describing them as * small trumpets,* another as
* belonging to the oboe kind,' both being quite
mistaken. The description given in Hawkins's
History, Book VIII, chap Ixxi, is absolutely in-
correct. At p. 466, WiNDBAND, an ancient score
is given, in which Zinken form the principal in-
struments. [J.A.K.]
ZITHER. An instrument of such ancient
origin that it has been considered as contem-
poraneous, if not identical, with the Psalter
mentioned in Holy Writ. It appears to have
been known amongst the Greeks under the name
of Kithara. It consisted of a shallow sounding-
box of gracefully curved outline, the strings
passing across and let into the lower rim of the
sounding-board. The instrument was placed on a
pedestal called a chalkdma, the player standing
and using a plectrum. It woiild be of little
612
ZITHER.
interest to trace the various changes, modifica-
tions, and improvements which the zither, as
now known, has undergone, but we may safely
adopt tlie Darwinian theory with regard to it,
as there can be no doubt that the modern zither
is as superior to the ancient kithara as man is
to his remote ancestor. To proceed, therefore,
to the description of the instrument as con-
structed about half a century back, when it be-
came a favourite amongst the peasantry of the
Styrian and Bavarian Alps. To the shallow
sounding-box and mode of fastening the strings
in the ancient instrument, a finger-board was
added with fiets, representing chromatic and
diatonic intervals. At this period the highest
number of accompaniment and bass strings sel-
dom exceeded a dozen, while the fingerboard
had only three strings — these of metal. It was
due to the efforts of Petzmayer*, an Austrian
peasant and natural musician, that the zither,
despite its simplicity, came into public notice, as
he played his native Landler (a species ofcountry-
dance music) in most of the principal continental
theatres and concert-halls, always with great
success. Like Gdsikow, Picco, and others,
Petzmayer was a bom musician who, without
education and by the mere force of native
genius, produced the greatest effects from the
simplest materials. The writer of this article
can testify to the fact that in his hands the
zither was invested with a charm to which few
could be insensible, and had that kind of attrac-
tiveness which was truly characteristic. Thus
the zither gained a slight footing in the musical
world, and as a natural consequence Petzmayer
was succeeded by other players, who claimed to
rank higher in the scale of art. They turned
their attention to increasing the capacities of the
instrument, and with a view to this began to
add more strings both to tire fingerboard and
accompaniment. This, while affording a wider
scope to the player, did not increase the carrying
power of the zither, a want which made itself
felt when the instrument becanre a favourite in
England, where it was first introduced about the
year 1850, chiefly by the writer of this article, a
native of Dresden. It would occupy too much
space to attempt a description of the numerous
alterations to which the zither has been subjected
1 JOHANN Petzmayer was born at Vienna In 1810, and then
trarisferreil himself to Munich, where be was living in 1870, See Ap-
pendix, rETZMAYGB.
ZITHER.
during the past twenty years, nor would it be of
much profit to give a detailed account of these
changes, inasmuch as none of them supplied
the desired increase of tone.
The above drawing represents the Arion zither,
which is, without doubt, up to the present time,
the most powerful zither as well as the most
elegant in structure. It owes its origin to the
writer, and Schunda of Buda-Pest was the first
manufacturer who carried out the idea. The
improvement consists in the more suitable shape
of the resonance-box and in the method of fasten-
ing the strings. The use of a bridge across the
instrument acts as in the violin, and brings the
vibrations of the strings into closer connection
with the sounding-board.
The stringing of the zither is as follows :—
Fingerboard.
P
The two A strings are of steel, the D of brass,
the G of steel covered with silver wire, the C of
brass covered with copper wires.
Accompaniment Strings.
^ .* . * i * * . m* *
$
^
ic=n
I * I
^
Bass Strings,
P
"m^
izf-ir-jiSi-^
I— J— 4-
i
i*^^i^^%
The strings marked with an asterisk are of gut,'
the rest are made of silk overspun with silver wire,
and some few with copper wire, the divei'sity of
colour helping to assist the eye of the player.
Some professors in Germany are not content
with less than 40 or even 46 strings, but a»
the additional strings lie beyond the range of the
hand, and can therefore only be used in very slow
tempo, they are of little practical advantage, and
only tend to increase the size of the instrument.
In most zithers made in Vienna the finger-
board strings are tuned as follows : —
I
isinzjzq:
This is considered by Viennese players an ad-
vantageous disposition of the strings, especially
in playing Landlers; but for classical music it
would be found a great hindrance.
Three kinds of zithers are in use, varying in.
length of strings and consequently in pitch.
These are — (i) The Treble zither tuned to con-
cert-pitch ; (2) the Concert zither a tone below,
whilst (3) the Elegie zither will only stand a
third or even a fourth below concert-pitch.
In playing the zither the thumbs of both
hands are used, also the first, second, and third,
fingers, but in few cases is either of the fourth'
ZITHER.
ZOPFF.
513
fingers needed. The fingers and thumb of the
left hand are placed on the frets, the three fin-
gers of the right hand are devoted to the bass
and accompaniment strings, while its thumb is
used to strike the melody strings, the operation
of the left hand alone being insufficient to pro-
duce the full sound.
The thumb of the right hand is provided with
a partially-opened ring with which to strike the
melody strings. The best rings are of silver or
gold. The ring is to the zither what the bow
is to the violin. As in the one case the skill of
the violinist is estimated by his manner of
handling the bow, so in the other the beauty
of the performance depends greatly on a judi-
cious management of the ring.
II. A few words must be devoted to another
member of the zither family — viz. the Streich
or Bow Zither, which is, as its name implies,
played with a bow. Here the resonance-box
is heart-shaped, and a fretted finger-board is
fitted across it.
The tone of the instrument is however so thin
and wanting in volume that it is unworthy of
consideration, especially as it is now almost en-
tirely superseded by the PhilomMe and Viola-
zither, which have very rapidly grown into
favour in London of late, especially in aristocratic
circles.
The Viola-zither is shaped like a Viola. The
PhilomMe is represented in the above drawing.
These two instruments are, as regards the method
of playing, precisely similar, the difference exists
only in shape. They may be considered as close
rivals of the violin, which they much resemble in
tone. The finger-board is the same as that of the
zither. Beneath the head is a little foot to
steady the instrument, which is placed on the
edge of a table, while the body rests on the lap
of the seated player. This position, together
with the fretted finger-board, gives it a consider-
able advantage over the violin as regards ease in
acquiring proficiency, and difficult violin music
can be mastered in a comparatively short time.
The tuning is like that of the violin, viz. E, A,
D, G. The E and A are of steel, the D of brass,
and the G the same as on the violin. Gut strings
may be used if preferred, but they somewhat rob
the Philomfele of its individuality.
There are numerous manufacturers of the zither
all over Germany, who make thousands of instru-
ments annually. The largest and oldest firms
are those of Kiend'l in Vienna, and Tiefenbrun-
ner in Munich. Both are of world-wide renown.
An immense amount of music is published for
the zither. The best-known composers and
publishers are TJmlauf in Vienna, Grassmann in
Frankfort, Hoenes in Trier, Heckel in Mann-
VOL. IV. PT. 4.
heim, Stomps in Luxemburg, Schulz, and Hart
& Son, London.
The cithern-player of Giorgione at Venice is
well known. Mendelssohn mentions it among
the pictures for his sister to see (Letter, Sept. 14,
1839). [CSCH.]
ZOO, THE. * An original musical folly ';
words by B. Rowe, music by Arthur Sullivan.
Produced at St. James's theatre June 5, 1875.
The piece is still in MS. [G.]
ZOPF, i.e. ' pigtail.' The German term for
the old-fashioned obsolete style in music. Men-
delssohn, when at the Engelberg monastery,
accompanied a Mass by Emmerich ; * every note,'
he says, * had its pigtail (^Zopf) and its powder.'
(Letter, Aug. 24, 1831.) The French word
perruque is sometimes used for the same thing.
After writing some contrapuntal pieces, ' me
voild, perruque ' says he to Hiller. [See Devin
DU VILLAGE, vol. i. p. 442 a.] Beethoven used
to speak of his old-fashioned contemporaries as
* Reichscomponisten,' which perhaps might be
rendered * Act-of-Parliament musicians.' [G.]
ZOPFF, Hermann, bom June i, 1826, at
Glogau, in Silesia. Though he had received a
complete university education, his father wished
him to be a farmer; but his own predilections
constantly inclined him to music. At length the
successful performance of an overture composed by
him removed his father's opposition, and from the
age of twenty -four he devoted himself exclusively
to music. He placed himself under the tuition of
A. B. Marx and Kullak, and was soon engaged
to fill an important post on the teaching staff of
their new Conservatorium at Berlin. He had
also other appointments in the musical circles of
that city; but his ambition drew him towards
Leipzig, and he gladly accepted an offer from
Brendel to edit the ' Neue Zeitschrift fur Musik,'
which necessitated his removal thither. There
he toiled until within a short time of his death,
as editor, critic, conductor, composer, and pro-
fessor of singing and composition. The character
and tone which had been imparted to the ' Neue
Zeitschrift ' by Brendel were continued by Zopff,
for both editors were strenuous advocates of the
New German School. But Zopff was no narrow
partisan ; he was ready to do full justice not only
to Schumann and Wagner and their followers,
but to every musician of high aims.
Zopff's compositions cover a wide range of
form, from the simplest PF. pieces or songs, to
the largest polyphonic or dramatic works, and all
bear the mark of a thorough, scientific musician.
But for a certain want of spontaneity and grace,
they would probably have been much better
known and oftener performed. Among his numer-
ous choral works with orchestral or PF. accom-
paniment, we may mention his ' Brauthymne,*
' Friihlingshymne,' and * Triumph der Liebe.*
Of his larger works, approaching the oratorio-
form, we may cite ' Anbetung Gottes,' * Evan-
gelium der That,' and * Alexandera.' It is clear
from his operas, * Carloman,' ' Muhammed,'
' Judas Makkabeus,' and ' Gonstantin,' that his
LI
514
ZOPFF.
strength was especiaDy concentrated on dramatic
forms ; but as regards popularity his symphonic
poem ' Tell,' the * Idyllen fur kleines Orchester,'
and the 'Traum am Rhein' have been most
fortunate. Zopff was a careful and prolific
writer of critical, theoretical and didactic essays ;
his * Theorie der Oper ' is a good illustration of
the industry with Which he collected and utilised
valuable information. He wrote several treatises
on the cultivation of the voice, and paid special
attention to the cure of defects caused by faulty
training. He xmited lucidity, accuracy, and
conscientiousness in his work, with kindness,
generosity and hospitality in his social life. For
foreigners and strangers he had always a friendly
welcome ; and the weekly musical parties at his
house aflForded constant opportunities for the in-
troduction of new artists and new compositions,
while a special corner of the * Neue Zeitschrift
fiir Musik ' was always reserved for notices of
rising talent.
Zopff died of heart-disease at Leipzig, July 2,
1883. [A.H.W.]
ZOPPA, ALLA, i.e. halting, or limping. A
term applied to a rhythm in which the second
quaver in a bar of 3-4 time is accentuated, as
in certain Hungarian pieces. [See Magyar,
vol. ii. p. 197 6.] [Gr-]
ZORA. One of the many aliases of Rossini's
' Mose in Egitto,' in which the Bactrians are sub-
stituted for the Jews. It was produced at the
Royal Italian Opera, Covent Garden, April 20,
1850. [G.]
ZUKUNFTSMUSIK, la musique de Vavenir,
the Music of the Future. A journal for ' music
to come ' is still wanting, writes Schumann ^ as
early as 1833, *EinQ Zeitschrift fiir zukiinftige
Musik fehlt noch ' — and * of course,' he continues
in his humorous way, *only men like the old
blind Cantor at the Thomas schule (Bach) or
the deaf Capellmeister who rests at Vienna
(Beethoven) would be fit editors.' Schumann
himself became such an editor in 1834, and
during the next ten years his paper, the
* Neue Zeitschrift fur Musik,' was mainly instru-
mental in bringing about a new state of things.
Indeed the rapid success of Chopin, Gade,
Stemdale-Bennett, Henselt, Heller, etc., with
the better part of the contemporary public in
Germany, was to a considerable extent due to
Schumann's sympathetic and discriminating
advocacy. In the hands of his successor, Brendel,
the • Zeitschrift ' became the organ of Wagner
and Liszt, and particularly of a group of younger
men, such as von Biilow, von Bronsart, Draeseke,
Cornelius, Tausig, who, from 1850 to 60, gathered
round Liszt, at Weimar — the headquarters of
the so-called * musicians of the future.*
In good faith, or with derisive intent, the
ambiguous term * Zukunftsmusik * and the nick-
name * Zukunftsmusiker ' have been in use since
about 1850, when Wagner published *Das
Kunstwerk der Zukunft' (the Art-work of the
Future).' According to Wagner it was Dr. L.
1 Schumann! Gen. Schrlften, I. 49, 1st. ed. ISM.
2 See the article Waoneb, vol. W-. p. 367 ei teq.
ZUMSTEEG.
F. C. Bischoff,' editor of the Rheinische and the
Nieder-rheinische Musik-zeitungen (the now de-
funct rivals of the Neue Zeitschrift) who first
perverted Wagner's idea of the * art-work of the
future ' into that of the • music of the future,'
i.e. inartistic music, cacophonous to contemporary
ears, but intended by its perpetrators to please a
coming generation. Liszt, together with his
disciples at Weimar, accepted the nickname
Zukunftsmusiker, and delighted in it, • much as
erewhile lesgueux of Holland adopted the appella-
tive contemptuously applied to them.' * Wagner
also appears to have accepted the term — at least
* Zukunftsmusik ' is the German publisher's title
of his interesting 'Brief an einen franzosischen
Freund ' (M. Frederic Villot, * Curator des mu-
sses imperiaux '), which first appeared in French
by way of preface to * Quatre pobmes d'operas
traduits en prose fran9aise, pr^c^des d'une lettre
sur la musique'' (sic), and forms a r^sum^ of
Wagner's opinions. Berlioz, in his famous attack
on Wagner, * Les concerts de Richard Wagner :
la musique de I'avenir,' in the 'Journal des
D^bats,' Feb. i860 (reprinted in Berlioz *A
travers chants ') uses it ironically, * si I'^cole de
la musique de I'avenir,' etc. ; whilst Baudelaire
in his pamphlet 'Richard Wagner k Paris*
(1861), adopts it without reserve.
Some of Wagner's adherents in Germany and
in England endeavoured subsequently to limit
the use of the term and to define its meaning :
with them, 'Zukunftsmusik,* as distinguished
from music written in the traditional classical
form, is taken to signify music in which the
outlines of form are modified by some general
poetical idea or some particular programme, as
in Liszt's Pofemes symphoniques, or by the
progress of the dramatic action, as in Wagner's
dramas. Whether such a definition was prompted
or sanctioned by Liszt or by Wagner need not
be considered here. In any case the term
* Zukunftsmusik ' is absurd, and its use has led
to much confusion. [E.D.]
ZUMSTEEG, JoHANN Rudolf, bom Jan.
10, 1760, at Sachsenflur, in the Mosbach dis-
trict of Baden. His father being a valet to
Duke Carl of Wirtemberg, he was admitted
into the Carl-schule, at 'The Solitude,' near
Stuttgart, where he received a good general
education, and formed a close friendship with
Schiller, also a pupil there. He was originally
intended for a sculptor, but the love of music
proved too strong, and he studied first the cello,
and then composition with Poli, whom he suc-
ceeded in 1792 as Kapellmeister, and director of
the Opera. His chief claim to a place in the
history of music is that he was the pioneer of
the ballad, a form afterwards carried to such per-
fection by Reichardt, Zelter, and, pre-eminently,
Lowe. Zumsteeg's best, and in his day widest
known ballads were — * Leonore,' * Des Pfarrers
Tochter von Taubenhayn,' ' Kolma,' ' Die
Biisende,' 'Ritter Toggenburg,' *Elwina,' and
8 See BiscHOFr, vol. 1. p. 244.
« Wagner, Qes. Schrlften, vlll. 303—306.
> Paris, 1861. Bngllsb translation, London. 1873.
ZUMSTEEG.
ZWISCHENSPIEL.
515
* Die Entfuhrimg.' Of his operas the following
were frequently performed : — * Die Geisterinsel,'
* Das Pfauenfest,' and ' Ebondokani, the Calif of
Bagdad.' Other works deserving mention are —
Choruses for Schiller's ' Rauber,' several church
cantatas, a concerto and duet for cello. ^
Zumsteeg died very suddenly Jan. 27, 1802,
having been present the night before at a con-
cert given by the harmonica-player, Marianne
Kirchgessner, who immediately organised a
second for the benefit of the family. Breitkopf
& Hartel too, who had published the greater
part of Zumsteeg's ballads and songs, assisted
the widow in setting up a music-shop, there be-
ing none at that time in Stuttgart. It prospered,
and was kept on by the youngest son from 1821
to his death in 1859. . [CF.P.]
Something has been already said on Zum-
steeg's characteristics, under Song, vol. iii. p.
62S b. In the ballad form he was never really
successful, and his best songs belong more cor-
rectly to the Komanze. We miss in them the
bold melodic principal theme, which should
stand out in relief from all secondary themes and
ideas, and be repeated wherever the story needs
it. Lowe's ballads strikingly illustrate the value
of this characteristic, and if we compare them
with Zumsteeg's we shall see at once how much
is lost by its absence.
In some of his ballads the details are very
well and truthfully painted — for instance the
fine gloomy opening^ phrase of the 'Pfarrers
Tochter ' :
Massig langsam.
1 Haydn had a high esteem for Zumsteeg. Grieslnger wrote to
Hftrtel ; ' Haydn Is much distressed at Zumsteeg's death ; he had
plenty of Imagination, and a fine sense of form.'
2 Schumann possibly had this in his mind in the opening of his
* Two Grenadiers.*
it - re bei Nacht in der
Lau - b«. Da fliistert und, etc.
The subsequent little bit of melody, where the
story describes the girl's innocence, is pleasing.
The later passages in the poor girl's life, where
her father disowns her, and finally where she
murders her child and ends her miserable life
on the gallows, is also powerfully given. If
* Hitter Toggenburg' and *Leonore ' are somewhat
fragmentary and disconnected in form, none can
deny their great wealth of melody and highly
dramatic colouring. — Zumsteeg's accompani-
ments do not difi'er much from those of his con-
temporaries, but his voice part is always written
with skill and ejQFect. [A.H.W.]
ZWILLINGSBRUDER, DIE, or The Twin
Brothers. A farce in one act, words translated
by Hofmann from the French, and set to music
by Schubert. It contains an overture and ten
numbers, and the autograph (in the Library of
the Gesellschaft der Musikfreunde at Vienna) is
dated Jan. 181 9. It was produced at the
Karnthnerthor theatre on June 14, 1820. Vogi
sang in it, and was much applauded, but the
piece did not survive more than six representa-
tions. The main incident of the plot is the
same as in Box and Cox. The PF. score was
published by Peters, 1872. [See Schubert,
vol. iii. p. 330 &, 3326.] [G.]
ZWISCHENSPIEL— something played be-
t\*een. The German term for Interlude. [See
vol. ii. p. 7 b.] That the term had sometimes
a wider meaning than Interlude is evident from
a notice in the * Wiener Zeitung ' for April i,
1 795, referring to the Concerto in B b — ' In the
interval (2tw» Zwischenspiel), on the first evening,
the famous Herr Beethoven won the unanimous
applause of the public by an entirely new Piano-
forte Concerto of his own.' Even at that early
date he was der berichmte Herr Beethoven. [G.]
THE END.
APPENDIX.
iBEGG. Schumann's op. t, published 1831,
/I is entitled 'Th^me sur le nom Abegg, varid
pour le Pianoforte.' The theme itself is
given in vol. iii. p. 408 a. It owed its origin
to his introduction to a Miss Meta Abegg, of
Mannheim, and was written to please one of
his friends who was attached to the lady. The
'Mademoiselle Pauline Comtesse d' Abegg,' to
whom the piece is dedicated, is a mythical
personage. (See Letters, i. 156, 158 ; ii. 29.) [G].
ABELL, John. The date of the extract
from Evelyn should be 'Jan. 27, 1681-2.' It is
said that when Abell was at Warsaw he refused
to sing before the court, but his objections were
overcome by the somewhat summary method of
suspending him in a chair in the middle of a
large hall, while some bears were admitted
below him. He was asked whether he pre-
ferred singing to the king and the court, who
were in a gallery opposite to him, or being
lowered to the bears ; he not unnaturally chose
the former alternative. He was Intendant at
Cassel in 1698 and 1699. (Diet, of Nat. Biog.)
For 'Queen Anne' in line 26 of article, read
* William and Mary.* [M.]
ABERT, JoHANN Joseph, bom Sept. 21,
1832, at Kachowitz in Bohemia, began his
musical education as a chorister in the church
of Gastdorf. In his eighth year he was trans-
ferred to the Augustine convent at Leipa, and
remained there till his fifteenth year, when he
ran away to Prague, and through the assistance
of an uncle entered the Conservatorium there.
Several of his compositions were performed at
the concerts of the school, and in 1852, having
attracted the attention of Lindpaintner, then
capellmeister at Stuttgart, he received the post
of contrabassist in the theatre orchestra of that
town. Shortly after this, two symphonies were
written. These were followed by a symphonic
poem, 'Columbus' (Crystal Palace, Mar. 4, 1865),
and by four operas, 'Anna von Landskron,'
* Konig Enzio,' ' Astorga,' and ' Ekkehard,'
besides many works of smaller calibre. On the
retirement of Eckert in 1867, Abert suc-
ceeded him as Capellmeister, a post he still
(1887) retains. — (Mendel's and Riemann's
Lexicons.) £M.]
VOL. IV. FT. 5.
ABRAMS, The Misses (vol. f. 6 a). For
Henrietta read Harriet, throughout the article.
(Corrected in late editions.) [W.H.H.]
ABT. Add that he died at Wiesbaden, Mar.
31, 1885.
ABU HASSAN, a comic singspiel or operetta
in one act, the words by Hiemer, the music by
Weber, composed between Aug. 11, 1810, and
Jan 12, 1811. It seems to have been produced
on the 4th of the following June at Munich,
under Winter. In London it was produced in
English at Drury Lane in 1835, and in Italian, at
Drury Lane on May 12, 1870 (at the same time
with Mozart's * Oca del Cairo '), the translation
being made by Marchesi, and the dialogue set to
recitative by Arditi. There appear to have been
only two performances. [See Weber, vol. iv.
PP- 396, 7.] [G.]
ACADEMIE DE MUSIQUE. See also
ii. 172 h. On p. 8 J, line 18 from bottom, /or
1845 read 1843. Add to last paragraph but
one of the article, that MM. Ritt and Gailhard
are at present entrepreneurs (1887).
ACADEMY OF ANCIENT MUSIC. On
p. 10 5, line g,for 1828 read 1728. (Corrected in
late editions.)
ACADEMY, ROYAL, OF MUSIC. See
Royal Academy, vol. iii. p. 185.
ACCADEMIA, p. 11 S, 1. 6, /or six read five,
and cf. p. 259 a. From the list of references
given near the bottom of the same column, omit
Lombardy, Salerno, Siena, Verona, and Vi-
CENZA.
ACCENT. P. 16 a, musical example 29, bars
2 and 3, the first group of notes in each should
be quavers, not semi-quavers. In examples 32
and 34, for 2-4 of the time-signature, read 3-4.
(Corrected in late editions.)
ACCIDENTALS. See also Ois, Dis, Hbxa-
CHORDS, and Notation.
ACCOMPANIMENT. P. 220, 1. 29, f<yr
1697 read 1698.
'ACH GOTT VOM HIMMEL.' This
hymn, the words of which are a paraphrase
by Martin Luther on Psalm xi. ("Vulgate
version), made its first appearance in 1524,
when it was printed in at least four difi'erent
M m
618 ACH GOTT VOM HIMMEL.
collections : (a) ' Etlich cristlich lider Lobgesang,
vnd Psalm, etc.* printed at Wittenberg (Wacker-
nagel No. cxxix.) ; (J) the Erfurdt Enchi-
ridion (Wackemagel, No. clvii.) ; (c) the
•Teiitsch Kirchen Ampt mit lobegesengen,'
printed by Wolf Koppel at Strasburg (Wacker-
nagel, No. clxii.) ; and {d) Walther's Wit-
tenberg 'Geystliche gesangk Buchleyn*(Wackei>
nagel, No. clxiii.). In (a) it is directed to
be sung to the melody of * Es ist das Heil ' ;
in (b) it appears with the tune in the Hypo-
Phrygian mode to which it is usually sung —
especially in North Germany ; in (c) it is set to
a time in the Hypoaeolian mode, to which it is
sometimes still sung in South Germany ; and in
(d) it appears with a tune in the Dorian mode.
In Joseph Klug's Hymnbook (1535), besides
the well-known Hypophrygian tune, it is set to
another tune in the Phrygian mode, which was
afterwards adapted to Andreas Knopken's
Psalm • Hilf Gott, wie geht das immer zu.'
Tiie melody in the Erfurdt Enchiridion is as
follows :
^
3:e=0:
o d - » <^=^
^^=^_
30E=^=<r
•^"-c^ ■ o
t=0:
The use which Mozart has made of this
Chorale in the Finale to Act II. of the ' Zauber-
flote ' is very interesting. It is now well known
that this opera refers under a slight disguise
to the suppression of Freemasonry by Maria
Theresa. To masons, both book and music are
said to be full of allusions to the mysteries of
the craft, and it seems probable that one of
these is the introduction of the two men in
armour who sing at the moment of Tamino's
most solemn trial the motto inscribed on a
pyramid set to the well-known chorale * Ach
Gott vom Himmel.' Jahn (*W. A. Mozart'
iv. 617) surmises that Mozart's attention was
drawn to the chorale by Kirnberger's 'Kunst
des reinen Satzes,' in which it is twice used
as a Canto Fermo for contrapuntal treatment,
A sketch is preserved in the Imperial Library
at Vienna of another four-part arrangement of
the chorale, which still more closely resembles
the passages in Kirnberger's work. The auto-
graph score of the * Zauberflote * shows that the
beginning of the scene between Tamino and the
two men in armour has been carefully sketched.
The chorale itself is sung in octaves by the two
voices, accompanied by flutes, oboes, bassoons
and trombones, whilst the strings have an in-
dependent contrapuntal figure. [W.B.S.]
ADAM, A. C. P. 28 a,l. I4frombottom,/or
1S35 read 1836. Add day of death, May 3.
AGNESI.
ADAM, Louis. Add dates of birth and
death, Dec. 3 and April 11, 1849.
ADAMBERGER. P. 29 a, 1. 20 of article,
for Anna Maria read Maria Anna; and, two
lines below, for Antoine read Antonie; 1. 7
from bottom, for sixty-four read sixty-one.
(Corrected in late editions.)
AEVIA (Aeuia or ^via). A technical
word formed from the vowels of Allelma. ; and
used, in Mediaeval Office Books, as an abbrevia-
tion, in the some manner as Evovae — which see.
In Venetian and other Italian Office-Books of
the 1 6th century, we sometimes find Hal'a, or
Hal'ah, substituted for Aevia. [W.S.R.]
AFRICAINE, L'. Grand opera in 5 acts ;
words by Scribe, music by Meyerbeer. The
composer received the book in 1838, but
did not bring the work into its final shape until
shortly before his death. Produced at the
Academic, Paris, April 28, 1865 ; in Italian,
under the French title, at Covent Garden on
July 22 of the same year, with Madlle. Lucca
in the part of Selika, and in English (translation
by Kenney with same title) at Royal English
Opera, Covent Garden, Oct. 31. [See ii. 323,
AGITATO, 1. 7. The direction * Piano
agitato' is probably a mere misprint for the
* Poco agitato ' found in German editions.
AGNESI, Louis Ferdinand Leopold, the
famous bass, whose real name was Agniez, was
bom July 17, 1833, at Erpent, Naraur. He
studied at the Brussels Conservatoire, under Bos-
selet and F^tis, and in 1853-55 gained the
concours de Rome. He brought out an opera,
' Harold le Normand,' with indifferent success,
and subsequently abandoned composition for
singing. For the latter purpose in 1861 he re-
ceived instruction from Duprez, and became a
member of Merelli's Italian Opera Company,
under the name Luigi Agnesi, during a tour
through Germany, Holland, and Belgium. On
Feb. 10, 1864, he first appeared at the Italiens,
Paris, as Assur in * Semiramide,' with the
sisters Marchisio, and was engaged there for
several seasons. In 1865 he was engaged at
Her Majesty's theatre, where he first appeared
with Murska May 22, as the Prefect in ' Linda
di Chamouni,' and during the season he played
Assur and Figaro (Le Nozze), and also sang at
the Philharmonic, on each occasion with fair
success.
In 1871, on his return to England, where he
remained until his death, Feb. 2, 1875, he en-
joyed a greater reputation, not only in opera at
Drury Lane (1871-74), but as an oratorio and
concert singer at the Handel and provincial
Festivals, at the Sacred Harmonic, at the Phil-
harmonic, etc. In addition to the parts above
named, he played with success Pizarro (Fidelio),
AGNESI.
Mikheli in the solitary Italian performance of
*Le8 deux Journdes,' June ao, 1872, the Duke
in • Lucrezia,' etc., and showed himself in all an
accomplished actor and musician, devoted to
his art. Special mention may be made of his
Assur, which he sang in true Italian style, with
Titiens and Trebelli as Semiramide and Arsace,
a cast of which opera has never since been
equalled ; also of his delivery of the bass part
^f Crotch's ♦ Palestine,' in a style of music wholly
unfamiliar to him. [A.C.]
AGOSTINI. End of note i, /or i860 read
.1680. (Corrected in late editions).
AGRICOLA, Alexandee. Line 1 2 of article,
for Castaliae read Castiliae. Line i of epitaph,
for aura read cura ; ib. 1. 5, for hunc read
hue ; ib. 1. 8, for capite read in capite. After
the epitaph read * The question " Who brought
the Belgian hither?" is decisive as to his
nationality. He was certainly educated in the
Netherlands, and passed great part of his life
there. At an early age he was distinguished
both as a singer and performer. A letter of
Charles VIII. of France, in Mr. Julian Mar-
shall's collection, proves that he was in that
king's service, and left it, without leave, for
that of Lorenzo de' Medici, whence Charles re-
claimed him. Charles died 1498. Petrucci
published some of Agricola's works at Venice in
1503/ (The above appears correctly in late
editions, with the exception of the date of
Charles's death, there given as 1598.)
AGUILAR, Emanuel. See 11.7336.
AlDA. Grand opera in 3 acts ; libretto by
Antonio Ghislanzoni, music by Verdi. Commis-
sioned by the Viceroy of Egypt for the opening
of the opera-house at Cairo, and produced there
Dec. 24, 1 87 1. The first European performance
took place at Milan, Feb. 8,1872; and on June 22,
1876, it was given at Covent Garden. [M.]
ALBANI. Add the following to the notice
under Lajeunesse, vol. ii. p. 85.
Albani, Mme., bora 1850, not '51, whose full
christian names are Marie Louise Cecilia Emma,
since 1879 has appeared each year in Italian
opera at Covent Garden, excepting that year and
1885. Her new parts have been: — June 26,
1880, Isabella (production of ' Pr^ aux Clercs ') ;
June 21, 1881, Tamara, on production of *I1
Demonio' (Rubinstein); July 11, 1882, Mar-
garet and Helen of Troy, on production at above
theatre of * Mefistofele ' ; and July 15, 1884,
Brunhild (production of Reyer's * Sigurd'). In
the German season there of 1884, under Richter,
she played her favourite parts of Senta and Elsa.
In the season of 1887 she added to her already
large repertory (wherein we remark that no
work of Rossini or Meyerbeer is included) the
leading part in *La Vie pour le Czar' (July 12)
and was announced to appear in * II Matrimonio
segreto,' but that opera was not given.
In the concert-room, Mme. Albani has main-
tained her position, especially at the festivals,
where she has created, in important new works,
ALBERTI BASS.
5X9
the soprano parts mostly written for her, viz. at
Birmingham, 1882, in the ' Redemption ' ; 1885
1886, Elsie in 'The Golden Legend,' St. Ludmila
(Dvorak), and Ilmas (Story of Sayid), Mackenzie,
At Worcester also, in 1881, she sang in Cheru-
bim's Mass in D minor, ^ on its production
in this country; in 1882 (at Birmingham) in
the same composer's Mass in C; and in 1884
in Bach's cantata 'God so loved the world,*
in which is the well-known air *My heart
ever faithful.' In London and at Sydenham
she has sung in the greater part of these
works, also in ' The Rose of Sharon,' Dvorak's
Stabat Mater, and in i886 in Liszt's * St. Eliza-
beth ' on the occasion of the composer's fare-
well visit. Mme. Albani has sung in opera
abroad with her usual success ; also in Gounod's
oratorios at the Trocad^ro, Paris. Her most
recent engagements have been at Berlin, where
in 1887, in a three weeks' visit, she sang both
in German and Italian in ' Lucia,' * Traviata,'
* Faust,' * Fliegende Hollander' and ' Lohengrin,'
and was appointed by the Emperor a court
chamber singer. At the request of Sir Arthur
Sullivan she returned to Berlin on April 2, 1887,
and sang her original part of Elsie on the second
performance there of 'The Golden Legend,' under
his direction, having travelled from Brussels for
that express purpose. [A.C.]
ALBERTI BASS. A familiar formula of ac-
companiment which first came prominently into
fashion early in the i8th century, and has since
been the frequent resource of hundreds of com-
posers from the greatest to the meanest. It
derives its distinctive name from Domenico
Alberti, a musician who is supposed to have
been born during the second decade of the
1 8th century at Venice, where he became
a pupil of Lotti. He won fame both as a singer
and as a player on the harpsichord, and wrote
some operas and a considerable number of
sonatas, some of which were very popular with
musical amateurs. It is not very probable that
he actually invented the formula, but he cer-
tainly brought it into undue prominence in his
sonatas, and therefore did his best to deserve a
notoriety which is not altogether enviable. A
set of eight sonatas of his, which was published
by Walsh in London, affords good illustrations
of his love of it. He uses it plentifully in
every sonata of the set, sometimes in both
movements, and occasionally almost throughout
a whole movement. For instance, in the first
movement of the second sonata it persists
through thirty-seven bars out of a total of forty-
six ; and in the first movement of the sixth sonata
it continues through thirty-six whole bars and
four half bars out of a total of forty-four. The
following quotation from the beginning of the
sixth sonata illustrates his style, and his manner
of using the formula.
1 First produced In concert room In England, April 21, 188(^ tX
St. James's Hall, by the Bacb Cboir.
M m 2
120
ALBERTI BASS.
Allegro moderato.
tr
The fact of his having been a singer at a time
when Italian opera was passing into an empty
and meretricious phase, may account for his ex-
cessive use of the so-called 'bass,' [See also
Arpeggio, i. 87 a; Horn, i. 7486; Lotti, ii.
168 o.] He has been injudiciously credited with
the invention of the and subject in the binary
form, and is said to have been the first to asso-
ciate contrast of subjects with contrast of keys ;
ft theory which is equally ill-founded. He died
comparatively young in 1740. [C.H.H.P.]
ALBINONI. Add reference to English trans-
lation of Spitta's Bach, vol. i. 425-8.
ALBONI, Marietta. For date of birth read
Mar. 10, 1823. See also Covent Garden
Theatre. Mr. Louis Engel states that Alboni
first knew Rossini in 1844, and that she sang a
duet with Madame Patti at that m^tster's funeral.
ALCOCK, John. Line 8 of article, /on 735
in original edition and 1738 in late editions,
read 1737. Add that he held the post of
organist of Sutton Coldfield church (i 761-1786),
and of the parish church of Tamworth (1766-
1 790. P. 5 1 , 1. 5,/or March read February. [M.]
ALDRICH. P. 52 a, 1. 13, /or Dec. 14 read
Jan. 19.
ALFIERI, the Abbate Pietro, bom at
Rome, about the year 1 805, was admitted in
early life to Holy Orders ; became a Camal-
dulian monk ; and, for many years, held the ap-
pointment of Professor of Gregorian Music at
the English College in Rome. He was an earnest
student both of Plain Song and Polyphonic Mu-
sic ; and published some useful treatises on these
subjects, and some valuable collections of the
works of the great Polyphonic Composers. He
died, insane, before the year 1878.
The following is a list of his worka :—
1. Numerous articles on lubjects connected with Ecclesiastical
Music, in the ' G&zetta muslcale dl Milano,' and other periodicals.
2. Excerpta ex celebrioribus de musica viris, J. P. A. Prsenestino,
T. L. Vlttoria, et Gregorio Allegri Romano. (Roma, 1840.)
3. Inno e Ritmo ' Stabat Mater' ; e Motetto 'Fratres ego,' di G. P.
L. da Palestrina. (Roma. 1840 fol.)
4. An edition of the Sistlne Miserere, published under the pseu-
donym of Alessandro Geminiani. (Lugano, 1840. fol.)
6. Italian translation of Catel's ' Traits dharmonie.' (Roma, 1840.)
6. RaccolU dl Motetti dl G. P. L. da Palestrina, dl L. da Vlttoria.
di Avia e di Felice Anerio Romano. (Roma, 1841. fol.)
7. Ristabllmente del Canto e della Musica ecclesiastica. (Roma,
1843. 8vo.)
8. Notlzle blograflche di Nicolo Jommelli. (Roma, 1845. 8to.)
9. Sagglo storlco teoretico-pratlco del Canto Gregoriano. Roma,
180CO
ALFIERI.
10. Prodromo sulla restatirazlona do* llbrl dl Canto ecclesiastic©
detto Greizoriano. (Rome, 1867.)
11. Raccolta dl Musica Sacra, eto.^ of which the contents are benr
appended.
L. da
VOL. I.
Messe seelte di O. F.
Palestrina.
Mesaa dl Papa Marcello.
Do. per I Defonti, a cinqne tocI.
Do. Canoulca, a 4.
Do. O regem coell, a 4.
Do. Aeterna Christl munera, a4,
Do. Dies sanctiflcatus, a 4.
Do. deFeria,a4.
Do. Breve, a 4.
Do. Ego enim accept, a 8.
VOL. II.
MottettI a cinque voct di. O. P. L.
da Palestrina.
AdJnro Tos.
Ave Trlnitatls sacrarium.
Beatus Laurentlus.
Canlte tuba In Sion.
Caput ejus.
Caro mea.
Coenantibus 1111s.
Crucem sanctam subllt.
Derelinquat implus.
Descendlt in hortum meum.
Dilectus mens mihi.
Dilectus meus descendlt.
Domlne secundum actum m«um.
Duo ubera tua.
Ecce tu pulcher es.
Exi cito in plateas.
Exultate Deo adjutorl nottio.
Fasciculus myrrhae.
Guttur tuum.
Introduxit me Rex.
Lapidabant Stephanum.
Leva ejus.
Manus tuae Domlne.
Nigra sum, sed formosa.
O admirabile commercium.
O sacrum convivium.
Osculetur me osculo.
O Beata, et benedlcta, et gloriosa
Trinitas.
O vera summa sempltema Trl
nitas.
Parce mihi Domlne.
Paucitas dierum meorum.
Peccavi quid faciam tibi.
Peccavimus cum patribus nostris
Pater noster.
Peccantem me quotldle.
Fulcra es arnica mea-
Pulcrae sunt genuae tuae.
Quam pulcra es.
Quam pulcrl sunt gressus tui.
Quae est ista quae progredltur.
Rorate coell.
Salve reglna.
81 Ignoras te.
Slcut lilium Inter spinas.
Surge propera.
Surge arnica mea.
Surgam, et clrculbo clTitatem.
Trahe me post te.
Tota pulcra es.
Tribulatlones civltatum.
Veni venl dilecte mi.
Vineam meam.
Vox dilecti mel.
Vulnerasti cor meum.
VOL. III.
(Palestrina.)
Hymnl totius Annl Romae. 1689.
VOL. IV.
Lamentazlonl dl G. P. da Pale-
strina. Llbrl tre.
VOL. V.
OfTertorll a cinque vocJ dl O. P. da
Palestrina. (Oifertorla totius
Ann! . . , qulnque voclbus
Conclnenda . . . Romae, 1593.)
VOL. VI.
Motet a 6. Jerusalem clto Tenlet.
2da pars. Ego enim.
Do. a 6. Venl domlne.
2da pars. Exclta domlne.
Do. a 6. O magnum mysterlum.
2da pars. Quern vldlstls pas-
tores?
Antlphona a 6. Cum ortus fuerit
•ol.
Antlphona a 6. Responsum accA-
pit Simeon.
Do. a 6. Cum inducerent.
Motet a 6. Sancta et ImmaculatAi
2da pars. Benedlcta tu.
Do. a 6. Haecdles.
Do. a 6. Vlrl Galliael.
2da pars. Ascendit Deus.
Do. a 6. Dum coniplerentur.
Do. a 6. Tu es Fetrua
2dapars. Quodcumque Ug**
veris.
Do. a 6. Solve Jubente Deo.
2da pars. Quodcumque liga-
veris.
Do. a 6. Deus qui Ecdeslam
tuam.
Do. a 6. VIdl turbam magnam.
2da pars. Et omnes Angeli.
Do. a 6. Columna es immobiUs.
Do. a 6. Cantabo Domino.
2dapars. Ueflciaiit peccatorea.
Antlphona a C. Reglna mater ml-
sericordiae.
Motet a 7. Tu es Petrus.
Do. Virgo prudeiitisslma.
(Do. 2da pars) Maria Virgo.
Motet a 8. Surge illumiuare.
2da pars. Et ambulabunt.
Do. Caro mea vere est cibus.
2da pars. Uic est panls.
Do. Laudate dominum.
Do. a 4. 2 Choirs. Alma redemp-
toris mater.
Antlphona a 8. Aye reglna coe
lorum.
Psalmi a 8. Jubilate Deo.
Laudate piierl.
2da pars. Quls sicut Domlnns.
Sequentiaea8. Vlctimae pa>chali.
Veni splritus.
Stabat mater.
VOL. VIL .
Hymnus a 12. O gloriosa Vlrgi-
num.
Sequentia a 12. Stabat mater.
Absolutiu III Messa defunct, a 4«
Libera me, Kyrie etc.
Motet in Messa def. a 4. Me re-
corderis.
Domine secundum actum
meum.
Motet a 4. Innocentes pro Christo.
Do. a 4. Valde honorandus.
Do. a 4. Deus qui anlmae fam-
uli Gregorii.
Do. a 4. Ascendens Chrlstus.
Do. a 4. Princeps gloriosisslme
Michael.
Hymnus a 4. Gaude Barbara.
P.salmus a 5. Venlte.
Motet a 6. Cantaiitlbua oigftnia
Caecilla.
2da pars. Blduanls.
Do. a 6. Assumpta est Maria.
2da pars. Quae est Ista.
Do. a 6. Cum autem esset 8t«*
phanus.
2da pars. Fosltls autem.
Do. a 6. Hie est beatissimut
Evangelista.
2da pars. Hie est discipului.
DjD. a 8. Fratres ego enim.
Do. a 8. Jesusjuiixit se.
2da pars. Et increpavit eoa>
Do. Splritus sanctus.
Magnificat a 8. Imi tonl.
Do. 1ml tonl a 5 and 8.
Do. 2dl tonl a 6 and 6.
Do. 3tltonlae.
Do. 8vl tonl a 6.,
Do. octo tonorum a 4.
Pars l.-l. 2. 8, 4, 5, 6, 7. 8.
• Altera pars-1, 2, 3, 4. 6, 6, 7, 8.
Catalogo di tutte le Opera da)
Palestrina.
Elzlarll Genet.
Lamentatio a 4
Claudll Goudimel.
Motet a 4.
Const. Festa. Te Deum a 4.
Christ. Morales. Motet a fi.
[W.S.R.]
ALKAN.
ALKAN. See also ii. 731 a.
ALLEGRANTI. At end of article, for
Conway read Cosway. (Corrected in late edi-
tions.)
ALLEGRI. P. 546, 1. 19, for 1562 of
original, and 1653 of late edition, read 1662.
See also ii. 336 a. [M.]
ALLEN, Henet Robinson, was born in 1809
at Cork, and received his musical education at
the Royal Academy of Music. His d^but took
place on Jan. 11, 1 831, as Basilio in a per-
formance of 'Figaro' by the students of the
Academy at the King's Theatre. He first attracted
public attention by his performance on Feb. 5,
1842, of Damon on the production of *Acis and
Galatea ' under Macready at Drury Lane. * He
was the only person worth listening to, in spite
of the limited powers of his organ.'^ In 1843,
under the same management, he played Acis,
and Phaon in Pacini's * Saffo,* when the heroine
on each occasion was Clara Novello, and later in
the autumn he played at the Princess's as Ed-
ward III in the English version of * Les Puits
d'Amour.* From that time until the close of
the Maddox management in 1850 he was con-
tinually engaged at the latter theatre, where,
owing to its small size, he was heard to advan-
tage. He played in * Don Giovanni ' * Othello,*
* Anna Bolena,' Harold's ' Marie,' * La Barca-
role,' 'Les Diamants,' Auber's *La Sirfene,' etc. ;
Hal^vy's *Val d'Andorre'; Balfe's * Castle of
Aymon ' ; Loder's * Night Dancers.' In the early
part of 1846 he was engaged at Drury Lane,
where he played, Feb. 3, Basilius on production
of Macfarren's ' Don Quixote.' A propos of this
part, Chorley, in the 'Athenaeum,' considered
him, both as singer and actor, as the most
■complete artist on the English operatic stage.
Allen retired early firom public life, and de-
voted himself to leaching and the composition of
ballads, two of which became popular, viz. ' The
Maid of Athens ' and * When we two parted.' He
died at Shepherd's Bush, Nov. 27, 1876. [A.C.]
ALLGEMEINE MUSIKALISCHE ZEIT-
UNG. For Mdsikalische Zeitung read the
above, vol. ii. 115 a, 429 h, and 430 a.
ALSAGER. See also iii. 182 i, and 534.
ALTERNATIVO. A term of frequent oc-
currence in suites and other compositions of the
17th and 1 8th centuries, having precisely the
same meaning as the more modern word Trio,
when that is used of the middle movement of a
minuet or scherzo. The name as well as the
form evidently had its origin in the common
use, for dancing purposes, of two more or less
contrasting measures, which were played alter-
nately as long as the dancers desired. [See
-Geossvatebtanz, Csaedas, Magyae Music,
etc. ; and iv. 172 S.] The word seems generally
to carry with it the direction ' Da capo,' since
that sign is seldom found in conjunction with
it, although the idea of going back to the first
etrain or measure is never absent from the
Alternativo, The latest instance of its use is
1 Cox, Rev. J. B., Musical BecoUectioot.
ANAP^ST.
tit
in Schumann's six 'Intermezzi,' op. 4, in four
of which it occurs as the title of the middle sec-
tion. [M.]
ALT:feS, Ebnest Eugene, violinist and con-
ductor, younger brother of the flute-player Henri
Alt^s, was born in Paris, March 28, 1830. Sona,
of a soldier and brought up in the regiment, thei,
boys were taught by their father to play the
violin and fife from their earliest years. In his
1 2 th year Altfes wrote an air with variations for
violin and piano, which was shown to Habeneck,'
and procured his entrance into the Conservatoire.
In 1843 he entered Habeneck's violin class; two
years later he gained a second acoessit for violin,
in 1847 the second prize, and in the following
year the first prize. In 1849 he obtained a
second prize for harmony under Bazin, after
which he spent some time in studying advanced
composition with Carafa. From 1845 onwards
he played in the Opera band, and in 1846 was
admitted to the orchestra of the ' Concerts du
Conservatoire.' In 1871 Alt^s was appointed
deputy conductor at the Opera in place of Del-
devez, who had just given up his post after
twelve years' work. G. Hainl was at this time
conductor of the Opera, but at his death in 1873
Deldevez, who in the preceding year replaced
Hainl as conductor at the Conservatoire, was
recalled. In 1877 Deldevez was succeeded at
the opera by Lanioureux, who being unable to
agree with the new director, M. Vaucorbeil,
retired at the end of 1879. Altfes, who was still
deputy conductor, was now appointed conductor,
and almost immediately gave up his post at the
Soci^t^ des Concerts, which he had held since
1877. In 1881 he was decorated with the Legion
d'Honneur. His chief compositions are a sonata
for piano and violin, a trio for piano and strings,
a string quartet, a symphony, and a divertisse-
ment on ballet airs by Auber, written for the
Auber centenary in 1882, besides operatic fan-
tasias, melodies caract^ristiques, etc. On July i,
1887, M. Altfes, having, against his wish, been
placed on the retired list, was rather roughly
discharged by the directors of the Opera, and
replaced by M. Vianesi. [A. J.]
ALTNIKOL. See vol. i. p. 1 16 a.
ALVSLEBEN. See Otto-Alvsleben, in
Appendix.
AMBROS, A. W. P. 59 h, 1. 18 from end,
for is now read was the. (Corrected in late
editions.)
ANALYSIS. It should be added that the
first suggestion as to the desirability of explain-
ing the structure of compositions to the audience
was in a letter written to the ' Musical World *
of Dec. 2, 1826, by the late C. H. Purday, Esq.
ANAP^ST. A metrical foot, consisting of
two short syllables, followed by
a long one.
A remarkable instance of Ana-
paestic rhythm will be found
in Weber's Rondo in Eb, op. 62. [See vol. ii.
p. 318 a.] [W.S.R.]
B2i ANCrpNT CONCERTS.
ANCIENT CONCERTS. P. 64 a, 1. 17 from
bottom, /or till the time of his death in 1779
read till 1 763 ; and add that Bates died in 1 799,
not 1779. P. 64 J, 1. 6, for J. D. Loder read
J. F. Loder ; line 16, after *At the close of the
concerts,' add 'in 1848.' P. 65a, 1. 8, /or two
read three ; and refer to iii. 710 b. The last con-
cert took place June 7, 1848. The Library was
presented to the Royal College of Music. [M.]
ANDACHT, MIT. * With devotion * ; a
direction found at the beginning of Beethoven's
Mass in D, and in a few other passages.
Schumann uses *Reuig, andachtig,' for the super-
scription of No. 6 of the * Bilder aus Osten.' [M.]
ANDAMENTO (Italian verbal substantive,
from andare, to go, to move). A form of Fugal
Subject, more highly developed, and of greater
length, than the ordinary Soggetto, and gene-
rally, though not by any means invariably, con-
sisting of two distinct members, more or less
strongly contrasted with each other, and con-
sequently calculated to add materially to the
interest of a long and exhaustively-developed
Fugue.
It is in these respects that the Andamento
most strikingly differs from the more usual
Soggetto ; which, as Cherubini naively remarks,
'should neither be too long nor too short, but
of a convenient length'; and which is gener-
ally, though not always, of a more homogeneous
character : while the Attacco, shorter still, and
frequently consisting of no more than three or
four notes, culled from the Subject, or one of
its Counter-Subjects, is a mere Point of Imitation,
introduced for the purpose of adding interest to
the composition, binding it more closely together,
or establishing a more intimate correspondence
of style between its various sections.
A Fugue developed from a well-considered
Andamento must, of necessity, be a lengthy one.
A fine instance of an Andamento consisting of
two distinct sections will be found in the last
Movement of the Chorus, * When his loud voice,'
in Handel's * Jephthah,* at the words * They now
contract.'
Tbey now contnet their boistrous Pride, and lash with, etc
The * Amen Chorus,' in the * Messiah,' affords
another equally fine example, in which the two
sections, though distinctly separated, are not so
strongly contrasted with each other.
On the other hand, in the Chorus, • Righteous
Heaven,' in * Susanna,' the subject introduced at
the words, 'Tremble guilt,' though phrased in
three divisions which admit of distinct breathing-
places between them, is very nearly homogeneous
in its general character.
Nearly all the Fugues in Sebastian Bach's
ANDERSON.
* Wohltemperirte Klavier ' are formed upon Sog.
getti; whUe nearly all his finest Organ Fugues,
with Pedal Obbligato, are developed from long
and well- sustained Andamenti. A curious in-
stance, in two sections, will be found in the
Fugue in E major, the Subject of which is
given in vol. iv. 136 a.
In the well-known Fugue in G minor, the
construction of the Andamento is a miracle of
melodic skill:—
£,
i
'0 0 I- •<
i
One of the finest Andamenti to be found
among Fugues of later date is that which forms
the Subject of the * Zauberflote ' Overture.
Another forms the Theme of the first of Men-
delssohn's Six Fugues for the Pianoforte (op. 35).
Andamenti may be found both in Real and
Tonal Fugue ; the examples are, however, much
more frequent in the former than in the latter.
The Andamento is frequently used in combina-
tion, both with the Soggetto and the Attacco ;
and either, or both of them, may occasionally
be found in combination with a Canto fermo.
The * Hallelujah Chorus' is developed from a
Canto fermo adapted to the words, *For the
Lord God Omnipotent reigneth,' a Soggetto*
* And He shall reign, for ever and evei-,' and a
constantly-varying Attacco, * Hallelujah,' which,
under a multitude of changing forms, serves to
bind the powerfully-contrasted elements of the
composition into a consistent whole.
Sebastian Bach's Choral Vorspiel, * Wir glau-
ben all' an einen Gott,' is based upon a Canta
fermo, an Andamento, and a Soggetto.
Tlie Canto fermo.
In this case, the Canto fermo, were it not for
the fact that it is an old Ecclesiastical Melody,
and not an original Theme, might be technically
described as the true Soggetto, and the Soggetto
as a Counter-Subject, the office of which it per-
forms throughout the entire composition. See
Attacco, and Soggetto, in Appendix. [W.S.R.]
ANDANTINO. See Beethoven's opinion as
to the meaning of the term, in Thayer, iii. 241.
ANDERSON, Mrs. Lucy. P. 65, correct date
of birth to Dec. 1790. L. 4 from bottom of page,
for for many years read from 1848 to 1870;
and insert at end 'She died Dec. 24, 1878,' (Cor-
rected in late editions.) [W.H.H.}
I
ANDRfi.
ANDRlfi. P. 66 a, 1. 43, fw 12 read 16.
Insert that Joh. Baptist Andrd died Dec. 9,
1882, and that his brother Julius died Apr. 17,
1880. [M.]
ANDREOLI, GUGLIEGLMO. Add day of
death. Mar. 13.
ANDROT, Albert Auguste, was bom at
Paris in 1781, and admitted into the Conser-
vatoire in his fifteenth year. In 1799 he ob-
tained a prize for his exercises in harmony,
and four years afterwards, having gained the
Prix de Rome for his 'Alcyone,' he was sent to
that city to study under Gugliehni. During the
first year of his residence in Rome he made such
progress that his master commissioned him to
write a requiem and another sacred composition.
The latter, performed during Passion Week, ex-
cited so much admiration, that he was engaged
to compose an opera for the autumn. He had
scarcely completed the last scene when nature
sank under the arduous labour, and the composer
died on August 19, 1804, In the following
October a De Profundis of his composition was
performed in his memory at the church of San
Lorenzo in Lucinia.
A short notice of this composer is to be found
in the 'Diet, of Musicians' (1827). The above
is taken from * The British Minstrel.' [C.H.P.]
ANFOSSI. For date of birth read 1736,
and add date of death, Feb. 1797. See also
Cdbioso Indiscreto.
ANIMATO. Add a reference to Mendels-
sohn's letters to Mrs. Voigt, published in Mac-
millan's Magazine for June 1871, p. 129.
ANNA BOLENA. Line 2, for 1822 read
Dec. 26, 1830. Line 3,/or Sept. rea^ July 8.
ANTEGNATI of Brescia. This family
were amongst the earliest famous organ-builders
in Italy in the 15th and 16th centuries. At
the latter period they had already built more
than 400 instruments. [V. DE P.]
ANTHEM. See also Cathedral Music;
and in p. 71 &, 1. 22 from bottom, for 1663
read 1662; pp. 72 and 73, omit the names of
Wesley and Goss from the list of living com-
APPLICATIO. See Spitta's Bach, i. 600
(English translation ii. 39 and iii. 385).
APPOGGIATURA. In example 37, for
2-4 as the time-signature, read 3-4.
APRILE, Giuseppe. Paloschi calls him a
contralto singer, and gives the date of his birth
as Oct. 29, 1732, and that of his death as 1814.
ARCADELT. See also ii. 188, where the
beginning of ' H bianco e dolce cigno ' is given.
ARCHER, Frederick, bom June 16, 1838, at
Oxford ; in early life was chorister at All Saints,
Margaret Street, London ; his musical education
was received in London and Leipzig. He next
became organist of Merton College, Oxford, and
AETOT. 525
in 1873 was appointed to the Alexandra Pialace.
During the last engagement, on March 4, 1876,
he played the pianoforte part of Gade's * Spring
Fantasia' on its first performance in Eng-
land. On the resignation of Mr. Weist Hill
he became conductor of that establishment,
which post he held until 1880. He was alsa
Conductor (1878-80) of the Glasgow select choir,,
and director of a provincial opera company. In;
1 88 1 he became organist at the Rev. Henry
Ward Beecher's church at Brooklyn, U.S.A.^
which post he still holds, or held until quite«
recently. Mr. Archer is an excellent organist,
and has composed several works for that instru-*
ment, pianoforte pieces, songs, etc., besides two
works, * The Organ,' a theoretical and practical
treatise (Novello & Co.), and ' The College Or-
ganist ' (Weekes & Co.). He was for some time
the editor of the ' Key Note.' [A.C.}
ARDITI, LuiGi. Paloschi gives July 22,
1822, as the date of his birth.
ARETINO, GuiDO. See Guido in Ap-
pendix.
ARNE, Michael. P. 84 a, 1. 3 from end of
article, for 171 2 read 1782. (Corrected in
later editions.) Correct the date of his death to
Jan. 14, 1786. [W.H.H.]
ARNE, T. A. P. 84 a, 1. 3, omit the words • or
May 28 (the precise date cannot be ascertained).
For the opera of ' Rosamond ' see Clayton. P.
846, 1. I, /or In 1734 read On Dec. 19, 1733;
1. 20, for Aug. 14 read Aug. 1. Add to list of
works, *The Trip to Portsmouth,' 'Reffley
Spring' (1772), and music to Mason's tragedy of
•Eifrida.' [W.H.H.]
ARNOLD, Samuel. P. 86 a, 1. 12, for pur-
chased read took a lease of. L. 19 from bottom,
for about this time read in 1787- I^- 4 from
bottom, after * decline ' insert *he retained the post
until the termination of the Academy's existence
in 1 792.' L. 2 from bottom, /or three read fom*.
To list of works add * The Gipsies,* 'The Agree-
able Surprise,' 'Cambro Britons' C1798), and
the oratorio 'The Widow of Shunam,* 1801 ; and
compare p. 444 a. [M.]
ARRANGEMENT. P. 89, 1. 35, for there
is only one read there are six ; and add to note i
a reference to Eng. trans, i. 412.
ARTARI A. Line 4 of article,/or Commersee
read Lake of Como. (Corrected in late edi-
tions.)
ARTAXERXES. Line 3, omit ' probably.*
ART6t, Alexandre Joseph, bom Jan. 25,
1 81 5, at Brussels, was the son of Maurice Artdt^
(i 772- 1829) first horn-player at the theatre there,
by his wife Theresa Eva, daughter of Adam and
cousin of Ferdinand Ries. He received instruc-
tion in music and on the violin from the former,
and at the age of seven played at the theatre a
concerto of Viotti. He received further instruc-
1 His real surname was Montagny or Montagney, but he adopted
professionally the name ArtOt instead, which name was retained by
all his family.
524 ABT6t.
tion from Snel, principal first violin at the
theatre, and afterwards at the Paris Conserva-
toire from Bodolphe and August Kreutzer, and
in 1827 and i8a8 he obtained the second and
first violin prizes respectively. According to
F^tis, Art6t then played in concerts in Brussels
and London with the greatest success, and
became for a time player in the various Parisian
orchestras. He became fEimous as a soloist, and
made tours through Belgium, Holland, Italy,
Germany, etc. On June 3, 1 839, on the same occa-
sion that Mario first appeared in England, Artdt
played at the Philharmonic a fantasia of his own
for violin and orchestra, and was well received,
rather on account of the delicacy and feeling of
his playing and his remarkable execution, than
from his tone, which was very small.^ We do not
find that he played at any other public concert, and
this is borne out by a letter of August 6 of the
sameyearfrom Berlioz to Idszt, wherein details are
given concerning musical taste in London at the
time, received fromBatta, who had just returned
from there, and whose mutual conversation he
reports at length : * I arrived too late, and it is
the same with Artdt, who, despite his success at
the Philharmonic, despite the incontestable
6eauty of his talent, has a tedious time of it.' '^
In 1843 he went to America, Cuba, etc., on a
concert tour with Mme. Cinti-Damoreau, and
while there he received the first symptoms of
a lung disease. He never recovered, but died
July 20, 1845, at Ville d'Avtay near Paris.
Artdt's compositions for the violin include a
concerto in A minor, various fantasias and airs
with variations with piano or orchestral accom-
paniment, and, in MS. string quartets, and a
quintet for piano and strings. * He was, perhaps,
the most finished and the most elegant of all the
Bubini school of players; one of the handsomest
men in our recollection ; and much beloved, we
are told, among his comrades for his gentle-
ness and amiability.* (Athenaeum, Aug. 2,
1845.) CA.C.]
ART6T, MABaufelTB JOSEPHIKB D^SIB^
MoNTAGNET, bom July ai, 1835, at Paris,
daughter of Jean D^sir^ Montagney Artdt, horn
professor at the Brussels Conservatoire, niece both
of the above and of Baugniet the Belgian por-
trait-painter. She was taught singing by Mme.
Viardot-Garcia, and first appeared in concerts
in Belgium, Holland, and England, viz. at a
state concert Jxme 19, 1857. In 1858 she was
engaged at the Paris Opera, through Meyerbeer,
where on Feb. 5 she made her d^but with great
success as Fides, and subsequently played the
heroine in a condensed version of Gounod's
Sappho. In spite of praise lavished on her by
many critics, among others by Berlioz in the
D^bats, Feb. 17, she abandoned the French
in favour of the Italian stage. In 1859 she
sang in opera in Italy, and at tiie end of the year
at Berlin, on the opening of the Victoria
Theatre, as a member of Lorini's Italian com-
1 Athenemn, June 8, 1839.
> ■ Berlioz. CorretpoDdenc« InMito ' (1879), p. 12<.
ASPULL.
pany. In that city she made a furore in the
Barbiere and Cenerentola, in Trovatore, and even
in the small part of Maddalena in * Rigoletto,*
from which time the greater part of her career
has been passed in Germany both in Italian and
German opera, she having in the meantime
abandoned the mezzo for soprano parts. In
1859-60 she sang with great applause at the
Philharmonic and at other concerts. In 1863
she sang at her Majesty's as Maria (* La Figlia')
in which she made her d^but May 19th, as La
Traviata, and as Adalgisa to the Norma of
Titiens. In 1864 and 1866 she sang at the Royal
Italian Opera in the first two parts, in * Faust,*
• Figaro,* and the • Barbiere,' but in spite of the
great impression she invariably made, being an
admirable and very complete artist, she never
reappeared in England. On Sept. 15, 1869,
she married at Sfevres the Spanish baritone
Padilla-y-Ramos,^ and with him has sung in
Italian opera in Germany, Austria, Russia, and
elsewhere, imtil her retirement. Among other
parts she has played in German with great
success the heroines in • Domino Noir ' and * Les
Diamants.' On March 22, 1887, she appeared
with her husband in a scene from ' Don Juan,'
performed for the Emperor's birthday at the
Schloss at Berlin, in which city she has settled
as a teacher of singing. [A.C.]
ASANTSCHEWSKY. Line 2, for 1 839 (2nd
time) read 1863. (Corrected in late editions.)
See also ii. 735 6.
ASCHER, Joseph. . Add day of death, June
20. [W.B.S.]
ASHDOWN & PARRY. See Wessel.
ASHLEY, John (p. 98 a). It seems cer-
tain that the performer on the bassoon was not
the same as the assistant conductor of the com*
memoration of Handel. The *Mr. Ashley of
the Guards ' who played the double bassoon on
that occasion was most probably a brother of
John Ashley's, named Jane, who was bom in
1740 and died Apr. 5, 1809. John Ashley died
March 2, 1805. [See vol. ii. 402 a, note 3.] His
son, Gbnebal Chables, took part with two of
his brothers in the Handel Commemoration, and
got into trouble by nailing the coat of some
Italian violinist to his seat, and filling his violin
with halfpence. (Diet, of Nat. Biog.) Add to
the notice of John James Ashley that he was
bom in 1772, and died Jan. 5, 1815. Also that
RiCHABD Ashley was bom in 1775 and died in
1836. (The late editions of this work give
dates for these two members of the family, but
they are only partially correct). [M.]
ASIOLI. Line 2. of article, Jbr April read
August. Line 1 1 from end of article, /or May 26
read May 18. See also vol. ii. p. 329 a.
ASPULL, Geoeqe. Add that he was bora
June 1 81 3 at Manchester, and that he first
i Padilla-t-Bahos, born 1842 at Hurcla. studied under HobellinI
of Florence, and has sung In Italian opera erer since. On Oct. 1,
1881, he first appeared with success in England as Hoel In ' Dinorah/
at a winter season at the Lyceum. He played in 1886 in the short but
disastrous season at Her Majesty's, and in the autumn with Maplesoa
In the provinces, and was engaged for last season (1887) at Oovent
Garden Theatre.
ASPULL.
appeared at a concert in Jan. 1822. In the fol*
lowing year he played to Clementi in London,
and on Feb. 20, 1824, before George IV. at
Windsor. He played Weber's Concertstnck for
the first time in England at a concert at Brigh-
ton. After a visit to Paris in April 1825 he
undertook a number of concert tours through-
out Great Britain and Ireland. It was at
dementi's funeral that Aspull caught the cold
which eventually ended in his death on Aug,
19. (Diet, of Nat. Biog.) [M.]
ASTORGA. P. 100 a, 1. 26, for Society
read Academy.
ATTACCO (Verbal substantive, from atta-
care, to unite, to bind together). A short
phrase, treated as a Point of Imitation ; and em-
ployed, either as the Subject of a Fugue, as a
subordinate element introduced for the purpose
of increasing the interest of its development, as
a leading feature in a Motet, Madrigal, Full
Anthem, or other Choral Composition, or as a
means of relieving the monotony of an otherwise
too homogeneous Part-Song.
A striking instance of its employment as the
Subject of a Fugue will be found in No. xxvii. of
Das WohltempeHrte Clavier.
When used merely as an accessory, it almost
always represents a fragment of the true Sub-
ject ; as in * Ye House of Gilead,' from Handel's
*Jephthah.'
In the Madrigal, and Motet, a new Attacco is
usually introduced with each new paragraph of
the verbal text ; in the Glee, properly so called,
the part played by the Attacco is less important ;
while in the Part-Songs, its appearance as a pro-
minent feature is stiU less frequent. Exception
to the rule will, however, be found in Dr. Call-
cott's *Go, plaintive Breeze,' in Mendelssohn's
* Turkisches Schenkenlied,' ' Setze mir nicht, du
Grobian,' and in other well-known modern com-
postions. [See Andamento and Soggetto in
Appendix.] [W.S.R.]-
ATTERBURY, Lupfman. Add that he
sang in the Handel Commemoration of 1784,
and that his death took place in the middle of
one of his concerts. (Diet, of Nat. Biog.)
ATTEY. Add « He died at Ross about 1640.'
(Inserted in late editions.)
ATTWOOD. P. loi a. 1. 2 of article, for in
1767 read in London, Nov. 23, 1765. Line 15,
for i. 225 read i. 228, and add reference to
Mozart, ii. 396 a. Line \6,for February read
March ; and add that he accompanied the
Storaces to England. Line 21, for the latter year
read 1796. Line 4 from bottom,/or 28 read 24,
AUBER. The weight of testimony con-
cerning the year of the composer's birth sup-
ports Fdtis and substantiates the date 1782.
In the supplement to Mendel's Lexicon, the
date 1784 is corrected to correspond with F^-
AUGENER.
525
tis, on the authority of Paloschi. The list of
his operas is to be completed as follows: —
'Emma,' 1821; *La Neige,' 1823; * Le Con-
cert k la Cour,' 1824; * L^ocadie,' 1824; * Le
Timide* and ' Fiorilla/ 1826; * La Fiancee,*
1829; *Le Dieu et la Bayadere,' 1830; * Le
Philtre,* 1831 ; * Le Serment,' 1832 ; * Gustave
III,' 1833 ; * Action,' 1836 ; * Le Lac des Fees,'
1839; * Zanetta,' 1840; *Le Due d'Olonne,*
1842 ; «La Part du Diable,' 1843 ; *La Sirfene,*
1844; *La Barcarolle,' 1845; 'Marco Spada,'
1852; * Jenny Bell,' 1855; ^.nd * La Circas-
sienne,' 1861. Correct date given for * Lestocq'
to 1834. P. 103, 1. 8, /or May 13 read May 12.
In Forster's life of Dickens, ch. xlix., it is related
that Dickens described Auber as ' a stolid little
elderly man, rather petulant in manner.' [M.]
AUDRAN, Edmond, was born April 11,
1842, at Lyons, and received his musical
education at the !]&cole Niedermeyer, Paris,
where he obtained in 1859 the prize for compo-
sition. In 1 861 he became organist of the
church of St. Joseph, Marseilles. His compo-
sitions include a Funeral March on the death of
Meyerbeer, played at the Grand Theatre, Mar-
seilles; a Mass produced in 1873 at the above
church, and later at St. Eustache, Paris ; a
motet, 'Adoro te,' Paris (1882) ; ' Cour d' Amour,'
song in Proven9al dialect, and other songs. He
is best known however as an * opdra bouffe '
composer, and among such works may be named
* L'Ours et le Pacha,' Marseilles (1862), his first
work, founded on Scribe's well-known vaude-
ville of that name; 'La Chercheuse d 'Esprit,'
Marseilles (i864),revived at Paris Bouflfes, 1882,
a new setting of an opera of Fa v art (1741), ' Le
GrandMogol,' Marseilles (i876),atGaite, Paris,
Sept. 19 — in English, at the Comedy Theatre,
London, Nov. 17, 1884; * Les Nooes d'Olivette,'
Bouflfes, Nov. 13, 1879 — ^" English at the
Strand Theatre as * Olivette,' Sept. 18, 1880 ; ' La
Mascotte,' Bouflfes, Dec. 29, 1880 — in English,
Sept. 19, at Brighton, and Oct. 15, 1881, at the
Comedy Theatre ; * Gillette de Narbonne,'
Bouflfes, Nov. 11, 1882, plot founded on Boc-
caccio's story, used by Shakespeare for * All's
Well that Ends Well ' ; and ' La Cigale et le
Fourmi,' Gait^, Oct. 30, 1886. The five last
named have all obtained great popularity in
France, while ' Olivette,' and particularly * La
Mascotte,' are popular all over the world. [A.C.]
AUGARTEN. Line 23, /or 1800 read 1799.
ATJGENER. The music-publishing business
of Augener & Co. was founded at %6 Newgate
Street, London, in 1855. Later on branch ware-
houses were established at i Foubert Place, 22
Golden Square, and 81 The Quadrant, Regent
Street. By a recent change of partnership (26
February, 1887) t^e warehouse in the Quadrant
has been transferred to Mr. Wesley S. B. Wool-
house, the general business with this exception
remaining Mr. George Augener's.
Augener & Co.'s Catalogue contains upwards
of 6000 works, of which nearly looo are cheap
volumes; among these is a comprehensive
526
AUGENEB.
collection of pianoforte classics edited by Pro-
fessor Ernst Pauer, as well as an important
series of educational works edited by him,
by Mr. John Farmer, and other well-known
musicians.
In the last ten years Augener & Co. have in-
troduced the works of some of the most important
composers of the Neo-German School, including
Xaver Scharwenka, Jean L. Nicodd, and Mosz-
kowski. They have a large and varied stock of
music, and the sole agency for this country of
the famous Peters Edition published at Leipzig.
The ' Monthly Musical Record ' is published
by this firm, and has among its contributors
prominent names in English musical literature.
Its circulation is about 6000. [See Musical
Periodicals, vol. ii. 428 J.] [A.J.H.]
AVISON. P. 106, 1. 13 from end of article,
jTor two sets read three volumes.
AYLWARD, Theodobb. Add that from
1768 to 1 78 1 he was organist of St. Michael's,
Cornhill. (Diet, of Nat. Biog.) His kinsman
mentioned at the end of the article was for some
time organist of Chichester Cathedral, and since
January, 1887, has held a post of some im-
portance at Cardiff. [M.]
AYTON, Fanny, bom 1806 at Macclesfield,
was taught singing by Manielli at Florence,
and first appeared in Italy, so successfully that
Ebers engaged her for the season of 1827 at
BACH.
the King's Theatre, at a salary of £500. She
made her appearances there as Ninetta in * La
Gazza ' (Feb. 3), and as Fiorilla in * II Turco in
Italia.' In the same year she sang at Drury
Lane in an English version of ' H Turco ' and as
Rosetta in * Love in a Village.' She also played
in the provinces, and sang in concerts with fair
success. In 1829 she sang at the Birmingham
Festival in opera with Malibran and Michael
Costa. In 1 831 she sang again at the King's
Theatre for the season, as Creusa, in 'Medea'
(Simon Mayr), and she played Isabel in a muti-
lated version of * Robert ' (' The Daemon, or the
Mystic Branch,' Feb. 21, 1832), after which she
disappears from vie w . Sh e had considerable exe-
cution, a piquancy and taste of her own, a certain
ease on the stage, and a great fluency in Italian.
But she had the misfortune to compete with some
of the greatest Italian singers, and her intonation
gave way after her first season. (Chorley.) A
portrait of her, drawn and engraved by B. HoU,
was published in July, 1828. [A.C.]
AZZOPARDI, Francesco. A learned Ita-
lian theorist of the latter half of the last cen-
tury, from whose work, * II musico prattico,'
published in the form of a French translation
only (Paris, 1786), Cherubini quotes some in-
teresting examples, in his 'Course of Counter-
point and Fugue.*
Azzopardi held the appointment of Maestro di
CapeUa, in Malta. [W.S.R.]
B.
BABBINI. Add day of birth, Feb. 19.
BABELL. See vol. i. 287.
BACH. The following corrections are to be
made in the article which treats of the Bach
family (vol. i, pp. 108-114).
P. 109 a, 1. 7. The geneaJogy was not written,
but added to, by Emanuel Bach. In the genealo-
gical table several errors occur. No. 13 died in
1682, not 1732 ; No. 16 was bom 1642, not 1643.
The date of death of No. 14 is doubtful. No. 24
lived from 1759 to 1845. To No. 8 add dates
1645-1693. No. 6 was not named Johann, but
only Christoph.
P. 1 10 a, last line but 3,/or 1761, read 1671.
P. I II a. The list of J. Christoph Bach's mo-
tets is as follows : — (Printed) 'Lieber Herr Gott'
(Naue, Neun Motette, etc., book ii. 4) ; * Der
Gerechte, ob er gleich zu zeitig stirbt ' (Naue, i.
i); 'Unsers Herzens Freude hat ein Ende'
(Musica Sacra, Berlin, Bote & Bock, vol. xvi.
18); and the doubtful 'Ich lasse dich nicht'
(Naue, iii. 9, and elsewhere). The following are
in manuscript : — • Der Mensch, vom Weibe ge-
boren ' ; * Sei getreu bis in den Tod * ; * Herr,
nun lassest du deinen Diener'; and 'Fiirchte
dich nicht, denn ich habe dich erlost.'
P. Ill h, line 15 from bottom, the expres-
sion ' Starke Sonaten ' is to be taken as equivalent
to • stark besetzte Sonaten,' and refers, not to
the character of the compositions, but to the em-
ployment of several instruments in them. In
Adlung's copy of Walther's Lexicon, now in
the Royal Library at Berlin, is the following note
in Adlung's hand : — ' 2 choric (chorichte) sona-
tas by Job. Mich. Bach were engraved on cop-
per.' These are evidently the works referred to.
P. 112 a, 1. 21, for in his own handwriting
read in manuscript. It is not the composer's
autograph. Line 3 from bottom, for in read
Jan. I.
P. 112 J, 1. Jg, for in read June 29.
P. 113a, add days of birth and death of Wfl*
helm Friedrich Emst Bach, May 27 and Dec. 25
respectively.
P. 113 J, first fourteen lines to be corrected as
follows : — Emanuel Bach entered the service of
the Crown Prince of Prussia (afterwards Frede-
rick II.) in 1738, and remained in it uninter-
ruptedly until 1767, when he went to Hamburg
as Telemann's successor. He died there Dec. 14,
1788. [P.S.]
BACH, Johann Sebastian (voL i. pp. 114-
118).
P. 114 5, 1. i8,/or as read at. Lines 47 etc.
to be corrected thus : — His appointment to the
' new church ' at Amstadt took place on Aug. 14,
1 703, and at Easter of the same year he had gone
BACH.
to Weimar as Hoftnusikus, so that his residence
at the latter place can only have lasted a few
months. His journey to Ltlbeck took place at
the end of Oct. 1705. This detail is worthy of
mention, since it proves that he went in order to
hear the * Abendmusiken ' there, which were
held on the two last Sundays after Trinity, and
on the 2nd, 3rd, and 4th Sundays in Advent.
[See BuxTEHUDB, vol. i. 286.]
P. 1 1 5 a, paragraph 2 : — As Kapellmeister at
Cothen, Bach received the comparatively high
salary of 400 thalers (1200 marks, or £60) a year.
It is now certain that he went with the Prince
to Carlsbad, not only in 1720, but in 171 8. The
journey to Hamburg, where he saw Reinken for
the last time, took place not in I72i,but in 1720,
soon after the death of his first wife. In 1 7 19 he
was at Halle, where he tried to make the ac-
quaintance of Handel, who was at that time on
a visit to his family. This, and a second attempt
in 1729, fell through, so that the two composers
never met.
P. 115a, 1. 6 from bottom, for second read
first. The ' Trauermusik,' written by Bach at
Cothen in 1729, was not on the death of the
Duchess, but on that of the Duke himself, which
took place Nov. 19, 1 728. The Trauer-Ode here
referred to as written in 1727, was occasioned by
the death of Christiane Eberhardine, Electress of
Saxony, and was performed on Oct. 17, 1727.
Besides the Trauermusik, Bach wrote for the
court of Cothen a whole series of occasional
cantatas, proving his intimate connection with
the Ducal family: for Dec. 10 (the Duke's
birthday), in 1717, 1718, and 1720; for New
Year's Day, 1719 and 1720 (Gratulationscan-
taten) ; for Nov. 30 (the birthday of the Duke's
second wife), 1726. Only three of these compo-
Bitions are preserved ; most of the poems to
which they were set were written by C. F.
Hunold. Bach took up his residence in Leipzig
in May 1723. He was appointed Cantor of the
Thomasschule, and director of the music in the
churches, but not organist ; he never occupied an
organist's post after leaving Weimar in 171 7'
As Cantor he had to teach singing, and, at first,
to give a certain amount of scientific instruction ;
as director of music he had to superintend the
choral music in the churches of St. Thomas and
St. Nicholas. The choirs were composed of the
scholars of the Thomasschule, with the addition
of students and amateurs, the so-called *Adju-
vanten.' The size of the chorus, according to our
present ideas, was very small ; the average num-
ber for a four-part chorus was about 12 voices.
These were supplemented by a body of instru-
mentalists averaging 18 in number, and com-
posed of the town musicians with the assistance
of students, scholars, and amateurs. Part of the
duties of University Music-director were fulfilled
by Bach, and from 1729 to 1736 he conducted a
students' musical society, in which secular cham-
ber music was practised, and which held for some
time an important place in the musical life of the
town. Several public concerts were also given
by the society under Bach's direction.
BACH.
527
Bach*s oflBcial duties were not very pressing,
and he had time enough for composition. The
musical materials with which he had to deal
were however far from satisfying his require-
ments, especially as compared with the state
of music at the court. Besides this, his
governing authorities, the town council of Leip-
zig, showed themselves entirely incapable of un-
derstanding the exceptional greatness of this
musician. They did everything to impede his
freedom of action, and pestered him with petty
accusations. In the summer of 1730 Bach's
irritation was so great that he nearly resolved to
leave Leipzig altogether. His intercourse with
the rector and colleagues of the Thomasschule
was at first not unpleasant, and during the
rectorate (i 730-1 734) of the celebrated philo-
logist, Johann Mathias Gesner, it was very
agreeable. Bach could not get on v^ith the next
rector, however, Johann August Ernesti, a man
still very young and without any tact. Certain
difierences as to the appointment of one of the
choir-prefects, who had to direct the choir in the
absence of the cantor, led to a breach which in the
course of the year became quite irreconcileable.
Bach, with all his great and noble qualities, was
easily irritated, and possessed unyielding obsti-
nacy. The protracted conflict had very bad
results on the discipline and working of the
school, and even ten years after Bach's death the
rector and cantor were accustomed to regard
each other as natural enemies.
Bach's position in Leipzig was a highly re-
spected one, and he soon became a celebrity in
the town. Few musicians went there without
paying him a visit, and even the * stars ' of the
Italian Opera in Dresden did not fail to pay him
respect. He kept up a friendly intercourse with
the musicians of the Saxon capital. Pupils came
to him from far and near ; his house was a centre
of refined and earnest musical culture ; with his
wife, an excellent singer and an accomplished
musician, his talented sons and daughters, and
his numerous pupils, he could organise, in his
spacious house, performances of vocal and instru-
mental works, even of those which required a
large number of executants. That he mixed in
the literary and University society of the town
is proved by his relations with the poetess
Mariano von Ziegler and Professor Gottsched.
In later life he seems to have withdrawn more
and more from society. In the new impulse
which was given to music about the middle of
the century by the influence of the rich mercan-
tile element, and which resulted in the found-
ation of the 'Gewandhaus Concerts,' Bach, so
far as we can learn, took no part.
Bach made frequent journeys from Leipzig.
As he was still Kapellmeister at Cothen (*von
Haus aus' as the phrase was), he had to appear
there occasionally and to place his services at
the disposal of the reigning family. At the
same time he kept up his connection with the
court of Weissenfels, to which he had been
appointed Kapellmeister in 1 723 (not 1 736). He
often went to Dresden, where, since his passage
628^
BACH.
of arms with Marchand in 171 7, he had been in
high favour. Ini 727 he was — as far as we know,
for the last time — ^in Hamburg, and his native
Thuringia had been visited occasionally. His
most noteworthy journey was that of 1747 *o
the covuii of Frederick the Great at Potsdam
and Berlin. The reception here accorded to him
was extraordinarily complimentary.
Concerning Bach's last illness, it is to be
noticed that as early as 1749 it made him at
times so incapable of work that the town council
thought seriously of appointing his successor.
The statement that he engraved his own works
on copper, and so injured his sight, is absolutely
without proof. He had been accustomed from
earliest youth to strain his naturally weak sight,
and this brought on his blindness. The oculist
to whom he ultimately had recourse was the
English Taylor, who travelled through Germany
in 1750 and 1751. An operation was performed,
but was unsuccessful. By a curious coincidence
the same oculist operated, a few years later,
upon Handel, and also without success.
Bach's musical development proceeded from
the sphere of organ music, and it is to this
branch of art that the greatest and most impor-
tant part of his compositions, up to the year
1717, belongs. It was in the time of his residence
at Weimar that he reached his full greatness as
an organ-player. At Cothen he did not write
much for the organ ; the Orgelbfichlein, com-
piled there, consists for the most part of composi-
tions of the Weimar, or even of an earlier, period.
In all probability the celebrated G minor Fugue
with the Prelude (Bachgesellschaft edition, vol.
XV. p. 177) was composed in 1720 at the time of
his journey to Hamburg. Of the great Preludes
and Fugues only four can with certainty be as-
cribed to the Leipzig period : — C major, B minor,
£ minor, and Eb major (Bachgesellschaft, xv.
pp. 228, 199, 236 J vol. iii. pp. 173 and 254):
and of the chorale arrangements, probably not
more are to be referred to this time than those
twenty-one which constitute the chief part of
the • Clavieriibung,* and the canonic variations
on the Christmas hymn *Vom Himmel hoch.*
The six organ sonatas received their final cor-
rections at Leipzig, but most of them date from
Cothen or earlier, and were not originally written
for the organ, but for a pedal harpischord with
two manuals.
The Cothen period was principally devoted to
instrumental chamber music. Here the great
* Brandenburg' concertos were completed in
1721 ; the fast part of the * Wohltemperirte
Clavier ' written in 1722 (the second part was
finished about 1742); and in 1723 the Inven-
tions and Symphonies for clavier were produced.
Besides these, to this period are to be assigned
the six * French ' and perhaps also the six
* English ' suites, to which Bach added the six
* Partitas * (written in Leipzig between 1726 and
1731) ' very probably the sonatas and suites for
violin and violoncello, as well as the sonatas for
violin and clavier^ are also to be ascribed to this
time.
BACH CHOIR.
Lastly, in the Leipzig period, the composer
laid most stress upon church music for voices
with instrumental accompaniment. He wrote
some 300 so-called church cantatas, of which
more than 200 are extant. Only a small num-
ber of these, about 30, belong to the earlier
periods ; the earliest is probably the Easter
cantata, * Denn du wirst meine Seele ' (Bach-
gesellschaft, ii. No. 15) ; it seems to have been
written at Amstadt in 1 704. A good number
of cantatas can be assigned to the Weimar period,
but to the Cothen period belong only one or two.
But to the Leipzig period are to be referred not
only the great majority of cantatas, but also
almost all the great church compositions. Of
the five Passion settings only that according to
St. Luke belongs to an early time ; the * John '
Passion was performed for the first time in 1724,
the 'Matthew' in 1729, while two are lost. The
Christmas Oratorio was written in 1734, the
Magnificat, apparently for Christmas, 1723, and
the Mass in B minor between 1732 and 1738.
The German sacred poems set by Bach are the
work of Erdmann Neumeister, Salomo Franck,
Chr. Fr. Henrici (Picander), Mariano von Zeigler,
and others. Many of them were compiled by
Bach himself. [P.S.]
BACH CHOIR, THE. In 1875 a body of
amateurs was got together by Mr. A. D. Cole-
ridge for the purpose of studying Bach's Mass
in B minor, a work concerning which musicians
in England were then in almost total ignorance.
The music was studied under the direction of
Mr. Otto Goldschmidt [see vol. i. p. 608], who
had devoted much preparatory care to the Mass ;
and the work was performed at St. James's Hall
on April 26, 1876, and again in May of the same
year. Its success was such as to encourage the
promoters of the scheme to convert the tempo-
rary choir into a permanent association for the
production of classical vocal music. The new
society was called • The Bach Choir ' (in com-
memoration of the inaugural performance), and its
object was defined by the rules to be the practice
and production of choral works of excellence of
various schools. Lord Coleridge became presi-
dent, Mr. Goldschmidt musical director and
conductor, and Mr. Coleridge honorary secretary,
while the details of the administration were
handed over to a salaried secretary and librarian.
In March 1879 Her Majesty graciously con-
sented to become patron of the choir. In June
of that year Mr. Prendergast was appointed
secretary and librarian, with the whole of the
administrative work, Mr, Coleridge retaining
the office of honorary secretary.
While practising and producing other choral
works, the Mass was not neglected, and it was
performed, for the eighth time in London, in the
Albert Hall on March 25, 1885, in celebration of
the bicentenary of Bach's birth. For this per-
formance the choir was largely auginented by
voices selected from other leading societies, and
many retired members resumed for the occasion
their places in the chorus. Interest was also
lent to this performance by the use for the first
BACH CHOIR.
time in England of the trumpet and oboi d^amare
parts as written by Bach. The whole forces were
directed by Mr. Otto Goldschmidt, who shortly
afterwards resigned the post of conductor, and,
declining re-election, was succeeded by Dr. C.
Villiers Stanford. In the same year Lord Cole-
ridge retired from the office of president, and
Lord Monteagle was elected to succeed him.
At the end of-thisyearMr. Prendergast resigned
the office of secretary and librarian, and the work
was undertaken by Mr. Morton Latham as
honorary secretary, Mr. Coleridge resigning the
office which he had held since the commence-
ment. Many members left the choir after the
great performance in 1885, but new members
were not long in filling the vacancies, and the
numbers are now higher than at any previous
time. (The only performance in England of the
B minor Mass which has not been given by the
Bach Choir was the fine production at the Leeds
Festival of 1886 under the direction of Sir
Arthur Sullivan.)
Subjoined is a list of the principal works which
have been introduced to London through the
agency of the Bach Choir. Many of these have
been specially published for the society in the
Bach Choir Magazine.
J. S. Bach. Mass in B minor ; Missa Brevis in A ; Cantata, * Eln'
feste Burg ' ; Chorus, ' Now shall the Grace ' ; Sanctus in D : Do. in C.
Berlioz. Te Deum.
Eruch. ' Odysseus.'
Cherubinl. Mass in D.
Gade. ' Comala.'
Kiel. ' The Star of Bethlehem.'
Palestrina. Mlssa Papae MarcelH : Missa ' Assumpta est Maria."
C. H. H. Parry. ' Prometheus unbound ' ; ' Blest Pair of Sirens.'
Purcell. Anthem, ' Jehovah, quam multi.'
Spohr. Pt.zxiii.
Motets and shobteb wobu.
Anerio. 'Alleluia.'
J. C. Bach. ' Lieber Herr Gott.'
Stemdale Bennett. ' In Thee, O Lord.'
Brahms. ' Es ist das Hell .'
Eccard. ' When to the temple Mary came.'
Goss (finished by Sullivan). ' The God of Jeshuriin.*
Mendelssohn. ' Tu es Petrus.'
Palestrina. ' Adoramus Te.' riVT T n
Vittoria. ' 0 quam gloi iosum,' and • Jesu dulcls.' [M.L. J
BACH-GESELLSCHAFT. The list of the
contents of the edition of Bach's works is con-
tinued in the article Kikchen-Cantaten, vol. ii.
60 b. The following volumes have been issued
since the date there mentioned : —
BADIALI.
52S
1876. Twenty-flfth Year.
(Issued in 1878.)
Clavier Works. Vol.4.
The Art of Fugue.
Organ Works.
Orgelbflchlein.
8 Chorales.
18 Chorales.
1876. Twenty-sixth Year.
(Issued in 1878.)
Church Cantatas. Vol. 13.
121. Christum wir sollen loben
schon.
132. Das neugebor' ne Eindelein.
123. Liebster Immanuel.
124. MelnemJesumlass'ichnicht.
125. Mit Fried' und Freud*.
126. Erhalf uns Herr.
127. Herr Jesu Christ.
128. Auf Christ! Himmelfahrt.
129. Gelobet sei der Herr.
ISO. Herr Gott, dich loben alle
1877. Twenty-seventh Year.
(Issued In 1879.)
Chamber Music. Vol. 6.
6 Sonatas for Violin.
6 Suites for Violoncello.
Thematic Index to the Church
Cantatas. Nos. 1—120.
1878. Twenty-eighth Year.
(Issued in 1881.)
Church Cantatas. Vol. 14.
131. Aus der Tiefe.
132. Bereltet die Wege,
133. Ich freue mich in dir.
134. Ein Uerz, das seinen Jesnm.
135. Ach, Herr, mich armen
Sdnder.
136. Erforsche mich.
137. Lobe den Herren.
138. Warum betrttb'st du dich.
138. Wohldem, der sichauf seinen
Gott.
140. Wachet auf, ruft uns die
Stlmme.
1879. Twenty-ninth Year.
(Issued in 1881,)
Chamber Musie. Vocal.
Was mir behagt.
Non sa che sia dolore.
O holder Tag.
HOchsterwQnschtes Frendenfest.
Schwiegt stUle.
Mer hahn en neue Oberkeet.
(With appendix.^
1880. Thirtieth Year.
(Issued in 1884.)
Church Cantatas. Vol. 15.
141. Das ist je gewlssllch wahr.
142. Uns 1st ein Kind.
143. Lobe den Herm.
144. Nimm was dein ist.
145. So du mit deinem Munde.
188L Thirty-first Year.
(Issued in 1885.)
Orchestral Works.
4 Overtures (Suites).
Symphony iu F.
Musikalisches Opfer.
2 Concertos for 3 Clavien.
1882. Thirty-second Year.
assued in 1886.)
Church Cantatas, Vol. 16>
151. SflsserTrost.
152. Tiitt auf die Glaubensbabn.
153. Schau'. lieber Gott.
154. Mein liebster Jesu.
146. Wlr mOssen durch vlel Trlb- lo5. Meln Gott. wle lang*.
sal. 156. Ich steh' mit einem Fuss.
147. Herz und Mund und That. 157. Ich lasse dich nlcht. (Duet.)
148. Bringet dem Herrn Ehre. 158. Der Friede sei mit dir.
149. Man slnget mit Freuden. 159. Sehet, wir geh'n hinauf.
160. Nach dir. Herr, 160. Ich weiss, das meln ErlOser.
BACHE, Walter, born at Birmingham June
19, 1842, a younger brother of Francis Ed-
ward Bache. He studied the pianoforte and
theory under James Stimpson, organist of the
Birmingham Town Hall. In Aug. 1858 he
went to Leipzig, where he studied under Plaidy,
Moscheles, Hauptmann and Eichter. After a
short stay in Milan and Florence, he went in
the summer of 1862 to Rome, where for three
years he received regular lessons from Liszt. In
May 1865 Mr, Bache came to London, where he
subsequently resided, with the exception of a
short stay in Florence in 1871, where he had
lessons from Hans von Biilow. Mr. Bache was.
chiefly known by his unflinching advocacy of
Liszt's claims to be recognised as a composer of
the first rank. For several years he gave orches-
tral and vocal concerts, at which he brought for-
ward the following important works of his mas'
ter, many of which had not been heard in London
before : — Symphonische Dichtungen : Les Pre-
ludes, Orpheus, Tasso, Festklange, Mazeppa;
* Von Fels zum Meer ' march, Ehapsodie Hon-
groise, No. 4 ; * The Legend of St. Elizabeth ' ;
Psalm xiii. ; Eeapers' Chorus (Prometheus) ;
* Loreley ; ' 'Jeanne d'Arc ' ; Faust Symphony ;
Piano Concertos, nos. i and 2, and Fantasie uber
Ungarische Volksmelodien. During Liszt's visit
to England in the spring of 1886 Mr. Bache
gave a memorable reception at the Grosvenor
GaUery on April 8, when the master played
the finale of Schubert's 'Divertissement k la
Hongroise,* and his own Hungarian Rhapsody
in A minor. Mr. Bache was mainly instrumental
in founding the Liszt Scholarship at the Royal
Academy of Music, where he was a professor of
the piano. He died March 26, 1888. [W.B.S.]
BACHELOR. For additions see Degrees, in
Appendix.
BACK, vol. i. p. 121, 1. 3 from bottom. For
maple, read sycamore or hairwood. (Corrected
in later editions.)
BACKFALL. See Agr^ mens, vol. i. p. 43 h.
BACON, R. M. See vol. i. p. 288. In 1. 17
of article, ybr 1826 read 1829, and in the last
line but one,yor Nov. 2 read Nov. 27.
BADIALI. In the last two lines of article,
for where he died about the year 1870, read He
(i30
BADIALI.
died 17 Nov. 1865, at Imola, where he was bom.
(Corrected in late editions.)
BARMANN. Add the date of death of Karl
Barmann (3), May 33, 1885.
BAGPIPE, vol.i. p, 124 b, 1. 13,/or Mackin-
non's read MacEimmon's. (Corrected in late
editions.)
BAILDON. In 1. 7 of article, /or 1 768 read
1763, and add that he died May 7, 1774. (Cor-
rected in late editions.)
BAINI. See vol. i. p. 288.
BAKER, Geoboe. He was bom in 1773, and
quitted Exeter in 1790. He was organist at
Stafford^ from 1795, at Derby from 1810, and at
Rugeley from 1824. He died Feb. 19, 1847.
(Corrected in late editions.) [W.H.H.]
BALFE. Line 13 of article, for May 181 6
read June 1817. P. 126 h, 1. 5 from bottom, /or
ballad read ballet. P. 127 o, 1. 6, for 1828 read
1827 ; 1. 28, for in the following spring read on
May 27, 1836 ; 1. 46, for 1840 read March 1841.
P. 1276, 1. 20-21, omit the words and a few
weeks later, at the Surrey Theatre, • The Devil's
in it.' The production there referred to had
taken place in 1847, ^^^ should have been
mentioned six lines higher in the page. After
1. 40 add that an English version of * Pittore e
Duca ' under the title of * Moro,' was given at
Her Majesty's by the Carl Rosa company, on
Jan, 28, 1882. Lines 54-55, the opera ' Blanche
de Nevers' is wrongly ascribed to the year
1863 ; it was produced in Nov. 1862. (Diet, of
National Biography, to which the reader is
Teferred for further particulars.) [M.]
BALL. Omit Spohr's * God, Thou art great,'
and the *Lobgesang' from the list of Ball's
translations. (Corrected in late editions.)
BALLAD. Under this head mention should
be made of an experiment made by Schumann
and others, in the form of ' ballads for declama-
tion,* in which the elements of Melodrama
(which see) are applied to smaller works.
Schumann's contributions are : — * Schon Hed-
wig' (Hebbel), op. 106; * Vom Haideknabe '
(Hebbel), and 'The Fugitives' (Shelley), op.
122. Hiller's 'Vom Pagen und der Konigs-
tochter* (Geibel) is a slighter specimen. The
PF. accompaniments with which some modem
reciters are wont to embellish performances,
would come under the same category, were they
worthy of ranking as musical compositions. [M.]
BALLAD OPERA. [See English Opera,
i. 488 J.] To the list of Ballad Operas there
given the following may be added: — 1731. Patie
and Peggy; The Amours of Billingsgate; The
Grub Street Opera; The Welsh Opera. 1738.
The Disappointed Gallant, or. Buckram in Ar-
mour. 1740. The Preceptor, or, The Loves of
Abelard and Heloise. [W.H.H.]
BALLETS. Line 8 of article, /or 1597, read
1591.
BALLO IN MASCHERA. Line 3, /or in,
read Feb. 17.
i 8t. Marj'i Church. He resigned the pott oa May 19, 1800.
BARKER.
BALTZAR. P. 133 a, last line but one,/or
At read Soon after ; and compare ii. 58 a.
BAND. See also Wind-Band in Appendix.
BANDERALI. For date of birth, read Jan.
12, 1789, and add day of death, June 13.
BANDINI, Uberto, was bom at Rieti in Um-
bria on Mar. 28, i860. His father, Guglielrao,
was a provincial inspector of engineering. In 1 865
Uberto was sent to the Liceo of Perugia, where he
first studied the rudiments of music under Prof.
Giustiniani, and later on received instruction in
harmony from Prof. Bolzoni at the Institute Com-
munal e Morlacchi in the same town. In 1876, on
leaving the Liceo, instead of stadying law, he went
to Naples, where he attended the Conservatorio S.
Pietro a Majella for a year, his master being Lauro
Rossi. Being obliged to leave Naples on account
of private misfortunes, he went to Rome, where he
studied at the Liceo S. Cecilia under Tergiani and
Sgambati. His first important composition was
an overture, ' Eleonora * (Crystal Palace, Mar. i a,
1 881), which won the prize among 87 competi-
tors in a musical competition at Turin. He next
produced a successful symphony at the Roman
Royal Philharmonic Society's concerts, which
was followed by *I1 Baccanale' for orchestra,
produced at Perugia in Oct. 1880. [W.B.S.]
BANISTER. P. 134 5, 1. 7 & 16 from bottom,
for 1676 read 1667. John jun. died 1735.
BANKS. See London Violin-Makers.
BANTI. P. 135 6, 1. 17 from bottom, /or 1799
read 1794.
BAPTIE, David, born at Edinburgh Nov. 30,
1822. Author of a useful • Handbook of Musical
Biography,' 1883 (2nd ed. 1887). He has pub-
lished many glees, and has many more in MS.
He has also in MS. a ' descriptive catalogue,' or
index, of vocal part music. [G.]
BARB A J A, DOMENico. P. 138 a, 1. 15, /or
1825 read 1823.
BARBER OF SEVILLE. P. 138 h, 1. 4-5,/or
Dec. 26 read Feb. 5.
BARBIERI. Insert Christian names, Fran-
cesco Arsenic, and date of birth, Aug. 3, 1823.
BARGIEL. Add that he is at the head of
one of the three ' Meisterschulen fiir musikalischei
Composition' connected with the Academy of
Arts. To the list of his important works should
be added: — Overture to Prometheus, op. 16;
Symphony in C, op. 30 ; 1 3th Psalm, for chorus
and orchestra, op. 25 ; and for pianoforte the
Suites, op. 7 and 13, and a Sonata, op. 34. [M.}
BARKER, Charles Spaokman. [See vol. i.
p. 139, and vol. ii. pp. 599 and 607.] The fol-
lowing additional details were communicated by
him to the writer. He leamt his art under
Mr. Bishop, of London. His invention of the
pneumatic lever was not adopted in the organs
at York and Birmingham, for financial consider-
ations. He went to France in 1837. Besides
the organ of St. Denis, his pneumatic lever was
applied to those of St. Roch and the Madeleine
in Paris. He took out a brevet d'invention for
BARKER.
it in 1839. About 1840 he became director of
Daublaine & Callinet's factory, and at the Paris
Exhibition of 1855 ^^ received a first-class medal
and the Cross of the Legion of Honour. His
patent for electric organs was purchased by
Bryceson of London. He remained with Merk-
lin until i860, when he set up a factory of his
own under the firm of Barker & Verschneider,
and built the organs of St. Augustin and of
Montrouge in Paris, both electric. The war of
1870 caused him to leave Paris and return to
this country, where he built the organs for the
Catholic cathedrals of Cork and Dublin. He
died at Maidstone Nov. 26, 1879. C^* <^® ^-l
BARNARD, Charlotte Alington, known
by her pseudonym of * Claribel,' was born Dec.
23, 1830, and married Mr. C. C. Barnard in
1854. S^® received some instruction in the
elements of composition from W. H. Holmes,
and between 1858 and 1869 published some
hundred ballads, most of which attained an
, extraordinary popularity of a transient kind. A
volume of * Thoughts, Verses, and Songs ' was
published, and another volume of poems was
printed for private circulation. She died at
Dover Jan. 30, 1869. (Diet, of National
Biography.) [W.B.S.]
BARNARD, Rev. John. Line 6 from end of
article, add. It is now in the British Museum.
(Corrected in later editions.)
BARNBY, Joseph. See vol. i. p. 145 a, and
add to the article found there, that the time of
Mr. Barnby's tenure of St. Andrew's, Wells
Street, was from 1863 to 1871, when he became
organist of St. Anne's, Soho. Here be instituted
the annual performances of Bach's * Passion
according to St. John,' which he had previously
introduced to English audiences at the Hanover
Square Rooms. At the formation of the London
Musical Society [see that article in Appendix]
he was appointed conductor, and in this capacity
introduced DvoMk's 'Stabat Mater' and other im-
portant novelties. On Nov. 10, 1884 the Albert
Hall Choral Society gave under his direction a re-
markable performance of the music of Wagner's
* Parsifal,' in which the principal solo parts were
sung by some of their greatest German repre-
sentatives. In 1886 he succeeded Mr. Shake-
speare as conductor at the Royal Academy of
Music. Mention must be made of his psalm, * The
Lord is King,' produced with success at the Leeds
Festival of 1883. (Died Jan. 28, 1896.) [M.]
BARNETT, John. Line i, for July i read
July 15. Line i S,for two masses read one mass.
(Died Apr. 17, 1890.)
BARNETT, John Francis. Correct date of
birth to Oct. 16, 1837. Add the following to his
works since 1874: — Besides many compositions
for the PF., among which maybe mentioned three
impromptus dedicated to F. Hiller, and a sonata
in E minor dedicated to E. Pauer, Mr. Barnett
has produced three important works at various
festivals. The first of these, • The Good Shepherd,'
was written for the Brighton Festival of 1 8 76, and
BARTH.
531
the second, 'The Building of the Ship,' for the
Leeds Festival of 1880, where it met with great
and well-deserved success. In the following
year he wrote an orchestral suite, entitled * The
Harvest Festival,* for the Norwich Festival.
In addition to the above we may refer to Mr.
Barnett's Concerto Pastorale for flute and or-
chestra, a Sonata in E minor for flute and piano-
forte, and a Scena for contralto, * The Golden
Gate,' set to words by the late 'Hugh Con-
way.' [M.]
BARONI-CAVALCABO. See vol. ii. 729 i.
BARRET. Add that he died Mar. 8, 1879.
(Corrected in late editions.)
BARRETT, Thomas. See London Violin
Makers, vol ii. 164 b.
BARRETT, William Alexander, English
writer on music ; born at Hackney Oct. 15, 1836 ;
was a chorister at St. Paul's, where he is now
Vicar-choral, and is a Mus. Bac. of Oxford (1870).
Mr. Barrett has published 'English Glee and
Madrigal Writers' (1877), * English Church Com-
posers' (1882), 'Balfe, his Life and Work' (1882),
and other works ; he was joint editor with Dr.
Stainer of the 'Dictionary of Musical Terms*
(1875). He has been for many years musical
reporter of the ' Morning Post ' ; for some time
edited the ' Monthly Musical Record,' and is
editor of the ' Musical Times.* [G.]
BARRY, Charles Ainslie, bom in London
June 10, 1830. A writer who is understood to
edit the Programme-books of the Richter Con-
certs, and whose initials are appended to many
thoughtful analyses of Beethoven, Schumann,
Wagner, etc. Mr. Barry was educated at
Rugby School and Trinity College, Cambridge;
he was a pupil of T. A. Walmisley, and after-
wards studied music at Leipzig and Dresden.
He contributed for long to the * Guardian, *
edited the 'Monthly Musical Record,' 1875-79,
and has been otherwise active with his pen. He
has published several songs and PF. pieces. A
MS. Festival March of his was often played at
the Crystal Palace in 1862, 3, and he has a
symphony and other orchestral pieces in MS.
He was secretary to the Liszt Scholarship Fund
1886, and is an earnest ZukunftsmusiJcer. [G.]
BARTH, Karl Heinrich, born at Pillau,
near Konigsberg in Prussia, July 12, 1847,
received his first instruction from his father,
beginning the piano at four years old. From
1856 to 1862 he was studying with L. Steinmann,
and for two years after the expiration of this
tenn, with H. von Billow. From 1864 onwards
he was under Bronsart, and for a short time was
a pupil of Tausig's. In 1868 he was appointed a
teacher in the Stern Conservatorium, and in
1 87 1 became a professor at the Hochschule at
Berlin. Herr Barth is justly held in high
estimation for his earnest and intelligent inter-
pretation of classical works, and he is also an
admirable player of concerted music. He has
repeatedly undertaken successful concert tours
in Germany and England, and has once appeared
6a2
BARTH.
ftt a concert of Pasdeloup's in Paris. He holds
the position of pianist to the Crown Prince and
Princess of Germany, [M.]
BARTHELEMON. P. 145 h, 1. 14,/or Vaux-
hall read Marylebone, and add a reference to
Martlebonk Gardens ; also to Jephthah a.
BARTHOLOMEW. Line 7 of article omit
the ' Lobgesang * from list of works adapted.
(Corrected in late editions.)
BASEVI. Add dates of birth and death,
Dec. 29, 1 81 8, and Dec. 1885, respectively.
BASSEVI. SeeCERVETTO.
BASS HORN. This instrument, now obso-
lete, belonged to the bugle family, and was
shaped somewhat like a bassoon. It was made
of copper or brass, was blown by a cupped
mouthpiece and had 4 finger-holes and a keys.
In Germany some were made of wood. The
scale was similar to that of the serpent, extend-
ing down to B b below the bass stave. [V. de P.]
BASSOON. P. 153 J, 1. 13 from bottom, /or
unison read union,
BATES, Joah. Line i, for in 1740, read
Mar. 19, 1740-1. P. 155 a, 1. 10, for 1780 read
the same year. (His marriage took place as stated,
in 1780.)
BATESON, Thomas. P. 155 a, 1. 3. He
must have quitted Chester before 161 1, as on
Mar. 24. 1608-9, he * was chosen Vicar-Chorall '
of the Cathedral of the Holy and Undivided
Trinity, commonly called Christ Church, Dublin,
* in y® room of M^ Steven Robinson, late Vicar
of the said Church. Who was also admitted and
instaled the same daye.' And on April 5 fol-
lowing he * had leave from the Dean and Chapter
for one week more to pass into England about
his own business.' In the latter entry he is de-
scribed as ' Vicar and Organist of this Church.'
He is supposed to have been the first person
who took a degree in music in the L^niversity of
Dublin. (Chapter acts, Christ Church Cathedral,
Dublin, vol. ii. p. 73). [W.H.H.]
BATHE. See i. 289 J, and correct as fol-
lows : — He was bom on Easter Sunday, 1564,
being son of John Bathe, a judge, and his
wife Eleanor Preston. He entered the novitiate
of Tournai in 1595 or 1596. He studied at
Louvain and Padua ; was appointed rector of
the Irish college at Salamanca, and died at
Madrid, June 17, 161 4. In 1. 9 of the article
omit the words, * he came to London.' (Diet, of
Nat. Biog.) [W.B.S.]
BATISTE, Antoinb-Edouard, organist and
professor of music, bom in Paris Mar. 28, 1820,
died suddenly there Nov. 9, 1876, was a son of
the eminent comedian Batiste, whose memory is
still fresh in the annals of the Com^die Fran9aise,
and uncle of Leo Delibes, He was one of the
pages in the chapel of Charles X., but after 1830
he was sent to the Conservatoire, where he went
through a course of solfeggio, harmony, organ,
counterpoint and fugue. As a student he was
most successful, carrying off the first prizes in
BAZIN.
these studies, and in 1840, as a pupil of Haldvy's,
obtaining the second Prix de Rome. In 1836,
before he had finished his course at the Conser-
vatoire, he had been appointed deputy professor
of the solfeggio class ; after which he was suc-
cessively appointed professor of the male choral
class, of the joint singing class (suppressed in
1870), and of the solfeggio class for mixed voices.
He also instituted an evening choral class at the
Conservatoire. In Oct. 1872 he took a class for
harmony and accompaniment for women. These
professorial duties did not prevent him from pur-
suing his organ studies, and after having held
from 1842 to 1854 *^e post of organist at St.
Nicolas des Champs, he was given a similar post
at St. Eustache, which he filled until his death,
with so much ability that in consideration of his
long tenure of office the cure was allowed to
celebrate his funeral obsequies at St. Eustache,
though Batiste did not reside in the parish. A
musician of severe and unerring taste. Batiste
was one of the most noted organists of our time,
but his compositions for the organ were far from
equalling his talents as professor and executant.
He will be chiefly remembered by his educational
works, and particularly by his Petit Solffege
Harmonique, an introduction to the Solfeggio
and method of the Conservatoire, by his diagrams
for reading music, and above all, by his accom-
paniments for organ or piano written on the figured
basses of celebrated solfeggi by Cherubini, Catel,
Gossec, and other masters of that date, entitled
Solffeges du Conservatoire ; in short, he was a
hard worker, wholly devoted to his pupils and to
his art. [A. J.}
BATTEK", Adrian. P. 156 a, 1. 14. He prob-
ably died in 1637, as on July 22 in that year
letters of administration of the estate of Adrian
Batten, late of St. Sepulchre's, London, deceased,
were granted by the Prerogative Court of Can-
terbury to John Gilbert, of the city of Salisbury,
Clothier, with consent of Edward, John, and Wil-
liam Batten, brothers of the deceased. [W.H.H.}
BATTERY, one of the agrdmens , used in
harpsichord music. The sign for its perform-
ance is identical with the curved form of the
modem indication of the arpeggio (see i. 876,
ex. 4, second chord), which implied that the
chord to which it was prefixed was to be played
twice in rapid succession. [^.]
BATTISHILL. P. 1 56 a, 1. 3 from bottom,/or
1775 read I'j'j'j .
BATTLE OF PRAGUE. Line 8 of article
errs in giving 1793 as the date of the London
publication, as the piece appears in Thompson'*
catalogue for 1789.
BAUMFELDER, F. A.W. See vol. ii. p. 735 a.
BAZIN, Francois, bora at Marseilles Sept.
4, 1 816, studied at the Paris Conservatoire,
where he afterwards became professor of har-
mony, under Auber. [See vol. i. p. 393 J.] In
1840 his '.Loyse de Montfort' gained the Prix de
Rome. In i860, on the division of the Paris
Orphan into two sections he was appointed
BAZIN.
conductor of them for the left bank of the Seine.
[See vol. ii. 6i 2 a.] The following operas by him
have been given at the Op^ra-Comique :■ — * Le
Tronipette de M. le Prince,' 1846 ; ' Le Malheur
d'etre jolie,' 1847 ; * La Nuit de la Saint-Sylves-
tre,' 1849 ; * Madelon,' 1852 ; * Maitre Pathelin,*
1856 ; *Les D^sesp^r^s,' 1858 ; and *Le Voyage
en Chine,' 1865. Besides these, Bazin wrote
several sacred compositions and a number of part-
songs, etc. He died in Paris July 2, 1878. [M.]
BAZZINI. Add that in Jan. 1867 his opera
* Turandot ' (words by Gazzoletti) was given at
Milan, He has written two sacred cantatas,
* Senacheribbo' and * La Resurrezione del Cristo,'
besides settings of several Psalms; symphonic
overtures to Alfieri's * Saul ' (Crystal Palace,
Feb. 17, 1877) and to * King Lear' (Do. Feb. 21,
1880), and, in chamber music, three string-
quartets and a quintet. He was appointed direc-
tor of the Milan Conservatorio in 1880. [G.M.]
BEALE, William. The following additions
and corrections are to be made : — After the
breaking of his voice he served as a midshipman
on board the Rdvolutionnaire, a 44-gun frigate,
which had been taken from the French. From
Jan. 30, i8i6,toDec. 13, 1820, he was one of the
Gentlemen of the Chapel Royal. In November
of the latter year he had been appointed organist
of Trinity College, Cambridge. In Dec. 18 21 he
returned to London, and became successively
organist of Wandsworth Parish Church and St.
John's, Clapham Rise. (Diet, of National Bio-
graphy.) Add that he gained a prize at the
Adelphi Glee Club in 1840 (inserted in late
editions). [W.B.S.]
BEAULIEU. Add day of birth, April 11,
and that he died in 1863.
BECK, JoHANN Nepomuk, born May 5, 1828,
at Pesth, where he studied singing and first
appeared on the stage as Richard in '1 Puritani,'
having been advised by Erl and Formes to adopt
a musical career. He afterwards sang at Vienna,
Hamburg, Bremen, Cologne, Mayence, Wies-
baden, and Frankfort, 1851 to 53. From 1853
to the present time he has been engaged at
Vienna as principal baritone, where he is a great
favourite, being alike excellent both in singing,
acting, and in classical and romantic opera.
Among his best parts are Don Juan, Count
Almaviva, Pizarro, Mikheli (Wassertrager),
Hans Heiling, William Tell, Nelusco, Hamlet,
Amonasro, Orestes, the baritone parts in Wag-
ner's operas, etc. He has also performed in
the various cities of Germany and at Stockholm
with great success. — His son Joseph, born June
II, 1850, also a baritone of great promise, ap-
peared at Laibach (1870), and has appeared
with success, among other places, at Berlin and
Frankfort, where he is now engaged. [A.C.]
BECKER, CoNSTANTiN Julius. Add date of
death. Mar. i, 1879.
BECKER, Jean. Correct date of birth to
May II, 1833, a^cl add date of death, Oct.
10, 1884.
VOL. IV. PT. 5.
BEETHOVEN,
533
BECKWITH. Line 2 of article,/or 1 759 read
1750. For lines 3-5, read under Dr. William
Hayes and Dr. Philip Hayes. He was appointed
organist of St. Peter Mancroft's, Norwich, on
Jan. 16, 1794. and succeeded Garland as organist
of the cathedral in 1808, (Diet, of Nat. Biog,)
He never wrote or gave his Christian name
officially otherwise than 'John,' and it is be-
lieved that the name * Christmas ' was merely a
playful addition made by his friends by reason of
his having been bom on Christmas Day, He was
succeeded in both his appointments by his son,
John Chables, bom 1788, died Oct. 5, 1828, who
in tum was succeeded by Dr. Buck. [W.H.H.]
BEETHOVEN. (N.B. Many of the follow-
ing corrections have been made in late editions.)
Pages 162 b, 163 b, the value of the florin is
rather overstated.
P. 164 b, 1. 14 from bottom,ybr this year read
1790.
P. 165 b, 1. 14 from bottom, /or Violin rondos
read Pianoforte rondos.
P. 166 &, 1. 16, 17, reacZ Double fugue; Double
counterpoint in the 8th, loth, 1 2th. Last sentence,
read In the following Octoljer, Bonn was taken
possession of by the French republican army, and
the Elector fled.
P. 176 a, 1. 12, for brother read uncle.
P. 184 a, 1. ZZ^for 1766 read 1796.
P. 185 5, 1. 14 from bottom, ybr he began the
scoring of, read he was at work on,
P. 186 J, 1. 31, for the production read the
proposed production. (It appears never to have
taken place.)
P. 1876, last 6 lines, read Breitkopf &
Hartel. Simrock published (in March) the 4th
Symphony, dedicated to Count Oppersdorf, as
op. 60, and Breitkopf & Hartel head their
splendid list with the Violin Concerto, dedicated
to Breuning, as op. 61, and also issued in March.
This they followed in April by the C minor.
P. 188 a, 1. 17, /or Schonbrunn read Vienna.
Line 48, read Les Adieux.
P. 189 a, 1. 13, after 26 add 181 1.
P. 189 h, 1. 7, for Nov. 13 read Nov. 3.
Correct the whole sentence in which this date
occurs by a reference to vol. ii. 59.
There was a short visit to Toplitz in 181 1, as
well as the longer one in 181 2. On Sept. 6 he
is there, in constant communication with Rahel,
Varnhagen, and Oliva ; and apparently towards
the end of the month returns to Vienna, whence
he writes on 1 1 th of the * Wine month ' (October).
See Thayer, iii. 1 74-181.
P. 190 a, 1. ZOyfor early in 181 3 read on the
29th December.
P. 192 a, 1. 6, for Die read Der, Line 34,
for the latter read the Archduke Rodolph ; and
refer to vol, iii, 77 J, note 2, Line 47, for Kauka
read Kanka, Also in note 7,
P. 195 a, 1. 46, for exactly two read 1823,
three.
P. 195 b, 1. 16, for Hymn of Joy read Hymn
to Joy. Line 30 /or (op. 121) read (op. 124).
P. 197 6, 1. 6 from bottom, readJ March 6, 1825.
P. 198 a, 1. 8, read published in Sept. 1827.
Nn
584
BEETHOVEN.
P. 1986, 1. 5 from bottom, /or Krenn read
Kren; and in note 9 add a reference to the
I>eut8che Musik-Zeitung, March 8, i86a.
P. aoo b, 1. If/or 1 2th read loth. Line 15 from
bottom, add He died Monday, March 26, 1827.
P. 201 a, 1. 13, after Czemy add Lablache.
Line 46, read On Nov. 5 and following days.
P. 201 b, note 5, read Schindler, ii. 147.
P. 2 06 5, 1. 7 from bottom,/or Count read Moritz.
P. 208 b, 1. 32, read from 1812 to 1818.
B. & H.'s Complete Edition of the Works was
issued between Jan. 1862, and Nov. 1865. Since
the publication of the Dictionary Mr. Thayer's
3rd volume has appeared (1879) bringing the
BEETHOVEN.
life down to 18 16. — Before his death in 1882
Mr. Nottebohm issued a second * Skizzenbuch *
(B. & H. 1880), containing the sketches for
the Eroica. Early in 1887 appeared * Zweite
Beethoveniana ' (Rieter-Biedermaim), a volume
of 590 pages, containing the 'Neue Beetho-
veniana ' (p. 209 a) and many other articles of
the highest interest, the whole completed and
edited by E. Mandyczewski.
While this sheet is at press two works arrive :—
' L. van Beethoven, von W. J. v. Wasielewski,*
Berlin 1888, 2 vols. ; and 'Neue Beethoveniana,
von Dr. T. Frimmel,' Vienna, 1888, with 6 illus-
trations.
Catalogue of Beethoven's printed worJcs, compiled from Nottebohm* s Catalogue (JB. <fe S. 1868),
the Letters, the Works themselves, and other sources.
PF. = Pianoforte. V. = Violin. Va.= Viola. C. = Cello. Cbass = Contrabass. Cla v. = Clavecin.
Clar.= Clarinet. Ob. = Oboe. FL = Flute. Orch. = Orchestra. il«^. a Autograph. a>nn.s: an-
nounced, arrt. i" arrangement.
I. WORKS WITH OPUS NUMBERS.
Op-
De»eriptio».
Compos*!.
Original PMxAer.
DedieaUdto
1
Three Trios, PP. V. 0. (Eb. 0. C
minor). (For No. 3 compare Op. IM.)
Before April 1795.
Artaria, Vienna, about Ap. 179S.
Pr. Carl von Lichnowsky.
2
Three Sonatas, Clavecin or PF. (F
Artaria, Vienna, Mar. 9, 1796.
Joseph Haydn.
minor. A, C). (For No. 1 see No. 152).
S
Grand Trio. V. Va. C. (K b) possibly the
result of an attempt at a string
quartet.
1792,at Bonn.-.4«(.8.Tbal-
berg.
Artaria. Vienna. Feb. 8. 1797.
4
Grand Quintet. V.V. Va.Va. 0. (Eb).
An arrt. of the original Op. 103.
Artaria. Vienna, Feb. 8, 17S7.
6
Two Grand Sonatas, PF. C. (F. G
minor).
Artaria. Vienna, Feb. 8, 1797.
Frederick William 11.
Elng of Prussia.
6
Sonata. 4 hands, Clav. or PF. (D).
Artaria, Vienna, 1797.
7
Grand Sonata, Clav. or PF. (Eb).
Artaria, Vienna, Oct. 7, 1797.
Countess Babette tob
Eeglevlcs.
8
Serenade, V. Va. C. (D). See Op. 42.
Artaria. Vienna, ann. Oct. 7, 1797.
9
Three Trios, V. Va. C. (6, D, C minor).
Traeg. Vienna, ann. July 21, 1798.
Eder. Vienna, ann. Sept. 26. 1798.
Count von Browne (with
preface).
10
Three Sonatas, Clav. or PF. (0 minor,
F, D).
Grand Trio, PF. Clar. (or V.) C. (Bb).
Before July 7. 1798.
11
Mollo, Vienna, ann. Oct. 3, 1798.
Counteas von Thnn.
12
Three Sonatas, Clav. or PF. V.
Artaria. Vienna, ann. Jan. 12, 1799.
A. Salieri.
13
Grand Sonata path^tlque, Clav. or
PF. (C minor).
Eder, Vienna. 1799.
Pr. Carl von Lichnowsky.
14
Two Sonatas. PF. (E, G).
Mollo. Vienna, ann. Dec. 21. 1799.
Baroness von Braun.
le
Grand Concerto, PF. and Oroh. (C).
Atiatest 1796!-ku(.6.Ha»-
Mollo. Vienna. Mar. 1801.
Princess Odescalchl, mc«
(Really the second.)
linger, Vienna.
Eeglevlcs.
16
Grand Quintet. PF. Ob. Clar. Bassoon,
Horn or V. Va. 0. (Eb). Arrd. by
Beethoven as a Quartet for PF. V.
Va. 0. Also arrd. as String Quar-
tet and marked Op. 75.
Before April 6. 1797.
Mollo, Vienna. Mar. 180L
Pr. Schwarzenberg.
17
Sonata, PF. Horn, or C. (F).
Before April 18, 1801.
Mollo. Vienna. Mar. 1801.
Baroness von Braun.
18
Six Quartets. V.V. Va. C. (F. 0, D. C
minor, A, Bb).
Nos. 1 and 6 in 1800.
Mollo. Vienna. Pt. I (1-3), Summer,
1801 : Pt. II (4-6). Oct. 1801.
Pr. von Lobkowlti.
19
Concerto. PF.and Orch. (Bb). (Eeally
Before March 1795.-il«rf.
Hoffmeister Jb Eahnel. Leipzig.
Charies Nikl Noble da
the first.) See No. 151.
C. Haslinger. Vienna.
Nlklsberg.
90
Septet, V. Va. Horn, Clar. Bassoon. C.
Before April 2. ISOO.-Aut.
Homneistrr ft Eahnel, Leipzig. In
Empress Maria Theresa.
Cbass. (Eb).
Mendelssohns, Berlin.
2 parts in 1802.
a
Grand Symphony (C). (The first.)
Before April 2, 1800.
Hoffmeister * Kfihnel. Leipzig, end
of 1801.
Hofibnelster ft Eahnel, Leipzig, 1802.
Baron van Swieten.
^
Grand Sonata, PF.(Bb).
Before end of 1800.— Betn««d
Count von Browne.
copy, Peters. Leipzig.
23
Two Sonatas. PF. V, (A minor. P).
First two movements of So-
nata 1, composed In 1800.
Mollo, Vienna, ann. Oct. 28, 180L
Count M. von Friefc
M
Sonata In F, PF. V. (Op. 23). Op. 24
was originally PF. score ot Prome-
theus, now Op. 43.
Aut. Imperial Lib.Vlenna.
Originally published as Op. 28. No. 2,
but made Op. 24 before 1803.
Idem.
as
Serenade, Fl. V. Va. See Op. 41.
Cappi, Vienna. Early in 1802. .
96
Grand Sonata, Clav. or PF. (Ab).
Cappl, Vienna, ann. Mar. 3. 1802.
Pr. 0. Lichnowsky,
S7
No. 1. Sonata quasi una Pantaiia.
Olav.orPF. (Eb).
Cappi. Vienna, both ana. Mar. 3. 1802.
Princess J. Liechtenstein
No. 2. Sonata quasi una Fantasia,
Countess Oiulietta Giue-
Clav. or PF. (0 J minor). [' Moon-
Grand Sonata. PF. (D). [' Pastoral •].
clardi.
98
im.-Aut. 3. Kafka, Vi-
Bureau des Arts et d'Industrie. Vienna.
Joseph Edlen von Son-
enna.
nenfels.
29
Quintet. V.V. Va.Va. C. (0).
im.-Aut. Mendelssohn*,
Berlin.
im.-Aul. of No. 1. HOUer
Breitkopf ft HSrtel. Leipzig.
Count M. V. Fries.
»
Three Sonatas, PP. V. (A. 0 minor. Q.)
Bureau des Arts et dlndustrie, Vienna.
Alexander I, Emperor of
of Meiningen.
ann. May 28, 180S.
Bussla.
BEETHOVEN,
535
Op.
Deieription,
Three Sonatas, Clay.
minor, Eb).
or PF. (G. D
t
Song.'An die Hoflhung/ Tiedge'R ' nm-
nla'(Bb).
Seven Bagatelles. PF. (Kb. C, F, A, C,
D, F minor).
Six Variations on an original theme,
PF. (F).
[15] Variations with a fugue, on theme
from Prometheus, PF. (Eb).
Symphony No. 2, Orch. (D).
Grand Concerto, PF. and Orch. (0
minor).
Trio, PF. Clar. V. or C. (E b), arranged
by author from Septet, Op. 20.
Two Preludes, through all 12 major
keys, PF. or Organ.
Romance, V. and Orch. (G.)
Serenade, PF. F. or V. (D), from the
Serenade, Op. 25 ; revised by com-
poser.
Notturno, PF. Va. (D), arranged from
the Serenade, Op. 8.
The men of Prometheus, Ballet, Nos.
1-16.
Fourteen Variations, PF. V. C. (Bb).
Three Grand Marches, PF. 4 hands
(C,Eb, D).
Adelaide, by Matthisson, Cantata, for
Soprano with PF. (Bb).
Sonata [' Kreutzer'], PF. V. (A). ' Per 11
Pianoforte ed un VloHno obligato,
scritta in uno stilo molto concer-
tante quasi come d'un Concerto.'
Six Songs by Gellert, for Soprano:—
Bitten ; Die Liebe des NSchsten ;
Vom Tode; Die Ehre Gottes ; Gottes
Hacht; Busslied.
Two Easy Sonatas, PF. (G minor,
G major).
Bomance, V. and Orch. (F).
Two Kondos, PF. (C, G).
Eight Songs :—Urian's Reise (Clau-
dius) ; Feuerfarb (Mereau) ; Das
Liedchen v. d. Buhe (Ueltzen);
Mailied (Goethe); Molly's Abschied
(Bfirger); Die Liebe (Lessing);
Marmotte (Goethe); Das BIQm-
chen Wunderhold (BOrger).
Grand Sonata [' Waldstein '], PF. (0).
See No. 170.
['LI St'] Sonata, PF.(F).
Sinfonia eroica. No. 3 (E b).
Grand Concerto [Triple], PF. V. C.
and Orch. (C).
['LlVth'] Sonata, PF. (F minor), so-
called ' Appasslonata.'
Fourth Concerto, PF. and Orch. (G).
Three Quartets [' BasoumofEsky '],Y.\.
Va. C. (F, B minor, C). (7th, 8th, a
9th.)
Fourth Symphony (Bb).
Concerto. V. and Orch. (D).
Concerto, PF. and Orch., arranged by
author from his First Concerto for
Violin (D).
Overture to Coriolan.
Scena ed Aria, 'Ah, perfldol' Sopr.
and Orch.
Twelve Variations on 'Bin MSdchen'
(ZauberflOte), PF. C. (F).
Symphony, No. 5 (C minor).
Compoted.
Nos. 1 and 2, 1802.
1782-1802.-ilM<. J. Kafka,
Vienna.
Close of 1802.
im. — Aut. Breltkopf &
HSrtel, Leipzig.
Caose of 1802. First per-
formance, April 5, 1803.
ISOO.—Aut. C. Hasllnger,
Vienna.
1802.-^tt<. of V. part. Sim-
rock.
nS9. — Revised copy, Ar-
tarla In Vienna.
1803.
1795 (?).
Mar. 17, 1808.
Not later than 1802.
Aut. F. Amerllng, Vienna.
Mostly very early.
i.-AtU. J, Kafka, Vi-
Aug. IdOi.—BevUed copy,
3. Dessauer. Vienna.
1804.
1806.
Before Feb. \m.—Aut. No.
1. Mendelssohns. Berlin.
•Begun May 26, 1806.'
Aut. No.3.Thielenius,Chai^
lottenburg. No date.
1806. First played Dec. 23,
1806.— Ant. Imperial Li-
brary, Vienna.
April 1807.
April 1807.— Au*. Herr Pa-
terno, Vienna.
Prague, 1796.
legun 1805; first played
Dec. 22, 1808.— Attt. Men-
delssohns, Berlin.
Original Publisher.
Nos. 1 and 2 In ' Bepertoire des Cllave-
cinistes'; No. 6, Nfigeli, Ztlrich.
early in 1803. Then (with B.'s
corrections) 'Deux Sonates . . .
op. 31 . . . Edition trfes correcte,"
N. Simrock, Bonn: and then as
* Deux Sonates pour le Clavecin
ou Pianoforte,' CappI.Vienna. No.
3 in Nfigeli's 'Repertoire,' No. U,
1804. In 1805 as ' Trois Sonates p.
Clavecin ou Pianoforte ..... uvre
29, Cappi, Vienna.
Kunst und Industrie Comptoir,
Vienna, ann. Sept. 18, 1805.
Bureau des Arts et d'Industrle.VIenna,
ann. May 28, 1803.
Breitkopf & H&rtel, Leipzig, 1803.
Breltkopf £ HSrtel, Leipzig, 1803.
Bureau des Arts et d'Industrie, Vienna,
Mar. l(-04 (Parts) Score.
Bureau des Arts et d'Industrie, Vienna,
Nov. 1804.
Bureau des Arts et d'Industrle.VIenna,
Jan. 1803.
Hoffmeister & Kuhnel, Leipzig, close
of 1803.
Hoffmeister & Kfihnel, Leipzig, 1803.
Hoffmeister & Kuhnel, 1803.
Hoffmeister & Kiihnel, Leipzig, 1804.
Artarla, Vienna, June 1801 (PP. ar-
rangement only).
Hoffmeister & Kuhnel, Leipzig, 1804.
Bureau des Arts et d'Industrie, Vienna,
Mar. 1804.
Artarla, Vienna, Feb. 1797.
N. Simrock, Bonn, 1805.
Artaria, Vienna, 180S.
Bureau des Arts et d'Industrie, Vienna,
ann. Jan. 19, 1805.
Bureau des Arts et d'Industrie, Vienna
May 1805.
Artaria, Vienna. No. 1, 1797. No. 2,
Sept. 1802.
Kunst und Industrie Comptoir,
Vienna. June 1805.
Bureau des Arts et d'Industrie, Vienna,
May 1805.
Bureau des Arts et d'Industrie.Vienna.
Ap. 1806.
Contor delleArti e d'Industria, Vienna,
In Parts. Score.
Bureau des Arts et d'Industrie, Vienna,
ann. July 1. 1807.
Bureau des Artset d'Industrie.Vienna,
ann. Feb. 18, 1807.
Kunst und Industrie Comptoir,
Vienna, Aug. 1808.
Schreyvogel & Co. Pesth, Jan. 1808.
Bureau des Arts et d'Industrie, Pesth
and Vienna. Mar. 1809.
Bureau des Arts et d'Industrie.Vienna
and Pesth, Mar. 1809.
Bureau des Arts et d'Industrie, Vienna
and Pesth, Aug. 1808.
Bureau des Arts, et d'Industrie.Vienna
Jan. 1808.
Hoffmeister & Ktthnel, Leipzig, 1805.
J. Traeg. Vienna, Sept. 1798.
Breitkopf * H&rtel, Leipzig, Ap. 1809.
Princess Odeschalchl,
n^e Keglevics.
Count M. Lichnowsky.
Prince Carl Lichnowsky.
Prof. J. A. Schmidt, with
Preface.
Princess Esterhaiy, »<«
Liechtenstein.
Matthisson.
Count Browne.
Countess Henrietta von
Lichnowsky.
Count von 'Waldstein.
Prince von Lobkowitz.
Prince von Lobkowitz.
Count Francis v.
wick.
Archduke Budolph of
Austria.
Count von Basoumoifsky.
Count Oppersdorf.
Stephan von Breuning.
Madame von Breuning.
M. [H. J.] de Collin.
Countess von Clary.
Prince von Lobkowitz
and Count Basoumoff-
Bky.
N n 2
636
BEETHOVEN.
Deteriplion.
PMtoral Symphony. No. 6 (F),
Grand Sonata. PF. 0. (A).
Two Trios. FF. V. C. (D. Eb).
Sextet. Clar. Clar, Cor. Cor. Fag. Fag.
(Eb).
Fidelio, or Wedded Leva.
Concerto. PF. and Orch. (Eb), the
Fifth.
Quartet [* Harfen *]. V. V. Va. C. (E b).
(The 10th.)
Six Songs, Sopr. and PF. ' Kennst du
das Land,' ' Herz mein Herz.* and
'Es war einmal,' Goethe; 'Mit
Llebesblick." Halem ; ' Elnst wohn-
ten ' and ' Zwar schuf das Giack,'
Reisslg.
Op. 75 Is also marked to an arrt. of
Op. 16 as a string quartet.
[6 1 Variations, PF. (D). See Op. 113.
Fantalsle, PF. (G minor).
Sonata, FF. (Fp.
Sonatina. PF. (G).
Faiita.sia, PF. Orch. Chorus. Words
by Kuffuer. The theme of the varia-
tions Is Beethoven's song 'Gegeu-
Ilebe.' See No. 254.
Sonata, PF. (Eb), 'Les Adleux, I'Ab-
sence, et le Retour.'
Sextett. V.V. Va. C. 2 Cors. (E b).
Four Ariettas and a duet, Sopr. and
PF. Words by Metastasio. 1.
•Dlmml ben niio.' 2. 'T'intendo,
si.' 3. ' Che fa, 11 mlo bene ' (buffa).
4. 'Che fa 11 mio bene' (seria).
6. ' Odi I'aura.' German words by
Schreiber.
Three Songs by Goethe. Sopr. and PF.
1. ' Trocknet nicht.' 2. ' Was zleht
mlr.' 3. 'KlelneBlumen.'
Music to Goethe's Egmont. Overture.
1. Song. 'Die Trommel.* 2. En-
tracte I. 5. Entracte II. 4. Song,
'Freudvoll und leidvoll.* 5. En-
tracte III. 6. Entracte IV. 7. Clara's
death. 8. Melodrama. 9. Cattle
Symphony.
Christus am Oelberge. 'Mount of
Olives,' S. T. B. Chorus, Orch.
Mass. S. A. T. B. Chorus, Orch. (0)
Grand Trio for V.V. Va. (C) taken, with
Beethoven's approbation, from a
MS.Trlo for 2 Oboes and Engl. horn.
Song, 'Das GlQck der Freundschaft,'
a and PF. (A).
Polonaise. PF. (0).
Sonata, PF. (B minor).
Wellington's Victory, or the Battle of
Vlttoria, Orch. Battle fought June
21, 1813. News reached Vienna,
July '/7, 1813.
Seventh Grand Symphony, Orch. (A).
Eighth Grand Symphony, Orch. (F).
Song, 'An die Hoflhung,' by Tledge,
S. and PF.
Quartet. V.V. Va. C. (F minor). (The
nth.)
Sonata, PF. V. (G).
Conij)os«<f.
Aut. Baron van Katten-
dyke. Arnhelm.
Early.
Begun 1803.
Produced In S Acts. Nov.
20,1805; Overture.'No.2.'
Beduced to 2 Acts and re-
produced Mar. 29, 1806;
Overture, 'No. 3.'
Much revised and again
produced May 23. 1814.
Overture In E first played
at second performance.
Overture.'No. 1.' composed
for a proposed perform-
ance In Prague, 1807, but
not played. See Op. 138.
1809. -^u<. 0. Haslinger,
Vienna.
1809.-Au<. Mendelssohns.
Berlin.
No. 1. May ISIO. No. 4,
1803.— Attt. of 5 & 6 Ar-
taria, Vienna.
1809 (?)
1808 (?)
Before Dec. 1808.
Performed Dec. 22, 1808.
May 4, 1?09.
No. 4. li-09.-A««. No. 1,
Artaria.
1810. — Aut. of Overture.
F. Hauser, Munich. Do.
of No. 8, Frl. Klstner.
Leipzig. First perform-
ance, May 24, 1810.
1800. First performance
April 5. 1803. Vienna.
1?07. First performance,
Sept. 8, 1807, Elsenstadt.
1794(?).-Au<. of original,
Artaria.
Aug. 16, 1814.
First performance, Dec. !
1813.
May 13, I812.-Attt. Men-
delssohns, Berlin. First
performance Dec. 8. 1813.
Llnz, Oct. 1812. — Am<. C.
Haslinger, Vienna. First
performance, Feb. 27,
1814.
1816 (?).
Oct. 1810. -Auf. Hofblbllo-
thek, Vienna.
1812. First performance
Jan. 1813. by Archduke
BudolfandBoda
Oriijinal PtMiAer.
Breltkopf ft HSrtel, Leipzig, Ap. 1809.
Breitkopf ft Hftrtel, Leipzig, Ap. 1809.
Breltkopf ft HSrtel, Leipzig, 1809.
Breitkopf ft H&rtel, Leipzig, Jan. 1810.
PF. Score, Breitkopf ft HSrtel, Leip-
zig, 1810.
PF. Score, Artaria, Vienna, Aug. 1814.
' Leonore, Oper in 2 Akten v. L.
van Beethoven ; vollstSndlger Kla-
vierauszug der 2ten Bearbeltung
[1806] mit den Abwelchungen der
Isten.' with preface by O. Jahn,
Sept. 1851. (B. ft H. Leipzig.)
Breitkopf & HSrtel. Leipzig, May 1811.
Breitkopf* HSrtel, Leipzig, Dec. 1810.
No. 4 Appendix to Leipzig A. M. Z.
Oct 1810.
Nos. 6 ft 6 in 'Deutsche Gedlchte,'
July 1810, Artaria. Vienna.
Op. 75, Breitkopf ft HSrtel. Leipzig,
Dec. 1810.
C. Haslinger.
Breltkopf* HSrtel, Leipzig. Dec. 1810.
Breltkopf ft HSrtel, Leipzig, Dec. 1810.
Breltkopf 4 HSrtel, Leipzig, Dec. 1810.
Breltkopf & HSrtel. Leipzig, Dec. 1810.
Breitkopf* HSrtel. Leipzig, July 1811.
Breltkopf i HSrtel, Leipzig, July 1811.
N. Simrock, Bonn, 1810.
Breltkopf i HSrtel, Leipzig, May 1811.
Breltkopf ft HSrtel, Leipzig, Nov. 1811.
Breltkopf ft HSrtel, Leipzig; Over-
ture, Feb. 1811. Other movements,
April 1812.
Breltkopf ft HSrtel, Leipzig, Oct. 1811.
Breltkopf ft HSrtel, Leipzig, Nov. 1812.
Artaria, Vienna, April 1806 (for V.V.
Va.) The original by Breitkopfs
in the complete edition. •
LOschenkohl, Vienna, 1803. Hofif-
meister ft Kahnel. with Italian
text added, April 1804.
P. Mechettl. Vienna, Mar. 1815 (with-
out Opus number).
Steiner, Vienna, June 1816.
Stelner, Vienna, Mar. 181S.
Steiner. Vienna. Score. Dec. 21, 1816.
Two-hand arrangement corrected
by Beethoven.
Steiner, Vienna. Score, 1816. Two-
hand arrangement corrected by
Beethoven.
Steiner, Vienna, Ap. 1816.
Steiner, Vienna, Dec. 1816, Parts.
Steiner, Vienna. July 1816, Parts.
Prince Lobkowitz and
Count Basoumoff ky.
'My friend Baron voa
Gleichenstein.'
Countesa Hade von Sr*
dOdy.
Archduke Budoiph.
Archduke Budoiph.
Prince Lobkowitz.
Princess von KInsky.
'To his friend Oliva.'
CountFrancis von Brunt-
wick.
Countess Therfese voa
Brunswiclc
Maximilian Joseph, King
of Bavaria.
Archduke Budoiph.
Princess von Kinsky.
Pr. Nicholas Esterliazr
de Galantbtu
Empress of Russia.
Count Morltz von LIcb-
nowsky.
Prince Regent of Engf-
land.
Count von Fries.
Empress of ]
Princess Kinsky.
■His friend N. Zmeskall
von Domauovetz.'
BEETHOVEN.
637
Description.
TrlO.PF. V. C.(Bb).
Six Songs, 'An die feme (out. ent-
fernte) Geliebte, Liederkreis,' by
A. Jeitteles.
Song, ' Der Mann von Wort,' by Klein-
schmld (G).
Duet, 'Merkenstein near Baden,' by
J. B. Rupprecht. (F)
Sonata, PF. (Hammer-klavier) (A).
Two Sonatas, PF. C, (0, D).
Octet, 2 Ob. 2 Clars. 2 Cors. 2 Fag.
(E b). The original of Op. 4.
Quintet, V.V. Va.Va. 0 (C minor), ar^
ranged by Beethoven from op. 1,
no. 3.
Six very easy themes varied, PF. F.
or V.
Grand Sonata, PF. (Hammei^klavler)
(Bb).
Ten [national] themes with variations,
PF. F. or V.
Twenty-five Scotch Songs, 2 Voices
and small chorus, PF, V. 0.
Sonata, PF. (E).
Sonata, PF. (Hammerklavler), (Ab).
Sonata, PF. (C minor) ; the last sonata.
Calm sea and prosperous voyage.
8.A.T.B.andOrch. Goethe's words.
The Bulns of Athens. Kotzebue's
words. Chorus and Orch. Over-
ture and 8 numbers. For No. 4. see
op. 76.
March and Chorus (Eb) from 'Bulns
of Athens,' for the Dedication of
the Josephstadt Theatre, Vienna.
Grand Overture in 0, composed (ge-
dichtet) for grand Orchestra ; some-
times called ' Namensfeier.'
Terzetto, 'Tremate,' 8.T.B, (Bb).
King Stephen, Grand Overture (Eb)
and 9 numbers.
Elegiac Song, S. A. T. B. and Strings
(B). In memory of Eleonora Pas-
qualati. died Aug. 23, 1811.
New Bagatelles, easy and agreeable,
PF. (G minor, 0, D, A, C minor, G,
G, C, 0, A minor A. Bb, G).
33 Variations on a Waltz (by Diabelli)
(C), composed for a collection
called ' Vaterl&ndiscber Kdnstler-
verein.'
Adagio, Variations, and Bondo. PF.
V. 0. (G).
Opferiied, by Matthisson, Sopr. with
Chorus and Orch.
Bundeslied, by Goethe (Bb), 8. A.
Chorus and Wind.
Mass in D, ' Messe Solennelle.'
Overture In C, called 'Weihe des
Hauses.' Written for opening of
Josephstadt Theatre. Vienna.
Symphony, No. 9 (D minor). Grand
Orch. S. A. T. B. and Chorus.
Six Bagatelles, PF. (G, G minor, Eb,
Bminor, G, Eb, Eb).
Quartet, V.V. Va. C. (The 12th) (B b).
Arietta, ' The Kiss,' by Weisse.
fiondo a capricclo, PF. (G.), 'Fury
over a lost groschen, vented in »
caprice.'
Compoted.
ISll.Mar. S-X.-Aut. Men-
delssohns, Berlin.
April 1816.
Aut. Gurckhaus, Leipzig.
Dec. 22, 1814 (?)
First iterformance Feb. 18,
1816.
July and Aug. 1815.— Aui.
( 'Freie Senate '), 0. Jahn,
Bonn.
Aut. Artaria.
Aug.l4.1617.-.<l«rf. Artaria.
May 1815 (?).
1820 (?).— .Aut. Schlesinger,
Baden-Baden.
Dec. 25,1821.— .4 tt<. Artaria,
Vienna.
Jan.l3,1822.-.<lu<. Artaria,
Vienna.
1815. — BevUed eop]/,0. Has-
linger, Vienna.
1811. Produced Feb. 9,1812.
—Aut. of Overture and
Nos. 3, 6, 8, and corrected
copy of No.7,C.Haslinger.
Aut. No. 2, Artaria.
' Am ersten Weinmonath
(October) 1814.' Pro-
duced Dec. 25, 1815.
1802.
1811, for performance with
Op. 113 on Feb. 9. 1812.
■Summer 1814.' — Aut. C.
Haslinger, Vienna.
Nov. l-«, 1822.
1823(?).-4m<. C. a. Spina,
Vienna.
1822 (?). The original ver-
sion 1802. Produced Ap.
4, 1824.— 4u<. PF. score,
Q. Petter, Vienna.
1823.— Aut. PF. score, G.
Petter, Vienna.
1823.— Au«. Kyrie, Imp.
Library.Berlin ; the rest,
Artaria, Vienna. A re-
vised MS. (M. Solennis)
in the Musikgesellschaft
Library, Vienna.
End Sept. 1822.— jltrf. Ar-
taria, Vienna.
1823.— Att«. of first three
movements in Imp. Li-
brary, Berlin. Portions
of Finale, Artaria,Vienna.
Early in 1823.— A m<. Bit-
ter von Pfusterschmid,
Vienna.
1824. — Aut. first move-
ment, Mendelssohns,
Berlin; second do. Ar-
taria, Vienna.
End of 1822. -Ah<. for-
merly Ascher, Vienna.
Original PublUher.
Dedicated to
Steiner. Vienna, 1816, Parts.
Steiner, Vienna, Dec. 1816.
I,
Prince Joseph von Lob-
kowltz.
Steiner. Vienna, Nov. 1816.
Steiner, Vienna, Sept. 1816.
Steiner, Vienna, Feb. 1817.
Simrock, Bonn and Cologne, 1817.
Arteria, Vienna, Jan. 1819.
Count von Dietrichstein
(Dedn. by Bupprecht).
Baroness Dorothea Brt-
mann.
No dedication.
Countess von BrdOdy.
Artaria, Vienna, 1834.
Artaria, Vienna, Feb. 1819, Parts.
Artaria, Vienna. Sept. 1819.
Artaria, Vienna, Sept. 1819.
Archduke EudolL
N. Simrock, Bonn and Cologne, 1820.
Schlesinger, Berlin.
Pr. Badzivil.
Schlesinger, Beriin, Nov. 1821.
Schlesinger, Berlin and Paris, Aug.
1822.
Schlesinger, Berlin and Paris, April
1813.
Steiner * Co. Vienna, Feb. 28. 1823.
Fri. Maxlmiliana Bren-
tano.
Archduke Budolf (ded-
by publishers).
Goethe.
Artaria. Vienna. 1846.
King of Prussia.
Steiner & Co. VinnnK, 18M.
Steiner Ss Co. Vienna, 1825.
Prince Radzivll.
Steiner Si Co. Vienna, 1826.
T. Haslinger, Vienna, 1815, Overture,
Score alone. The other numbers
in Breitkopf 's general edition.
T. Haslinger, Vienna, July 1826.
•His friend' Baron Pae-
qualati.
Nos. 7-11 in Starke's Vienna PF.
School,1821. Nos.l-ll,Schlesinger,
Paris, end of 1823. No. 12 Diabelli
& Co. Vienna, 1828 or later.
Cappl & Diabelli, Vienna, June 1823.
Mad.Antonia von Bren-
tano.
Steiner & Co. Vienna, May 7, 1824.
Schott&.Sons, Mainz, 1825.
Schott A Sons, Mainz, 1825.
Schott & Sons, Mainz, April, 1827.
Archduke Rudolph.
Schott 4 Sons, 1825.
Prince N. Galitzln.
Schott & Sons, 1826.
King of Prussia.
Schott * Sons, Mainz, 1825.
Schott & Sons, Mainz, Mar. 1826,
Parts.
Prince N. Galltrin.
Schott & Sons, Mainz, early 1826.
A. DlabeUI k Co. Vienna, 1828.
533
BEETHOVEN.
Deterxptum.
Quartet. W. V*. 0. (Bb). (The 13th.)
Quartet. V.V. Ya. 0. (Ojf minor).
'Fourth Quartet.' (The 14th.)
Quartet. V.V. Va. C. (A minor),' Second
Quartet.' (The 15th.)
Grand Fugue, V.V. Va. 0. (B b) ' Tant<lt
libre, tantat recherch^e.' Origi-
nally the Finale to Op. ISO.
Grand Fugue (Op. 133). arranged by
the Author for FF. 4 hands.
Quartet. V.V. Va. 0. (F.)-(the last.)
Der glorreiche Augenblick (' the glo-
rious moment'). Cantata, 8. A. T. B.
Chorus and Orch ; words by A.
Weissenbach. 6 numbers.
Also as Preis der Tonlcunst (' Praise of
Music ') by F. Rochlitz.
Fugue, V.V. Va.C.(D). Composed for
a collection of B.'s works pro-
jected by Hasllnger, now In the
Gesellschaft der Musikfreunde,
Vienna.
Overture, Orch. (C), known as 'Leo-
nora, no. 1,' but really Leonora.
no.S. See Op. 72.
Compoted.
1825 and (finale) Nov. 1826.
—Avt. First movement
Hendelssohns, Berlin ;
second do.F.Gross ; third
do. 3. He11mesl>erger; Ca-
vatina, Artaria; Finale
Ascher— all in Vienna.
Produced with op. 133 as
finale, Mar. 21. 1826.
Oct. 1826. — AtU. First
movement, Mendels-
sohns, Berlin. BevUed
MS. Schotts, Mainz.
1825. Produced Nov. 6,
1825.— ^tU.Mendelssohns,
Berlin.
Aut. ( ■ Ouvertura '), Ar-
taria, Vienna.
Gneixendorf, Oct. 30.1826.—
A%t. of second and fourth
movements formerlywith
Ascher, Vienna. Aut. of
the parts, Schlestnger,
Baden-Baden.
Sept. 1814. Produced Nov.
29, \%U.-AtU. 0. Has-
llnger, Vienna.
Original PiMxAer.
Not. 28, 1827.
1807 (?). Sevised MS. teore.
C. Hasllnger, Vienna.
Artaria. Vienna, May T, 1827.
Schott * Bona, Mainz, Ap. 18S7.
Schlestnger, Berlin, Sept. 1827.
M. Artaria. Vienna, May 10. 1827.
M. Artaria. Vienna, May 10, 1827.
Scblesinger. Berlin, Sept. 1827.
T. Haslinger, Vienna, 1896.
T. Haslinger, Vienna, 1838.
T. Hasllnger. Vienna. 1827.
T. Haslinger, Vienna, ]
Prince N. GaliUin.
Barm von Statterhetm.
Prince N. OaUtzin.
Archduke Rudolph.
Archduke Budolph.
* His friend Johanu Wolf-
The Sovereigns of Aa»
tria, Bussia and Pru*>
II. WORKS WITHOUT OPUS NUMBERS.
1. FOB OBCHESTBA, AND OBOHESTBAL INSTBUMENTS.
12 Minuets, D, Bb, Q, Eb, 0. A, D, Bb,
G. Eb, 0, F.
12 Deutsche TSnze, 0, A, F, Bb, Eb,
G, C, A. F, D, G, C.
12 Oontretanze. C. A, D, Bb. Eb, C,
Eb, C, A, C, G, Eb. N.B. No. 7 is
the dance used in the Finale of
Prometheus, the Eroica, etc. No. 11
also used in Finale of Prometheus.
Minuet of congratulation (Eb), for
Hensler, Director of New Joseph-
stadt Theatre.
Triumphal March, for Kuffner's 'Tar-
peia'or 'HeraiUa'(C).
Military March (D).
Military March (F), (Zapfenstrelch).
For the Carrousel on Aug. 25, 1810.
Eondino (Eb). 2 Ob. 2 Clar. 2 Cors.
2 Fags.
3 Duos, Clar. and Fag. (C, F, Bb).
Allegro conBrio,V.Orch.(C). Fragment
of 1st movement of a V. Concerto.
Completed by Jos. Hellmesberger.
Mosik zu einem Bitterballet.
Before Nov. 22, 1795.— Bet/.
ifSJ>ar<#,Artarla, Vienna.
Before Nov. 22, 1795.
Nos. 2, 9. 10, 1802.
Before Mar. 26, 1813. Be-
vited Parts, C. Haslinger,
Vienna.
Before June 4, 1816.
Very early.- i4«<. C. A.
Spina, Vienna.
1800?— Att<. Library of the
Gesellschaft der Musik-
freunde, Vienna.
1791 (?)
FF. arrangement. Artaria & Co. Dao.
179S. Score, B. * H. edition.
FF. arrangement, Artaria k Go. Dee.
1795. Score, B « H. edition.
Nos. 8, 7, 10, 4, 9. 1. for PF. only.
Mollo k Co. Vienna, April 1802.
Early in 1803. Orch. ParU of the
12. Score, B * H. edition.
Artaria. Parts 1885. Score, B. k H.
ediUon.
For PF. In ' Die musik. Blene ' Pt. 6,
No. 9, Vienna 1819. In Score after
1827, T. Haslinger, Vienna.
For PF. Cappl k Czerny, Vienna. Ap.
1827. In Breitkopf '8 complete ed.
Schlesinger. Berlin, 1822.
Lefort, Paris. 1816 0).
F. Schrelber, Vienna, 1879. Score.
Bieter-Biedermann, Leipzig, 1872. Ar-
ranged for Piano by F. Dulcken.
a. FOB PIANOFORTE, WITH AND WITHOUT ACCOMPANIMENT.
Sonatina for the Mandoline and Cem-
balo (C minor).
Hondo, PF. and Orch. (Bb). Probably
finished by Czerny. Perhaps in-
tended for op. 19.
S Quartets, PF. V. Va. 0. (Eb. D, C).
N. B. Adagio of No. 8 is employed
In Op. 2, No. 1.
Trio, PF. V. C.(Eb).
Trio in one movement, PF. V. C. (Bb).
Eondo. Allegro, PF. and V. (G).
12 Variations on 'Si Tuol ballare,'
PF. iind V. (F).
Aut. British Museum Add.
1785.— .Attt. Artaria.
YJ«5(l)-AiU. Wegeler.
June 2, \«it.—Anl. Bren-
tanos at Frankfort.
Probably sent to Eleonora
von Breuning in 1794.
' Dictionary of Music and Musicians '
( MacmUlans, London ), under
' Mandoline.' Also by BIcordi.
A. Diabelli k Co., Vienna. June 1829.
Artaria. Vienna, 1832.
Dunst. Frankfort, 1830.
Dunst, Frankfort. 1830.
Simrock, Bonn. 1808.
Artaria, Vienna. July 1703.
Sleonon tod Bnoaiog.
See 'Zweite Beetbovenlana' o. 396 note.
BEETHOVEN.
539
Deseription.
1783 (?).
1785 (?)
12 Variations on ' See, the conqaerlng
hero,' PF. and C. (G).
7 Variations on 'Bel MSnnem,' PF.
andC.(Eb).
Variations on a theme by Count Wald-
stein, PF. 4 hands (C).
Air with [6] Variations on Goethe's
'Ich denke dein,' PF. 4 hands (D).
S Sonatas. PF. (E h. F minor, D).
Sonata [called Easy], PF. (0). two
movements only, the second com-
pleted by F. Bias.
2 Sonatinas, PF. (Q, F). Kot certainly
Beethoven's.
Bondo, Allegretto. PF. (A).
Minuet, PF.(Eb).
Prelude, PF. (F minor).
6 Minuets, PF. (0. G, Eb, Bb, D, 0).
Perhaps written for Orch.
7 Lftndler dances (all in D).
6 Lindler dances (all in D but No. 4
in D minor), also for VV. and C.
Andante [favori] PF. (F), said to have
been intended for Op. 53.
6 Allemandes, PF. and V. Ko. 6, In G,
for PF.
Ziemllch lebhaft, PF. (C minor).
Bagatelle, PF. (A minor), 'FOr Elise
am 27 April zur Erinnerung von L.
T. Bthvn.'
Andante maestoso (C), arranged from
the sketch for a Quintet and called
'Beethovens letzter musikalische
Gedanke.'
10 Cadences to Beethoven's PF. Con-
certos in C. Bb, C minor. G and D
(arrt. of Violin Concerto, see Op.
61). Also 2 to Mozart's PF. Concerto
in D minor.
[9] Variations and a March by Dressier,
Harpsichord (Clavecin), (C minor).
24 Variations on Bighlni's air ' Vieni
($ie. i. e. ' Venni ') amore,' Harpsi-
chord (Clavecin) (D).
[13] Variations on DittersdorPs air ' Es
war elnmal,* PF. (A).
[9]Variations on Paisiello's air ' Quant'
h pid bello,' PF. (A).
[6] Variations on Paisiello's duet ' Kel
corpiVPF.(6).
12 Variations on minuet fa la Vigani]
from Haibel's ballet ' Le nozze dls-
turbate,' PF. (C).
12 Variations on the Russian dance
from Paul Wranizky's ' Waldmftd-
chen,' for Clavecin or Pianoforte.
6 easy Variations on a Swiss air. Harp-
sichord or Harp (F).
8 Variations on Gr^try's air 'Une fiivre
brfllante,' PF.
10 Variations on Salieri's air 'La Stessa,
la Stesslssima,' Clavecin or PF.
7 Variations onWlnter's quartet ' Kind
willst du.' PF. (F).
8 Variations on Siissmayr's trio ' Tfin-
deln und scherzen,' PF. (F).
6 very easy Variations on an original
theme, PF. (G).
[7] Variations on ' God save the King,'
PF. (0).
[5] Variations on *Bule Britannia,'
PP. (D).
32 Variations, PF. (0 minor).
[8] Variations on ' Ich hab' ein klelnes 1794 (?)
Httttchen nur,' PF. (Bb).
Composed.
Aut. inGesenschaftd.M.F.
Library, Vienna.
Jan. 1. 1802.— Aut. F.Amer^
ling, Vienna.
'These Sonatas and the
Dressier Variations my
first work,' L. v. B.
1804 (?)
Aug. 14, 1818, written by
request.
Aut. in the papers of Frau
Therese von Drossdlck
geb. Maltatte.
Nov. 1826 (?)
Auls. of 10. Breitkopf «
Hfirtel.
1780(?)saidbyB. tobehis
first work, with the So-
natas, No. 161.
1790.
1792 (?).
1795.
1795 (?) 'Perdute per la—
ritrovate par L. v. B.'
1795 (?)
1796 or 7.
Revised copy, Simrock of
1799.
1799.
1800 (?)
1806 (?)
Original Publisher.
Artaria, Vienna, 1797.
MoUo, Vienna, ann. Ap. 8, 1802.
Simrock, Bonn, 1794.
Kunst und Industrie Comptolr.
Vienna, Jan. 1805.
Bossier, Spire, 1783.
Dunst, Frankfort, 1830.
J. A. BOhme, Hamburg, after 1827.
Bossier, Spire, 1784.
Bureau des Arts et d'Industrie, Vienna,
Jan. 1805.
Do. Jan. 1805.
Artaria, Vienna, March 1796.
Artaria, Vienna, 1799.
Artaria, Vienna, Sept. 1802.
Bureau des Arts et d'Industrie, Vienna,
May 1806.
L. Maisch, Vienna. July 1814.
Berlin Musikzeitung, Dec. 8, 1824.
In Nohl's ' Neue Briefe Beethovens,'
1867, p. 28.
A. Diabelli, Vienna, 1840.
Breitkopf ft HSrtel, Leipzig, Compl.
Edition. No 11 had appeared
In the Vienna 'Zeitschrlft fttr
Kunst ' Jan. 23, 1836.
GOtz, Mannheim, early in 178S.
Trwg, Vienna, 1801.
Simrock, Bonn, early 1794.
Traeg, Vienna, Dec. 1795.
Traeg, Vienna, March 1796.
Artaria, Vienna, Feb. 1796.
Artaria, Vienna, Apr. 1797.
Simrock, Bonn, 1798.
Traeg, Vienna, Nov. 1798.
Artaria, Vienna, Mar. 1799.
MoUo, Vienna, Dec. 1799.
F. A. Hoffmelster, Dec. 1799.
Traeg, Vienna. Dec. 1801.
Bureau des Arts et d'Industrie, Vienna,
March 1804.
Bureau des Arts et dindustrle, Vienna,
June 1804.
Bureau des Arts et d'Industrie, Vienna,
April 1807.
Dunst, Frankfort, 1831.
Princess Lichnowsky.
Count von Browne.
Countess Josephine Deym
and Countess TbereSH
Brunswick.
Elector Maximilian Fred-
eric of Cologne.
Eleonora von Breunlos.
Counteu Wolf-tf^tfiov
nich.
Prince C. Ton LlchnoTv*
sky.
Countess von Browne.
Countess Babette deSeg-
levics.
Countess von Browne.
S. WORKS FOB VOICES.
Bass Solo, Chorus, Orch. 'Qermania!'
Finale for Treitschke's Slngspiel
•Gute Nachricht.'
Baas solo. Chorus. Orch. ' Es ist voll-
bracht.' Finale to Treitschke's
Slngspiel ' Die Ehrenpforten.'
•Miserere' and 'Ampllus.' Dirge at
B.'8 funeral. Chorus of 4 eq. voices
and 4 trombones. Adapted by Sey-
fried from two of 3 MS. Equali for
trombones, written at Linz, Nov. 2,
First performance April 11,
1814.
First performance July 15.
1815.
Nov. 2, Vm.-AtU. Has-
linger.
Hoftheater Musik-Veriage, Vienna,
June 1814, PF. arrangement.
Steiner, Vienna, July 24. 1815, PF.
arrangement.
Haslinger, Vienna, June 18S7.
540
BEETHOVEN.
No.
Veteriplion.
Composed.
OHginnl P^Uiher.
DedieaUdto
196
Cantata on the death of the Emperor
Joseph 11. (Feb. 20. 1790). 'Todtl
Todt! stOhnt es aus,' for Solos,
Chorus and Orchestra (0 minor).
Another Cantata (Sept. 30, 1790>, ' Br
schlummert,* on the accession of
Leopold 11, Is In the press (18CT).
Bonn 1791.
Breltkopf k HJrtol. Loipiig, 1887.
PF. score.
197
Song of the monks from Schiller's
May 3, mi.-Amt. formeply
•Neue Zeitschrlft der Musik,' June
William Tell -'Rasch tritt der Tod.'
A. Fuchs.
1839.
'In recollection of the sudden and
unexpected death of our Krump-
holz. May 3. 1817.' T.T.B. (C minor).
198
Chorus, ' 0 Hoffnung ' (4 bars) ; for the
Archduke Budolph (G.)
'Spring 1818.'
In Steiner's • Musikalisches Museum,'
1819, Part 7. See also Nohl's ' Neue
Briefe Beethovens,' 1867. p. 168.
199
aoo
Cantata, S. A, B. andPF. (Bb).
Cantata, 'Graf. Graf, lieber Graf.'
' Evening of April 12, 1823.'
for the birthday of Prince
Lobkowitz.— ^ut. Olto-
kar Zelthamer. Prague.
Nohl's -Neue Briefe Beethovens,' 1867.
p. 221.
Nohl's 'Briefe Beethovens,' 1866,
Voices and PF. (Eb) to Count Mo-
p. 107.
ritz Lichnowsky.
201
Cantata, ' Seiner kaiserllcher Hohelt '
Jan. 12, 1820.-Ata. in the
Nohls 'Briefe Beethovens.' 1866^
(C). To the Archduke Eudolph.
Library of the Qesell-
schaftderMusikfreunde,
Vienna.
p. 203.
208
Cantata (4 bars), on the arrival of
Sept. 21, 1819.
Marx, 'Beethoven,' VOL 11.
Herr Schleslnger of Berlln-'Glaube
und hofife' (Bb). Comp. No. 22.
203
Melodram for speaking voice and Har-
1814.-^ tit. Gesellschaft der
' Dictionary of Music and Musicians*
monica, ' Du dem sle gewunden,'
Musikfreunde, Vienna.
( Macmillans.London).under ' Har-
written for • Duncker's ' Leonora
monica.'
aot
Canon i a 3 to Heltzen's • Im Arm der
1795 (?)
Breltkopfs general edition no. 296.
Llebe.' comp. op. .52, no. 3.
206
Canon i a 4. ' Ta, ta, ta, lieber Maizel.'
Spring of 1812.S
HIrschbach's ■ Muslkalisch-kritisches
(Bb).
Repertorium,' 1844.
206
Canon i a 3 to Schlllers 3 • Kurz 1st der
Vienna. Nov. 23, 1818.
Neue Zeitschrlft far Musik.
Schmerz* (F minor), for Herr
Naue.'
207
Canon 1 a 3 'Kurz 1st der Schmerz*
Vienna, March 3. 1815.
Spohr's Selbstblographle, 1860, vol. 11.
(F), for Spohr.
208
Canon (Rathsel Canon) to Herder's
End of 1815 (?)
Vienna, Allgemeine Musik. Zeltung.
'Lerne Schwelgen o Freund' (F).
March 6. 1817.
for Neate. Jan. 16, 1816.
209
Canon 1 a 3 ' Eede, rede, rede,' for
Vienna, Jan. 24, 1816.-ilM«.
Breltkopfs general Edition, no. 256.
Neate.
of 208 and 209 in Neate's
album.
210
Canoni a 3. • Glilck. Qlttck, zum neuen
Vienna, Deo. 31, 1819.
Breltkopfs general Edition.
Jahr' (F), for Countess ErdOdy.
comp. no. 220.
2U
Canon! a 4, 'Alles Gute I AUes SchOne !'
Jan. 1, 1820.-^«t. Gesell-
Breltkopf 4 mrtel's general Edition,
(C), for the Archduke Eudolph,
schaft d. Musikfreunde,
Vienna.
no. 256.
212
Canoni a 2,'HB«fmann! HSftoiann!^
1820 (?)
CScilla, April 1825.
sei ja keln Hofmann' (C).
213
Canon 3 In 1, ' 0 Tobias ! ' (D minor).
Baden. Sept. 10. 1821.
Allgemeine Muslkallsche Zeltung
for Tobias Haslinger.
(Leipzig), 1863. p. 727.
214
Canoni a 6, to Goethe's ' Edel sei der
1823 (?)
Vienna Zeitschrlft fttr Kunst etc.
Mensch' (E).
June 21, 1823.
216
Canon 4 in 1, 'Schwenke dich ohne
Vienna, Nov. 17, 1824.
Cacllla, April 1826,
Schvranke,' for Schwenke of Ham-
burg.
Canoni a 3, 'Ktthl, nlcht lau' (Bb),
210
Baden, Sept. 3. 1825.
Seyfrled. L v. Beethoven's Studten,
referring to Fr. Kuhlau,
1832 ; Anhang. p. 25.
217
Canoni a 3, ' Signer Abate ! ' (G minor).
Breltkopfs general Edition, no. 256.
on Abb^ Stadler.
218
Canoni a 3, 'Ewlg dein* (C), perhaps
for Baron Pasqualatl.
Aut.J. Street, Esq.,London.
Allgemeine Musik Zeltung, 1863. p.856.
219
Canon 3 in 1, ' Ich bitf dlch,' on the
scale of Eb. for Hauschka.
BreltkopPs general Edition, no. 256.
Dedicato al slgnore lUos-
trissimo Hauschka dal
suo servo L. v. B.
220
Canon (free) 4 in 1 to Goethe's ' Glilck
zum neuen Jahr,' (E b). Comp. no.
In 'LiedervonGOtheundMatthisson'
etc., J. Rledl's Kunsthandlung.
210.
Vienna and Pesth, May 1816.
221
Canon (RSthsel canon) * Si non per
Vienna, Sept. 26. 1826.
Appendix to Marx's 'Beethoven.' 1869.
portas ■ (F), to M. Schlesinger.
222
Canon In 8va (A), • Souvenir pour Mon-
Baden, Aug. 3, lS25.-A«t.
Nohl's ' Neue Briefe Beethovens,' 1867,
sieur 8. de M, Boyer par Louis van
Beethoven.'
25 Irish Songs, for Voices with PF. V.
0. A. Sohulz, Leipzig.
p. 274.
223
ConUined in a select collection of
original Irish airs for the Voice.
C.:— 1. 'The Return to Ulster'
(Fmlnor). 2. 'Sweet power of song*
united to characteristic English
a 2(D). 3. 'Once more I had thee'
poetry written for this work ; with
(F). 4. 'The morning air' (G minor).
symphonies and accompaniment!
6. • The Massacre of Glencoe ' (A
for the Pianoforte, Violin, and
minor). 6. ' What shall I do ' a 2
Violoncello, composed by Bee-
(D). 7. ' His boat comes on the
thoven. By George Thomson.Edln-
sunny tide' (D). 8. 'Come, draw
burgb. vol. i. 1814.
we round' (D minor). 9. 'The
soldier's dream' (Bb). 10. 'The
1
I These are more properly Bounds.
a Schhidler. confirmed by Nottebohm, ' Zwelte Beethoveniana ' (im), p. 118.
4 Eofimann In Nohl, * Briefe Beethovens, ' no. 328 ; but Hofmann In B. A H.'s edition, no. 256.
» Jungfrau von Orleans.
See Thayer's ' Ohron. VerzelchnUs,'
BEETHOVEN.
541
Veteription.
Deserter* (F;. 11. 'Thou emblem
of faith* (0 minor). 12. ' English
Bulls' (D). 13. "Musing on the
roaring ocean' (C). 14. 'Dermot
and Shelah' (G). 15. 'Let brain-
spinning swains' (A). 16. 'Hide
not thine anguish ' (D). 17. ' In
vain to this desert,* a 2 (D). 18.
•They bid me slight,* a 2 (D minor).
19. • Wife, children, and friends '
a 2 (A minor). 20. ' Farewell bliss*
a 2 (D minor). 21. ' Morning a cruel
turmoiler is* (D). 22. 'Garryone*
(D) ; comp. no. 212, no. 7. 23. ' The
wandering gypsy ' (F). 24. ' Shall
a son of 0' Donnel ' (F). 25. ' O harp
of Erin ' (B b) ; comp. no. 212, no. 2.
20 Irish Songs :-l. 'When eve's last
rays,' a 2. 2. 'No riches from his
scanty store.' 3. ' The British light
dragoons.' 4. 'Since greybeards
Inform us.' 5- ' 1 dreamed I lay,'
a 2. 6. ' Sad and luckless.' 7. ' O
soothe me, my lyre.* 8. 'Norah of
Balmagairy.' 9. ' The kiss, dear
maid." 10. 'The hapless soldier,*
a 2. 11. 'When far from the home.'
12. • I'll praise the saints.' 13. ' Sun-
shine.' 14. • Paddy O'Raflferty.* 15.
"Tis but in vain.' 16. 'O might
I but my Patrick love ! ' 17. * Come,
Darby dear, easy.' 18. 'No more,
my Mary. ' 19. ' Judy, lovely, match-
less creature.' 20. ' Thy ship must
sail.'
12 Irish Songs :— 1. ' The Elfin Fairies.'
2. * 0 harp of Erin '; comp. no. 210,
25. 3. ' The farewell song.' 4. ' 8.
Patrick's day.* 5. ' O who, my dear
Dermot.' 6. ' Put round the bright
wine.' 7. ' Garryone '; comp. no.
210, 22. 8. 'Nora Creina.' 9. 'O
would I were but that sweet linnet !'
a 2. 10. ' The hero may perish,' a 2.
11. ' The soldier in a foreign land.*
a 2. 12. ' He promised me at part-
ing,* a 2.
26 Welsh Songs :— 1. ' Sion the son of
Evan,' a 2. 2. ' The monks of Ban-
gor's march,' a 2. 3. ' The cottage
maid.' 4. 'Love without hope.' 5.
•The golden robe.* 6. 'The fair
maids of Mona.' 7. ' O let the night
my blushes hide.' & 'Farewell,
farewell, thou noisy town.* 9. 'The
.fflolian harp.' 10. 'Ned Pugh's
farewell.* 11. ' Merch Megan.* 12.
• Waken lords and ladies gay.* 13.
•Helpless woman,' 14. 'The dream,'
a 2. 15. 'When mortals all.' 16.
'The damsels of Cardigan.' 17.' The
dairyhouse.* 18. ' Sweet Elchard.*
19. ' The Vale of Clwydd.* 20. ' To
the blackbird.* 21. ' Cupid's kind-
ness.* 22. ' Constancy,' a 2. 23.
' The old strain.* 24. ' Three hun-
dred pounds.* 25. 'The parting
kiss.* 26. ' Good night.*
12 Scottish songs :— 1. ' The banner of
Buccleuch.* S. T, B. 2. ' Duncan
Gray.' S. T. B. 8. 'Up, quit thy
bower,' S. S. B. 4. Ye shepherds of
this pleasant vale,' S.T.B. 5. ' Cease
your funnlng.'i 6. 'Highland Harry •*
7. 'Polly Stewart.* 8. 'Woman-
kind,' S.T.B. 9. ' Lochnagar.'S.T.B.
10. 'Glencoe,' S. T. B. 11. * Auld
Lang Syne,* S.T.B. 12. 'The Quaker's
wife,' S.T.B.
12 Songs of various nationality, for
Voice, PF. V. C. :— 1.' God save the
king,' Solo and Chorus. 2. 'The
Soldier* (The Minstrel Boy). S.
' Charlie is my darling,' 8.S.B. 4.
' O sanctissimal * (Sicilian Mariner's
Hymn),S.S.B. 5. 'The Miller of the
Dee,' S.T.B. 6. 'A health to the
brave,' a 2. 7. • Bobin Adair,' S. T. B.
8. ' By the side of the Shannon.' 9.
' Highland Harry,' Solo and Chorus.
10. ' Johnny Cope.' 11. • The Wan-
dering Minstrel,' Solo and Chorus.
12. ' La gondoletta.'
May (?) 1815.— ^ttt. of Nos.
6, 7, 8, 9, 11, 16, 17, 18. 20.
Artaria, Vienna.
Aui. No.6, Artarla.Vienna.
Nos. 2, 6. 7, 8, 11. May]
Original Puhlisker.
Nos. 1 to 4 In vol. 1. (1814) of foregoing
publication ; nos. 6 to 20 in vol. il.
(1816).
Nos. 2 and 7 In vol. 1. of above (1814),
nos. 1, 3, 4, 5, 6, 8, 9, 10, 11, 12 in
vol. ii. of the same.
No. 5. 6, 7, 8, 9, 10, 11 published In
vol. vi. of above collection. 1841.
Nos. 2, 6, 8, n, published by Thomson,
Edinburgh. 1816; nos. Sand 5 by
him. 1831.
1 This is possibly a Welsh, possibly an Old English air.
542
BEETHOVEN.
No.
De^ptUm.
Oompoted.
OrigiMol PMbliAer.
D4iiecUtdto
229
Sonr, •Schilderung eines M&dchens.'
1781 (?)
Bossier of Spire, in 'Blumenlese fur
KlavIerlIebhaber.'178S-'vonHerrn
Ludwig van Beethoven, alt eilf
Jahren.'
2»
Song to Wirth's ' An einen SAugUng.*
Bossier of Spire, in ' Neue Blumenlese
far Clavlerliebhaber.' 1784.
2S1
Song. • Farewell to Vienna's citizens,'
to Friedelberg's words. Solo.
N0T.15,l're6.
Artaria & Co. Vienna, Nov. 19, 1796.
Obristwacht-melster too
KOvesdy.
232
War Song of the Austrlaus. to Friedel-
berg's words. Solo and Chorus,
Artaria * Co. Vienna, April 14. 1797.
with PF.
233
Song to Pfefflbl'i * D« freM Mann/
1796(?)-Ai«<.Artaria, Vienna.
SImrock. Bonn, with another text,
by Wegeler — * Maurerfragen.' In
1808 with original text and with
op. 75, no. 2, and ' Opferlled,* no.
221.
See no. 220.
234
Opferlied.to Matthlsson's 'DleFlamme
179B(?)
lodert.'comp. op. 1216.
2a-.
Song, -Zfirtliche Liebe' to Herrosen's
•Ich liebe dich' Voice and PF. (G.)
N3. begins with second stanza.
Ant. Dr. Schneider. Vienna.
Traeg. Vienna. June 1803. • II Lieder.
no. 1 . . . von Ludwig van Bee-
thoven.*
236
Song, 'La Partenza," to Metastaslo's
Beviud copy, 0. A. Spina,
Traeg. Vienna, June 1803. ' U Lieder,
* Ecco quel flero istante ' (A).
Vienna.
no. 2, eta' See no. 222.
237
Song. • Der Wachtelschlag • (the Quail)
Kunst- und Industrie Comptoir.
w Banter's 'Horch 1 wie schalt's.'(F.)
Vienna. March. 1804.
238
Song. ' Als die Gellebte sich trennen
wollte." words translated by S. von
Allgemelne Musik. Zeitnng, Leipzig.
Nov. 22, 1809.
Breuning from the French of G.
Bernard (Kb).
239
Arietta, to Carpani'a ' In questa tomba
oscura'(Ab).
imCl)-A i.<.Artarla, Vienna.
The sixty-third of a collection of set-
tings of Carpani's poem publUhed
by MoUo, Vienna, Sept. 1808.
240
Song.' Andenken ' to Matthlsson's ' Ich
Breitkopf * Hfirtel, May 1810.
denkedein' (D).
241
Four settings of Goethe's 'Sehnsucht.'
— 'Nur wer die Sehnsucht kennt.'
Soprano and PF.
Nos. 1, 2. 4. G minor ; No. 3, E b.
No. 1. Appendix to 'Prometheus.'
no. 3; April 1808. The 4 settings
appeared at Der Kunst und In-
dustrie Comptoir, Vienna, Sept. 22,
1810.
Breitkopf & HSrtel. May 1810.
142
Song, to Relsslg's ' Lied aus der Feme '
WOd.-Aut. Artart»,Vlenna.
-'Als mlr noch.' Voice and PF.
(Bb).
243
Song, to Relsslg's 'Der Llebende'-
• Welch eln wunderbares Leben.'
Voice and PF. (D).
Aul. Artaria. Vienna.
A. KOhnel, Leipzig. In ' Achtzehn
deutsche Gedichte.' etc.July 1810.
244
Song, to Relsslg's * Der Jfingllng In der
Fremde.'— ' Der frOhling entbltt-
A. Sahnel. Leipzig, with the fore-
going.
het'(Bb).
245
Song, to Relsslg's * Des Krleger's Ab-
schled'(Eb).
1814.
P.Mechetti. Vienna. In 'Sechs deutsche
Gedichte.' etc.. June 1815.
246
Song, to Relsslg's ' Sehnsucht '—' Die
stille Nacht.'
1815 or 1816.
Artoria it Co.,Vlenna,ln'Drei deutsche
Gedichte,' etc., June 1816.
247
.Song, to Stoll's ' An die Geliebte '— ' 0
Dec. KU.-Aut. Fetter,
Vienna, in ' Friedensbiatter,' July 12,
dass ich dir.' 2 versions in N.
Vienna.
1814.
248
Song (Bass), to F. R. Herrmann's ' Der
Bardengelst'— 'Dort auf dem hohen
Felsen ' (G.)
Nov. 3. 1813.
Musenalmanach for 1814, Vienna.
St9
Song, to Treltschke's ' Ruf vom Berge '
•Wenn Ich eln VOglein wSr' (A).
Dec. 3. 1816.
Appendix to F. Treltschke's Poems,
June 1817.
250
Song, to Wessenberg's ' Das Geheim-
niss'— • Wo biaht das Blumchen.'
1815.
Wiener. Moden-zeitung. Feb. 29. 1816.
951
Song, to Carl Lappe's ' So oder so.'—
•Nordoder8udr(F).
1817.
Wiener Modeu-reltung, Feb. 15. 1817.
252
Song, to von Haugwitz's ' Resignation.'
•Llsch aus. meln Llcht!' (D).
End of 1817.
Wiener Zeltechrift far Kunst. March
31, 1818.
253
Song, to Goethe's ' Abendlied uuter'm
March 4. 1820.-Aii<. Hof-
Wiener Zeitschrlft far Kunst, March
gestlrntem HImmel.'— 'Wenn die
blbllothek, Vienna.
28. 1810.
Sonne nieder slnket ' (E).
254
Two songs to Burger's words. ' Seufzer
eInes Ungeliebten,' and 'Gegen-
liebe.' For ' Gegenllebe,' see op. 80.
1795 (?)
Diabelli & Co., Vienna. April 1837;
with no. 255.
265
Song, to Herder's 'Die laute Klage.'
— ' Turteltaube* (C minor).
1809 (?).
See the foregoing.
256
Song. • Gedenke meinl ich denke dein '
(Bb).
HMllnKer. Vienna. 1844.
[G]
BEGNIS, SiONORA. For last line but one of
article, rea<? took place at Florence June 7, 1853.
BEGREZ. In lines 2 and 6 of article, for
1787 and 1 801, read 1 783 and 1804 respectively.
(Corrected in late editions.)
BELLERMANN, J. J. Line 4 from end of
article, ybr a few years since, read Feb. 4, 1874.
BELLINI. Line 2, for date of birth substi-
tute Nov. I, 1801. Line 10, for nine read four.
Line 25, insert date of *Adelson e Salvina' («c),
1824. Page 212 6, 1. 7, add date of 'Pirata/
1827. Line 17, for 1828 read 1829. Line 41,
for 33 read 29 (corrected in late editions).
Line 50, add date of ' Sonnambula,' 1831. Page
213 a, 1. 24, add date of * Norma,' Dec. 26, 1831.
Page 213 b, 1. 7, add date of 'Puritani,' 1835.
Page 214 a, 1. 13, for 29th of earlier, and 33rd,
of later editions, read 34th.
BELLMANN, C. M. See voL iii. p. 610 b,
note 2.
BELLOC. The dates of birth and death are
Aug. 13, 1784, and May 13, 1855.
BEND A.
BENDA, Geobg. Paloschi gives the place of
his birth, Jungbunzlau, and says that he died at
Kosteritz, Nov. 6, 1795.
BENDEL, Fbanz. See vol. ii. 735 a.
BENEDICT, Sib Julius. Add that in early
life he studied with J. C. L. Abeille, and that
his appointment at Vienna was that of con-
ductor at the Kamthnerthor Theatre, which he
held from 1823 to 1825. Page 222 J, last line,
for the whole read most. Page 223 a, 1. 3, add
the date 1852 for his return to England, and that
in the same year he was appointed conductor of
the Harmonic Union. Add to his works the
cantata * Graziella,' written for the Birmingham
Festival of 1882 (originally intended for the
Norwich Festival of i88i, but not completed in
time), which was subsequently produced as an
opera at the Crystal Palace. He died at his
residence, 2 Manchester Square, on June 5,
1885, and was buried at Kensal Green on the
nth. (Diet, of Nat. Biog., etc.) [M.]
BENEVOLI, Obazio, a celebrated contra-
puntist, born at Rome in 1602, was reputed to be
a natural son of Duke Albert of Lorraine. He
studied under Vincenzo UgoliniS and commenced
his professional career as Maestro di Cappella in
the Church of S. Luigi de' Francesi. After a brief
tenure of this post he was called into the service
of the Austrian Court, and during his residence
at Vienna, in the years 1643-45, he published
several collections of motets and offertories, but
his best works were produced after his return to
Home. Here he resumed his former office in
S. Luigi de' Francesi, but held it only for a few
weeks. On Feb. 23, 1646, he was transferred to
S. Maria Maggiore, and on Nov. 7 of the same
year he succeeded Mazzocchi as maestro di cap-
pella at the Vatican. This appointment he re-
tained, in high repute both as a teacher and
a composer, until his death on June 17, 1672.
He was buried in the Church del Santo Spirito in
Sassia. One of his best pupils was Bemabei.
Benevoli's chief merit as a composer was the
skill with which he handled a large assemblage
of voices in separate parts. Masses, psalms,
motets and anthems of his for 12, 16, 24, and
48 voices, in 4, 5, 6, 8, and even 12 distinct
choirs, are quoted by Baini, Santini, Bumey,
F^tis and others. Bumey (in his History of
Music, ii. 474) specially praises a mass a sei cori
which was in his own possession ; and F^tis cites
a mass for 48 voices in 12 choirs'* as a feat never
excelled, and only twice equalled, viz. by J. B.
Giansetti and G. Ballabene. Specimens of Be-
nevoli's works will also be found in the contra-
puntal treatises of Padre Martini, Padre Pao-
lucci, and Fdtis, who are of one mind in regarding
1 Martini, Burney. Bertinl. Orloff, and others, speak of Benevoll as
the pupil of Bernadlno Naninl ; but Llberati, doubtless writing with
accurate knowledge, says in his Leltera ad Ottav. Persapegi, pp. 58,
69, ' the other renowned pupil and favourite of B. Sanini was Vin-
cenzo Ugollni, a great master in the art of teaching ... as many of
his pupils have shown, especially Benevoll . . . who excelled his
master and all others living in writing for four or even six choirs in
four parts each . . .'
2 This Mass was sung at Borne, in S. Maria sopra Minerva, by 150
professors, on August 4. 1650 ; and the expense of the performance
was borne by a notary, Dominique Fonthia by name.
BENOIST.
543
him as an admirable model to study in writing
for a large number of voices. But, excepting
this particular kind of skill and ingenuity,
Benevoli's music has no real artistic value. His
fugues are rarely developed, for after a few bars
thy break off, and though his harmony obviously
imitates Palestrina's, it falls far short of the
same level of excellence in respect of simplicity
and grandeur. Many of Benevoli's works, both
in print and in manuscript, are extant, and are
preserved in the Basilica of the Vatican, in the
Casa Corsini alia Lungara, in Sir Frederick
Ouseley's library, and in the British Museum.
Some will be found also in the collections pub-
lished by Teschner, Rochlitz, and Prince de la
Moskowa. [A.H.W.]
BENINCORI. Add day of birth. Mar. 28.
BENNETT, Joseph, critic and litterateur;
bom at Berkeley, Gloucestershire, in Nov. 1831.
Author of the librettos of the * Good Shepherd '
(J. F. Barnett), the * Rose of Sharon ' and ' Story
of Sayid* (Mackenzie), the * Golden Legend'
(Sullivan), * Ruth ' (Cowen), and ' The Garden
of Olivet' (Bottesini). Mr. Bennett furnishes
the analyses for the programme-books of the
Philharmonic Society and the Monday and
Saturday Popular Concerts. His account of the
origin of the latter was published ^ cb propos of
the thousandth concert, April 4, 1887. Mr.
Bennett has published * Letters from Bayreuth'
(1877), originally contributed to the 'Daily
Telegraph ' ; his articles on * The Great Com-
posers, sketched by themselves' began in the
'Musical Times,' Sept. 1877, and are still in
progress there, while some of them are repub-
lished as * Primers of Musical Biography '
(Novello). Mr. Bennett edited 'Concordia'
during its too-short existence,* and among his
valuable contributions is a * Comparison of the
original and revised Scores of Elijah,' which,
after the death of * Concordia,' was completed
in the * Musical Times.* It is however as the
musical reporter of the 'Daily Telegraph'
that Mr. Bennett exercises the greatest influ-
ence. [G.]
BENNETT, Sir W. S. Page 225 J. Refer-
ence should be made to his attempt to obtain the
professorship at Edinburgh, an account of which
is found in vol. ii. 283. Line 22 from the bottom
of the same column, /or 1857 read 1867. (Cor-
rected in late editions.)
BENNETT, Thomas. The date of his birth
is probably 1 784, if the inscription on his tomb-
stone may be trusted.
BENOIST, FRAN901S, bom Sept. 10 at Nantes,
entered the Paris Conservatoire in 18 11, under
Adam and Catel, and gained the Prix de Rome
in 1 81 5 for his 'CEnone.' On his return from
Italy in 18 19 he was appointed first organist at
the Court, and soon afterwards professor of the
organ in the Conservatoire. In 1840 he became
Chef du Chant at the Opera. He died in May
1878. His works include a three-part Mass, the
» 'A story of Ten Hundred Concerts. Feb. 14. 1889— April 4, 188T.»
* NoveUo, May 1, 1875, to April 22, 1S76.
544
BENOIST.
operas 'L^onore et Fdlix' (1821), ' L'Appari-
tion ' (184S), and several ballets. [M.]
BENOIT, Pierre Leopold Leonard, Belgian
composer, and the chief promoter of the Flemish
musical movement, was bom in Harelbeke (West
Flanders), Aug. 17, 1834. Having first studied
music with his father and with Peter Carlier,
organist of the village of Desselghem, he entered,
at 17, the Conservatoire of Brussels, where Fdtis
took the greatest interest in him, and taught him
counterpoint, fugue, and composition. While
still studying, he became conductor at a Flemish
theatre in Brussels, where he wrote the music to
several plays, and also an opera, ' Le Village dans
les Montagnes' (1857), which attained success.
In this year he carried off the first prize for compo-
sition, and by means of a grant from government
he was able to make a tour in Germany. He
visited Leipzig, Dresden, Prague, Berlin, and
Munich, composing songs, piano pieces, motets,
etc., and sending to the Academic at Brussels an
essay, 'L'Ecole Flamande de Musique et son
Avenir,' and a • Petite Cantate de Noel.' On
his return to Belgium he brought out in Brussels
and Ghent a Messe Solennelle which was much
praised by F^tis. He then went to Paris (1861)
in the hope of producing an opera (*Le Roi des
Aulnes ') at the Theatre Lyrique, and here he was
for some time conductor at the BoufFes Parisiens.
Returning to his own country, he at once took up
a position by producing in Antwerp (April 1864)
a Quadrilogie Religiense, consisting of four pre-
vious compositions, his Cantate de Noel (i860),
Messe Solennelle (1862), a Te Deum, and a
Requiem. He was then seized with the desire of
stirring up a musical movement in Flanders,
distinct alike from the French and German
schools. By dint of activity and perseverance
and of exciting the amour propre of his country-
men, he gathered round him a certain number
of adepts, and created the semblance of a
party of which he was the acknowledged
head. This agitation was so cleverly con-
ducted that it ended in the foundation of the
Flemish School of Music in Antwerp in 1867,
under the auspices of the town and the govern-
ment. Benoit was appointed director, and has
retained the post until the present time. From
that time he has unceasingly promulgated the
theory of a national Flemish art by means both
of pamphlets and musical compositions. But on
what does this theory rest ? Almost all the Bel-
gian composers, whether they possess the genius
of Gretry, the talent of Gossec, or merely the
science and erudition of Limnander or Gevaert,
form part of the French school. Musically
speaking, Belgium serves as an intermediary
between France and Germany. On account of
the proximity of the two countries and the affi-
nity of their languages, the musical creations of
modem Germany are more rapidly known and
more appreciated in Belgium than iu France, —
Richard Wagner, for instance, has long been
justly admired by the whole of Belgiima, — but
what special elements are there out of which to
form a Flemish school of music ? If, as is said.
BENOlT.
it consists simply in setting Flemish words to
music, the thing is a mere quibble, unworthy
of a musician with any self-respect, for in the
question of musical style the language used
signifies absolutely nothing.
The only result of this crusade is to isolate those
composers who make use of a language so circum-
scribed as Flemish, since works written in this
language would have to be translated before they
could gain any reputation out of their own country.
And this explains why the head of the school,
who is at the same time its sole musical repre-
sentative, Benoit himself, is quite unknown to
the public outside Flanders. But he has de-
served the gratitude of his country for the
impetus he has given to music, especially in
Antwerp, which, from a musical point of view,
has become quite transformed by his ardour.
But he has taken advantage of a mere figure
of speech to create for himself a particular
position ; for his enormous compositions — * Luci-
fer,' 'L'Escaut,' * La Guerre,' etc. — have in them
no Flemish characteristics but the text; the
music belongs to all schools, particularly to that
French school against which Benoit pretended
such a reaction.
Upon poems of little clearness or variety the
composer has built up scores which are certainly
heavy, solid, and massive enough, but which
are wanting in charm and grace. Benolt's
musical ideas have no originality ; he gets all his
efiects by great instrumental and choral masses,
and is therefore obliged to write very simply in
order to prevent inextricable confusion. What-
ever plan he adopts he prolongs indefinitely ; he
repeats his words, and the meagre phrases which
form his melodies to satiety. By his regular
rhythms and solid harmonies, generally pro-
ductive of heaviness, his music has here and
there something in common with the choruses
of Gluck and Kameau, but these passages are
unfortunately rare. His style is derived some-
times from Gounod, sometimes from Schumann,
and yet he firmly believes himself to be following
the traditions of the Flemish school. Wheu
Benoit does not chance upon any reminiscences
of this kind, he exhausts himself in interminable
repetitions, which never reach the interesting
development we should expect from a musician
of his calibre.
The list of Benoit's compositions would be very
considerable were all his productions for voice
and piano to be included, especially the sacred
works, which date from before the conception of
his theory, and upon which he no longer sets any
serious value. The most important works of the
second part of his career, written, it is needless to
say, to Flemish words, and most of them to the
poems of Emmanuel Hiel, are the following : —
• Lucifer,' oratorio, performed in Brussels, 1866,
and in Paris, 1 883 ; * Ita,' opera in 3 acts, Thdatre
Flamand, Brussels, 1867; * L'Escaut,' oratorio,
1869; 'Drama Christi,' Antwerp, 1871 ; * La
Lys,' cantata performed before the King at
Courtrai, 1871 ; 'La Guerre,' oratorio, Ant-
werp and Brussels, 1873; ' Charlotte Corday' and
I
BENOlT.
* Guillaume le Taciturne,' music to two Flemish
dramas represented at Antwerp and Ghent in
1875 and 1876 respectively; 'Rubens-cantata,'
Antwerp, 1877; 'Antwerpen,' Antwerp, 1877:
* Hucbald,' cantata, and * Triumfmarsch ' for the
inauguration of the Brussels Exhibition in 1880;
* La Muse de I'Histoire,' Antwerp, 1880; 'Hymne
k la Beauts,' 1882; 'Van Eyswick,' cantata,
Antwerp, 1884; and 'Juich met ons,' cantata
in honour of the Burgomaster Buls, Brussels,
1886. [A.J.]
BERGER, LuDWiG. Line 3 of article, for
1838 read 1839.
BERGGREEN, Andreas Peter, born at
Copenhagen in 1 801, studied harmony and began
to compose from the age of 14. Though destined
by his parents for the law, he was led by his
strong predilection for music to devote himself
professionally to that art. His opera • Billidet
og Busten' (The Picture and the Bust), first
performed April 9, 1832, and other works on a
large scale, are less valued than his songs, espe-
cially his National Songs in ii vols., his Songs
for School Use, 13 vols., and above all, his Church
Music and his Collection of Psalm Tunes, pub-
lished in 1853, and since adopted in the churches
throughout the country. His success in this
direction may be owing to his position as organist
to the church of the Trinity, Copenhagen, from
1838. He was a professor of singing at the
Metropolitan School from 1843, and in the same
year he established the first of those musical
associations for the working classes now so popu-
lar in Denmark. Berggreen wrote occasional
articles in the leading Danish papers, and for a
short time edited a musical publication no longer
existing. One of his most distinguished pupils
in harmony and thoroughbass was Gade. Berg-
green died at Copenhagen, aged 79, Nov. 9, 1880.
Eor details of his early life and lists of his works,
see Erslew's * AlmindeligtForfatter Lexicon,' Co-
penhagen 1843, and its supplements. [L.M.M.]
BERINGER, Oscar, a distinguished pianist,
was bom in Baden in 1844. ^^ ^^49 ^^^ father
was compelled to fly to England as a political
refugee, where he lived in straitened circum-
stances. Owing to this reason the only musical
education Mr. Oscar Beringer received, up to his
19th year, was from an elder sister. During the
years 1859 ^^<^ ^^^° ^® gave several series of
Pianoforte Recitals at the Crystal Palace, and in
1 861 made his first appearance at the Saturday
Concerts. Recognising the necessity of going
through a course of systematic training, he stu-
died at Leipzig under Moscheles, Richter, Rei-
necke, Plaidy, etc., from 1864 to 1866, and
continued his studies at Berlin under Tausig,
Ehlert, Weitzmann, etc. In 1869 he was ap-
pointed a professor at Tausig's ' Schule des Ho-
heren Clavierspiels * at Berlin, but in 187 1 he
returned to England, where he has repeatedly
played with great success at the Crystal Palace
Saturday Concerts, Musical Union, etc. In Jan.
1872 he played at the Gewandhaus Concerts at
BESSON.
545
Leipzig, and on his return to England in the
following year he founded in London an 'Aca-
demy for the Higher Development of Pianoforte
Playing,' an institution which has fully borne out
the promise of its name. On Oct. 14, 1882, he
played the pianoforte part in Brahms's 2nd Con-
certo on its first performance in England. Mr.
Beringer's compositions include an Andante and
Allegro for pianoforte and orchestra (performed,
1880, at the Saturday Concerts and at Mr.
Cowen's Orchestral Concerts), Sonatinas for the
piano, a number of small instructive pieces, and
several songs. [W.B.S.]
BERIOT, C. A. DE. Page 231 I, 1. 2Z-%for
in 1835 read Mar. 26, 1836.
BERLIOZ. Page 233 l. The last paragraph
but one is to be corrected as follows : — He was
appointed conservateur in 1839 and librarian in
1852. See i. 393 J, lines 13-15 from bottom.
BERNE R, F. W. Line 2 of article, for
March read May.
BERTINI, Henri. Add day of birth, Oct. 28.
BERTON. Line 4, add after the father's
name, his dates (i 727-1 780). Line 11, for in
read Sept. 17- Last line of article, for 1842
read Apr. 22, 1844.
BERTONI. Correct date of birth to Aug.
15* 1725, and that of death to Dec. i, 1813.
Line 4 of article, /or 1750 read 1752 ; and two
lines below,/br seven read five.
BERWALD. The dates of birth and death
belong to the cousin of the subject of the article,
Franz Berwald, who was director of the Conser-
vatorium in Stockholm. Johann Friedrich was
born in 1788, and died in 1861, having held the
appointment of capellmeister since 1834. [M.]
BESOZZI. Line 5 from end of article, after
son add Henri, and insert date of death of Louis
Ddsir^ Besozzi, Nov. 11, 1879.
BESSON, GusTAVE Auguste, a celebrated
manufacturer of musical instruments, born in
Paris 1820, died 1875. His father was a colonel
of distinction in the French army, and but for
his intense love of music and natural genius for
mechanics, there is no doubt young Besson
would have adopted his father's profession.
In 1838, when scarcely eighteen years of age.
bp-
b^ 1st valve.
he produced a new
model cornet, which
met with the great-
est success, and is
to this day known as
the ' Besson Model.*
It was recognised at
the time as a de-
cided improvement
on all previous in-
struments of the
same kind. In 184I
he invented an en-
tirely new system of rotary action, with six
valves, the right hand being applied to the top
valves, the left to those at the bottom. But he
was not satisfied with this advance, as, owing
T^ 1st aad 3rd ralres.
546
BESSON.
to its internal proportions, it did not allow of
a full bore when the valves were down. In 1854
he elaborated an improved system of full bore,
by means of which the notes of the first and
third valves separately, and those of the first
and third together were perfectly in tune — a
result which had never before been obtained.
The year following he was successful in turning
out an instrument with a full bore, the valve and
open notes being in all respects perfect.
In 1858 were manufactured a series of instru-
ments known to the profession as the 'Besson
Girardin,' the feature of which was that the
player was enabled to change fi*om one key to
another, without changing mouthpiece, slide, or
crook.
In the same year he introduced the circular
system. By this method of manufacture the
tubing was coiled in a circle round the pistons,
the result being that, by doing away with all
angles, the instruments obtained a greater
volume of tone. This system was found to be
remarkably efiective with trombones and French
horns. His invention of 1859 consisted of
instruments having eight independent positions,
and giving the entire scale, a note to each valve.
But the greatest of all Mr. Besson's inven-
tions, which has won for him upwards of thirty
awards from different nations, and with which
his name will always be associated, is what
is known as the ' Prototype System,' and repre-
sents in a condensed form the sum of all the
experience he had previously acquired. This
system consists in having conical steel mandrils
of exact mathematical proportions representing
the different parts of the instrument. By this
means an unbroken column of air is assured,
and the player is enabled to obtain the utmost
volume of tone, so that by the inert mechanism
of the valves perfect tune is secured throughout
the whole register. There is this further ad-
vantage in the Prototype System ; it dispenses
with anything like guesswork in the manu-
facture of musical instruments, and by its aid
any number of instruments exactly alike in every
respect and in perfect tune can be turned out.
These important inventions, together with others
of minor importance, yet in their way useful
and deservedly appreciated by acousticians, have
placed Besson in the foremost rank of musical
instrument makers. [J.Sd.]
BETZ, Fbanz, bom 19 March, 1835, a*
Mayence, was educated at the Polytechnic,
Carlsruhe, made his d^ut on the stage in '56 at
Hanover, afterwards sang in smaller towns, and
in May '59 played at Berlin as Don Carlos in
* Emani,' with such success that he was promptly
engaged, and has been a member of that company
ever since. Among his best parts are Don Juan,
Orestes, William Tell, Lysiart, Hans Heiling, and
the baritone parts of Wagner. At the produc-
tion of * Die Meistersinger * at Munich, June 21,
*68, he sang the part of Hans Sachs, and in
1876 he sang the part of Wotan at Bayreuth.
He has also, on leave of absence, played at
Vienna and other cities of Germany and Austria.
BILLINGTON.
In 1882 he visited England, and sang with great
success at the Crystal Palace, May 6 and 27, and
at the Richter concert of May 8. [A.C.]
BEVINGTON & SONS are organ-builders
in London. Henry Bevington, the founder of
the house about the beginning of this century,
had been an apprentice to Ohrmann & Nutt,
who were the successors of Snetzler. The busi-
ness is now carried on by Henry and Martin
Bevington, sons of the founder, in Rose Street,
Soho, in the same premises as were occupied by
Ohrmann. The orgjin of St. Martin's in the
Fields and of the Foundling Hospital in London,
and that of St. Patrick's Cathedral, Dublin,
were built by this firm. [V. de P.]
BEXFIELD. Last three words of article,
for the latter posthumously read besides his
oratorio. (The anthems were published before his
death. Corrected in later editions.) [W.H.H.]
BICINIUM (Lat. hh and canere), described
by Walther as * a two-part song,' is an obsolete
name formerly used in Germany for any short
two-part composition. In the preface to Rhau's
*Secundus Tomus Biciniorum' (1545), he uses
as an equivalent the Greek Si<puva : * Nee video
quomodo Tyrones canendo melius exerceri pos-
sint, quam si haec U(fxx3va illis proponantur,
Sunt praeterea ad omnia instrumenta valde
accomoda.' The title-page of Lindner's * Bicinia
Sacra' (1591) is in both Latin and German, the
latter translating * Bicinia ' by * Zweystinunige
Gesanglein,' though the above extract from
Rhau's preface proves sufficiently that the term
was not confined to vocal music only. * Trici-
nium,' which is more rarely found, is an obsolete
term for a short three-part composition. The
following are the chief collections of Bicinia
and Tricinia mentioned by Eitner and other
editors : —
Tricinia . . . LatJna, Germanica, Brabantica, et Gallica
, . . G. Khaw. Wittemberg : 1542.
Bicinia, Gallica, Latina, Germanica . . . Tomus Primus.
G. Rhaw. Wittemberg: 1545.
Secundus Tomus Biciniorum . , . G. Bhaw. Wittem-
berg: 1545.1
Diphona Amoena et florlda ... J. Montanus et A.
Neuber. NUmberg : 1549.
Selectissimonim Triciniorum HBassus etc.] Discantus
... J. Montanus et A. Neuber : NUmberg 1559.
Variariim Linguarum Tricinia . . .Tenor 2 [Discantus]
Tomi Secundi. J. Montanus et A. Neuber. NUmberg :
1660(1559?).!
Bicinia ... P. Phalesius et J. Bellems : Antwerp,
1590. (A later edition appeared in 1609.)
Bicinia Sacra, ex variis autoribus . . . edita etc.
CGerlach: NUmberg, 1691.1 [W.B.S.]
BILLET, Alexandbe. See vol. ii. 732 a.
BILLINGTON, Mrs. Elizabeth. Line 3 of
article, for clarinet read oboist. Line i*j,for at
sixteen read on Oct. 13, 1783. Line 30, before
Mrs. insert With the exception of a visit to
Paris at the end of her first season, where she
went to study with Sacchini. Line 3 from bottom,
for 1798 read 1799. Second column of page,
1. 10, for 1809 read 1811. Line 22, for aS read
25. (Diet, of Nat. Biog.)
I A copy Is In the British '.
s The bass has a different title.
BILLINGTON.
BILLINGTON, Thomas. Line 2 of article,
omit ' probably.' Add that he died at Tunis in
1832.
BIKCH, Chablottb Ann, soprano singer,
born about 181 5, was musically educated at the
Koyal Academy of Music and by Sir Geoi^e
Smart. She appeared in public about 1834,
confining herself at first to minor concerts. In
1836 she was engaged by the Sacred Harmonic
Society and soon took a good position as a concert
singer. In 1838 she made her first appearance
at the Three Choirs Festivals at Gloucester, and
sung subsequently at Hereford in 1840 and 1846,
at Gloucester in 1841, and at Worcester in 1842,
and was engaged at the Birmingham Festival of
1840. In 1844 she visited Germany and sang
at Leipzig and other places. She returned to
England in 1845, but quitted it again at the end
of the season for Italy, where she essayed operatic
singing. She reappeared in England early in
1846. On Dec. 20, 1847, she appeared on the
English stage at Drury Lane in Balfe's * Maid
of Honour,' but did not succeed in establishing
herself as an operatic singer. About 1856 in-
creasing deafness compelled her to abandon the
public exercise of her profession. Miss Birch
possessed a beautiful soprano voice, rich, clear,
and mellow, and was a good musician, but her
extremely cold and inanimate manner and want
of dramatic feeling greatly marred the effect of
her singing. Her younger sister, Eliza Ann,
bom about 1830, also a soprano singer and pupil
of Sir George Smart, first appeared about 1844,
and died March 26, 1857. [W.H.H.]
BIRMINGHAM FESTIVAL. Add that
the festival of 1882 was the last conducted by
Sir Michael Costa. It was distinguished by the
first performance of Gounod's ' Redemption.' In
1885 Herr Richter was appointed conductor, and
inaugurated his direction by producing the 'Mes-
siah ' as far as possible in the manner intended
by Handel, i.e. without the additional accom-
paniment and the alterations introduced for
effect. Gounod's * Mors et Vita,' Stanford's
* Three Holy Children,' Dvorak's 'Spectre's
Bride,' and Cowen's * Sleeping Beauty,' were
among the new works commissioned for the
festival. [M.]
BISHOP, Ann, better known as Mme. Anna
Bishop, was the daughter of a singing master
named Riviere, and was bom in London in
1 81 4. She studied the pianoforte under Mo-
scheles, and in 1824 became a student at the
Royal Academy of Music. Here she remained
until her mariiage with Sir Henry Bishop in
1831. In this year she appeared as a singer at
the Philharmonic and other concerts. [See vol. i.
57 J,] In 1839 ^^® went on a tour in the pro-
vinces with Bochsa the harpist, and shortly after
their return to London eloped with him to the
continent. Almost all the remainder of her life
was spent in travelling. Before her return to
Englajid in 1846 she had been singing for more
than two years at the San Carlo in Naples. In
1847 she went to America, and remained there
BISHOP.
547
for some years. In 1855, while on a tour in
Australia, Bochsa died, and Mme. Bishop re-
turned by way of South America to New York,
where she married a certain Schulz. Shortly
afterwards she visited England, singing at the
Crystal Palace in '58, and giving a farewell
concert on Aug. 17, 59. Another considerable
period was now passed in various parts of
America. In 1865 she sailed from Califomia
for the Sandwich Islands, and in the following
year suffered considerable loss in a wreck be-
tween Honolulu and China. India and Australia
were next visited, and after a final visit to Lon-
don she settled down in New York, where she
died of apoplexy in March 1884. Her voice was
a high soprano of brilliant but unsympathetic
quality. (Diet, of Nat. Biog.) [M.]
BISHOP & SON, organ-builders in London.
This factory was established about the end of
the 1 8th century by James C. Bishop, and was
known successively as Bishop, Son & Starr,
Bishop, Starr & Richardson, Bishop & Starr, and
now Bishop & Son. At different times they
have built the organs of St. George's (Catholic)
Cathedral, Southwark; St. James's Piccadilly,
and the Oratory, Brompton, all in London;
also those of the Cathedral and of the Town
Hall, Bombay. They are the inventors of the
Claribella stop, the Anti-concussion Valves, and
the Composition Pedals. [See vol. ii. pp. 598,
599.] [V.deP.]
BISHOP, John, bom in 1665, and educated
(according to Hawkins) under Daniel Rosein-
grave. Between Michaelmas and Christmas,
1687, he was a lay clerk of King's College, Cam-
bridge, and in the following year was appointed
to teach the choristers. In 1695 he succeeded
Jeremiah Clark as organist of Winchester Col-
lege ; he was afterwards appointed a lay- vicar
of the Cathedral in place of T. Corfe, and in
1729 succeeded Vaughan Richardson as Cathe-
dral organist. (Hawkins is wrong in calling him
organist of Salisbury Cathedral.) He died Dec.
19, 1737, and was buried in the west side of the
cloisters. MSS. by him are contained in the
collections of the British Museum, Royal College
of Music, and Christ Church, Oxford. Philip
Hayes's ' Harmonia Wiccamica ' includes some
of his compositions. (Diet, of Nat. Biog.) [M.]
BISHOP, Sib Henry Rowley. Vol i. p.
245 h, 1. 22 from bottom, /or 1833 read 1832, as
the cantata was commissioned in that year and
performed in 1833 ; for 1. 8 from bottom read
on the death of Dr. Crotch in 1847 he was
appointed, in 1848. Add that he was twice
married — first to a Miss Lyon, a singer who ap-
peared in his * Circassian Bride,' and, second, to
Ann Rivifere. [See Bishop, Ann, in Appendix.]
In the list of his productions the following cor-
rections are to be made : — The date of * Caracta-
cus' is 1808. Add that ' Haroun Alraschid ' ia
an alteration of ' The Aethiop.' * Sadak and
Kalastrade' is the correct title of one of the
works of 1 8 14. For 'Heir of Verona' read
* Heir of Vironi.' The date of • Edward the
548
BISHOP.
Black Prince* is 1828 ; that of 'The English-
man {sic) in India,' 1827 ; * Home, sweet home,'
1829; • The Romance of a Day,' 1831 ; • Yelva,'
1829; 'The Rencontre,' 1828; ' Rural Felicity,'
1839; 'Manfred,' 1834; ^^ 'The Fortunate
Isles,' 1840. The following supplementary list
completes the number of his productions for the
stage. (Diet, of Nat. Biog.)
Armide et Benaud, 1806 ; The
Wife of Two Husbands, and The
Siege of S. Quentin, 1808 ; The
Lord of the Manor, 1812 ; Poor
Vulcan, 1813 ; Lionel and Clarissa,
Aurora, and a cantata entitled
• Hanover,' 1814 : Exit by Mistake,
The Slave, and Royal Nuptials,
1816 ; The Apostate, and Teasing
made Easy, 1817 ; Fazio, The Bur-
gomaster of Saardam, and The
Devil's Bridge (additions), 1818 :
Uontoni, 1820 ; Uenry IV, part 2,
1821 ; The Vision of the Snn, and
The Vespers of Palermo, 1823; As
You Like It, 1824 ; Faustus, 1825,
Don Pedro, 1828 ; The Night be-
fore the Wedding, 1829 ; Nlnetta,
and Hamlet 1830; Kenllworth,
Waverley, The Demon (Robert le
Diable) and The Election (scored
only), 1832 ; The Captain and the
Colonel, 1835; Love's Labour's
Lost, and addltioni to The Beg-
gar's Opera, 1839. i-«|- -i
BITTER, Karl Hermann, was bom Feb. 27,
18 1 3, at Schwedt on the Oder, and died Sept. 1 2,
1885, at Berlin. Having studied law and
finance at the universities of Berlin and Bonn,
he entered upon his legal career in the former
city in 1833. After holding various high ojffi-
cial positions from 1846 onwards, at Frankfort,
Minden, Posen, Schleswig, and Diisseldorf, he
was appointed, in 1877, Under Secretary of
State for the Interior ; and in July, 1879, was
made Minister of Finance, which post he held
until June 1882. During the war with France
he had been Prefect of the department of the
Vosges, and subsequently Civil Commissioner at
Nancy. His activity in affairs of state found
ample recognition. His lively interest in music
had many practical results — among other things
the Schleswig-Holstein Festival of 1875 owed
its existence chiefly to him ; and his contribu-
tions to musical literature are of no small im-
portance. The most valuable of these are the
biographies of the Bachs — (i) 'Johann Sebas-
tian Bach,' in 2 vols. (1865) — 2nd ed., revised.
In 4 vols (1881); (2) 'Carl Philipp Emanuel
Bach und Wilhelm Friedemann Bachund deren
Brtider,' in 2 vols. (1868). The latter is the
most exhaustive and trustworthy work yet pub-
lished on the subject of Bach's sons ; the former
has been superseded by Spitta's great * Life of
Bach,' with which it cannot compare for
thoroughness or penetration. Although it is by
no means free from errors and superficiality, it
obtained a wide success soon after its appear-
ance, on account of the enthusiastic homage
displayed in the presentment of its subject. It
was especially successful among those who
knew little or nothing about Bach, and it con-
tributed in no small degree to the general appre-
ciation of the master. Bitter's other literary
works are : * Mozart's Don Juan und Gluck's
Iphigenia in Tauris,* with new translations of
the words of both operas (1866) ; ' Ueber Ger-
vinus' Handel und Shakespeare ' (1870) ; ' Bei-
trage zur Geschichte des Oratoriums* (1872);
' Bine Studie zum Stabat Mater ' (1883) ; ' Die
Reform der Oper durch Gluck und R, Wagner's
Kunstwerk der Zukunft' (1884). To these
must be added various contributions to periodi-
BLAND.
cal literature, the most recent of which (in the
' Deutsche Revue ' for October, 1885), 'Ge(ianken
iiber die Bildung eines Ministeriums der schonen
Kiinste fiir Preussen' is remarkable. In 1870
Bitter edited Lowe's autobiography. [A.D.]
BIZET, Georges. Add that his proper
names were Alexandre C^sar Leopold. Line 5 of
article, for afterwards married read married in
1869 ; 1. II, for Sept. 30 read Sept 29, and add
that ' Les P^cheurs de perles ' was given in Italian
as 'Leila* at Covent Garden on Apr. 22, 1887 ; 1. 14,
for Sept. 30 read Oct. i. Add that he took part,
with Jonas, Legouix, and Delibes, in the com-
position of the operetta * Malbrough s'en-va-t-en
guerre,' produced at the Ath^nde, Dec. 13, 1867.
Of his three symphonies, one, entitled ' Souvenirs
de Rome * was played under Pasdeloup's direc-
tion, Feb. 28, 1869, and at the Crystal Palace,
Oct. 23, 1880. He finished Hal^vy's biblical
opera ' No^.' [M.]
BLAGROVE, H. G. P. 247 a, 1. i,/or in
October read Oct. 20; 1. 17, for 1833 read
1832.
BLAKE, Rev. William [vol. i. p. 247a].
For William read Edward. For date of death
read June 11, 1765. (Corrected in late
editions). Add that he was born at Salisbury,
was educated at Balliol College, Oxford, taking
the degrees of B.A. 1733; M.A. 1737; B.D.
1744 ; and D.D. 1755. He was elected Fellow
of Oriel in 1736, became curate of St. Thomas's,
Salisbury, 1740, Vicar of St. Mary's, Oxford, in
1754, Prebendary of Salisbury and Rector of
Tortworth, Gloucestershire, 1757. [H.P.]
BLAND, Maria Theresa, bom of Italian
Jewish parents named Romanzini in 1769, made
her first appearance in public in 1 773 at Hughes's
Riding School, and at a more advanced age
appeared as a singer on the opening of the
Royal Circus (afterwards Surrey Theatre), Nov.
7, 1782, in a pantomime called 'Mandarina, or,
The Refusal of Harlequin.' She was very
favourably received, and was next engaged
at the Dublin Theatre, where she became an
established favourite. On Oct. 24, 1786, she
appeared at Drury Lane as Antonio in General
Burgoyne's version of Grdtry's * Richard,' with
complete success. She remained attached to
the Drury Lane company for nearly forty
years. In the summer of 1 789 she visited Liver-
pool, where she performed both at the theatre
and at concerts. On Oct. 21, 1790, she was
married to Bland, the brother of Mrs. Jor-
dan, the celebrated actress. She sang at the
Haymarket in 1791 in Arnold's * Inkle and
Yarico.' She for many years sang at Vauxhall,
where her popularity was unbounded. In 1812
she received a salary of £250 for the summer
season ; a considerable sum at that period. She
excelled as a ballad singer, for which the beauty
of her voice, simplicity of manner, and neatness
of execution eminently qualified her. Having
begun to show symptoms of mental weakness,
she retired from public life in 1824, taking a
BLAND.
benefit at Drury Lane, July 5, when a list of
donations was printed in the play-bill. She was
Attacked by apoplexy at the house of a friend,
and died Jan 15, 1838. Mrs. Bland had two
sons, both singers. Chables, a tenor, appeared
at Covent Garden as Oberon in Weber's opera of
that name, on its production, April 12, 1826.
His success however was but moderate and he
was not engaged after that season. He subse-
quently appeared in the provinces, and in 1831
was singing at the Manchester Theatre. He
then returned to London, and in 1 831-2 appeared
at the Olympic, and in 1833 and 1834 ^^ Astley's.
No traces of his subsequent career have been
found. His brother James, a bass, born 1798,
appeared in 1826 at the English Opera House
(Lyceum) in Winter's ' Oracle.' He was afterwards
engaged at Drury Lane. In 183 1 he appeared at
the Olympic as an actor and singer in burlesque
with such success that he gradually abandoned
serious singing and became the acknowledged
representative of the kings and fathers in the
extravaganzas of Planch^ and others. He died
suddenly as he was about to enter upon the
performance of his duties at the Strand Theatre,
July 17, 1861. [W.H.H.]
BLAZE, F. H. J. (Castil-Blaze). Add day
of death, Dec. 11.
BLEWITT, Jonas. Add that about 1795 he
was organist of the united parishes of St. Mar-
garet Pattens and St. Gabriel Fenchurch, also of
St. Catherine Coleman, Fenchurch Street.
BLITPEMAN, William, was in 1564 a
member of the choir and master of the choristers
of Christ Church, Oxford, and also a gentleman
and one of the organists of the Chapel Koyal. He
died on Whitsunday 1 591, and was buried in the
church of St. Nicholas Olave, Queenhithe, where
a brass plate was placed with a metrical epitaph
recording not only his skill as an organist and
musician, but also that he was the instructor of
John Bull. An organ piece by him is printed in
the appendix to Hawkins's History, and MS. com-
positions of his are extant in the Mulliner MS.,
Queen Elizabeth's Virginal Book, etc. [W.H.H.]
BLOW, John. There is a strong probability
that he was bom in London. A MS. note of
Anthony k Wood's, in his *Athenae Oxon.' shows
that Dr. Rogers told Wood that this was the
case, and the registers of North CoUingham in
Nottinghamshire do not confirm the statement
that Blow was bom there. P. 250 a, 1. 12, for
Some read Two. The statement made ten lines
lower, that Blow was not a graduate of either
university, requires confirmation. In the Music
School at Oxford there was formerly a MS. which
seemed to show that his degree was conferred at
Oxford. Line 19 from end of article, add 1 695 to
the dates when Blow composed odes for St.
Cecilia's Day. For further discussion of the
questions raised above, the reader is referred to
the Diet, of Nat. Biog. [W.B.S.]
BOB. Last line of article, for Changb-
BiNoiNG read Change II.
VOL. IV. PT. 5.
BOITO.
549
BOCCHERINI. Correct date of birth to
Feb. 19, 1743.
BOCHSA. Add day of birth, Aug. 9.
BOOKLET, C. M. von. Add date of death,
July 15, 1881.
BOEHM, Joseph. Correct date of birth to
1795, and day of death to Mar. 28.
BOEHM, Theobald. For 1. 3 of article
read April 9, 1794, and add at the end re-
ferences to articles FLUTE and Gordon. (Cor-
rected in late editions.)
BOHNER, JoHANN LuDWio, deserves mention
as the original of Hoffmann's Capellmeister
Kreisler, and thus of Schumann's Kreisleriana.
He was born Jan. 8, 1787, at Tottelstedt, Gotha,
and had an immense talent for music, which
was developed by his father and by Kittl,
J. S. Bach's pupil*; but, like Friedemann Bach,
his habits were so irregular that he could never
retain any regular employment. He wandered
about through Germany, and in 1808 lived at
Jena, where he made the acquaintance of Goethe
and Hofimann, but returned in the end to his na-
tive village. At length, drink and privation carried
him off on March 28, i860. He gave a concert
at Leipzig in Sept, 1834, in speaking of which
Schumann^ mentions that he 'looked so poverty-
stricken as quite to depress me. He was like
an old lion with a thorn in his foot.' He had at
one time been celebrated for his improvisation,
but at this date Schumann was disappointed
by it — 'it was so gloomy and dull.' This was
in the early days of the * Neue Zeitschrift fiir
Musik,' and Schumann utters a half intention to
write Bohneriana for the paper, founded on the
old man's own confessions, * both humorous and
pathetic' These were afterwards to be the basis of
the PF. pieces, op. 16, called the 'Kreisleriana'
(1838). Bohner's absurdities almost pass belief.
He announced an organ concert at Oldenburg,
the church was filled and every one full of ex-
pectation, when Bohner appeared in the organ-
loft and said 'It is impossible for Ludwig Bohner
to play to such an idiotic audience.' ^ Fetis gives
a long list of his works, containing an opera,
orchestral pieces, quartets, sonatas, motets, etc.,
ending with op. 1 20. See also vol. ii. 727 b. [G.]
BOIELDIEU, Fr. Adrien. Add to the
works mentioned, the following, completing the
Hst:—
•L'heureusenouTene,'1797; 'LeParl, ouMombreull et Merville.'
17OT ; ' Les M^prlses espagnoles,' 1799 ; * Emma, ou La Frlsonni6re '
(with Cherubini), 1799; ' Lo Baiser et la Quittance' (with M6hul,
Kreutzer and Nlcolo), 1803. Produced at St. Petersburg-' Amour
et Myst^re,' ' Abderkhan,' ' Un Tour de Soubrette,' ' La Dame in-
Tlslble,' 1808. After his return to Paris-' Bayard ii M^zl^res* (with
Cherubini, Catel, and Nlcolo). 1814; 'Les B^arnais. ou Henri IV
en voyage' (with Kreutzer), 1814; 'Angela, ou r Atelier de Jean
Cousin ' (with Mme. Gall), 1814 ; ' La F6te du Village voisln,' 1816 ;
•Charles de France, ou Amour et Glolre* (with Harold), 1816;
• Blanche de Provence, ou La Cour des F^es ' (with Berton, Cherubini,
Kreutzer, audPaSr), 1821; • La France etl'Espagne,' 1823; 'LesTrols
Genres' (with Auber). 18*24; 'Pharamond' (with Berton and
Kreutzer), ISiK ; and ' La Marquise de Brlnvllllers ' (with Auber,
Batton, Berton, Blanglnl, Carafa, Cherubini, Harold, and PaSr),
1831. (Pougln's Supplement to F^tls's Dictionary.)
BOITO, Arrigo, an Italian poet and com-
poser, born at Padua, Feb. 24, 1 842. His father
» Jugend-brlefe. Letter to yon Frickon. « Ibid.
Oo
650
BOITO.
was an Italian painter, and his mother a Polish
lady, which to a great extent accounts for the
blending of northern and southern inspiration
that is the characteristic of all Arrigo Boito's
poetical and musical works. From an elder
brother, Camillo, an eminent architect, critic
and novelist, Arrigo acquired from his early
years a taste for poetry. It may be said here
that it was Camillo Boito who directed his
brother's attention to Goethe's Faust as the
proper subject for a grand opera, and this years
before Gounod's masterpiece was written.
In 1856 Boito's mother left Padua and settled in
Milan so that he might study at the Conservatorio
there. Arrigo was admitted as a pupil in the
composition class of the late Alberto Mazzucato.
It is asserted on excellent authority that during
the first two years at the school, he showed so
little aptitude for music, that more than once the
director, Lauro Rossi, and the examiners, were
on the point of dismissing him, and it was only
owing to the determinate and steady opposition of
his professor that the decisive measure was not
carried out. This fact, compared with a similar
incident in the career of Verdi, who at a com-
paratively advanced age was refused admission to
the same institution on the ground that he had no
aptitude for the study of music, will not fail to
strike the reflective mind, and to show how in
some cases genius may be latent, and may
reveal itself only after years of well-directed
industry.
The musical lessons at the Conservatorio being
over before noon, the young Arrigo would
regularly spend his afternoons and evenings in
the library of the Brera studying literature.
The time thus spent was soon productive of
excellent fruit : before he had reached his
eighteenth year, he was familiar with the
Greek and Latin classics, had acquired a perfect
mastery of the Italian and French languages,
and his first essays in the Italian and French
ress at once attracted the attention of scholars in
oth countries to him. Some articles on a French
review were the cause of Victor Hugo's writing
a most flattering letter to the unknown author,
while in Italy Andrea Maffei and others publicly
complimented him on his early poems.
It is a custom at the Conservatorio of Milan
that the most successful pupils of composition on
leaving school should write either an operetta or
a cantata to be performed on the occasion of the
annual distribution of prizes. On leaving the
Conservatorio, Arrigo Boito and Franco Faccio
set to work together and produced a cantata,
* Le Sorelle d'ltalia ' (the Sisters of Italy), the
poem by Boito, the music of the first part by
Faccio, the music of the second part by Boito.
By the time this cantata was performed, musical
circles were greatly interested in the two pupils,
as it was known that Faccio was already far
advanced in his opera *I profughi Fiamminghi,'
and that Boito had already written and composed
several numbers of his * Faust,' — the garden
scene, just as it now stands in ' Mefistofele,'
belongs entirely to that period.
I
BOITO.
* Le Sorelle d'ltalia ' was an enormous success,
so much that the Italian government, which is
perhaps the least musical in Europe, and the
least inclined to patronise art, found itself
almost forced by the current of public opinion
to award the two maestri a sum of money,
besides the gold medal, to enable them to reside
for two years in various capitals of Europe.
As some twenty years ago the staple, and w»
may almost say, the only paying article in the
music market in Italy was operatic music, there
was not the remotest thought of publishing the
cantata, successful as it had been, and only two
short duets for female voices, the one by Faccio
and the other by Boito were printed. Unluckily
the manuscript score, which ought to be de-
posited at the library of the Conservatorio,
through the carelessness of the keeper of the
library and of the director Lauro Rossi, was
lent and never returned, so that, unless chance
throws the manuscript in the way of some
musician, no hope can be entertained of ever
hearing again that interesting work, the authors
themselves having kept no copy.
The subject was an allegorical one, intended
to represent the four sister nations, Italy»
Hungary, Greece and Poland, in their struggle
for political independence. The cantata was in
two parts, preceded by a prologue and concluded
by the stimng * Hymn of Tirteo,'from the original
Greek, by way of epilogue ; the peculiar and
spontaneous blending of northern and southern
inspirations, already hinted at, was conspicuous
in the poem. The first part, • Italy and Hun-
gary' was, musically speaking, as characteris-
tic of Faccio*s genius as the second, * Greece
and Poland,' was of Boito's. Those who heard
the performance twenty-five years ago, remember
still the • Litanie dei Polacchi,' a choral number
which opened the second part, new in treatment
and grand in conception. The theme of the
final chorus reappears in a somewhat altered
condition in the fourth act of * Mefistofele.'
During his residence abroad, Boito spent most
of his time in Paris, and a considerable part of
the rest in Germany. Strange as it may seem^
Wagner's operas, which he had now an occasion
of hearing for the first time, did not alter in the
least his musical opinions and feelings : a
change came over his mind many years after,
when he began the critical study of the works
of Sebastian Bach. He left Milan holding
Marcello, Beethoven, Verdi and Meyerbeer as
the greatest composers in their respective fields,
and when he came back he was even strengthened
in his belief, though he had had many opportu-
nities of hearing excellent performances of the
best music. Yet — perhaps unconsciously — ho
did not feel at one, on musical subjects, with the
majority of his countrymen. His genius, his
keen appreciation of the beautiful, his devotion
to Beethoven and Marcello, had enlarged his
ideas beyond the limits that were imposed upon
an operatic composer, and whilst leisurely work-
ing at his • Faust ' he could not bring himself to
give it the fashionable and only accepted form
Borro.
of the Italian opera. He was too modest to
preach a new faith, too honest to demolish before
knowing how and what to build, and too noble
to write with the sole end of amusing his fellow
creatures. This, and the success of Gounod's
* Faust ' in Milan, a success that obliged him to
give up any idea of having his own * Faust '
performed, gave gradually a different turn to his
mind, and he eventually found himself more
busy with literature than with music. All his
lyrics bear the date from i86i to 1867 (they
were afterwards published at Turin in 1877) :
his novel, *L'Alfier Meno,' was also written
in these years. He started, together with
Emilio Praga and other friends, a lively, brilliant
but short-lived newspaper ♦ Figaro ' ; he con-
tributed critical essays to Italian and French
reviews, and was one of the most active and
valuable contributors to the *Giornale della
Society del Quartetto di Milano,' a musical
paper edited by Alberto Mazzucato, whose aim
was to excite an interest in, and spread a taste
for, the study of instrumental music.
Englishmen, accustomed to numberless con-
certs where music of the great composers may be
heard, will hardly realise what the condition of
Milan — by far the most advanced musical town
in Italy — was twenty-five years ago. Music
and opera were synonymous words, and no one
cared for anything that had not been or could
not be performed with success at * La Scala.'
Bach, Beethoven, Mozart, Mendelssohn, Schu-
mann, were as much unknown as if they had
never been born. Even as late as ten years
ago, the only copy of Beethoven's Symphonies to
be had at the library of the Conservatorio, was
a cheap edition printed at Mendrisio, and so full
of mistakes as to be in some parts unintelligible.
This state of things was absolutely alarming, and
several more enlightened persons, amongst them
the publisher Ricordi, Mazzucato, Boito, Filippi,
etc., decided to start a Society of Concerts and a
newspaper in order to improve the public taste,
and make it at least possible for the new com-
posers to have a chance of being heard and
appreciated.
Boito did much useful work in this direction :
his articles were full of enthusiasm, and were
interesting and readable. Amongst various
miscellaneous articles he contributed one essay
on * Mendelssohn in Italy,' published by instal-
ments, in which he spoke of his hero in such a
manner that it was considered disrespectful
towards Italian composers and the Italians at
large, and led to a duel, wherein the ardent
musician was worsted, and in consequence of
which he had to carry his right arm in a sling
for several weeks afterwards.
In 1866 the war with Austria put a stop to all
musical business, and Boito, Faccio, Tagliabue,
Emilio Praga, and others, joined the volunteer
corps under the command of General Garibaldi.
During the campaign they fought bravely, some
of them even receiving a special mention for
military valour. When the campaign was over,
Boito felt tired of the comparative idleness of
BOITO.
55X
artistic life in Milan, and decided to leave Italy
and take up his residence in Paris : Victor Hugo
encouraged him to do so, and exhorted him to
join the Parisian press, and gave him the warmest
and most affectionate introduction to Emile de
Girardin. Accordingly Boito went to Paris in the
spring of 1867, fully determined to give up music
and throw in his lot with French journalists.
Thus Boito *s career as a musician would have
absolutely been over for ever, but for a succession
of unforeseen and trifling incidents. When he ar-
rived in Paris, Emile de Girardin, who was to act
as his sponsor on his entering the Parisian press,
was the hero of a political cause celebre attracting
for the moment the interest of all France, and
the introduction had no practical consequences.
After some time spent in vain suspense, Boito
went to visit a sister in Poland.
The monotonous, tranquil, humdrum country
life, and the many forced leisure hours he had
there, put him again in mind of * Faust,' and
just to please his own fancy he sketched a
nmsical setting of an arrangement of the entire
poem, from the Prologue in Heaven to Faust's
Death, and also completed some of the principal
scenes.
While he was waiting for the autumn to go
back to Paris and try his fortune again, Signori
Bonola and Brunello, the managers of La Scala,
who were making arrangements for the operas to
be produced in the ensuing winter season of
1867-68, and had already secured two novelties,
Gounod's * Giulietta e Romeo ' and Verdi's ' Don
Carlos,* heard that * Faust * was again occupying
Boito, and they managed to obtain the opera,
so that when the general public was thinking
that Boito was on the staff of some Paris news-
paper, unexpectedly the advertisements an-
nounced * Mefistofele' as the new o]pera d'obhligo
for the next season.
No doubt in the interest of art it was well
that Boito entered into the engagement, but it
was nevertheless a very rash step on his part, of
which the effects were demonstrated by the me-
morable first performance of the original * Mefis-
tofele ' which took place at La Scala of Milan
on March 5, 1868. It must be fairly owned
that the public was not ready to understand the
new language he intended to speak, nor did
the poet and composer know clearly what he
was going to say to them. There is no denying
that the original 'Mefistofele,' though poetically
and philosophically admirable, was, taken as an
opera, both incongruous and amorphous. It was
an interminable work, with very deficient and
feeble orchestration, no dramatic interest, and
composed without the most distant thought of
pleasing the taste of opera-goers. The conception
was sublime and the outline bold and startling ;
but it was little more than a sketch, or a cartoon
for a fresco, and the real work was absolutely
wanting. It would have taken at least a year
to get it properly ready, if the author had chosen
to follow up the original scheme ; but Boito found
himself with very few months before him, barely
sufficient to put the materials together.
Ooa
558
BOITO.
The process of rehearsing at La Scala is a very
long one, as it is done in the most conscientious
manner : in the case of Mefistofele it was extra-
ordinarily long, owing to the enormous difficulties
the chorus and the orchestra had to grapple
with ; partial and general rehearsals amounted,
if we remember right, to fifty-two, and during
the many weeks spent in this way, all the inter-
preters had grown so accustomed to Boito's style,
and his music had become so clear and familiar
to them, that their heart warmed toward the
young composer, they thought him the greatest
composer in Italy, and answered to the numerous
questions directed to them by known and un-
known persons about tlie merit of the new opera,
* a second Gugliehno Tell.' * Mefistofele ' had ab-
sorbed the attention of all Milan, and of all
musicians and amateurs of Italy : all seats and
standing places had been sold weeks before the
performance, and never after or before has been
witnessed such an interest taken in the produc-
tion of a young composer's first, opera. In order
to centre entirely the public interest in Boito, it
was decided to make a breach of custom and let
the composer conduct his own work ; and another
breach of custom was made by publishing and
selling the libretto a few days before the per-
formance. The first edition was bought up in a
few hours, and eagerly, almost savagely, read,
commented on, dissected, submitted to the most
minute analysis. Boito, in poetry as well as in
music, belonged to the advanced school, so-called
* deir avvenire ' : as everywhere else, in Italy
also, the poet's * dell' avvenire * were not looked
at very kindly, and in Milan less than in any
other Italian town, because the Milanese were
justly proud of their great citizen Alessandro
Manzoni, the author of ' I promessi sposi,' who at
that time was still to be seen taking his after-
noon walk on the bastioni every day, and of
whom it was given out that the poets of the
new school did not entertain a sufficiently rever-
ential opinion — a statement which, if it was in a
certain measure true as regarded some of the
young poets, was not so for Boito. An incident
may be related here which will show at once the
natural modesty of Boito, and his keen and quick
appreciation of what is really beautiful in itself
even when expressed in the style of a school dia-
metrically opposed to his own. A few months
after his poems had been published, or rather
re-published, in Turin, he was one evening walk-
ing with a couple of friends and the talk was of
poetry. One of his friends, alluding to the justly
famous stanza by Manzoni in ' Ermengarda's
death,'
O Masa errante, o tepidi
Lavacri d' Acquisgrano, etc.,
made some remarks and said it was a little old-
fashioned: 'Well, it may be so,' interposed Boito,
'yet I would rather have written that single
stanza, than all my lAbro dei veraV Notwith-
standing, his poems created in the general public
and in old Alessandro Manzoni himself an ex-
cellent impression, and since the poet had fully
come up to the great expectations of the public,
BOITO.
the curiosity to hear what the musician had done
was kindled to the highest degree.
The long-expected day cauie at length, and
though the performance was to begin at 7.30,
shortly after 2 o'clock the fortunate possessors of
unnumbered seats could already be seen to gather
near the large doors, in order to secure the best
places. Boito's appearance was the signal for an
applause as spontaneous as it was unanimous,
that began simultaneously in all quarters of the
house, and lasted several minutes. During all
the prologue peifect silence pervaded the whole
house, and an attempt to applaud the * vocal
scherzo ' was instantly suppressed ; the chorus
and orchestra sang and played magnificently,
and the effect seemed irresistible, and yet even
towards the very end not the slightest guess
could be given as to the result, so that the ner-
vousness of all the admirers and friends of Boito
was increasing every minute ; but when the
choir gave out the last chord of E major, there
came such a sudden thunder of applause that the
last bars were perfectly inaudible, though played
fortissimo by the full orchestra and military band.
Six times Boito had to bow his acknowledgment,
and yet the sound of applause still rang for
minutes through the house ; the cheering was
taken up in the piazza outside the theatre, and
it even reached the surrounding caffes, where
hundreds of musicians had gathered with their
friends to be in advance of any intelligence.
The friends of Boito were wild with excite-
ment, and prophesied the triumph of the opera ;
but these prophecies were not destined to be
realised. We have already alluded to the in-
trinsic reasons that made the original * Mefistofele*
unfit for the stage ; in addition to these there
was a very powerful accidental one that hastened
the fall of the work, i. e. the utter inadequacy of
the interpreters of the chief characters.
The first act did not produce any impression,
only it went a good way to cool down the
enthusiasm : the garden scene in the second act
displeased the public, who contrasted it with the
parallel scene in Gounod's third act, and found
Boito's music decidedly inferior : the * Sabba
Komantico' turned the scales altogether. At
the moment of Mefistofele's coronation the
wizards, witches, and all the infernal crews
knelt down, and satirising the ceremonies of the
Roman Catholic Church, sang the plaiiisong of
the * Tantum ergo.^ From a poetical and musical
point of view it was a splendid effect, but it
was unquestionably in very bad taste to parody
one of the most popular hymns of the church.
The audience considered it as irreverent, lost
all patience, and began to hiss as lustily and
heartily as they had applauded before. Boito's
partisans stood him in good stead, and kept up '
to the very end of the opera a strong opposition
to the majority, but this of course served only
to increase the disturbance. Challenges vvere
exchanged, resulting in duels the next morning,
the confusion and clamour in the theatre reached
such a pitch that during the fourth and fith act
it was at times utterly impossible to hear either
I
BOITO.
chorus or orchestra. When the curtain fell for
the last tune, all the members of the orchestra
rose to their feet like one man and enthusi-
astically cheered the unfortunate composer; a
rush was made from the pit into the stalls, and
a shrieking and howling crowd hissing and ap-
plauding wildly rushed forward toward the
orchestra. The house was cleared and the
frantic audience fought it out in the streets until
the next morning. The performance had lasted
nearly six hours.
During the week another performance took
place : one night the prologue, ist, 2nd and 3rd
acts were given ; on the following night prologue,
4th and 5th acts ; but the conflicting parties
could not agree, and at last the chief of the
police thought wise to interfere, and * Mefis-
tofele * had to be withdrawn hy order.
The idea of having the score of the original
* Mefistofele' printed, has been unfortunately aban-
doned, yet it may be hoped that in time the
scheme may be carried out. For even if the
thought of having the original opera performed
in its entirety were to be dismissed, it would be
a matter of regret that musicians should not
have the opportunity of becoming acquainted
with that grand conception, either by reading
it or by partial performances. The * Mefistofele '
in its present form bears the same relation to
the original work as a recent performance at the
Lyceum to Goethe's masterpiece : it is an adap-
tation for the stage, of more practical use than
the original, but of far less artistic import.
The only decided improvement in the re-
arrangement is the assignment of the part of
Faust to a tenor instead of a baritone : the ab-
sence of a tenor makes an opera acoustically dull
and engenders monotony, especially in a long
work. The parts that have suffered more by the
alterations are the scene at Frankfort in the
first act, and the • Sabba Romantico ' in the
second act. These two parts were much more
freely developed, and might now-a-days be per-
formed by themselves as cantatas ; and the same
applies to the grand scene at the Emperor's
Palace, now entirely abandoned. A strikingly
original ' intermezzo Sinfonico' (a clever ar-
rangement of which by Marco Sala, for piano
duet has been published by Messrs, Ricordi of
Milan) stood between the fourth and fifth acts ;
it was meant to illustrate the battle of the
Emperor against the pseudo-Emperor, supported
by the infernal legions led by Faust and Mefis-
tofeles — the incident which in Goethe's poem
leads to the last period of Faust's life. The
three themes — that is, the i^a»/are of the Emperor,
the Fanfare of the pseudo-Emperor, and the
Fanfare infernale, were beautiful in conception
and interwoven in a masterly manner, and the
scene was brought to a close by Mefistofele
leading off with ' Te Deum laudamus ' after the
victory.
From the spring of 1868 to Oct. 4, 1875,
when the revised Mefistofele was for the first
time performed at the Teatro Comunale of
Bologna, thus beginning its popular career in
BOITO.
559
Italy and abroad, Boito worked hard and in
good earnest, yet of the two grand operas which
took up most of his time at that period none
but a few privileged friends have heard any-
thing. They are * Ero e Leandro ' and * Nerone.'
* Ero e Leandro ' when finished, did not please
its author ; at one time he contemplated the
idea of having the libretto performed as a
poetical idyll with musical intermezzos and
choruses, then he dismissed the subject altogether,
and gave the libretto to Bottesini, who set
it not unsuccessfully to music. Of Boito's music
nothing remains except four themes ; two he
made use of in his * Mefistofele,' one he had
printed as a harcarola for four voices, and the
other he adapted to an ode he had to write
for the opening of the National Exhibition of
Turin in the spring of 1882 (unpublished).
* Nerone,' so far, seems to be the opus magnum
of the artist's life, but no one can say positively
when it will be performed. For a long time
the work has been so far advanced that if the
author chooses it may be got ready in a few
weeks, but there are excellent reasons for not
giving the finishing touches to it ; these reasons
of course are not made public, but it is not
difficult to give a guess at them in the right
direction. Another work, of no less importance
than * Nerone,' on which Signor Boito is now
bent, is * Orestiade,' but this is sun-ounded by
a still deeper mystery than that in which
'Nerone' is wrapped, though it is perhaps
more likely that ' Orestiade ' may be submitted
to the public earlier than the other.
It is rather early days to [)ronounce ex cch
thedra an opinion as to the place which Arrigo
Boito will take amongst the great masters ; yet
one thing is beyond doubt, and that is, that
Boito has a right to a conspicuous place amongst
the greatest living artists. There are certainly
in Europe, and perhaps even in Italy, poets
of higher attainment than he : and confronted
as a nmsician with Brahms, Goldmark, Dvorkk,
Saint-Saens amongst foreigners, and Sullivan,
Stanford, and others, amongst Englishmen, it
is very probable that he will not bear off the
palm ; yet amongst these few privileged artists
who, like the Proven9al troubadours, can say
* trove il suono col il moto ' ? Boito, since Wag-
ner's death, has no rivals, and it remains still
to be seen whether, when * Nerone ' is brought
within reach of criticism, it will not ultimately
be accepted as the greatest musical drama of
the 19th century. This is not a groundless
supposition ; the greatest part of the poem of
* Nerone ' is not unknown to the present writer,
who is supported by the opinion of an indis-
putable authority, the late Italian dramatist
Cossa. Signor Cossa, who had won his fame by
his tragedy * Nerone,' was allowed by Boito
to read his libretto. His opinion was as follows :
* Vi sono dei momenti degni di Shakspeare ; il
mio Nerone, in confronto al suo a roba da ra-
gazzi.' (There are conceptions worthy of Shak-
speare himself: my Nerone compared to his is
mere child's-play).
554
BOITO.
In later years Boito became a fervent admirer
of Wagner, and particularly of ' Lohengrin ' and
the ' Meistersinger,' but he was not in the least
influenced by the German master's work : he
admired but did not follow him. The only
influences that acted strongly on him were those
of Beethoven and Marcello, and a careful and
diligent study of ' Mefistofele ' will corroborate
this assertion. About the time when 'Mefistofele*
was given in Bologna, he began to devote him-
self to the works of Sebastian Bach, who has since
then reigned supreme in his estimation. Only the
future will show what influence this study has
brought to bear on his musical conceptions.
As we said above, all Boito's best poems are
to be found in * II libro dei Versi,' a little book
of less than two hundred pages. With the ex-
ception of ' Re Orso ' they are short poems, full
of originality and character. Opinions differed
widely on their merit, but admirers and de-
tractors agreed that either as an ornament or
as a blemish they stand by themselves in Italian
literature, and that he is no imitator. * La
mummia ' * George Pfecher ' and * Ad Emilio
Praga ' have always been considered the best,
and ' King Orso ' a Jiaba, in two legends, an
intermezzo and a moral, stands like a sphinx in
the way of learned critics. What the poet
meant by it no one knows, but leaving apart
the drift of the poem there are in it flashes
of light, dazzling, wild and sweet. The fifth
number of the second legend, where the author
narrates the thirty years' wandeiing of the worm
that by fate had to enter the sepulchre of King
Orso, is a marvel in its kind, and the trou-
badour's song (legend i, no. 7) is unsurpassed
in gentleness of thought and sweetness of ex-
pression, so much so that it is a wonder that
song-writers have not yet seized upon it.
Boito is the author of several librettos or,
better, of dramas for music, as it would be
unfair to rank these literary gems on a line
with the old-fashioned librettos of Italian operas.
They are : — ' Mefistofele,' ' Nerone,' 'Orestiade,'
set to music by himself : * Ero e Leandro ' (Bot-
tesini), ' Amleto' (Faccio), ' Gioconda ' (Ponchi-
elli), 'Alessandro Farnese* (Palumbo), 'Tram'
(Dou)iniceto), 'Otello* (Verdi). Of these, only
*Mefistofele,' 'Gioconda,' 'Amleto,' 'Otello* and
• Ero e Leandro ' have as yet been published,
and each of them constitutes a perfect work of
art by itself, independently of the musical
setting. He is likewise the author of several
translations, which include Wagner's ' Tristano
ed Isolta,' * Rienzi,' and ' Cena degli Apostoli,*
Beethoven's Ninth Symphony, and some smaller
works by Schumann and Rubinstein.
Arrigo Boito has, since 1867, resided in Milan,
where he lives with his brother Camillo. He
does not occupy any official position, and leads
a quiet and retired life. Though he is good-
humoured, a pleasant companion, and of a kind
and cheerful disposition, he carefully shuns
fashionable society. The Italian government
has conferred upon him first the title of *Cava-
liere,' then of ' Ufficiale * and lately of * Com-
BORGHI.
mendatore'; but though he does not make
a cheap show of pompous independence in
refusing these titles, he does not like to be
addressed otherwise than by his simple name,
and even on state occasions he is never known
to have worn the decoration to which he is
entitled. Once, upon arriving at Venice, he
went with a couple of friends to hire a piano.
Having agreed on the instrument and on the
price, he gave his name and address to the shop-
keeper : reading the well-known name the good
man began to 'Cavaliere' him at every other
word, much to the annoyance of Boito. ' I did
not know it was you, signer Cavaliere, I had
the honour to serve,' the man proceeded, 'but
being for you, signer Cavaliere, I shall make
it five francs less a month.* 'My good fellow,'
interposed one of the two friends, * make it five
francs more and don't call him Cavaliere, and it
will be all right for both.' [G.M.]
BORD, Antoine, pianoforte-maker, of Paris,
was bom at Toulouse in 1814. Apprenticed at
the age of 13 to a cabinet-maker he soon learned
the use of tools, and the small weekly payment
he received from his master had to go into the
family purse, Bord's parents being in straitened
circumstances and he the eldest child of seven.
The apprenticeship of three years over, he found
employment in a larger business, and it so hap-
pened th.it he was required to make a pianoforte-
case (on the model of Roller et Blanchet) for an
amateur who was himself to complete the inside.
His assisting in the internal work brought about
the idea of his becoming a pianoforte-maker. As
there was no business of the kind in Toulouse his
father unwillingly let him go to Marseilles,
where he obtained work as a key-maker. His
desire to learn more than this led him to Lyons,
where he was employed by a maker who was
a Saint-Simonien, and who left Bord almost to
his own resources in making a piano throughout.
However, this instrument has become of a certain
importance in musical biography, as Bord's
master gave it to the composer Felicien David,
who took it with him to the East. From Lyons,
Bord, now 19 years old, went to Paris, and con-
structed a square piano for a piauino-maker, one
M. Mercier. While in this employ he acquired
as much proficiency in tuning as enabled him to
' rough up,' the technical term for the first tuning
of a pianoforte. At 20 he began to manufacture
upon liis own account, but an engagement at
Pleyel's soon after offering itself, he became a
regulator, and afterwards travelling repairer to
that firm. In 1843, Bord began that business in
Paris which is now universally known by his name,
and early introduced inveniionr?, the more im-
portant of which are recorded under Pianoforte
and Pianette. He died Mar. 10, 1 888. [A. J.H,]
BORGHI, Adelaide, formerly a celebrated
mezzo-soprano singer, well known as Borghi-
Mamo, was born in 1829 at Bologna. She
showed as a child great aptitude for singing, and
received instruction or advice from Pasta, and
was also later advised by Rossini to adopt a
BORGHI.
musical career. She made a successful d^but in
1846 at Urbino in* II Giuramento' ofMerca-
dante, and was engaged there. She sang next
at Malta, where in '49 she married Signer Mamo,
a native of that place ; she sang also at Naples,
Florence, Leghorn, etc.
Madame Borghi-Mamo appeared in Italian
Opera from 1854 to '56, at Vienna in the spring,
and in the winter at Paris, and was highly suc-
cessful. In Paris, on Dec. 23, '54, she played
Azucena, on the production there of * II Trova-
tore,* Leodato on revival of Pacini's ' Gli Arabi
nelle Gallie,' Jan. 24, '55, Edoardo ('Matilde di
Shabran '), Arsace, Rosina, La Cenerentola, etc.
From '56 to '59 she sang with the same success
at the Grand Opera, among other parts Azucena on
production of * Trovatore ' in French, Jan. 1 2, '57,
Melusine (Haldvy's * Magicienne '), March 17,
'58, Olympia (Felicien David's 'Herculanum'),
March 4, '59, in the production of those operas ;
and as Fidfes, Leonora, and Catarina on the
respective revivals of ' Le Proph^te,' * La Favou-
rite,' and *La Heine de Chypre.' (Lajarte,
Bibliothfeque de I'Op^ra.) She went back to the
• Italiens ' and played the title part in the pro-
duction of Braga's • Margherita la Mendicante,'
Dec. 20, '59, Desdemona, etc.
On April 12, '60, Madame Borghi-Mamo first
appeared in England at Her Majesty's as Leonora
(* LaFavorita'), andsang during the seasonasDes-
demona, Rosina, Azucena, Maffio Orsini, Zerlina
(' Don Giovanni '), and Urbano (' Les Huguenots'),
and was generally well received both by press and
public. ' She is not only one of the most accom-
plished singers, but also one of the finest actresses
of the lyric stage.' (Musical World, May 5, '60.)
She also sang with great success at the Phil-
harmonic, New Philharmonic, at the Norwich
Festival, and in opera in the provinces. She never
reappeared in England, but returned to Italy
and sang at Milan, afterwards at Paris, Lisbon,
etc. She is now living in retirement at Florence.
A daughter Erminia, a soprano, has sung with
success in Italian opera in Italy, Paris, Madrid,
and Lisbon, and in '75 played Margaret and
Helen of Troy in the reproduction of Boito's
* Mefistofele ' at Bologna. [A.C.]
BORTNIANSKY. Correct date of death to
Oct. 28, 1828 (Paloschi). Add that his complete
compositions have been published in 10 vols.,
edited by Tschaikowsky (Bernard, St. Peters-
burg).
BOSTON MUSICAL SOCIETIES. The fol-
lowing societies, which give, or have given,
concerts regularly for the edification of the public
in Boston (U.S.A.), are described in the order of
their age.
Handel and Haydn Society. [See vol. i.
p. 659.] Since tiiat article was prepared the
society has produced the following works : —
Berlioz's Flight into Egypt(1879);
Sullivan's Prodigal Son (1879) ;
Handel's Utrecht Jubilate (1880) ;
Mendelssohn's I'lalm xliil (1880) ;
Saint-Safins' Deluge(1880); Graun's
Death of Jesus (1882)
BodemBtiou (U83)
Tower of Babel (1883); Faine's
Nativity (1883) ; Cherubini's D
minor Mass (1883) ; Bruch's Ar-
minius (1883); Bach's Ein' feste
Burg (1883) ; Gounod's Mors et
ViU(1886); Bach's B minor Maw
(1887).
BOSTON MUSICAL SOCIETIES. 655
The fifth triennial festival was given in May,
1880, and the sixth in May, 1883. The bicen-
tenary of Handel's birth was celebrated on Feb.
22, 1885, by a concert of selections from several
of Handel's oratorios. Mr. Carl Zerrahn has
remained as conductor, and Mr. B. J. Lang as
organist.
Harvabd Musical Association. [See vol. i.
p. 693.] The fifteenth and sixteenth seasons of
symphony concerts were given in the Music Hall,
in 1879-80 and '80-81 respectively, and the
seventeenth in the Boston Museum (a theatre)
in '81-82, since which the Association has with-
drawn from the concert-field, it being found that
the Boston Symphony Orchestra furnished all
the high-class orchestral music that the public
demanded. Mr. Carl Zerrahn remained as con-
ductor until the end.
Apollo Club. Formed in July, 1871 ; incor-
porated by act of the State Legislature in March,
1873. It is composed of male voices, and is
supported by assessments levied on associate
members, among whom the tickets for the con-
certs are divided, none being sold to the public.
Membership as an associate is perpetual so long
as the assessment is paid. Most of the concerts
have been given in the Music Hall, and Mr. B. J.
Lang has been conductor from the beginning.
BoYLSTON Club. Formed in 1872. Sup-
ported after the manner of the Apollo Club. It
was originally intended for male voices, but
shortly after the retirement, in April, 1875, of
the first conductor, Mr. Joseph B. Sharland,
and the election of a successor, Mr. George L.
Osgood (who is still in charge) female voices
were added, though the male chorus was retained
for portions of each programme presented.
Nearly all of the concerts have been given in
the Music Hall.
The Cecilia. Formed in 1874, under the
patronage of the Harvard Musical Association,
for the purpose of presenting choral works for
mixed voices at the symphony concerts. In
1876 it became an independent organisation and
has been supported on the associate system.
Mr. B. J. Lang has been conductor since the
formation of the club.
The Euterpe. Formed in December, 187&,
' for the encouragement of music' Its concerts
so far, given in various small halls, have con-
sisted of chamber music by string bands of from
four to eight. Tickets are distributed among
subscribing members, whose rights are secured,
after election, by annual payment of assessments.
At the concerts the players occupy a stage in the
centre of the apartment, the audience being
seated so as to face the stage from all points.
Ablington Club. Formed in October, 1879.
Male voices and supported on the associate
system. In the first three seasons, 1879-82,
Mr. William J. Winch was conductor. For the
two succeeding seasons Mr. George W. Chad-
wick served. The concerts were given in the
Horticultural Hall. Of late the club has given
few signs of life.
Boston Philhabmonio Society. Formed in
C66 BOSTON MUSICAL SOCIETIES.
1880. Devoted to concerts of symphonies and
other high-class orchestral music. Mr. Bernliard
Listemann was the conductor for the first season
(1881), Dr. Louis Maas for the second (1881-82)
*nd Mr. Carl Zerrahn for the third (1882-83).
The Society has since followed the example of
the Harvard Musical Association, and for the
same reason. The concerts were all given in the
Music Hall, and tickets were distributed among
subscribing members, after the system described
in the account of the Euterpe. Tickets for the
public rehearsal which preceded each concert
were, however, sold to the public.
Boston Symphony Orchestra. See vol. iv.
p. 43. And add that after the third season
Mr. Wilhelm Gericke of Vienna succeeded Mr.
Henschel as conductor; and at the beginning of the
fifth season Mr. Franz Kneisel, also of Vienna,
took Mr. Listemann's post of leading violin.
Boston Orchestral Club. Formed in 1884
for the purpose of encouraging the study of
orchestral works by young players, professional
and amateur, who form a complete orchestra.
Support of the enterprise comes from associate
members (as in the case of the Apollo Club), to
whom the orchestra gives in return several con-
certs in the course of a season. The concerts
have been given in the Horticultural Hall under
tlie direction of Mr. Bernhard Listemann.
Boston Chamber Music Society. Formed
in 1886. Supported by subscriptions exactly as
described in the case of the Euterpe. The con-
certs so far have included examples of chamber
music in the larger forms and for instruments
other than the string quartet, and have been
given in Association Hall.
Orpheus Musical Society, Formed in 1853,
and consisting chiefly of German members : that
has been the tongue employed in the concerts.
Of late the chorus of tlie Society (male voices)
has only appeared in public for charitable pur-
poses or on other special occasions. The So-
ciety has apartments fitted and furnished like
a club house, and as the social element is now
most prominent, this description is separated
from the accounts of the other musical organ-
isations, the chief purpose of which is, or has
been, the cultivation of some peculiar branch of
the art of music.
The Clefs. A social club, formed in 1881,
limited at first to sixty, afterwards to a hundred
members, three fourths of whom must be pro-
fessionally connected with music. It holds
monthly meetings during the six months be-
ginning in November. The only permanent
oflBcer is that of secretary. At the beginning of
each season the club elects six members to serve
in turn as Masters, one for each social meeting.
The Master is endowed with autocratic powers.
Men only are eligible to membership.
Concerning the clubs supported on the asso-
ciate membership principle it should be under-
stood that the following have supplied the per-
foi-mers from their ranks of active members :
Apollo, Boylston, Cecilia, Arlington, and Orches-
tral Club. The others (Euterpe, Philharmonic,
BOTTESINL
and Chamber Music Society) have hired the
performers for their concerts. The associate mem-
bership in each organisation is limited. [F.H.J.]
BOTE UND BOCK, a firm of mnsic pub-
lishers in Berlin, founded by Eduard Bote and
Gustav Bock Jan. 27, 1838. The former retired
at the_ beginning of 1847, leaving Gustav Bock
alone in the business until his death, Apr. 27,
1863. His widow became the proprietor, and
his brother, E. Bock, undertook to direct the
affairs of the firm.
Among the music issued by the house, the
works of Neithardt, Hoffmann, Rebeling, von
Hertzberg, etc., and in particular the collection
of ' Musica Sacra,* edited for tlie use of the
Domchor, deserve mention. The latter is a
compilation of the most prominent compositions
a capella, by Italian, Netherlandish, and espe-
cially German masters of past time. The pub-
lishers' catalogue contains also a number of
original works by the best composers, and the
firm has done much to disseminate a knowledge
of the masterpieces of Handel, Gluck, Bach,
Haydn, Mozart, and Beethoven, by the publica-
tion of cheap editions ; attention has also been
given to modem operatic music, especially that
of Gounod and Offenbach.
Gustav Bock established the ' Neue Berline
Musikzeitung,* and succeeded in obtaining the
help of all the more eminent writers on music,
and in maintaining practical relations with them.
In 1 86 1 his brother Emil Bock became editor.
It now appears weekly, and contains, besides a
leading article on the science, theory, or history
of music, numerous notices from all important
towns ; but in recent times its importance lias
become somewhat lessened.
The present owner of the publishing business is
Herr Hugo Bock, into whose possession it passed
in February 1873. [A.D.]
BOTTESINI, Giovanni, a very celebrated
virtuoso on the double bass, also an excellent
conductor and composer, was bom on Dec. 24,
1822, at Crema in Lombardy. He is the son of
a good musician and clarinet player of his native
town, and as a boy sang in the chapel choir. He
early displayed such a remarkable talent for music
that at the age of eleven application was made
for him to be admitted into the Conservatorio at
Milan. It so happened that there was only one
vacant place, and that for a contrabassist. Bot-
tesini accordingly commenced the study of the
double bass, was admitted at the Conservatoire
and, it is said, before long played almost as well
as he did afterwards, when his marvellous com-
mand over this unwieldy instrument excited the
admiration of the whole musical world of Europe.
His masters were Rossi for the double bass,
Basil! and Vaccai for harmony and composition.
On leaving the Conservatorio he travelled with
his fellow pupil" Signor Arditi (then a violin
player) and afterwards went to America.
Eventually he accepted a lucrative engagement
at the Havana as principal double bass in the
orchestra, which he retained for many years.
BOTTESINI.
Here his first opera, * Christophe Colombe,' was
given in 1846.
His first appearance in this country was on
June 26, 1849, ^^ ^^^ Musical Union, where he
played the violoncello part of one of Onslow's
quintets, which, it will be remembered, contain
prominent solo passages for that instrument. By
his performance of this and of a solo he aston-
ished all present, and at once won for himself
the reputation which he has ever since enjoyed,
of being the most accomplished virtuoso on the
double bass in the annals of musical history.
Those alone who have heard him play can realise
the beauty of the performance. It is not only
marvellous as a tour de force, but the consum-
mate skill of this gieat artist enables him to
produce a result delightful even for the most
fastidious musician to listen to. Extraordinary
agility and strength of hand, dexterous use of
the harmonics, purity of tone and intonation,
perfect taste in phrasing — in fact all the re-
quisites of a great solo player — are exhibited by
Bottesini on this cumbrous instrument. It can
only be regretted that such exceptional powers
should not have been devoted to an instrument
more worthy of them. It may be mentioned
that Bottesini plays upon a three-stringed bass,
which he prefers as being more sonorous, and
with a bow made and held somewhat like that
of the violoncello, whereas the curved bow gen-
erally employed in the orchestra was used by
Diagonetti. (The relative merits of these two
forms of bow were the subject of an enquiry by
a committee nominated by the Paris Conser-
vatoire at the time of its foundation. Dragonetti
was consulted and the pattern of his bow adopted
for the orchestra of the institution.) Bottesini
is also distinguished as composer and conductor.
In this latter capacity he presided over the
orchestra of the Italian Opera in Paris from
1855 to 1857. -S® was afterwards director of
the Italian Opera at Cairo. He has written
several pieces for his instrument, among which
his fantasia on Sonnambula, the Carnival of
Venice, and duets which he played with Signori
Sivori and Piatti, will long be remembered
— also the opera of 'L'Assedio di Firenze'
produced in Paris in 1856, • Ali Baba,' written
for and performed in London with considerable
success in 1 87 1 ,' Ero e Leandro' (produced success-
fully at Turin in 1879), and one or two quartets.
For some time he has paid, with more or less
regularity, an annual visit to England. At the
Norwich Festival of 1887 an oratorio by him, to
words by Mr. Joseph Bennett, entitled ' The Gar-
den of Olivet,' was performed for the first time.
It only remains to be added that Bottesini is as
amiable as a man as he is excellent as an artist,
and that he enjoys the universal goodwill of the
musical profession. (Died July 7, 1889.) [T.P.H.]
BOUCHER, A. J. Add days of birth and
death, April 10, and Dec. 30.
B0UFF0NS,Les. SeeMATASSiNS,vol.ii. 236.
BOURGAULT-DUCOUDRAY, Louis Al-
bert, French composer, bom at Nantes Feb. 2.
BOURGEOIS.
557
1840, is a member of a family in easy circum-
stances, and is nephew of Billault, the famous
minister of the second empire. Having gone
through a complete course of classical studies,
and entered the legal profession in 1859, ^e
was received into Ambroise Thomas's class
at the Conservatoire, and in 1862 he carried
off the first prize for composition. Though
devoted to his art, Bourgault-Ducoudray has not
produced much. His chief works are a Stabat
Mater, performed at St. Eustache Apr. 5, 1868,
and at the Concerts Populaires, Good Friday,
Apr. 3, 1874, a work written in an archaic style,
having in it something of the manner and the
vague tonality of plain chant without being re-
stricted to its rules ; an orchestral suite in four
movements, entitled 'Fantaisie en Ut mineur*
(Concerts Populaires Dec. 27, 1874), a well
orchestrated composition, but too long, and built
on subjects of no interest ; and finally, a little
* satiric ' drama, ' La Conjuration des Fleurs,' of
which he also wrote the words, and which was pro-
duced under his own direction at the Salle Ilerz,
Jan. 27, 1883. Having never written for the stage
and very rarely for the concert-room., Bourgault-
Ducoudray has turned his attention towards the
works of the older masters of the * primitive '
school, and towards the popular songs of all
countries. In 1869 he founded in Paris an
amateur choral society, and gave in a most ex-
cellent manner such works as Handel's 'Alex-
ander's Feast ' and * Acis and Galatea,' cantatas
by Bach, Clement Jannequin's 'Bataille de
Marignan,' selections from Rameau, choruses by
Palestrina, Orlando Lasso, etc. A nervous dis*
order obliged him to give up the direction of this
society, which soon came to an end. Ordered
to a warmer climate on account of his health, he
went to Greece on a kind of musical mission, and
brought back some interesting notes on the
music of that country, which he published in a
pamphlet entitled * Souvenirs d'une mission mu-
sicale en Grbce et en Orient' (1876). He pub-
lished some piano duets, • LeCarnaval k Athbnes,'
on popular Greek airs, and an important collection
of songs, ' Trente Melodies populaires de la Grece
et de rOrient,* collected and harmonised with
Greek, Italian, and French words. Since 1878
he has lectured on the history of music at the
Conservatoire. He undertook recently a musical
journey into Brittany, and published on his re-
turn 'Trente Melodies populaires de la Basse
Bretagne,' collected and harmonised with a
French translation in verse by F. Coppde (1885).
Though little known to the public, and having
produced little original work, Bourgault-Ducou-
dray occupies an honourable position in the mu-
sical world, and is an enthusiastic musician,
with ardent convictions and a constant and
earnest devotion to art. [A.J.j
BOURGEOIS, Louis. To the article in vol. i.
p. 263, add the following notice.
This musician, the son of Guillaume Bourgeois,
was born in Paris at the beginning of the 1 6th cen-
tury. In 1 541 he was invited to Geneva about
the time of Calvin's return from Strasburg. On the
558
BOURGEOIS.
removal of Guillaume Franc to Lausanne in 1545
[see Fbako in Appendix] his place was given
to Bourgeois jointly with a Genevan named
Guillaume Fabri, the former receiving 60, the
latter 40 florins of the salary of 100 florins
which had been paid to Franc. Of the personal
history of Bourgeois we know nothing beyond
what may be gathered from some notices of him
in the registers of the Council of Geneva. These
are curious as illustrative of the place and the
time. In 1547 the Council admitted him gra-
tuitously to the rights of citizenship 'in con-
sideration of his being a respectable man and
willing to teach children.' Shortly afterwards,
to enable him the better to pursue his studies,
they exempted him from duties connected with
the town guard and the works of the fortifi-
cations, and presented him with a small china
stove for his apartment. Before long his salary
was for some reason reduced to 50 florins. On
his petitioning that it should be restored to its
former amount, or even slightly increased in
consequence of his poverty, the parsimonious
Council gave him two measures of com * for
that once, and in consideration of an expected
addition to his family.' To a second petition,
even though supported by Calvin, they turned
a deaf ear. On Dec. 3, 155 1, Bourgeois was
thrown into prison for having * without leave '
altered the tunes of some of the psalms, but
through the intervention of Calvin obtained his
release on the following day. The alterations,
however, were sanctioned and adopted. Another
innovation proposed by Bourgeois fared better
with the Council. His recommendation to sus-
pend a printed table in the churches to show
what psalm was to be sung was approved of and
rewarded by a donation of sixty sols.
In 1557 Bourgeois returned to Paris and was
still living in 156 1. His chief claim to notice at
the present day arises from his connection with
the Genevan Psalter. The authorship of the
melodies in this remarkable collection has been
long a subject of controversy. It has been
attributed, wholly or in part, to several musicians
of the time, to Bourgeois, Franc, Goudimel,
Claudin Le Jeune and others. The claims set
up for Goudimel and Le Jeune are easily dis-
posed of. Neither of these composers ever visited
Geneva or had any direct relations with Calvin.
In 1557, when the greater part of the Genevan
psalter had been already published, Goudimel
was still a member of the Church of Rome. The
Genevan psalter was completed in 1562, and it
was not until that year that Goudimel published
his • Seize Pseaumes mis en musique ^ quatre
parties, en forme de motets.' This was followed
by the entire psalter, first in 1564 harmonized in
double counterpoint, then in 1565 in simple
counterpoint (generally note against note), and
lastly in 1565-66 when Goudimel produced an-
other arrangement of the psalms for three, four,
or more voices in the foim of motets.
Le Jeune was but 12 years of age in 1542
when the first edition of the Genevan psalter
was published, and not above 21 in 1551 when
BOURGEOIS.
the whole of Marot's and the first portion of
Beza's translations had already appeared. In
1564 he published *Dix Pseaumes de Dauid
nouuellement composes k quatre parties, en forme
de motets . . .* reprinted in 1580. The psalms
are Marot's, but the music is entirely original.
Le Jeune died in 1600, and his harmonized ar-
rangements in four and five parts, of the Genevan
melodies were not printed until the following
year, nor that in three parts (Book I) until 1602.'
But long before the psalms of Goudimel and Le
Jeune appeared. Bourgeois had himself harmon-
ized the tunes up to that time included in the Ge-
nevan Psalter. In 1547 ^® published • Pseaulmes
cinquante de Dauid . . . traduictz . . par Clement
Marot, et mis en musique par Loys Bovrgeoys,
k quatre parties, k voix de contrepoinct egal
consonnante au verbe. Lyon, 1547.' In the same
year he also published * Le premier liure des
Pseaulmes de Dauid, contenant xxiv. pseaulmes.*
Compost par Loys Bovrgeois. En diuersite de
Musique : k scauoir familiere ou vaudeuille ;
aultresplus musicales .... Lyon.' In the latter
the words of the psalms are those of Marot,
but the melodies are original and wholly different
from those of the former work. All these
harmonized psalters were intended only for
private use. Dovm to the present century
nothing beyond the melody of the psalms was
tolerated in the worship of the Reformed Churches,
and it was not improbably the aversion of Calvin
to the use of harmony that compelled Bourgeois
to print his psalters at Lyons instead of Geneva.'
Before we consider more particularly the au-
thorship of the melodies in the Genevan psalter,
a brief account of the origin and development of
that important collection must be given.
When Calvin, expelled from Geneva, went to
Strasburg in 1538 he resolved, after the example
of the Lutherans in Germany, to compile a
psalter for the use of his own church. This, of
which the only known copy has but recently
come to light in the royal library at Munich,
contains eighteen psalms, the Song of Simeon,
the Decalogue, and the Creed, to each of which
a melody is prefixed. Of the psalms the words
of twelve are by Marot (i, 2, 3, 15, 19, 32, 51,*
103, 114, 130, 137. and 143); of five (25, 36,46,
91 and 138) with the Song of Simeon and the
Decalogue, by Calvin himself, and of one (113)
in prose. These psalms of Marot exhibit vari-
ations from the text first published by the author
three years later, and must therefore have been
obtained by Calvin in MS. from some private
source. Calvin and Marot certainly met in
1536 at the court of Feirara, but there is no
evidence that any intimacy was then formed,
or that any communication passed between them,
until Marot fled to Geneva in 1542. The first
translation made by Marot was Psalm 6, written
and published in 1533 in *Le Miroir de tres
1 Book I was reprinted In 16OT, and was followed by the Second
and Third Books In 1608. The latter books apparently had not been
published in 1601. » In four parts.
s Specimens of the psalms as harmunlzed by Bourgeois. Goudimel,
Le Jeune. and others, are giren by Douen in his work cited below.
4 Numbered L, after the numeration ot the Vulgate.
BOURGEOIS. ^
chretienne Princesse Marguerite.* By 1539 he
had completed his first instalment of thirty psahns,
but up to that time they circulated in manuscript
only. They are all found in a psalter published
at Antwerp in 1541, and their text is there
the same as that published by Calvin. Douen
thinks that the varied readings are due to Pierre
Alexandre, editor of the Antwerp Psalter, but
it seems equally if not more probable that they
represent, largely or wholly, the original text
of Marot's manuscripts, revised by him when he
published the * Trente Pseaulmes,' about the
beginning of 1542. The tunes to Calvin's own
translations are German, four by M. Greiter and
one by W. Dachstein. Calvin returned to Geneva
in Sept. 1 541, and shortly afterwards, in Feb.
1542, a psalter (professedly printed at Rome by the
command of the Pope ^) was published at Stras-
burg, containing, besides the psalms and other
pieces of the collection of 1539, together with four
psalms by other writers, the eighteen remaining
psalms of those which Marot had translated up
to that time (4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14,
22, 24, 37, 38, 104, 113, and 115) and his Pater-
noster. To the Paternoster and to eight of the
psalms (4, 6, 9, 22, 24, 38, 104, and 113) new
melodies were added. On these two collections
the first edition of the Genevan Psalter was
based, and was published at Geneva in 1542.
It contains the thirty psalms of Marot with his
Pater and Credo (a different one from that in the
Strasburg edition of 1539 which is in prose), the
five psalms of Calvin, and his Song of Simeon and
Decalogue. Of the tunes, seventeen (i, 2, 3, 15,
25» 36, 46, 91. 103, 104, 114, 130, 137, 138, 143,
the Song of Simeon and the Paternoster) are
taken from the preceding Psalters, but all except
three (36, 103, and 137) are more or lessmodified ;
twenty-two tunes are new, thirteen of them (4,
6, 8, 9, 13, 19, 22, 24, 32, 38, 51, 113, and
the Decalogue) are substituted for the former
melodies, eight (5, 7, 10, ii, 12, 14, 37, and
115) are set to the psalms left with music in the
pseudo-Roman Psalter, and one is adapted to
Marot's Credo. In Nov. 1542 Marot arrived at
Geneva, and there translated nineteen other
psalms (18, 23, 25, 33, 36, 43, 45, 46, 50, 72, 79,
86, 91, loi, 107, no, 118, 128, and 138) and
the Song of Simeon, which, with the thirty
previously published, make up what are commonly
spoken of as the ' Cinquante Pseaumes.' These,
with Marot's Decalogue, Ave, and Graces before
and after meat, all with music, were added to
the psalter in a new edition published at the
end of 1543.
In this edition the text of Marot's earlier
psalms was corrected by the author, and the
Calvin's Song of Simeon and five psalms were
replaced by Marot's new versions of the same.
In 1544 Marot died at Turin, and the Psalter
remained unfinished until the work was resumed
by the publication in 1551 of thirty-four ad-
ditional translations by Beza, which were united
in the following year to the forty-nine by Marot
already in use. In 1554 six more psalms ap-
1 Hence kaonn as the pseudo-Boman Psalter.
BOURGEOIS.
559
peared, soon followed by another, and the Psalter
was completed in 1562.
The following lists show the order in which
the psalms were published in successive editions
of the Genevan Psalter : —
1542. I. 2, 3, 4, 5, 6, 7, 8, 9, 10, II, 12, 13,
Hy i5> 19. 22, 24, 32, 37, 38, 51, 103, 104, 113,
114, 115, 130, 137, 143, the Pater, and Credo,
bj' Marot. 25, 36, 46, 91, 138, Song of Simeon,
and Decalogue, by Calvin.
1543. The seven versions by Calvin were
omitted, and the following by Marot added — 18,
23, 25, 33, 36, 43, 45, 46, 50, 72, 79, 86, 91,
loi, 107, no, 118, 128, 138, Song of Simeon,
Decalogue, Ave, and Graces.
1551. 16, 17, 20, 21, 26, 27, 28, 29, 30, 31,
34> 35. 39' 40. 41, 42, 44, 47, 73, 9°, ii9> 120,
121, 122, 123, 124, 125, 126, 127, 129, 131, 132,
133, 134/ all by Beza.
To these psalms the tunes were almost cer-
tainly adapted at the same time, but no copy of
the Psalter containing them is known of a date
anterior to 1554.
1554. The six appendix psalms of this year
(52, 57, 63, 64, 65 and iii), and the additional
one of 1555 (67) appeared without tunes.
In 1562 the psalter was completed by the
addition of the remaining sixty psalms, proper
tunes were assigned to thirty-eight of these as
also to psalms 52 and 57, while the others, as
well as the remaining appendix psalms of 1554-
5 (63, 64, 65, 67 and III) were sung to the
melodies of other psalms.
The psalms thus added in 1562, with tunes,
were— 48, 49, 54, 55, 56, 58, 59, 60, 61, 74, 75,
80, 81, 83, 84, 85, 87, 88, 89, 92, 93, 94, 96, 97,
99, 102, 105, 106, 112, 135, 136, 141, 145, 146,
147, 148, 149, 150. Without tunes— 53, 62, 66,
68, 69, 70, 71, 76, 77, 78, 82, 95, 98, 100, 108,
109, 116, 117, 139, 140, 142, 144. Including,
therefore, the Song of Simeon and the Decalogue,
the Genevan Psalter contains in all 125 tunes,
of which eighty-five were selected or adapted
between 1542 and 1554, the rest in 1562.
The story which ascribes to Franc the editor-
ship of the Genevan Psalter will be noticed in a
separate article, but recent investigations in the
archives of Geneva have clearly shown that the
task of selecting and arranging the tunes was
entrusted to Bourgeois, and an entry in the
registers of the Council, dated July 28, 1552,
which will be found quoted at length in the
notice of Franc in this Appendix, distinctly states
that Bourgeois had set to music the psalms of
Beza, published the year before, and had ar-
ranged those already published in the earlier
editions of the psalter.
A minute collation which M. Douen has made
of these earlier editions enables us to see what
Bourgeois did. In 1542 he adopted, with modi-
fications, seventeen tunes from the Strasburg
Psalters and added twenty-two new ones. In or
before 1549 seventeen tunes were more or less
altered and eight replaced by others. In 1551
2 The tune to this psalm is that known in EuKlaad as the 'Old
Hundredth.'
560
BOURGEOIS.
four were altered and twelve new melodies sub-
stituted, some for earlier ones of Bourgeois
himself. In several instances therefore the tune
is of later date than the psalm.
These last changes were final and mark the
time since which the tunes adopted before 1562
have remained unaltered. The old Strasburg
tunes of 1539 which still survived were those to
Psalms I, 2, 15, 36, 91, 103, 104, 114, 130, 137
and 143, two of which (36 and 137) retained
almost their primitive form, and 103 remained
unaltered. M. Douen considers these Strasburg
melodies to possess more of a German than a
French character, and according to Eiggenbach
36 and 91 are by Matthaus Greiter, a member
of the choir of Strasburg Cathedral.
How far the other tunes adapted by Bour-
geois are original it is impossible to determine.
A few can be traced to a German origin, some
are constructed out of fragments of earlier
melody, while others are adapted from secular
songs popular at the time. It is not improbable
that every tune in the Genevan Psalter belongs
to one or other of the above categories.*
Bourgeois left Geneva in 1557, and undoubt-
edly had no connection with the Genevan
Psalter after that time. The forty tunes of 1562
were added by another and a less skilful hand.
In June 1561 an entry in the * Comptes des
recettes et depenses pour les pauvres ' records the
payment of ten florins to * Maitre Pierre ' for
having set the psalms to music. This person is
conjectured by Becker to be Pierre Dubuisson, a
singer who in 1 565 was admitted gratuitously to
the rights of citizenship at Geneva, but nothing
certain is known on the subject.
It only remains to add that in 1550 Bourgeois
published 'Le droict chemin de musique, com-
pose par Leys Bourgeois auec la mani^re de
chanter les pseaunies par vsage ou par ruse,
comme on cognoistra, au xxxiv,* de nouveau mis
en chant, et aussi le cantique de Simeon. Geneve
1550-' This treatise, in twelve chapters, is the
first in which a proposal is made to abandon the
method of the musical hand and to teach music
by the employment of the solfeggio. An analy-
sis of it will be found in Ft^tis, Biogr. des
Musiciens, ii. 42. The last known work of
Bourgeois shows him still employed in working
on the Genevan melodies. It is entitled ' Quatre-
vingt-trois Psalmes de Dauid en musique . . .
h quatre, cinq, et six parties, tant a voix
pareilles qu'autrement, etc. Paris 1561.'
For full details respecting Bourgeois and the
history of the Genevan Psalter see the exhaus-
tive work of Douen entitled * CMment Marot et
le Psautier Huguenot,' 2 vols. Paris, 1878-79.
The following works may also be consulted : —
Bovet, 'Histoire du Psautier des ^glises refor-
me'es,' Neuchatel et Paris, 1872; G. Becker,
*La Musique en Suisse,' Genfeve et Paris, 1874;
Biggenbach, * Der Kirchengesang in Basel' ; and
1 A composer of that day employed hl« talents on harmony rather
than on melody, and used for his subjects any material that suited
his purpose. A difference in style between sacred and secular music
bardly existed, and ' composing ' was often literally 'compoundiuK.'
3 A mispriDt for zziv.
BHAHMS.
six articles in the Musical Times (June to
Nov. 1881) by the present writer. [GA.C]
BOYCE, William. Line 15 of article, add
that in 1734 he set Lord Lansdowne's masque
of • Peleus and Thetis.' Line 30, for 1 740 read
1736, and for 1. 33 read and it was given by
the Apollo Society, and subsequently, in 1740,
at Covent Garden Theatre. In 1 749, when the
Masque of Lethe was revived at Drury Lane,
Blow wrote new songs for Beard. P. 267 6,
1. 22, for setting read reviving (Diet, of Nat.
Biog.). Line aS, for 1750 read 1751, and
1. 3i> for 1675 read 1755. At the foot of the
same column add that Boyce's last theatrical
work was Ganick's pantomime, 'Harlequin's
Invasion,' 1759. To the list of works giv^-n on
p. 268 a, add ' Noah,' an oratorio. [W.H.H.]
BRADE, William. There is no evidence as
to the date of his death.
BRAHAM, John. P. 269 a, last line but
one, after opera-house insert the Oratorios, and
the Three Choir Festival. P. 269 b, 1. 3,
read Florence was the first Italian city, etc.
He had previously given concerts in Paris
with Nancy Storace. Line 24, add ' The Siege
of Belgrade,' 1802. Line 25, for 1802 read
1803. Line 28, add ' Nareusky,' 1814, and
'Zuma' (with Bishop), 1818. At the Lyceum
he appeared in ' The Americans,' 1811 ; • Isidore
de Merida,' 1837, and ' The Taming of a Shrew,*
1828. In the third paragraph of the same
column, add that an American tour, undertaken
with his son Charles in 1840, was unsuccessful,
and that his last appearance took place at the
Wednesday concert in March 1852. [M.]
BRAHMS, Johannes. Line 4 of article,/or
March read May. Line 29 from bottom, for
1873 read 1872, and in list of works read D for
the key of op. 73. (Corrected in late editions.)
Add the following supplementary article : —
This master, whose music during the last nine
years has slowly and surely gained in the esti-
mation of the musical world, may now justly be
described not as ' one of the greatest living,' but
as the greatest living of German composers.
Popularity, in the ordinaiy sense of the word,
his music has not acquired ; nor can it be expected
to do so, for his compositions, with few excep-
tions, are written for cultivated audiences only.
His influence will always be deeply rather than
widely felt. There is, if we may say so, some-
thing impalpable about his creations; at first
hearing their beauties seem to elude our grasp ;
we are deeply moved, but we cannot clearly
discern the influences which affect us. * Brahms,'
says Dr. Louis Ehlert, * does not stand before ui
like Mozart or Schubert, in whose eyes we seem
to look, whose hands we seem to press. Two
atmospheres lie between him and us. Twilight
surrounds him ; his heights melt in the distance,
we are at once lured onward and repelled.' But
as we approach, in a spirit of conscientious
investigation, the mist which hangs over his art
seems to roll away ; the outlines of his sublime
creations are revealed more clearly, we recognise
BRAHMS.
BRAHMS.
561
the grandeur of these masterpieces and feel that
they exist for all time.
Biahms's published works have now reached
the opus-number 102 ; of these twenty-eight
have appeared since 1878.
During this important period of full maturity
it is noticeable that Brahms's style has under-
gone no very marked change. He has kept to
those conservative principles which have governed
his creations almost from the beginning of his
career. He has added to every branch of art in
which he has been previously successful ; but the
drama seems to offer no attraction to his genius.
By far the larger part of his later composi-
tions consist of vocal pieces for one or more
voices ; indeed no less than seven books of songs
have appeared since 1880, exclusive of quartets
and romances for mixed chorus. In these songs
Brahms's personality is very prominently dis-
played. A power of intense expression, a pro-
fusion of melody of the highest order, a subtle
treatment of popular sentiment, in its lighter as
in its more serious aspect, and, finally, a sure
judgment in the selection of his words — all these
qualities are even more noticeable in the later
than in the earlier songs. Goethe, Heine,
Ruckert, Platen, von Schenkendorff, Siegfried
Kapper — and more rarely Geibel — these are
some of the poets whose words he uses most
frequently ; always investing them with deep
musical purpose, and, where the sentiment
requires it, employing the most elaborate means
of expression. As a song- writer he stands alone ;
he cannot be classed with Schubert, Schumann,
or Robert Franz.
The i-elentlessness of fate forms the subject of
the two greater choral works of this period : — a
setting of Schiller's 'Nanie,' and the 'Gesang
der Parzen ' from Goethe's Iphigenia. They are no
unworthy companion-pieces to the earlier * Song
of Destiny,' though they will not readily attain an
equal popularity with that most perfect work.
The compositions for piano — Brahms's own
instrument — are not very numerous. The eight
pieces for piano, op. 76 (Capriccios and Inter-
mezzos) are highly characteristic of the master,
both as regards inspiration and scientific treat-
ment. Some of the Intermezzos, simple and
touching, contrast pleasantly with Capriccios
which offer almost insurmountable difiiculties to
the most skilful virtuoso. The two Rhapsodies
(op. 79) are admirable instances of how success-
fully well-established forms may, in the hands of a
master, be used to convey the most original ideas.
Finally we come to the orchestral works, on
which Brahms's claims to one of the highest
positions in the musical world must be based.
These include two delightful concert-overtures
(op. 80 and 81), a Pianoforte Concerto in Bb
(op. 83,) a voluminous work in four movements,
and a Violin Concerto (op. 77) written for Joachim.
Of the two later Symphonies, No. 3, in F (op. 90),
seems to combine something of the grandiose and
heroic character of the first Symphony in C minor
with the more graceful and delicate features of the
second in D. Deep and manly feeling expressed
with terseness and energy, skilful construction
and powerful development, orchestral colouring
at once sombre and effective, these are the chief
features of the first and last movements of thia
symphony ; while the Andante and Allegretto,
though they hardly sustain the lofty and epic
character of the work, charm every hearer by
their exquisite melody and easy grace.
On so important and elaborate a work as the
Fourth Symphony, in E minor, it is as yet too
soon to pronounce a very definite judgment. To
many hearers it will seem laboured, and lacking
in spontaneity ; and there is no doubt that the
prominence given to musical erudition may be
held to detract from the emotional interest
of the work. The last movement, consisting of
a passacaglia — a novel form for the finale of
a Symphony — is highly interesting, but chiefly
to those able to appreciate its excellent work-
manship. On the other hand, only prejudice
could lead any one to overlook the splendid
qualities of this last symphony. It is nobly
and solidly planned, and, in spite of intricate
thematic details, is carried out with conciseness
and self-restraint — virtues by no means common
among contemporary composers. It bears the
unmistakable impression of Brahms's indivi-
duality in all its wholesome vigour and manli-
ness ; dryness and harshness may occasionally
disfigure it, but it is as free as the rest of his
works from anything weak or trivial. Taken as
a whole, this symphony seems to display, more
completely than any one of the later composi-
tions, those rare combinations of intellect and
emotion, of modern feeling and old-fashioned
skill which are the very essence of Brahms's style.
The last additions to the chamber-music con-
sist of a sonata for violoncello and piano in F,
a sonata for violin and piano in A, and a trio for
piano and strings in C minor, all of which are
intensely interesting and full of vigorous beauty.
A concerto for violin and violoncello with or-
chestra was played by Joachim and Hausmann
at Cologne in the autumn of 1887, and at one
of the London Symphony concerts in Feb. 1888.
There is little or nothing to be added to the
biography of Herr Brahms. He enjoys the
unchanging esteem and admiration of his
countrymen, and wherever the production of his
works may lead him he is sure to meet with the
most enthusiastic receptions. Early in 1887
the Emperor of Germany, in recognition of his
genius, appointed him Knight of the Order ' pour
le m^rite ' for Arts and Sciences.
The following is a list of Brahms's published
compositions from June 1878 to March 1887 : — •
Two Motets.
2 Ballads for 2 voices.
8 Piano pieces (Capriccios and
Intermezzos).
Concerto for Violin.
Sonata for PF, and Violin
InO.
Two Rhapsodies for PF.
Academical Festival Over-
ture.
Tragic Overture.
' Naenle," for Chorus and Or-
chestra.
PF. Concerto in B b.
Romances and Songs for lo»
2 voices.
Six Songs for 1 voice.
Six Songs for 1 voice.
Trio for PF. and Strings.
Quintet for Strings in F.
Gesang der Parzen, for 6- Par*
Chorus and Orch.
Symphony In F, No. 3.
2 Song* for Alto with violin
obbllgato.
4 Vocal QuarteU with FF.
562
BRAHMS.
Op. Op.
9& Songs and Bonuuices for 4-: 98. Symphony In E minor, No. 4.
part Chorus.
93*. Do. a capella.
93b. Tafellied (Eichendorfl).
94. Five Songs for low Toice.
95. Seven Songs.
96. Four Songs.
97. Six Songs.
99. SonaU for Violoncello and
PF. in F.
100. Sonata forViolin and PF.in A.
101. Trio in C minor for PF. and
strings.
102. Concerto for Violin and Vio-
loncello In O.i
(Died Apr. 3, 1897.) [R.N.]
BRAMBILLA, Mabibtta. Add date of
death, Nov. 6, 1875.
BRANDES, Emma, born Jan. 20, 1854, near
Schwerin, was taught music by Alois Schmidt,
court-kapellmeister at Schwerin, and by Golter-
mann, and in 1 866 made her first public appear-
ance there, in Mendelssohn's G minor Concerto.
In 1 871-72 she visited England, and showed her-
self a pianist of considerable performance and of
still greater promise, viz. March 20, '71, at the
Monday Popular, when she first appeared in
pieces by Scarlatti, Schumann ('Arabeske'),and
Weber (*Moto perpetuo'), and with Joachim in
Beethoven's Sonata in C minor, op. 30, no. 2 ;
at the Saturday Popular with Mme. Schumann
in Bach's G minor Concerto for two pianos ; at the
Philharmonic April 24 (Mendelssohn's G minor
Concerto) ; at the Crystal Palace, April 13, '72
(Schumann's Concerto) ; at the New Philhar-
monic May 8 and June 5 (Chopin's E minor
Concerto), etc. She played with great success in
Germany and Austria until her man-iage with
Herr Engelmann, Professor of Physiology at
Utrechtjwhensheretiredfrompubliclife. [A.C.]
BRANDT, Marianne, whose real name is
Marie Bischof, was born Sept. 1 2 , 1 842, at Vienna.
She was taught singing there by Frau Marschner,
and (1869-70) by Mme. Viard6t. In 1867
she was engaged at Gratz, where she made her
d^but on Jan. 4 as Rachel (*La Juive '). She next
sang at Hamburg, and on April 21, 1868, first
appeared at Berlin as Azucena. On the 28 th she
flayed Fid^s, with such success that she obtained
an immediate engagement, which extended over
several years, with the exception of a year's
interval in 1873. In 1872, on leave of absence,
she was engaged for the season at the Royalltalian
Opera ; she san.? once as Fidel io. May 2, in which
she made her d^but, and several times as Donna
Elvira, with very indifferent success.'' In 1 88 2 she
sang in German opera at Drury Lane as Brangane
on the production in England of 'Tristan und
Isolde,' and as Fidelio, when her artistic efforts
were heartily appreciated. On July 28 of the
same year she played Kundry on the second per-
foiinance of Parsifal at Bayreuth, on which occa-
sion, according to the Paris Figaro, she generously
gave her services. For the past two or three
years she has been a member of the German
Opera Company at New York. In addition to
places mentioned, Fraulein Brandt has sung in
the principal cities of Germany and Austria. At
Berlin she proved herself a most useful artist :
1 a thematic catalogue of the oomposei'i works bu recently been
published by Simrock.
2 The rb-asou of her engagement was to play Ortrad on the intended
production of Lohengrin, which opera, according to prospectus, was
to be positively produced. Fur reasons unknown the production did
not take place until 1870, when Hiss Anna d'Ang^ri (Angermayer)
took Um p«rt.
BREITKOPF & H ARTEL.
her voice being very extensive in compass, sho
was enabled to play both soprano and mezzo-
soprano parts, as Fidelio, Eglantine ('Euryanthe '),
Orpheus, Spirit of Hate ('Armida'). Ortrud,
Margarethe ('Genoveva'), Elvira, Selica, Am-
neris (' Aida '), etc., in addition to those above
named. [a.C]
BRANLE. Last line of article, for 287
rtad 289. (Corrected in late editions.)
BRASS BANDS. See Wind-Band, in App.
BRASSIN, Louis, a Belgian pianist and com»
poser, bom June 24, 1836, at Aix-la-Chapelle.
His father was a baritone singer of some re*
nown, whose real name waS de Brassine, and
an uncle of his was Drouet, the famous flautist.
To the fact that in 1847 his father was engaged
at the opera in Leipzig, young Brassin owed
the most important part of his education, for
he entered the Conservatorium of that town,
and became a pupil of Moscheles, having some
years previously appeared in public at Hamburg.
He remained in the Conservatorium for five
years, carrying off numerous prizes. At the
close of this time he undertook several concert
tours with his two brothers, and in 1866 was
appointed first pianoforte teacher in the Stem
Conservatorium at Berlin. After a year's tenure
of this post, he resumed a more or less wandering
life, and ultimately settled in Brussels as pro-
fessor in the Conservatoire. In 1878 he ac-
cepted a similar post at St. Petersburg, where
he died in May 1884. His works include,
beside many excellent pianoforte pieces, two
German operettas, ' Der Thronfolger,' and *Der
Missionar.' Of his two younger brothers, one,
Leopold (born May 28, 1843), who made his first
appearance as a pianist at the age of five under
Louis Brassin's auspices, is pianist to the Duke
of Saxe Coburg, and Professor at Berne ; the
other, Gerhard (born June 10, 1844), is a violinist
of repute. [M.]
BRATSCHE (Viola da Braccio). The Ger-
man name for Viola or Tenor Violin.
BREITKOPF & HARTEL. Twelve lines
from end of article, add date of death of Hermann
Hartel, Aug. 4, 1875, and that Raymund Har-
tel retired from business in 1880, leaving the two
grandsons of Gottfried at the head of affairs.
Since the appearance of the article, the editions
of Mendelssohn and Mozart, as well as an edition
of Chopin, have been completed ; editions, on
the same scale, of Palestrina and Schumann, are
in an advanced state, and a similar issue of the
works of Schiitz, Gretry, and Schubert has been
undertaken. The * Jahrbiicher fiir Musikalische
Wissenschaft ' (see vol. ii. 30) were discontinued
in 1867, after the appearance of the second
volume ; their place has been taken by a * Viertel-
jahrschrift fiir Musikwissenschaft,' edited by
Dr. Chrysander, Professor Spitta, and Herr
Guide Adler, which has been published quarterly
since 1885. A supplementary volume to the
complete edition of Beethoven's works is an-
nounced (1887). [M]
BRENT.
BRENT, Chaelotte, soprano singer, was the
daughter of a fencing master and alto singer,
who was the original Hamor in Handel's
' Jephtha' in 1752, and who, on the production
at Ranelagh in 1759 ®^ Bonnell Thornton's
burlesque * Ode on St. Cecilia's day,' with Bur-
ney's music, admirably accompanied Beard in
the Salt-box song * on that instrument.' Miss
Brent was a pupil of Ame's, and first appeared
as a singer in Feb. 1758 at a concert given by
Cecilia Davies, and next on March 3, 1758, at
Drury Lane in Ame's opera * Eliza,' performed
oratorio-wise for his benefit. Slie sang in opera
at Drury Lane during 1758 and 1759. She was
then engaged by Beard for Co vent Garden,
where she appeared Oct. 10, 1759, as Polly in
• The Beggar's Opera,' and where she continued
until the close of her theatrical career. In
1762 she reached the summit of her reputation
by singing the part of Mandane in Arne's
' Artaxerxes ' (produced Feb. 2), which had
been written expressly for her. In 1765 she
sang at Hereford Festival, in 1766 at that of
Gloucester, and in 1 767 at Worcester. In Novem-
ber 1 766 she became the second wife of Thomas
Pinto, the violinist. [See Pinto.] She continued
to sing at Covent Garden until about 1770, when
she took to touring with her husband. On
April 22, 1784, she appeared for one night in
•Comus' at Covent Garden for the benefit of
Hull, the stage-manager. Charles Dibdin de-
scribed her as * possessing an exquisite voice,'
and being ' a most valuable singer. Her power
was resistless, her neatness was truly interesting,
and her variety was incessant ; ' and a later
writer said, • her bravura singing had consider-
able merit, her execution being neat, distinct,
rapid, and at that time unrivalled.' She sur-
vived her powers, and lived, forgotten by the
public, till April 10, 1802, when she died, in very
straitened circumstances, at No. 6 Vauxhall Walk.
She was buried April 15, in the churchyard of
St. Margaret, Westminster. [W.H.H.]
BRESLAUR, Emil. See vol. ii. 735 a.
* BREUNING, a family mainly interesting for
its connexion with Beethoven. Christoph von
Breuning in 1761 was Chancellor of the Com-
mandery of the Teutonic order at Mergentheim.
His five sons, George Joseph, Lorenz, Johann
Philipp, Emanuel Joseph, and Christoph, all
received important oflBces either in the Order or
in the Electorate; and Emanuel Joseph, bom
in 1 741 , became at twenty a ' Conseilleractuel '
at the Court in Bonn, and, Jan. 3, 1750, married
Hel^ne, daughter of Hofrath Stephan von Kerich.
The good influence of this excellent woman upon
the young Beethoven renders a word upon her
character pertinent. She was brought into close
relations with the literary and scientific circles of
the little capital, and was a woman of singular
good sense, culture and refinement ; mild, kindly,
affectionate in her domestic relations; as wife
and mother irreproachable.
On Jan. 15, 1777, a fire in the Electoral
Palace caused the death of thirteen persons,
• Copyright 1889 by A. W. Thayeb.
BREUNING.
563
including Emmanuel Joseph Breuning, in the
36th year of his age. His widow, who had
just entered her 28th year, was left with three
children: — Christoph, born May 13, 1771 ;
Eleon ore Brigitta, bom April 23, 1772 ; Stephan,
bom Aug. 17, 1774; to whom a fourth was
added a few months later: — Lorenz (Lenz),
bom in the summer of 1777.
She remained in the house where her husband
died, which is still standing, across the square
from the Minster Church. Immediately after the
death of Emmanuel, his brother, Canon Lorenz
came from Neuss to reside with her, as guardian
and instructor of the children. Notwithstand-
ing the presence of two ecclesiastics in the house
as members of the family, Wegeler, writing of
a time some ten years later than Breuning's
decease, testifies to the broad and liberal spirit,
the free and unconstrained tone that reigned;
and this is confirmed by the fact that neither of
the sons was educated for the priesthood. Besides
classical studies, exceptional attention appears to
have been paid to the rising German literature
and the works of the leading English authors.
Into this family, in his 1 8th year, Beethoven
came first as music-teacher of Eleonore and Lenz,
and soon almost as a member of it. [See vol.
i. 164.] The good influence upon his intel-
lectual development and moral character of this
intercourse with the Breunings cannot be over-
rated, and a short notice of the members of that
household more closely connected with him will
not be out of place.
Eleonore Brigitta married Franz Gerhard
Wegeler, Beethoven's biographer, at Beuel,
March 28, 1802, and died at Coblenz, June 13,
1 841, in her 70th year. [See Beethoven, vol. i.
p. 166 &.]
Stephan (Lorenz Joseph Judas Thaddeus)
the well-known friend of Beethoven in later
years, also studied jurisprudence at Bonn and
Gottingen. Shortly before the fall of the Elec-
torate, Max Franz, Elector of Cologne and
Grand Master of the Teutonic Order, gave him
a position in the Order at Mergentheim. A
grand chapter held in Vienna in the summer of
1 801 brought Stephan v. B. thither in the
spring of that year, where he renewed his
intimacy with Beethoven, begun in their boy-
hood, when both were pupils of Fi-anz Ries on
the violin. As the Teutonic Order no longer
afforded the opportunity of a career, Stephan
obtained a place in the Austrian War Office,
and in 1818 advanced to the dignity of Hofrath.
This rapid rise (in the Austrian service) of a
young man who lacked the advantages of noble
birth and aristocratic protection, and was not
even an Austrian by descent, confirms the tra-
ditions of his remarkable executive ability, his
great industry and extreme fidelity to duty. In
Oct. 1825, Frederick, Prince of HohenzoUem-
Heckinge'n, became President of the Imperial
Council of War. From this moment Breuning
was exposed to vexations and mortifications,
which rapidly undermined his health, and he
died, ten weeks after the decease of his friend
664
BREUNING.
Beethoven, on June 4, 1827. His relations
with Beethoven, who often tried him sorely,
have been given in a former article. [See vol. i.
172 J, 1836, 184 a, 1896, 1926, 199 &.] He
was twice married, first to the daughter of
Bitter von Vering, head of the Austrian military
medical administration. She was a pupil of
Schenk the composer, a fine pianist, and author
of divers little compositions. Beethoven — who
had often played duets with her — dedicated
the interesting pianoforte arrangement of the
Violin Concerto to her. She was bom Nov. 26,
1 791, and died, says the epitaph composed by
her husband 'on the 21 March, 1809, in the
eleventh month of happy wedded life, at the
moment of the entrance of spring.' The second
wife was Marie Constanze Ruschowitz, bom
Dec. I, 1784, died Oct. 5, 1856, leaving one son
and two daughters.
LoRENZ (Lenz) studied medicine at Bonn
and Vienna — whither he came in 1794 and
renewed his musical studies with Beethoven.
At parting the then young composer wrote in
his album to this effect : —
Truth exists for the wise,
Beauty for the feeling heart I
They belong to each other.
DEAR GOOD BEEUNING I
Never shall I forget the time which in Bonn as well
as here I have spent with thee. Retain thy friendship
for me, so as thou wilt find me ever the same. Yieimft
1797 on the Ist October.
Thy true friend
L, V. Beethoven.
Their separation was final ; on the loth of the
next April young Breuning died.
MoRiTZ Gerhard, son of Stephan and Con-
stanze (Ruschowitz), was bom at Vienna Aug.
28, 1813. He is *k.k. Medicinalrath,' and for
many years has been one of the most eminent
physicians of the Austrian capital. He passed
his childhood in the ' Rothehaus ' very near that
in which Beethoven died [see vol. iii. 425], and
during the composer's last sickness was much with
him. Besides numerous pamphlets and articles
on subjects relating to his profession, he is known
in musical literature by his extremely interesting
and valuable little book, ' Das Schwarzspanier
Haus,' a collection of reminiscences of Beethoven
and the Breunings. [See vol. i. p. 208 a.] He
has for many years been an active and influential
member of the governing body of the great * Gesell-
schaft der Musikfreunde.' [See vol. i. 591.]
Letters from Beethoven to various Breunings
— the widow, Christoph, Eleonore, Sfcephan,
Lenz, and Gerhard — are given in Nohl's * Briefe
Beethovens ' and in * Neue Briefe Beethovens.*
Beethoven dedicated the following works to
members of this family: —
To Fraulein Eleonore the variations on *Se
vuol ballare' for PF. and violin (July 1793),
and the Easy Sonata for PF. solo in C major
(1796). Nottebohm's Catalogue, p. 148.
To Stephan the Violin Concerto, op. 61
(March 1809) > ^^^ ^ ^^^^ ^' ^' *^® adaptation
of the same for piano. (See Thayer's Beethoven
(i 162, etc.) [A.W.T.]
BRIDGE.
BREVE. P. 274 b, 1. 7 firom bottom, for
• All we like sheep ' read • And with His stripes.*
BREWER, Thomas. Add date of birth,
1611 ; that he was at Christ's Hospital till 1626 ;
and that Elizabeth Rogers' Virginal Book (in
the British Museum) contains two pieces by him,
BRIDGE, John Frederick, Mus. D., is the
son of the late John Bridge, a lay clerk of
Rochester Cathedral. He was born at Oldbury
in Worcestershire on Dec. 5, 1844, and was a
chorister at Rochester from 1850 to 1859, and an
articled pupil of J. Hopkins until 1864. He
subsequently studied under Sir John Goss, and
from 1865 to 1869 was organist of Trinity
Church, Windsor. In 1868 he took the degree
of Mus. B. at Oxford, and in the following
year succeeded Joseph John Harris as organist
of Manchester Cathedral. In 1872 he was
appointed Professor of Harmony at Owens
College, and in 1874 betook his Doctor's degree,
for which he composed as an exercise the oratorio
'Mount Moriah.' In 1875 he was appointed
permanent deputy organist of Westminster
Abbey, which post he held until the death of Mr.
Turle in 1882, when he was appointed his suc-
cessor. 1890, made Gresham Prof. 1896, suc-
ceeded Sir J. Barnby as Cond. R. Choral Soc.
Knighted, Diam. Jubilee, 1897. For the Wor-
cester Festival in 1884 Dr. Bridge wrote a
choral setting of the Hymn of S. Francis, and
for the Birmingham Festival of 1885 he com-
posed a fine setting of Mr. Gladstone's Latin
Translation of Toplady's hymn, 'Rock of Ages.*
For the celebration of the Queen's Jubilee in
Westminster Abbey (21 June, 1887) he arranged
all the music and composed a special anthem,
for which he received the thanks of Her Majesty,
and the Silver Jubilee Medal. Dr. Bridge is
Professor of Harmony and Counterpoint at the
Royal College of Music, and Conductor of the
Western Madrigal Society. In addition to the
works already mentioned, his compositions in-
clude anthems, services, chants, part-songs, an
overture *The Morte d'Arthur,' and a cantata
* Boadicea,' produced in i88o, besides excellent
primers on Counterpoint, Double Counterpoint
and Canon, and Organ Accompaniment of the
Choral Service. [W.B.S.]
BRIDGE, Joseph Cox, brother of the above,
was born at Rochester on Aug. 16, 1853,
and was a chorister, and subsequently assistant
organist, of the cathedral from 1861 to 1867,
He studied under his brother (to whom he acted
as assistant at Manchester) and John Hopkins,
and from 1871 to 1876 was organist of Exeter
College, Oxford, where he took the degrees of
B.A. in 1875, Mus. B. in 1876, M.A. in 1878,
and Mus. D. in 1879. ^^ '^77 ^^' ^"dge
was appointed organist of Chester Cathedral,
where in 1879 ^^ *''°^ * conspicuous part in
resuscitating the Chester Triennial Musical
Festival, which had been dormant for fifty years.
For the opening performance he wrote an evening
service with orchestral accompaniment, and at
the Festival of 1885 produced an oratorio.
BRIDGE.
* Daniel,' which had been performed at Oxford
for his Doctor's degree exercise. Dr. Joseph
Bridge is well known in the North of England
as the conductor of several musical societies at
Chester and Bradford. During the last eight
years he has adopted the excellent plan of giving
free organ recitals in Chester Cathedral every
Sunday evening. Dr. Bridge was elected a Fel-
low of the College of Organists in 1 879. [W.B.S.]
BRIDGE, RiCHAED, enjoyed some celebrity
as an organ -builder, but little is known of his
biography. He is supposed to have been trained
in the factory of the younger Harris and to have
been living in Hand Court, Holbom, in 1748.
He died before 1776. His best instrument was
that for Christ Church, Spitalfields, London,
1730' [See also vol. ii. p. 597, and Byfield,
Jordan & Bridge, in Appendix.] [V. de P.]
BRIDGETO WER, G. A. P. Line 4 of article,
for Bisla read Biala. Line 5, for in read on
the 19th of. Line 22, for He read His father.
Line 5 from bottom, for is heard of no more
read returned to England, and in June 1811
took the degree of Mus. Bac. at Cambridge, his
exercise, an anthem, being performed at Great
St. Mary's, on June 30. (Diet, of Nat. Biog.)
BRIND, Richard, P. 2766,1. 3, /or 1718
rea(i March 1 71 7-18. [W.H.H.]
BRINSMEAD. Mr. John Brinsmead, the
founder and head of the firm of pianoforte-makers,
John Brinsmead & Sons, of London, was born
Oct. 13, 1814, at Wear GifFard, in North Devon.
He began business at 35 Windmill Street, Totten-
ham Court Road, in 1836, removing to the neigh-
bouring Charlotte Street, and to workshops in
Chenies Street in 1841. The next removal was
to the present warehouse of the firm, 18 & 20
Wigmore Street, in 1863, when his sons, Thomas
and Edgar, were taken into partnership. A
large factory, necessary for the requirements of
manufacture, was built in the Grafton Road,
Kentish Town. In recognition of exhibits in
the Paris Exhibition of 1878, Mr. John Brins-
mead was decorated by the French Government
with the cross of the Legion of Honour. Mr.
Edgab Brinsmead, the younger son, has claims
to special reference on literary grounds ; his
History of the Pianoforte, with prefatory his-
torical introduction, was published by Cassell,
Petter & Galpin in 1868, and, partly rewritten,
with additions on the Theory of Sound, was repub-
lished by Novello, Ewer & Co. in 1879. [A.J.H.]
BRISTOL FESTIVAL. A festival, lasting
four days, has been held triennially in the month
of October, in the Colston Hall, Bristol, since
1873. On each occasion Mr. Charles Hall^ has
held the post of conductor, and ' The Messiah '
and ' Elijah ' have been given. Besides these the
following works have been performed : —
1873. Oct. 21-24, 'The Creation,' Macfar-
ren's * John the Baptist ' (written expressly for
J the occasion), and Rossini's 'Stabat Mater.'
[876. Oct. 17-20. Verdi's Requiem, 'Israel
Egypt,' Spohr's 'Fall of Babylon,' 'The
[Mount of Olives,' and ' The Hymn of Praise.'
VOL. IV. PT. 5.
BRODERIP.
565
1879. Oct. 14-17. * Samson,' * Walpurgia
Night,' Brahma's • Rinaldo,' Mozart's Requiem,
Rossini's ' Stabat Mater,' and the Choral Sym-
phony.
1882. Oct. 17-20. Beethoven's Mass in D,
Gounod's * Redemption,' ' Spring ' from Haydn's
* Seasons,' Rossini's * Moses in Egypt,' and Mac-
kenzie's ' Jason ' (written expressly for the
festival, and conducted by the composer).
1885. Oct. 20-23. ' Belshazzar,' Brahms'a
*Triumphlied,' Lloyd's 'Hero and Leander,*
Berlioz' * Faust.'
Concerts of miscellaneous music have been
given on each occasion. [M.]
BRITISH ORCHESTRAL SOCIETY. Add
that the Society ceased to exist in 1875, its last
concert taking place on June i of that year. [M.J
BRITTON, Thomas. Line 11 of article,
before He established insert In 167S. Refer to
article Concert ; and for further information to
the Dictionary of National Biography.
BROD, Henri, a very famous oboe player,
born at Paris June 13, 1799. He was taught
the oboe at the Conservatoire by Vogt and be-
came very distinguished : 'His tone,' says F^tis,
' was weaker than that of his master, but it was
softer and sweeter; his phrasing was graceful
and elegant, and his execution clear and brilliant.'
He shared the desk of first oboe with Vogt both
at the opera and the concerts of the Conservatoire,
and was extremely successful both in Paris and
the provinces. He made considerable improve-
ments in the instrument itself and in the Cor
Anglais, though these have been superseded by
the new system of Boehm. Brod's * Method ' is
well known, but his pieces, of which F^tis gives
a list of twelve, are obsolete. His death, on
April 5, 1839, gave occasion to one of Cherubini's
cruellest mots: — *Brod est mort, maitre.' 'Qui?'
' Brod.' * Ah ! petit son ' (poor tone). [G.]
BRODERIP, a family of organists. William,
bom 1683, became a vicar-choral of Wells
Cathedral on April i, 1701, and on Jan. 2, 171 2,
succeeded John George as cathedral organist.
He died Jan. 31, 1726, leaving a widow and
nine children. An anthem of his, * God is our
hope and strength,' written in 1713 to com-
memorate the Peace of Utrecht, is in the Tudway
collection. John Broderip, probably a son of
his, became a vicar-choral (on probation) of the
same cathedral, Dec. 2, 1740, and on April 1,
1 741, was appointed organist. He died in 1770
or 1 771. Between 1766 and his death he pub-
lished a volume of 'Psalms, Hymns, and Spiritual
Songs,' dedicated to Lord Francis Seymour, the
then Dean of Wells. In later life he became
organist of Shepton Mallet in Somersetshire.
Robert Broderip, who lived at Biistol, was
probably another son of William. He wrote
a considerable number of works, such as an ode
on the King's recovery, a concerto for harpsi-
chord and strings, voluntaries, duets, glees, etc.
Some psalms by him are included in a similar
volume to that above mentioned, published by
John Broderip. He died May 14,1808. [W.B.S.]
666
BRONSART.
BRONS ART, Hans von. Add thnt in Sept.
1887 he was made Inteiidant at Weimar.
BROSSARD, Sebastien de. Add that he
had prefixed a short Dictionary of Musical Terms
to his 'I'rodromus Musicalis,' published as early
as 1 701.
BROWN, James Duff, bom at Edinburgh
Nov. 6, 1862, has been an assistant librarian in
the Mitchell Library, Glasgow, since 1878. His
claim to notice rests on his reliable * Biographical
Dictionary of Musicians* (Paisley, 1886), a book
of considerable value as far as facts are con-
cerned, though the critical remarks are often
amusingly erroneous. [M.]
BRUCH, Max. The following additions have
to be made : — In 1878 he became director of the
Stem Singing Society in Berlin, succeeding Stock-
hausen. In 1880 he was offered the direction
of the Liverpool Philharmonic Society, and for
three years England became his home. At the
end of that time he undertook the direction
of the Orchesterverein at Breslau. To the list
of his more important works should be added
three choral works 'Arminius,' 'Lied von der
Glocke,' ' Achilleus,' as well as a third symphony,
in E b, op. 61. His * Kol Nidrei,' for violoncello,
op. 48, lias become a favourite at the Popular
Concerts and elsewhere, and his most important
work, ' Odysseus,' has been given by the Bach
Choir, under his own direction. [M.]
BRUCKNER, Anton, organist and com-
poser, born Sept. 4, 1824 at Ausfelden (Upper
Austria), and received his earliest musical in-
struction from his father, a village schoolmaster,
at whose death he was received as a chorister
into the institute (Stift) of St. Florian, where
he afterwards became organist. In 1855 he
obtained by competition the post of organist
of Linz cathedral. From here he made frequent
journeys to Vienna to prosecute his studies under
Sechter, and from 1861 to 1863 he was a pupil
of Otto Kitzler. At Sechter's death in 1867 he
was chosen to succeed him as organist of the
Hofkapelle, and at the same time became a
professor in the Conservatorium. To these
functions he added a lectureship at the Uni-
versity, to which he was appointed in 1875. In
1869 he took part in an organ competition at
Nancy with such success that he was invited
to play in Paris and elsewhere ; in 1 871 he
gave six recitals at the Albert Hall. Three
grand masses, besides several compositions for
male chorus, are among his vocal compositions,
but his fame rests chiefly upon his seven sym-
phonies, the last (published in 1885) played at
the Richter concert of May 23, 1887. His style
is marked by great earnestness and considerable
originality, though it may be reproached with a
certain lack of contrast, and an inordinate lean-
iug towards the manner of Wagner, upon whose
death the slow movement of the symphony
already referred to was written as a kind of
elegy. (Died Oct. 11, 1896.) [M.]
BRiJCKLER, Hugo, bora at Dresden Feb.
iS, 1845, i^eceived his first musical instruction
BRULL.
from his schoolmaster, C. Sahr. When about
ten years old he entered the Evangelical Choris-
ters' Institution at Dresden, where he received
instruction in singing and the pianoforte from
the court organist. Dr. Johann Schneider. Upon
leaving the institution he devoted himself entirely
to music, and after taking violin lessons from
Herr Haase of Dessau, who was then living in
Dresden, in his sixteenth year entered the Dresden
Conservatorium of Music, where he diligently
pursued his violin studies under HeiT Franz
Schubert. Briickler's growing inclination for sing-
ing and pianoforte caused him, about eighteen
months later, to give up the violin, in order to
devote himself entirely to the study of piano-
forte-playing, singing, and composition. After
receiving instruction from Carl Kxebs (piano-
forte), Julius Rietz (composition), and others,
as well as making experiments in different
branches of music, and diligently studying full
scores and literature, Briickler left the Conser-
vatorium and began to compose industriously, at
the same time giving private music lessons.' In
the latter years of his life he still studied singing
with great success under the well-known master
Herr Thiele, but continually increasing ill-health
compelled him to abandon this passionately
loved study. Rapid consumption brought the
amiable and modest artist severe suffering, and
ended his life at the age of 26, Oct. 7, 1871.
The only compositions of Briickler's which have
been published are songs; they are as follows : —
op. I, five songs from Scheffel's Trompeter von
Sakkingen (Leipzig, Kahnt), op. 2, nine songs
from the same poem, and seven songs from his
posthumous works, selected and edited by Adolf
Jensen (Dresden, Hoffarth). [W.B.S.]
BRULL, Ignaz, pianist and composer, born
Nov. 7, 1846, at Prossnitz in Moravia, received
instruction from Epstein, Rufinatscha and Des-
soff. The first of these played a concerto by his
young pupil in i86r, which brought the com-
poser into notice. In tlie following year Briill
wrote an orchestral serenade which was per-
formed at Stuttgart in 1864. He appeared as a
pianist in Vienna (where his parents had Jived
since 1 849) and undertook several concert tours,
performing, among other things, his own com-
positions with the greatest success. From 1873
to 1878 he was engaged in teaching at one of
the smaller institutions at Vienna. In the latter
year he came to London, and played at no less
than twenty concerts. By this time his opera
* Das goldene Kreuz ' (produced Dec. 22, 1875,
at Berlin) had obtained such success in different
parts of Germany that Mr. Rosa was warranted
in producing it in London during the composer's
stay. It failed to produce any remarkable effect.
His other operas are • Die Bettler von Samar-
kand' (1864), *Der Landfriede' (1877), 'Bianca'
(1879), and ' Konigin Mariette' (1883), besides
which he has written a symphony op. 31, an
overture * Macbeth ' op. 46, two pianoforte con-
certos, a violin concerto op. 41, a sonata for two
pianos, a trio, and other works for piano and
strings, besides pianoforte pieces and songs. [M.]
See
BRUNETTES.
BRUNETTES. See vol. i. 335 I and iii.
593 6 note 4.
BRUNI, A. B. Line 2 of article, for in read
Feb. 2.
BRUSSELS CONSERVATOIRE
Oevaert, and vol. ii. 426 a.
BRYCESON. BROTHERS, organ-builders,
London. [See Electric Action, vol. i. p. 485.]
The organ mentioned in the note, built for Mr.
Holmes, is now in the Albert Palace, Battersea
Park. [See Oegan, vol. ii. p. 607 i.] [V. de P.]
BRTNE, Albertus, organist, bom about
1621, received his musical education from John
Tomkins, organist of St. Paul's. It was prob-
ably on the death of his master that Bryne
obtained the same post, which he held until'the
Commonwealth. At the Restoration he was
re-appointed, a petition having been presented
to the King on his behalf. After the great fire
he became organist of Westminster, a post which
lie probably retained until the appointment of
Blow in 1669. He is said to have died in that
year, but there is evidence to prove that he
was organist and fourth fellow of Dulwich
College from 1 671 to 1677. A *Mr. Bryan' who
was appointed organist of AUhallows' Barking
in 1676, with a salary of £18 per annum, may
very possibly have been the same person. In
* The Virgin's Pattern ' (Life of Susanna Per-
wick), 1 661, among the famous musicians of the
time, mention is made of ' Albertus Bryne, that
famous velvet-fingered organist.' A Morning and
Evening Service by him are in many collections,
and he wrote besides many sets of words for an-
thems, as well as dances, 'grounds,' etc. His
name is variously spelt Bryan, Brian, and as
above. (Diet, of Nat. Biog., etc.) [W.B.S.]
* BUCK, Dudley, bom at Hartford, Connecti-
cut, U.S., March 10, 1839, the son of a merchant,
who intended him for a mercantile life. But
the son, showing at an early age a taste for
music, having in fact acquired by self-instruc-
tion a knowledge of the rudiments of the art
■with suflBicient practical attainments to be able
to play the accompaniments for the masses of
Haydn and Mozart, the father, realising the ex-
tent of Dudley's gifts, spared nothing to cultivate
and lipen them. Dudley's first lessons on the
piano were given him by Mr. W. J. Babcock of
Hartford, at the age of sixteen. Being employed
as a substitute for the regular organist at St.
John's Church, Hartford, he gave such satisfac-
tion that he retained the position until his de-
parture for Europe in 1858. Before leaving
home he entered Trinity College, Hartford,
where he remained three years. Four years
were passed in Europe, eighteen months of
which were spent at Leipzig, where he studied
theory and composition under Hauptmann and
Richter, orchestration and musical form under
Rietz, and the piano under Plaidy and Mo-
Kcheles. Among his fellow pupils at the con-
servatory were Arthur Sullivan, J. F. Barnett,
Walter Bache, and Curl Rosa. In order to in-
» Copyright 1889 by F. H. Jenk8.
BUCK.
565^
crease his knowledge of Bach he then went to
Schneider of Dresden. Rietz being called
thither at the same time to direct the Royal
Opera, Buck was enabled to continue his studies
under him. A year was also spent at Paris.
Retuming to Hartford in 1862, he was appointed
organist at the Park Church. His plans for
seeking employment in a larger field were frus-
trated by the death of his mother in 1862. His
father dying in 1867, Buck went to Chicago in
1868, where he held the position of organist at
St. James's Church for three years, his reputa-
tion as a performer and composer steadily
growing during this period. The great fire at
Chicago, Oct. 9, 1871, destroyed his house, with
a large library, including several important
compositions in manuscript. Buck then re-
moved to Boston, where he was appointed
organist at St. Paul's Church and for the Music
Hall, and subsequently at the Shawmut (Con-
gregational) Church. In 1874 he went to New
York, where he held the position of assistant
conductor in Theodore Thomas's orchestra for
one season. He also had charge of the music at
St. Ann's Church, Brooklyn, until 1877, when
he was appointed organist at the church of the
Holy Trinity, Brooklyn; and this position he
still holds (1887).
Buck's compositions embrace nearly evei'y
variety of music. They have been received
with great favour by musicians of every grade,
and are extensively played and sung throughout
the Union. He is one of the first American
composers, with high aims, who has met with any-
thing like a proper recognition of his labours.
At the time of his first publications — during his
residence at Hartford, in 1862 — the proverb
concerning the lack of honour which a prophet
receives in his own country applied with
full force to aspiring musicians in the United
States. The wide popularity which Buck's
music enjoys is due to the fact that the strict-
ness and thoroughness of his early training have
not interfered with the play of his fancy or the
freedom of his invention. His orchestral scores
show him to be a master of the art of colouring
as well as of form, and in all his compositions,
vocal or instrumental, there is displayed a tech-
nical knowledge of the colour and resources of
the natural or artificial means employed, com-
bined with an artistic treatment, which has
earned the warmest praise from the most critical
judges.
The following is a list of Buck's published
works : —
Solos, Chorus, and Orchestra .—
Psalm xlvi. (op. 20).
Kaster Morning, Cantata (op. 21).
Festival Hymn, 'O Peace, on thine upsoaring pinions* (original
words), for the Peace Jubilee, Boston, June 1872 (op. 57).
* Legend of Don Munio,' Dramatic Cantata (original words) (op. 62),
" Centennial Meditation of Columbia,' by appointment of U. S. Com-
mission, Cantata, written for the opening of the Centennial Industrial
Exhibition, Philadelphia. May 10, 1876 ; words by Sidney Lanier.
'The Golden Legend,' Symphonic Cantata, extracts from Long-
fellow's poem, prize composition at the Cincinnati Festival, J une 1880.
' The Ligiit of Asia,' Cantata, on a text from Edwiu Arnold's poein.
(Novello, Ewer & Co.. 18*6.)
' Columbus,' Cautata for male voice (original words, Germau aud
Englisb).
Pp 2
568
BUCK.
Chureh JfiMi«.— Two collections of motetf, anthems, etc ; full ser-
Ttees for the Protestant Episcopal Church.
Vocal Music .—Songs ; part-songs for male and mixed voices ; arias,
■aered and secular, with piano, organ, and orchestral accompaniment.
Piano and Chamber Mimic .—Compositions for PF. solo and In con-
junction with stringed and wind Instruments.
Organ Muiie .—Sonatas, concert-pieces, variations, inarches, tran-
scriptions of overtures.
Educational .—Studies on pedal phrasing (op. 28) ; Illustrations In
choir accompaniment, with hints in registration.
His roost important unpublished works are : —
• Deseret,' OperetU. three acts, words by W. A. Croffut ; produced
at the Lyceum Theatre, New York, October, 1880: 'Marmion,' Sym-
phonic overture : Symphony, E b (op. 70) : Concertino for four horns
and orchestra (op. 71) : String Quintets (op. 66 and 68). [F.H.J .]
BUCK, Zechariah, Mus. D., bom at Nor-
wich, Sept. 9, 1798, became in 1807 a chorister
of Norwich Cathedral under Dr. Beckwith, and
continued such under his son and successor, John
Charles Beckwith. On the breaking of his voice
he became an articled pupil of the latter, and,
on the expiration of his articles, his partner as a
teacher. On the death of J. C. Beckwith in 1 8 2 8
Buck was appointed his successor as organist
and master of the choristers. The degree of
Mus. D. was conferred upon him in 1853 ^7
Dr. Sumner, Archbishop of Canterbury. He
composed some church music, not remarkable
for either quantity or quality; but although an
indifferent player, and still more indiflferent com-
poser, he possessed an extraordinary faculty for
training choir boys, and was also an able teacher
of the oigan. Many of his pupils obtained posts
as organists. He resigned his appointments in
1877, ^^^ ^li^d at Newport, Essex, Aug. 5,
1879. [W.H.H.]
BiJLOW, VON". Add that he remained two
years at Hanover, and was then appointed
Hofmusikintendant to the Duke of Meiningen.
During the five years of his tenure of this post he
did wonders with the orchestra, forming it into
an unrivalled body of players. Since his resig-
nation of this appointment, in Oct, 1885, he
has directed various sets of concerts in Berlin,
St. Petersburg, etc., and has employed liis ex-
ceptional talents as a teacher in the Raff Con-
servatorium at Frankfort, and in Klindworth's
establishment in Berlin. He also conducted a
Musical Festival at Glasgow in 1878. He has
recently taken up his residence in Hamburg.
(Died Feb. 12, 1894.) [^-3
BURDE-NEY, Jenny, whose maiden name
was Ney (said by Pougin to be a relative of Mar-
shal Ney), was bom Dec. 21, 1826, at Gratz.
She was taught singing by her mother, herself a
singer, and first appeared in opera at Olmiitz
(1847), afterwards at Prague, Lemberg, and
Vienna (1850-53), and finally at Dresden. In
the last-named city, where she first appeared
Dec. 1853, as Valentine, she attained a great
reputation as the successor of Schroeder-Devrient,
and was engaged there until her retirement from
the stage about 1868, having in the meanwhile
married, Jan. 31, 1855, Paul Biirde, an actor at
the same theatre. In 1855-56 she was engaged
at the Royal Italian Opera, Covent Garden, and
Lyceum. She first appeared April 19, '55, as
Leonora (Fidelio), on the occasion of the state
BULL.
visit of Her Majesty and the Emperor and
Empress of the French, on whose account no
attention wsw paid to the singer. She repeated
this part twice, but was very coolly received.
Professor Morley remarked her performance with
favour in his ' Journal of a London Playgoer.*
On May 10, 1855, she was better received as
Leonora on the production in England of • Tro-
vatore,* the only other part she played during her
engagement. She also sang with some success
at the Philharmonic. * It would be hard
to name a soprano voice more rich, more sweet,
more even than hers. It was a voice better
taught, too, than the generality of German voices
— a voice delivered without force and inequality, —
with due regard to beauty of tone and grace
in ornament. But the new language and accent
hampered Madame Ney ; and her powers as an
actress here seemed to be only limited.' (Chorlev.)
She died May 17, 1886. [A.C.]
BULL, John. Line 2 of article, for about
1563 read in 1562. (This date is proved by
a portrait in the possession of Mr. Julian Mar-
shall.) Line i8,/or In read On Nov. 30. P. 282,
1. 3 2, /or In the same month read Two days be-
fore. Concerning Bull's residence abroad, it
should be added that he went to Brussels and be- ..
came one of the organists of the Chapel Royal I
under Gdry de Ghersem. (Diet, of Nat. Biog.) His 1
name occurs in a list of persons to whom James I.
ordered *Gold chains, plates or medals' to be
given, Dec. 31, 1606. (Devon's 'Issues of the
Exchequer,' 1836, p. 301.) [M.]
BULL, Olb Borneman, a remarkable violin
virtuoso, was born Feb. 5, 1810, at Bergen in
Norway, where his father practised as a phy-
sician. Some members of the family, especially
an uncle, were very musical, and at the frequent
meetings held for quartet-playing, the boy be-
came early familiar with the masterpieces of
Haydn, Mozart, and Beethoven. Without having
regular instruction he soon tried his hand at
fiddling, and made such progress as to enable
him not only to take part in these domestic
practices, but also to play first violin in the
public orchestra. His first teacher was Paulsen,
a Dane, and later on he received some instruc-
tion from a pupil of Baillot's, a Swede named
Lundholm who had settled at Bergen. In the
main, however, he was a self-taught player. His
individuality was so strongly marked as to leave
but little room for the direct influence of a
teacher. He was himself a true son of the
North, of athletic build and independent cha-
racter; and the ruling passion of his life was
the love he bore to his native land. The glo-
rious scenery of the mountains and fjords of his
home, the weird poetry of the Sagas of the North,
took hold of his sensitive mind from early child-
hood and filled his imagination. They were re-
flected in his style of playing, and gave to it that
originality and poetic charm by which he never
failed to captivate his audience. His father did
not approve of a musical career, and, after having
gone through the grammar school at Bergen, Ole
BULL.
BULL.
Bull was sent to the university of Christiania to
study theology. Very soon however we find
him the conductor of a musical and dramatic
society in that town. At this time political
feeling ran high in Norway, and he appears to
have taken some part in the agitation. At all
events he suddenly left the country and went to
Cassel to satisfy an ardent desire of seeing and
hearing Spohr, for whose violin compositions he
had a sincere admiration. Spohr appears to
have behaved somewhat coldly to the rather ec-
centric and, to him, utterly unknown young
enthusiast, and the latter left Cassel much dis-
appointed. He made a short stay at Gottingen,
where his boisterous manner involved him in a
duel, and then returned to Norway, where he
played with much success at public concerts in
Bergen and Trondjhem. But it was not till he
went to Paris in 1831 that his powers as an
executant were fully developed. He failed to
gain admittance to the Conservatoire, but it was
then that he first heard Paganini, and this con-
stituted, as he himself used to declare, the
turning-point of his life. Paganini's playing
made an immense impression on him, and he
threw himself with the utmost vigour into the
pursuit of technical studies in order to emulate
the feats performed by the great Italian vir-
tuoso. Meanwhile his limited means were ex-
hausted, and being too proud to ask for further
assistance from his father, and failing to get an
appointment in one of the orchestras, he fell into
serious diflBculties. According to one report he
attempted in a fit of despair to commit suicide
by throwing himself into the Seine ; according to
another he was attacked by a severe illness
brought on by low living and mental anxiety.
Fortunately at this time he came under the
motherly care of a benevolent Parisian lady, who
nursed him, and whose daughter he afterwards
married. After his recovery he made his first
appearance in Paris (April 18, 1832), assisted by
Chopin and Ernst, and then started for Italy,
where he created a perfect furore. From this
time to the end of his life he continued travelling
all over Europe and North America, taking now
and then a summer's rest in his native country.
He played first in London, May 21, 1836 ; at the
Philharmonic, June 6, and during the next sixteen
months hegave 2 74 concerts in England, Scotland,
and Ireland. In 1 843 he went to America for the
first, and in 1879 ^^^ *^® ^fth and last time.
His success and popularity in the States were
unbounded, and he began to amass a consider-
able fortune. He frequently revisited his native
land, and made himself a beautiful home near
Bergen. To the end of his life he retained a
passionate love for the North and his country-
men; and, touched by the abject poverty of
many of them, he conceived the idea of founding
a Norwegian colony in the States. With a view
to the execution of this scheme he acquired a
large tract of land (125,000 acres), but, though
he was not without natural shrewdness in busi-
ness matters, he unfortunately fell into the hands
of swindlers, who sold to hun what was really
the property of a third party. Bull was in
consequence involved in a troublesome and
expensive lawsuit, by which he lost a great part
of his capital. But, nothing daunted, he resumed
tiavelling and playing to replace what was lost.
On Feb. 5, 1880, he celebrated his 70th birthday
in America, and on Aug. 1 7 of the same year he
died at his country seat in Norway, where his
death was deplored as a national loss.
Ole Bull was a man of remarkable character
and an artist of undoubted genius. All who
heard him, or came in personal contact with
him, agree that he was far from being an ordi-
nary man. Tall, of athletic build, with large
blue eyes and rich flaxen hair, he was the very
type of the Norseman, and there was a certain
something in his personal appearance and con-
versation which acted with almost magnetic
power on those who approached him. The
writer of this article has been assured by per-
sonal friends of Ole Bull that his powers as
a teller of ghost-stories and other tales was
simply irresistible to young and old, and their
effect not unlike that of his violin-playing. At
the same time it cannot be denied that we find
in him unmistakeable traits of charlatanism, such
as when he seriously relates (see his Biography,
by Sara Bull) that his * Polacca guerriera '
was ' first conceived while gazing alone at mid-
night on Mount Vesuvius flaming through the
darkness,' or when he played the fiddle on the
top of the great Pyramid !
Spohr, who was by no means prepossessed in his
favour, writes of him in his autobiography : —
* His playing in chords and the certainty of his
left hand are admirable, but, like Paganini, he
sacrifices too many of the noble qualities of the
violin to his tricks. His tone, on account of the
thinness of the strings he uses, is bad ; and
owing to the use of an almost flat bridge he
can, on the 2nd and 3rd strings, play in the
lower positions only, and then oriiy piano. Hence
his performances, whenever he does not execute
his tricks, are monotonous. We experienced this
in his playing of some of Mozart's quartets. At
the same time he plays with much feeling, if not
with cultivated taste.'
This criticism, as far as it goes, no doubt is
fair and correct ; but it entirely ignores those
peculiarities of Ole Bull's talent which constitute
his claim to an eminent position among modern
violinists, and explain his success. In the first
place his technical proficiency was such as very
few violinists have ever attained to. His play-
ing in double-stoppings was perfect ; his staccato,
upwards and downwards, of the utmost bril-
liancy; and although he can hardly be consi-
dered a serious musician in the highest sense of
the term, yet he played with warm and poetical,
if somewhat sentimental, feeling. He has often
been described as the ' flaxen-haired Paganini,'
and, as we have seen, he was to a certain extent
influenced by the great Italian. But his imita-
tion hardly went beyond the reproduction of
certain technicalities, such as an extensive use
of harmonics, pizzicatos with the left hand, and
B70
BULL.
similar effects. In every other respect the style
of the two men was as diflFerent as the colour of
their hair. While Paganini's manner reflected
his passionate Southern nature to such an extent
that his hearers felt as under the spell of a
demon, Ole Bull transferred his audience to the
dreamy moonlit regions of the North. It is
this power of conveying a highly poetical charm
— a power which is absolutely beyond any mere
trickster or ordinary performer — that redeems
him from the reproach of charlatanism. His
rendering of Scandinavian airs never failed to
charm and move, and his tours de force, if they
raised the smile of the musician, invariably car-
ried away his audience. He appears to have
been conscious of his inability to do justice to
serious music — at least he never, with the ex-
ception of one or two movements of Paganini,
played anything but his own compositions. His
private rendering of quartets is said to have
•proved the wisdom of this self-imposed restraint.
He used on his violin an almost flat bridge,
an arrangement which enabled him to produce
beautiful effects by the playing of chords and
passages in four parts, but which had the ob-
vious disadvantages already mentioned. His bow
was of unusual length and weight, such as no
man of smaller stature and strength could effec-
tively or comfortably wield.
Three only of his numerous compositions ap-
pear to have been published : a set of * Varia-
zioni di bravura,* ' La Preghiera d'una madre,'
and a * Notturno.' The rest consisted of con-
certos and other solo pieces, of which a * Polacca
guerriera ' appears to have been his cheval de
bataille. The titles of others, such as 'The
Niagara,' 'Solitude of the Prairies,* 'To the
memory of Washington,' betray their American
origin.
The dates and main facts contained in this
article are taken from the biography of Ole Bull
by his second wife, Sara C. Bull. [I*-D.]
BUNN, Alfred. Add that the date of his
birth was probably April 8, 1796 or I797' ^^
1826 he was manager of the Birmingham
Theatre, and in 1833 held the same post at
Drury Lane and Covent Garden. He was de-
clared a bankrupt on Dec. 17, 1840. In later
life he became a Roman Catholic, and died of
apoplexy at Boulogne, Dec. 20, 1 860. (Diet, of
Nat. Biog.) Lines 3-4 from end of article, for
Long before his career as manager had come to
an end read In 1840. [See also Drury Lane.]
BUONONCINI. See vol. i. p. 649, note, and
add a reference to Ariosti.
BURANELLO. See Galuppi, vol. i. p. 579.
BURGMULLER, Fr. See vol. ii. p. 729a,
where the date of his birth should be corrected
to 1806. Add a reference to Flotow and Lady
Henrietta.
BURNEY, Charles. Line 2 of article, /or
7 read 12. Add that he wrote the music for
Thomson's 'Alfred,' produced at Drury Lane,
March 30, 1745, and that in 1747 he published
aix sonatas for two violins and bass. Shortly
BURNEY.
afterwards Fulke Greville paid Ame £200 to
cancel his articles, and took Burney to live with
him. In 1749 he married Miss Esther Sleep,
who died in 1761. Eight years after her death
he married Mrs. Stephen Allen of Lynn. In
1759 he wrote an Ode for St. Cecilia's Day,
which was performed at Ranelagh Gardens. In
1806 Fox gave him a pension of £300, and in
the following year he had a paralytic stroke.
His appointment to Chelsea Hospital was given
him by Burke in 1783. (Diet, of Nat. Biog.)
The following is a catalogue of the musical
extracts in his ' History of Music* : —
Vol. 1. contains no musical example of cousequenos.
Romance on the death of Richard I, from the Provenfal . . 242
ProUigue to the Paraphrase of t he Epistle for St. Stephen's Day . 2fa
Plain Song for the Feast of St, John the Evangelist ... 268
Song for New Year's Day 256
Chanson de Roland 276
Two Chansons du Chatelain de Coucy 283
Chansons du Roman d' Alexandre 290
Song of Thibaut of Navarre 296
Chanson 'L'autrler par la matlnde 900
Old French song (fragment) ' Faux semblant ' 900
Hymn 'Alia Trinity beaia' 928
Song on the victory obtained at Agincourt ..... 3^'4
' Sumer is icumen In ' 407
Cantilena of Guido 415
Canonlnepidlapenteby Okenheim 474
La Deploration de Jehan Okenheim, par Josquin des PiiSs . , 481
Two canons from Josquin's Missa sine nomine 490
Trio ' Plenl sunt ' from Josquin's Missa ' I'homme arm6 * . . 495
Osanna from Josquin's mass 'Faysan regr^s' 499
Benedictus from Do 600
' Miserlcordlas,' Motectus 603
' Murae Jovis ter maximi ' (monody on Josquin's death) Bene-
dictus 613
'Anlmamea.' Isaac 621
' De testimonlis ' Do 683
Benedictus a 3. P. delaRua 627
Cruciflxus a 2. A. Brumel 629
Kyriea4. Anthony Fevin 531
Etvitam. Do. E32
'Quampulcraes'(Motett!della Corona, lib. Ill, no. 12), Mouton . 535
' Youre counterfeyting." Wm. Newark 511
' My woful hart." Sheryngham 644
■ That was my woo.* R. Fayrtax 646
' Alas, it is I.' Edmund Turges 648
* Dum transisset.' Taverner 657
' Qui tollls ' from mass * O Michael.' Taverner . . . . 6C0
Do. from mass ' Albanus.' Fayrfax 661
' Quoniam ' from Do 563
' Gloria," from another mass by Fayrfax 664
' Esurientes.' John Shepherd 687
' Et In terra pax," from mass ' Euge bone.' Tye .... 589
' Sabbatum Maria Magdalene.' Robert Johnson . . . .693
Song, ' Enforced by love and feare.' Robert Parsons . . . 696
VOL. III.
' Heare the Voyce and Prayer.' Tallys 27
Ps. cxxviil. 'Sellglstdergeprelset.' Luther 35
Easter Hymn 'Jesus Christusunserllelland* .... 36
* Eln veste burg ' ....37
Hymn 'Es woll uns Gott' 88
Ps. c. harmonized by Claude Lejeune 40
'Erhait unsHerr' 63
Four-part song, 'In deep dlstresse.' Mundy 55
Anthem, 'Lord, who shall dwell.' Robert White. ... 67
' Salvator Mundl,' from ' Cantiones Sacrae,' Tallys .... 77
Motet, ' Derellnqult.' Tallys 87
The Carman's Whistle. W. Bird 89
' O Lord my God.' Do 95
'My mind to me a kingdom Is.' Do 97
Canzonet, ' Cease mine eyes.' T. Mcrley ....*. 103
Do. 'See, see, mine own sweet jewel.' Do 'lOS
Dr. Bull's difficult passages, from Virginal Book .... 115
Dr. Bull's Jewel 117
Alman by Robert Jhonson 118
' Fortune,' set by Bird for the Virginal 118
•My flockesfeednot.' Weelkes 126
•Thou God of Night.' John Milton (Sir William Lelghton's
' Tears and Lamentations ') 13*
' An heart that's broken.' Dowland 139
'I shame, I shame.' . Do „ * ^' ' l'^
Airs, 'Like Hermit poore' and 'Singe we then.' A. Ferraoosco . 141
Canon, ' Venl Creator.' Zarllno 16*
' Deposult ' from Magnificat In Second Tone. Palestrlna . . 170
' SIcut erat ' from Do. Pletro Pontic 177
Uiierere. Anlmuccla !<**
BURNEY.
Motet, ' Kxaltabo te Domtne.' Falestrina • • • • • 191
Hadri^l, 'Ahl tumelneghi.' Marenzio 205
Vlllota alia Napolitana. Perissone Cambio 214
Canzone Villanesche alia Napolitana. Baldassare Donato . . 216
Madrigal, ' Moro lasso.' Gesualdo, Prince of Venosa ... 223
Fugue, ' Diflfusa est gratia.' Costanzo Porta 227
Balleto, 'IlBeH'humore.' Gastoldi 231
Do. ' L'lnnamorato ' 232
Monteverde's New Discords 235
Madrigal, ' Straccia mi pur.' Monteverde 237
Motet, 'Quampulcra.' Festa 245
Madrigal, 'Madonna, iov'amo.' Do 246
Motet, ' Domlne, quid multiplicati.' Goudimel .... 267
Chanson. ' Bonjour.' Claudin le Jeune 271
Extracts from ' Le Ballet Comique de la Boyne.' Baltazarlni . 279
Noel. Caurroy 285
Madrigal, 'II bianco e dolceclgno.' Arcadelt .... 303
Chanson, ' Ta bonne grace.' Cornelius Canis 309
Madrigal, 'Alma Nemus.' Orlando Lasso 317
Do. 'Calami sonum.* Cipriano de Bore 319
Catch and Canons from* Pammelia' 349
Bounds and ('anons 350
Anthem in 8 parts, exercise for an Oxford degree .... 351
Song, • Come my Celia.' A. Ferrabosco 3'>4
Whitelocke's Coranto 378
Air in Comus. Henry Lawes 383
Song ' A lover once.' Do 397
'Sing to the King of Kings.' William Lawes 405
'Lord, judge my cause.' Do 406
•Who trusts In thee.' Do 406
Five Bells Consort. John Jenkin 411
Canon, ' I am so weary.' Thomas Ford 415
Do. ' Lift up your heads.' Simon Ives 415
Do. 'Non nobis Domine.' Hilton 416
Do. 'Look down, O Lord.' T.Ford 416
Do. 'Hold thy peace' 416
Examples of Blow's crudities 449
Anthem, 'The ways of Zlon.' Michael Wise 455
* Gloria Patri.' Deering 479
Glee, ' Ne'er trouble thyself.' Matthew Locke .... 480
Three-part song, ' Sweet Tyrannies ' by the father of Henry Purcell 486
Chant. Thomas Purcell 487
Canon. Turinl 521
Divisions, specimens of. Seracinl 528
Fragments of Italian melody from Pallavicini, Cifra, Eovetta,
Merula and Facho 544
* Tinna Nonna,' lullaby. Barbella 571
Aria dal Tasso. Tartini 572
Aria alia Lecese. Leo 572
VOL, IV.
Licences In Monteverde 27
Fragmentsof Peri, Caccini, and Monteverde .... .31
Bee. and Air from Cesti's 'Orontea' 67
Fragment of Cavalli's 'Erismena' 69
Scena from Bontempi's 'Paride ' 71
Scene from the first Oratorio. Emilio del Cavaliere ... 91
Bee. from Mazzochl's ' Tears of Mary Magdalen ' .... 96
Air from Federici's 'Santa Caterina da biena' . . . .117
Duet from Stradella's ' John the Baptist 118
Air from Pistocchi's ' Maddalena ' 121
Alr'Ilmiofiglio.' Scarlatti 121
Extract from Vecchi's'Amflparnasso* ...... 127
Extract from Caccini 137
Fragments and Air from Cantata by Carissim! . . . .143
Beauties of his cantatas 147
Duet from 'Musurgia.' Kircher 150
Fragments of cantatas and motet by Cesti 151
Fragments of cantatas by Luigi Bossi 157
Air, ' Dolce amor.' Cavalli 158
Fragment of Bandlnl 158
Specimens of Salvator Bosa 165
Fragments of Bassani 168
Fragments from Scarlatti's Cantatas 171
Divisions by various singers 216
Fragment from Handel's 'Teseo' 241
Divisions by Nicolai and others 243
Air from Ariosti's ' Vespasiano ' 293
Divisions by Farinelli 437
Air sungby Farinelli InBroschi's 'Artaxerxes' .... 439
Divisions (1740 and 1755) 461
[M.]
BUSBY, Thomas. Add month of birth,
December. In the summer of 1769 he sang
at Vauxhall at a salary of ten guineas a week,
and about 1786 was elected organist of St.
Mary's, Newington. The oratorio called ' The
Prophecy ' had been written much earlier than
1799; it was a setting of Pope's 'Messiah.'
Line 15 of article,/or next read had previously.
* Joanna' was produced at Covent Garden in
January 1800. To the list of melodramas add
* The Fair Fugitive,' 1803. Line 20, for in April
BYRD.
671
read on May 28. Line 23, for Day read Age.
Line 2^, for 1786 read 1785.
BUXTEHUDE, Dietrich. P. 286 a, line 6
irom bottom, add a reference to English trans-
lation of Spitta's ' Bach,' i. 258 et seq. P. 2866,
1. 22, add reference to the same, i. 263, note 107.
B YFIELD, John, organ-builder. [See Harris
& Byfield, vol. i. p. 692, and ii. p. 596; also
Byfield, Jordan & Bridge below. [V. de P.]
BYFIELD, John, junr., organ-builder. No-
thing is known of his biography except that he
died in 1774. The works of the two Byfields
pass current under one head ; but Dr. Rimbault
is able to quote eighteen instruments (from 1 750
to 1 771) as made by the younger Byfield. The
last six of these were built conjointly with
Green. [See Green, vol. i. p. 624.] [V. de P.]
BYFIELD, JORDAN & BRIDGE, con jointly.
Many new organs were required for the new
churchesbuilt atthebeginningof the i8th century,
and many incompetent persons were induced to
become organ-builders. To prevent the sad
consequences likely to follow, these three emi-
nent artists formed a coalition to build organs at
a very moderate charge, amongst which may be
cited those of Great Yarmouth Church (1733)
and of St. George's Chapel in the same town
(i 740). [See also each of these names.] [V. de P.]
BYRD,^ William, is generally said to have
been the son of Thomas Byrd, a member of the
Chapels Royal of Edward VI. and Mary ; but
this statement is purely conjectural, the only
evidence upon which it rests — viz. that Byrd's
second son was named Thomas, as it was sup-
posed, after his grandfather — having been dis-
proved by the recent discovery that he was
named after his godfather Thomas Tallis. The
date (1538) usually given as that of his birth is
conjectured from a statement that he was the
senior chorister in St. Paul's Cathedral in 1554,
when his name was alleged to appear in a peti-
tion of the choristers for the restoration of cer-
tain benefactions to which they were entitled.
This petition cannot be found among the public
records of the year, though documents relating to
the restoration of the payments in question are
in existence, and in these William Byrd's name
does not occur, though two other choristers,
named John and Simon Byrd, are mentioned.
It seems most likely that the composer was a
native of Lincoln, where a Henry Byrde, for-
merly mayor of Newcastle, died on July 13,
1 5 1 2, and was buried in the Cathedral. Accord-
ing to Anthony k Wood, William Byrd was ' bred
up to musick under Thomas Tallis,' but the first
authentic fact in his biography is his appoint-
ment as organist of Lincoln Cathedral, which
took place probably about 1 563. He remained
at Lincoln for some years, but no trace of hia
residence there has been found in the Chapter
Records, except the appointment of his successor,
1 Since the article on Byed was written in Volume T. of the Dic-
tionary, so much fresh information about him has come to light
that it has been thought best to write a fresh account of his life.
Most of the documents upon which the above article is based were
printed by the writer in the ' Musical Review,' for 1881, Kos. 19—21.
572
BYRD.
Thomas Butler, who on Dec. 7, 1572, was elected
master of the choristers and organist *on y*
nomination and commendation of Mr. William
Byrd.' From this it would seem that Byrd re-
tained his post of organist at Lincoln until 1572,
although on Feb. 22, 1569, he had been elected
a Gentleman of the Chapel Royal. It was prob-
ably during this part of his life that he was
married to Julian or Ellen Birley, a native of
Lincolnshire. On Jan. 22 , 1575, Tallis and Byrd
obtained a patent from Elizabeth for printing
and selling music and music paper, English and
foreign, for 21 years, the penalty for the infringe-
ment of which was 40 shillings. This monopoly
does not seem to have been very valuable, as a
petition preserved in the Stationers' Registers, in
which a list of restrictions upon printing is given,
records that * Bird and Tallys . . . haue musike
bokes with note, which the complainantes con-
fesse they wold not print nor be furnished to
print though there were no priuilege.' In 1575
Byrd and Tallis published a collection of motets,
'Cantiones, quae ab argumento sacrse vocantur,
quinque et sex partium,' of which 18 were the
composition of Byrd. The work was printed by
Thomas VautroUier, and was dedicated to the
Queen. It contains eulogistic Latin verses by
Richard Mulcaster and Ferdinando Richardson,
an anonymous Latin poem * De Anglorum Mu-
sica,' a short Latin poem by the composers,* and
an epitome of their patent. In 1578 he was
living at Harlington in Middlesex. The parish
records prove that he had a house here as late
as 1588, and he probably remained here until
his removal to Stondon, in Essex. A glimpse
of Byrd is obtained in 1579 in a recently dis-
covered letter preserved in the British Museum
(Lansd. 29, No. 38) from the Earl of Northumber-
land to Lord Burghley, which runs as follows :
* My dere good lorde I amme ernestly required
to be a suiter to your l[ordship] for this berer,
M'. berde, that your l[ordshi]p wyll have hime
in remebrance wh your fauer towardes hime
seinge he cane not inioye that wyche was his
firste sutte [suit] and granted vnto hime. I ame
the more importenat to your l[ordship] for that
lie is my frend and cheffly that he is scollemaster
to my daughter in his artte. The mane is
honeste and one wliome I knowe your l[ordship]
may comande.' The letter is dated Feb, 28,15 79,
and endorsed * Bird of y* Chappell,' but what the
suit is to which it refers is not known. About
1579 Byrd wrote a three-part song for Thomas
Legge's Latin play ' Richardus III.' This was
apparently his only composition for the stage.
On the death of Tallis in 1585 the benefit of the
monopoly in music-printing became the sole pro-
perty of Byrd, who during the next few years
was unusually active in composition. In 1588
he published 'Psalmes, Sonets, and Songs of
Sadnes and Pietie, made into Musicke of fiue
parts : whereof, some of them going abroade
among diners, in vntrue coppies, are heere truely
corrected, and th' other being Songs very rare
and newly composed, are heere publbhed, for
> Seerol. iT.PbCBa.
BYRD.
the recreation of all such as delight in Musicke.*
This work was published by Thomas Easte, * the
assigne of W. Byrd,' in 1588. In Rimbault's
untrustworthy Bibliotheca Madrigaliana an un-
dated edition is mentioned, which may be the
same as one mentioned in the Stationers' Regis-
ter as being in print on Nov. 6, 1687. The
* Songs of Sadnes ' are dedicated to Sir Christo-
pher Hatton : prefixed are the following quaint
'Reasons briefely set downe by th' auctor, to
perswade euery one to leame to sing * : —
First, it la a knowledge easely taught, and quickly
learned, where there is a good Master, and an apt
Scoller.
2. The exercise of singing is delightfuU to Nature,
and good to preserue the health of Man.
3. It doth strengthen all parts of the brest, and doth
open the pipes.
4. It is a singuler good remedie for a stutting and
stamering in the speech.
5. It is the best meanea to procure a perfect pronunci-
ation, and to make a good Orator.
6. It is the onely way to know where Nature hath
bestowed the benefit of a good voyce; which guift is so
rare, as there is not one among a thousand, that hath
it: and in many, that excellent guift is lost, because
they want Art to expresse Nature.
7. There is not any Musicke of Instruments whatso-
euer, comparable to that which is made of the voyces
of Men, where the voices are good, and the same well
sorted and ordered.
8. The better the voyce is, the meeter it is to honour
and serue God there-with : and the voyce of man is
chiefely to be imployed to that ende.
Since singing is so good a thing,
1 wish all men would leame to singe.
At the end of 1588 Byrd contributed two
madrigals to the first book of Nicholas Yonge's
* Musica Transalpina,' and in the following year
published two more works. The first of these,
' Songs of Sundrie Natures, some of grauitie, and
others of mirth, fit for all companies and voyces,'
was dedicated to Sir Henry Cary, LordHunsdon,
and was published by Thomas Easte ; a second
edition was issued by Easte's widow, Lucretia, in
16 10. The second, ' Liber Primus Sacrarum Can-
tionum quinque vocum,' was dedicated to the
Earl of Worcester. It was published by Easte
on Oct. 25. In 1590 Byrd contributed two
settings of 'This sweet and merry month of
May ' to Thomas Watson's ' First Sett of Italian
Madrigalls Englished,' and on Nov. 4, 1591, he
published the 'Liber Secundus Sacrarum Can-
tionum,' dedicated to Lord Lumley. During
this period of his life Byrd wrote a very large
amount of music for the virginals, many manu-
script collections of which are still extant. One
of the most important of these is the volume'
transcribed for the use of Lady Nevill by John
Baldwin of Windsor, which consists entirely of
Byrd's compositions. This manuscript was
finished in 1591, and furnishes evidence of the
repute which the composer enjoyed at this time,
Baldwin quaintly writing against Byrd's name at
the end of the 1 7th piece, ' Mr. W. Birde. Homo
memorabilis.' The great esteem in which he was
held as a musician must have been the reason
why he continued, though a Catholic, to hold his
appointment in the Chapel Royal, where for some
time he had acted as organist. Probably prior
to the year 1598 he had obtained from the crown
* 6«e vol. It. p. 310 a.
BYED.
BYRD.
678
A lease for three lives of Stondon Place, an estate
in Essex, which had been sequestrated from one
William Shelley, who was committed to the
Fleet for taking part in an alleged Popish plot.
Shelley died about 1601, and in 1604 his heir
paid a large sum of money for the restoration of
his lands, whereupon his widow attempted to
regain possession of Stondon, which formed part
of her jointure. But Byrd was still under the
protection of the Court, and James I. ordered
Mrs. Shelley to allow him to enjoy quiet posses-
sion of the property. In spite of this, on Oct. 27,
1608, Mrs. Shelley presented a petition to the
Earl of Salisbury, praying for the restoration of
Stondon, and setting forth eight grievances
against the composer. From these it seems that
Byrd went to law in order to compel her to ratify
the crown lease, but being unsuccessful he
combined with the individuals who held her
other jointure lands to enter into litigation with
her, and when all these disputes had been set-
tled, and finally ' one Petiver ' submitted, * the
said Bird did give him vile and bitter words,'
and when told that he had no right to the pro-
perty, declared * that yf he could not hould it by
right, he would holde it by might ' ; that he had
cut down much timber, and for six years had
paid no rent. Probably Mrs. Shelley died soon
after this, for both Byrd's son and grandson re-
tained possession of the estate. This glimpse of
the composer's private life does not present him
in a very amiable character, but the most curious
part of the matter is that while he was actually
in the possession, under a crown lease, of lands
confiscated from a Catholic recusant, and also
held an appointment in the Protestant Chapel
Royal, both he and his family were undoubtedly
Catholics, and as such were not only regularly
presented in the Archidiaconal Court of Essex
from 1605 to 1612, and probably later, but since
the year 1 598 had been excommunicated by the
same ecclesiastical body. A modus vivendi un-
der these circumstances must have been rather
difficult, and Byrd can only have remained secure
from more serious consequences by the protection
of powerful friends. To this he evidently alludes
in the dedication to the Earl of Northampton of
the first book of his • Gi^dualia,' in which he says,
• Te habui ... in afflictis familiae mese rebus benig-
nissimum patronum.' In 1600 some of Byrd's
virginal music was published in * Parthenia.'
Morley, in his 'Introduction' (ed. 1597, p.
115), mentions how Byrd, * never without rever-
ence to be named of the musicians,' and Alfonso
Ferabosco the elder, had a friendly contention,
each setting a plainsong forty different ways.
It was no doubt this work which was pub-
lished on Oct. 15, 1603, by Easte, under the
following title : ' Medulla Musicke. Sucked out
of the sappe of Two [of] the most famous Musi-
tians that euer were in this land, namely Master
Wylliam Byrd ... and Master Alfonso Fera-
bosco . . . either of whom having made 40*1*
aeverall waies (without contention), shewing
most rare and intricate skill in 2 partes in one
vpon the playne songe " Miserere." The which
at the request of a friend is most plainly sett in
severall distinct partes to be sunge (with moore
ease and vnderstanding of the lesse skilfull), by
Master Thomas Robinson, etc' Unfortunately
no copy of this work is known to be extant, and
the existence of it was only revealed by the pub-
lication of the entry in the Stationers' Registers.
In 1607 appeared the first and second books of
the * Gradualia,' a complete collection of motets
for the ecclesiastical year of the Catholic Church,
including (in the first book) a setting for three
voices of the words allotted to the crowd in the
Passion according to St. John. The first book is
dedicated to the Earl of Northampton ; the
second to Lord Petre. A second edition of both
books appeared in 1610. In 161 1 was issued
'Psalmes, Songs, and Sonnets: some solemne,
others joy full, framed to the life of the Words :
Fit for Voyces or Viols, etc' This was dedi-
cated to the Earl of Cumberland, and contains
a quaint address * to all true louers of Musicke,*
in which, after commending 'these my last
labours,' he proceeds : ' Onely this I desire ; that
you will be but as careful! to heare them well
expressed, as I haue beene both in the Com-
posing and correcting of them. Otherwise the
best Song that euer was made will seeme harsh
and vnpleasant, for that the well expressing of
them, either by Voyces, or Instruments, is the
life of our labours, which is seldome or neuer
well performed at the first singing or playing.
Besides a song that is well and artificially made
cannot be well perceiued nor vnderstood at the
first hearing, but the oftner you shall heare it,
the better cause of liking you will discouer : and
commonly that Song is best esteemed with
which our eares are best acquainted.' In 16 14
Byrd contributed four anthems to Sir William
Leighton's 'Teares or Lamentacions of a Sorrow-
full Soule.' These were his last published com-
position. He died, probably at Stondon, on
July 4, 1623, his death being recorded in the
Chapel Royal Cheque Book as that of a * Father
of Musicke,' a title which refers both to his great
age and to the veneration with which he was
regarded by his contemporaries. In addition to
the works of Byrd's which have been already
mentioned, he wrote three masses for 3, 4, and
5 voices respectively. These were all printed,
but copies of the first and second have disap-
peared, and only a single copy of the third ^ is
known to exist. Printed copies of the two first
can be traced down to the sale of Bartleman's
Library in 1822, since when they have vanished,
though the mass for three voices is fortunately
preserved in MS. copies in Immyns's handwriting
recently found in the British Museum^ and
Fitzwilliam Libraries. It has always been
assumed that Byrd's masses must have been
written during the reign of Queen Mary, when
he was a boy, but the fact that he remained
all his life a Catholic and continued to com-
pose music for the Catholic ritual renders the
assumption extremely improbable, especially
since the two extant masses themselves show
British Uuseum. K. ^ A. «.
> Add MS.29, SS^-O,
574
BYRD.
no trace of boyish immaturity, but rather
belong to the composer's best works. They
were probably printed (without title-pages)
in 1588: the type of the mass for five voices
being that which Easte used when he began to
print music as Byrd's assignee in this year.
The initial-letters are the same as those used in
Yonge's Musica Transalpina (1588). Byrd's
arms (Visitation of Essex, Harl. Soc. vol. xiii.)
were ' three stags' heads cabossed, a canton
ermine.' He had live children : — (i ) Christopher,
who married Catherine, daughter of Thomas
Moore, of Bamborough, Yorkshire, and had a
son named Thomas, who was living at Stondon
Place in 1634; (2) Thomas, a musician, who
acted as deputy to John Bull at Gresham Col-
lege— in 1634 he was living in Drury Lane;
(3) Elizabeth, who married first, John Jackson,
CAGNONI.
and second, — Burdett; (4) Rachel, who married
Edward Biggs; and (5) Mary, who married
Thomas Falconbridge.
Many MS. compositions by Byrd are still ex-
tant. The British Museum contains the largest
number, including some autographs, but others
are preserved in the collections of Her Majesty
the Queen, the Marquess of Abergavenny, Christ-
church (Oxford), Peterhouse (Cambridge), and
the Bodleian, Lambeth Palace and Fitzwilliam
Museum Libraries.
In conclusion, it may be mentioned that the
statement that Byrd and members of his family
lived *at the end of the i6th century' in the
parish of St. Helen's, Bishopgate, is inaccurate.
The Byrds who lived there belonged to another
familj', and were probably not even relatives of
the composer's. [W.B.S.J
C.
CP. 289 a, 6-7 lines from bottom, for the
line on which the clef mark stands, read
the line enclosed by the horizontal lines in
the clef mark.
CABEL, Mme. Correct the existing article
by the following : — Her name was properly
Cabu ; she studied at the Conservatoire in 1 848-9,
and in the latter year made her d^but at the
Op^ra Comique, with little effect, in * Val d'An-
dorre * and ' Les Mousquetaires de la Reine.'
She was next engaged at Brussels for three years,
and obtained a great success. After perform-
ances at Lyons and Strassburg she was engaged
at the Lyrique, Paris, for three years, and made
her first appearance Oct. 6, '53, as Toinon, on
production of * Le Bijou Perdu ' (Adam). She
also appeared in new operas, viz. * La Promise '
(Clapisson), Mar. 16, '54, and 'Jaguarita I'ln-
dienne' (Halevy), May 14, '55. In 1854 she
came to England with the Lyrique company.
She first appeared on June 7 in *Le Bijou,'
and made a great success in the 'Promise,'
*Fille du Regiment,' and 'Sirfene,' in spite
of the inferior support given by the above com-
pany. On Feb. 23, '56, she reappeared at the
Opera Comique on the production of * Manon
Lescaut' (Auber), and remained there until
1861, her best new parts being Catherine,^ on the
revival of 'L'lfctoile du Nord'; and April 4, '59,
as Dinorah on the production of * Le Pardon de
Ploermel.' In 1 860 she played the Figlia, etc.,
as described in vol. i., renewed her successes
in revivals of * Le Bijou,' * Jaguarita,' and ap-
peared as Feline on the production of * La Chatte
merveilleuse ' (Grisar), March 18, '62. In 1861
she was again at the Lyrique, and on March
21, '63, played in ' Cosi fan Tutte,' with a new
libretto adapted to ' Love's Labour's Lost.' From
1865-70 she was again at the Opera Comique,
I Mme. Vandenheuvel, then Caroline Duprez, daughter of the
tenor, was the heroine on its production, not Mme, Cabel, as stated
in vol. i.
and among her new parts were Philine in
'Mignon,' Nov. 17, '66, and Hdlene, ' Le Pre-
mier Jour de Bonheur,' Feb. 15, '68. In '71 she
sang at the New Philharmonic and other con-
certs, and in'72 sang in French opera at theOp^ra
Comique, London, in the * Fille du Regiment,'
* L'Ambassadrice,' and ' Galath^e,' and was well
received, though the company was bad, and the
theatre much too small for important opera. She
played in the French provinces until 1877, but
in '78 was struck with paralysis, from which she
never wholly recovered. She died at Maisons
Laffitte, May 23, '85.
A brother- in-law (or son) of hers, Edouakd, was
a singer at the Op^ra Comique and the Lyrique,
and sang the song of Hylas in ' Les Troyens k
Carthage.' See Berlioz' Memoirs. His song
was well received, but it was nevertheless cut
out, in order that Carvalho should not have to
pay him extra salary. [A.C.]
CABINET PIANO. Line 13 of article, /or
Lond read Loud. (Corrected in late editions.)
The improvement described in the next following
sentence was due to Isaac Hawkins, not to Loud.
CADENZA. P. 294 a, 1. 27, for FjJ read
FJ minor.
CECILIA. Line 7 from end of article, /or
1834 read 1836.
CiECILIAN SOCIETY. P. 295 a, 1. 6 from
bottom, for a few read nearly thirty.
C^SAR, Julius. Add that he was probably
the same Julius Csesar who was a son of Joseph
Caesar, and a grandson of Dr. Gerard Csesar of
Canterbury, and who died at Strood on Apr. 29,
1712, aged55.
CAFARO, Pasquale. Line 3 of article,/©?*
in 1708, read Feb. 8, 1706. Line 12, add day of
death, Oct. 23.
CAGNONI, Antonio, bom Feb. 8, 1828, at
Godiasco, in the district of Voghera, entered the
CAGNONI.
Milan Conservatorio in 1842, remaining there
until 1 847. Two operas of small calibre were per-
formed in the theatre connected with the establish-
ment, but his first essay before the public was with
• Don Bucefalo,' given at the Teatro Bk in Milan
in 1847. This opera buffa, although it has kept
the stage in Italy, has never attained success
outside its own country ; it was given at the
Italiens in Paris, but very coldly received. His
successive operas have not been received with
uniform favour, though several, especially among
his later works, have been attended by good
fortune. Between 1856 and 1863 he held the
post of maestro di capella at Vigevano, and
while there devoted himself entirely to religious
music. The following is a complete list of his
operas : — * Kosalia di San Miniato ' (1845) ;
*I due Savojardi' (1846); 'Don Bucefalo'
(1847); 'II Testament© di Figaro' (1848);
•Amori e Trappole' (1850); 'LaValle d'An-
dorra' (1854) ; * Giralda' (1852) ; 'La Fioraja'
(1855); *La Figlia di don Laborio' (1856);
* II Vecchio della Montagna ' (1863) ; * Michele
Perrin' (1864); 'Claudia' (1866); 'La Tom-
bola' (1869) ; ' L^n Capriccio di Donna' (1870) ;
*Papk Martin' (1871), produced by Carl Rosa
at the Lyceum in 1875 as 'The Porter of
Havre'; *I1 Duca di Tapigliano' (1874);
' Francesca da Eimini' (1878). In that year
he retired to Novara, where he became maestro
di cappella in the cathedral, and director of the
Istituto musicale. He has since produced nothing
but sacred music. Two motets, ' Inveni David '
and 'Ave Maria,' were published in 1886. In
February of that year Cagnoni was made a com-
mander of the order of the Corona. He is at
present (1886) maestro di cappella at Santa
Maria Maggiore in Bergamo. [M.]
CALAH, John. Add that in 1 781-1785 he
was organist of the parish church and master of
the Song-school at Newark-upon-Trent. Correct
the date of his death to Aug. 5.
CALASCIONE. Last line but one of article,
fdr Cola read Colas.
CALDARA. Line 9 of article, correct date
of death to Aug. 38, 1763, on the authority of
Paloschi and Riemann.
CALLCOTT, John Wall. Add that in 1780
he wrote music for a play performed at Mr.
Young's school. P. 298 a, 1. 14, /or In the latter
year read About 1782 ; and add that he occasion-
ally played the oboe in the orchestra of the
Academy of Ancient Music. P. 2986, 1. 27,
for 1 801 read 1795 ; and add that the band was
formed, as stated, in the former year. Line 41,
for appointed to succeed Dr. Crotch as lecturer
on music, read appointed in 1807 to lecture on
German music ; and compare Crotch in vol. i.
and in Appendix. For date of death read May
33, and add that it took place at Bristol, though
he was buried at Kensington. (Diet, of Nat.
Biog.) Add the dates of William Hutchins
Callcott, 1807 — Aug. 4, 1882.
CALVARY. The performance at tlie Norwich
Festival was not the first, as the work had been
CAMBRIDGE QUARTERS.
575.
given in the Hanover Square Rooms by the
Vocal Society, under Mr. Edward Taylor, March
27, 1837. [G.J
CAMBERT, Robert. Omit the words Some-
times called Lambert, Line 12 of article, add
date of production of * La Pastorale ' April, 1659.
Line 14, for in read on June 28. Line 19, add
day of production of 'Pomone,' March 19.
CAMBINI. Add day of birth, Feb. 13.
CAMBRIDGE QUARTERS. The most fre-
quent application in our own country of the
principle of Carillons is in the short musical
phrases which are used to mark the divisions of
the hour. Among these the quarter-chimes of
Cambridge or Westminster, and those of Don-
caster have become most famous. There is an
interesting account of the origin of the Cam-
bridge or Westminster chimes. It is said that
Dr. Jowett, Regius Professor of Law, was con-
sulted by the University authorities on the
subject of chimes for the clock of St. Mary's,
Cambridge, and that he took a pupil of the
Regius Professor of Music into his confidence.
The pupil, who was no other than the afterwards
famous Dr. Crotch, took the fifth bar of the
opening symphony of Handel's ' I know that my
Redeemer liveth,' and expanded it into the
musical chime, which is as follows : —
First quarter.
Second quarter.
The old * Whittington * chimes, famous at one
time in London
have apparently become old-fashioned and out
of date.
The chimes of the Royal Exchange (London)
present the Cambridge arrangement; but with
this difference, that bar 2 of the second quarter,
and bar 2 of the third quarter, are transposed.
It is generally considered that the old arrange-
ment is best.
The Don caster and Fredericton chimes are
arranged to come in upon a set or ring of eight
bells, whereas the Cambridge or Royal Ex-
change chimes need a set or part of a set of ten
bells, and as so many churches have an octave
of ringing bells the Doncaster arrangement has
many advantages for the more general adoption,
being arranged thus —
First quarter.
Second quarter.
C76 CAMBRIDGE QUARTERS.
Third quarter.
Hour.
the fourth quarter being made up of the second
quarter and the first two bars of the third
quarter chimes. [S.B.G.]
CAMIDGE. Line i of article, /or about read
in. Add that John Caniidge received his early
education from Nares, and that he afterwards
went to London, where he studied under Dr.
Greene and took some lessons from Handel.
Line 4, /or until his death April 25, read until
Nov. II, 1799. He died April 25. Line 5, /or
forty-seven read forty-two. Line 7, for 1764
read 1758. Line 9, /or death read resignation ;
and 1. 10, for 1803 »*ea^ 1799. Line 14, /or he
died, etc., read He resigned Oct. 8, 1842, and
died, etc. Line 15, for 80 read 86. Add date
of birth of his son John, 1790. Line 20, for the
death of his father in 1844 read the resignation
of his father in 1842. Bottom line, for the
sentence beginning Early in 1859 *'««^ ^^ Nov.
1848 he became paralysed while playing even-
ing service, and never recovered sufficiently to
undertake the duty again. He died Sept. 21, 1859.
(Diet, of Nat. Biog.)
CAMPANA, Fabio, bom 1815, at Bologna,
and received his musical education there at the
Liceo. In early life he produced several operas
with more or less ill-success, according to F«5tis,
viz. * Caterina di Guise,' Leghorn, 1838 ; another
<name not given by Fdtis), at Venice, 1841 ;
* Jannina d'Ornano,' Florence, '42 ; * Luisa di
Francia,' Rome, '44; and 'Giulio d'Este,' at
Milan, in or about '50. He then settled in
London, where he was well known as a teacher
of singing, and a composer, principally of Italian
songs, some of which were successful. He com-
posed two other operas, viz. * Almina,' produced
at Her Majesty's, April 26, '60, with Piccolo-
mini [see PiccoLOMiNi], and * Esmeralda,' pro-
duced at St. Petersburg, Dec. 20, '69, and at
Covent Garden Theatre, June 14,70, with Patti
as heroine, afterwards produced through her in-
strumentality at Homburg, in '72. Signer Cam-
pana died in London, Feb. 2, 1882. [A.C.]
CAMPANINI, Italo, bom June 29, 1846, at
Parma, received instruction in singing there at
the Conservatorio, and later from Lamperti of
Milan. He first attracted public attention in
1871, on the production in Italy of 'Lohengrin'
at Bologna under Angelo Mariani. On May 4,
1873. he first appeared in England at Drury
Lane as Gennaro in 'Lucrezia,' with such
success that hopes were entertained that a suc-
cessor of Mario and Giuglini had been found.
From that time until '82, he sang every year in
opera both there and (from 1887) ** Her Ma-
jesty's. He did not fulfil his early promise, but he
still obtained considerable popularity as a hard-
working and extremely zealous artist. In addition
to the usual repertory for tenors, he played Ken-
neth on the production of Balfe's* Talismano,' June
II, 1874; Don Josd on the production of 'Car-
men,' J une 22, '78; Rhadames (' Aida') first time
CAMPRA.
at Her Majesty's, June 19, '79, and Faust on
production in England of Boito's ' Mefistofele,'
July 6, '80. He had played the same part
Oct. 4. '75 on the occasion of the successful re-
production of that opera at Bologna. He sang
also at St. Petersburg, Moscow, and later in
Anaerica under Mapleson with great eflfect. We
believe he has now retired from public life. He
was present at the production of ' Otello' at Milan
as correspondent for an American paper. [A.C.]
CAMPANOLOGY. Refer to Cambeidgk
Quarters, Chimes, in Appendix.
CAMPBELL, Alexander. Add that he was
born in 1764 at Tombea, Loch Lubnaig, and that
he and his brother John were pupils ot Tenducci.
Not long after the publication of his songs, he
abandoned music and took to medicine, but
subsequently fell into great poverty, and died
May 15, 1824. (Diet, of Nat. Biog.)
CAMPENHOUT, FRANfOis van. Correct
date of birth to Feb. 5, 1779, and add day of
death, April 24.
CAMPION. Add that he published his
' Poemata ' in 1 595 . Line 8 of article, for Hayes
read Hay. Line 11, the date of publication of
the first two books is probably 16 13, as the
second contains a song apparently lamenting the
death of Prince Henry. Line 16, Books 3 and
4 should probably be dated 161 7, as they are
dedicated to Sir Thomas Monson, who was im-
plicated in the murder of Sir Thomas Overbury,
and pardoned Feb. 22,1617. Campion alludes to
' the clouds that lately overcast ' Monson's * for-
tune being disperst.' The lines to his patron's
son, John Monson, also show that the publication
must have been about this year. [W.B.S.]
CAMPORESE. For the last Une of article
read She died at Rome, 1839.
CAMPRA, Andr:6, bora Dec. 4, 1660, at
Aix, in Provence, and educated in music by
G. Poitevin. He gave little promise of distinc-
tion until his sixteenth year, when his talent
made a sudden stride; and a motet, 'Deus
noster refugium et virtus,' tlien composed by
him, was so full of scholarly and contrapuntal
writing, that his master predicted his future
eminence. As early as 1679, Campra was
selected to fill the place of maltre de musique
in the cathedral of Toulon, where he remained
until his removal to Paris in 1694. His first
post there was the directorship of the music
at the church of the College of the Jesuits ;
and from this he was soon promoted to the
directorship at Notre Dame. His reputation as
a composer would appear to have been already
established, for we are tbld that crowds went to
hear his motets at great church festivals ; but
while thus employed, Campra was also study-
ing the dramatic works of LuUy and Cambert,
and discovering where his own special talent lay.
In 1697 he produced his first opera, ' L'Europe
galante,' and this was followed in 1699 by an
operatic ballet called *Le Carnaval de Venise,'
but both these compositions appeared in his
CAMPRA.
brother's name.^ He was deterred from pub-
lishing them in his own name by fear of losing
his valuable ecclesiastical appointment. In 1 700,
however, he decided to abandon the church for
the stage. Indeed he may have been constrained
to do so, because we learn from a popular rhyme
of the day —
Quand notre archeveque saura
I'auteui' du nouvel opera
M. Gaiupra decampera.
Alleluia.
that the true authorship of his operas had ceased
to be a secret. * Hdsione,' the first opera pro-
duced under his own name, appeared in 1 700 ;
and thenceforth for forty years his works held
the stage with ever-growing popularity. His
last opera, 'Les Noces de Vdnus,' came out in
1740. Honours and emoluments were freely
bestowed on him: by a patent dated Dec. 15,
171 8, the King granted him a pension of 500
livres, 'in recognition of his merits as a dra-
matic composer, and as an incentive to con-
tinued composition for the Academie Royale de
Musique.' In 1722 he was given the title of
composer and director of Music to the Prince
de Conti, and in the same year he was nomi-
nated maltre de chapelle to the King, as well
as director of the pages at the Chapelle Royale.
This last appointment he held until his death
at Versailles on June 29, 1744.
Campra's historic place in the French opera
was between two composers whose eminence
transcended his own ; he followed Lully and
preceded Rameau,^ but his inferiority to them
should not make us overlook his marked supe-
riority to his own contemporaries, such as Co-
lasse and Destouches. Indeed Campra's operas
are the only ones besides those of Lully which
kept their place on the stage during the first
half of the i8th century. In the opera of
* Tancrfede,' Campra rises to a very high level ;
it is a work full of warmth and life and genuine
feeling, which was popular from its first appear-
ance in 1702 until its last performance in 1764.^
Still it must be owned that Campra failed to
contribute to the progressive development of the
French opera, and his failure may be ascribed
in part to^vant of originality, but even more to
an excessive deference to the taste and fancies
of the public. It was a time when the so-called
spectacles coupes — i.e. performances in one even-
ing of favourite acts or scenes from different
operas — were in special vogue, and to Antoine
Danchet, the librettist of * Hdsione ' and several
other operas of Campra's, is assigned the dubious
distinction of having popularised this fragmen-
tary kind of dramatic representation. Campra
himself, with his * L'Europe galante,' was one
of the first composers to enter upon this debased
path of art ; and as a perfect type of his work
in this category, we may mention the operatic
» Joseph Campra, a double-bass player at the Opera In 1699. Ho
received a pension In 1727, and was still living in 1744.
2 For Campra's high appreciation of Rameau, see vol. ill. 70 6.
3 This opera partly owed its great success to the circumstance that
the heroine (Clorinde) waa taken by a contralto (Mdlle, Maupin) lor
the first time since the foundation of the Freuch opera.
CANTERBURY PILGRIMS. 677
ballet called *Les F^tes Venitiennes,' which has
been described as a lyrical kaleidoscope.
Fetis gives the following list of his works : —
* L'Europe Galante.' 1697 (with some pieces by Destouches) ; * Car-
naval de Venise,' 1699 ; 'H^sione,' 1700; 'Ar^thusa,' 1701; 'Frag-
ments de Lulli," Sept. 1702 ; • Tancr6de,' Nov. 1702 ; ' Les Muses," 1703 ;
'Iphlg^nie en Tauride.'May 1704 (with Desmarets) ; 'T^l^maque.'
Nov. 1704; 'Aline,' 1705; 'Le Triomphe de I'Amour,' Sept. 1705;
* HIppodamIe,' 1708 ; ' Les F6tes Venitiennes,' 1710 ; an act of ' Laure
et Petrarque,' Dec. 1711 ; ' Idom^n^e, 1712 ; ' Les Amours de Mars et
de V«nus,* 1712 ; • T616phe,' 1713 ; ' CamlUe,' 1717 ; ' Les Akcs,' 1718 5
' Achllle et D^Idamle,' 1735 ; several acts of ' Sil^ne et Bacchus,' Oct.
1722.
Besides these works, Campra wrote also : —
' V^nus,' 1698 ; ' Le destin du nouveau Sifecle,' a divertissement for the
year 1700 ; ' Les FStes de Corinthe,' 1717 ; ' La FHe de I'lle Adam,'
divertissement for the Court, 1722; 'Les Muses rassembl^es par
I'Amour,' 1723 ; ' Le G<5nie de la Bourgogne,' divertissement for the
Court, 1732; 'Les Noces de Venus,' a score written in 1740, at ttas
age of 80.
as well as three books of cantatas, and five books
of motets. The once celebrated air * La Furstem-
berg' was also by him.
In the preface to his ' Cantates Fran9oises *
(dated 1 708) Campra states that he has attempted
to combine the characteristics of the French and
Italian schools, and the attention paid by him to
the latter school is clearly indicated by the use of
the orchestra and the more expressive treatment
of the words, especially in the later collections,
dated respectively 17 14 and 1718. In his
motets * he paid special heed to the solo voice,
and emancipated it from the mere declamatory
phrases so prevalent in LuUy's time. It is note-
worthy also that Campra was the first composer
who obtained permission to use other instru-
ments besides the organ in church music ; and
his indications of the different instruments em-
ployed give proof of his acquaintance with them,
although his study of orchestral colouring may
have been very slight.^ Among the more beau-
tiful of his motets is the last of the 3rd book :
its brilliant and effective passages for the solo
voice, and expression marks, such as affettuosOy
etc., are tokens of its thoroughly Italian charac-
ter. These works furnish us with the best
criterion of Campra's merits as a cultivated
musician, although his operas chiefly established
his popular fame.
(See also A. Pougin's study of Campra and
his works, which appeared in the Menestrel,
Series 47, No. 15.) [A.H.W.]
CANTABILE. See vol. i. p. 426.
CANTATA. P. 305 a, 1. 3-4 from bottom.
The number of cantatas published by the Bach-
Gesellschaft up to the present year (1888) is 170.
See Bach-Gesellschaft and Kirchencantaten
in Appendix.
CANTERBURY PILGRIMS, THE. Opera
in three acts; written by Gilbert k Beckett,
music by C. Villiers Stanford. Composed for,
and produced by, the Carl Rosa company,
Drury Lane, April 28, 1884. [M.]
* Campra's five books of motets did not appear first in 1706 (Fetis),
nor in 1699 (Pougln), for Dr. W. Langhaus says he is in possession
of a $econd edition dated 1699. They are dedicated to the Abb6 of
St. Sever de la Grange Trianon.
5 In the motet on tlie 126th Psalm, k grand Choeur, there is a group
of two oboes and bassoon used for strengthening the accompaniment,
and also for short solos ; but written on the title-page is the remarlt
' tm de fiulei d'Allemague.'
578
CANTILENA.
CANTILENA— etymologically, a little song.
This term was formerly applied to the upper
or solo part of a macbrigal ; also to a small
cantata or any short piece for one voice. At
the present time the term is employed in in-
strumental music to denote a flowing melodious
phrase of a vocal character ; or, to indicate the
smooth rendering of slow expressive passages.
It is also sometimes used as a substitute for
Cantabile. [A.H.W.]
CANTIONES SACR.5:. The name given to
several collections of Latin motets published in
London between 1575 and 1610. They comprise
the following: — 'Cantiones quae ab argument©
sacrse vocantur, quinque et sex partium,' by
Tallis and Byrd, 1575 [see Tallts, Thomas] ;
and the following by Byrd alone : — * Liber Pri-
mus Sacrarum Cantionum Quinque Vocum,'
1589 (reprinted in score by the Musical Anti-
quarian Society, 1842) ; 'Liber Secundus Sacra-
rum Cantionum Quinque Vocum,' 1591 ; *Gra-
dualia, ac Cantiones Sacrse quinis,quaternis,trinis
vocibus concinnatse, Liber Primus,' and the same,
'Liber Secundus,' 1607. See Bybd in Appen-
dix. [W.H.H.]
CANTOR (Mediaeval Lat. Primicerius ; Eng.
Precentor, Chanter; Fr. Chantre, Grand
Chantre).
I. A title given, in Cathedral and Collegiate
Churches, to the leader of the singing. In Eng-
lish Cathedrals, the Precentor is usually second
only in dignity to the Dean; the Precentor of
Sarum claiming still higher rank, as representing
the entire Province of Canterbury — an honour
which has long existed only in name. His seat
is the first return-stall, on the north side of the
Choir, facing the Altar; for which reason the
north side is called Cantoris, or the Chanter's
side. In some few Cathedrals in this country,
the familiar term, Chanter, is still retained ; and
the Succentor is called the Sub-Chanter. The
Latinised form, Cantor, is always used in Ger-
many ; but, in France, Chantre is frequently
exchanged for Maltre de Chapelle.
The duty of the Precentor is, to intone the
Psalms and Canticles — at least, where Gregorian
Services are used ; to exercise a general super-
vision over the singing ; to select the music ; and,
to take care that it is properly performed. It is
from the first of these functions that he derives
his title ; but, in consequence of the high rank
attached to the preferment, it is generally given
to a beneficed Clergyman who performs its
duties by deputy.
II. A name given to the Principal of a Col-
lege of Church Music.
We hear of the foundation of such a College,
in Rome, as early as the 4th century ; but it
was not until the Pontificate of S. Gregory the
Great (590-604) that the Roman Scholae Can-
torum began to exercise any very serious influ-
ence upon the development of Church Music.
A sketch of their subsequent history will be
found in vol. iii. p. 519. Charlemagne founded
Singing Schools in many parts of his dominions j
CAPOUL.
and watched over them with paternal care.
Every such School was governed by its own
special Primicerius, or Cantor ; and, as the cur-
riculum was not confined to singing, but com-
prised a complete course of instruction in music,
the influence of a learned Cantor was very great.
In later times the number of these institutions
increased rapidly ; and many of the old found-
ations still flourish. The French MaItrises
were excellent in principle; but, as time pro-
gressed, they admitted the saecular element, and
their Chantres developed into true Maltres de
Chapelle. One of the oldest and most important
foundations in Germany was that at the Abbey
of Fulda. But the Cantors who have exercised
the strongest influence on modern Art are those
of the Thomas-Schule at Leipzig. [See vol. ii.
p. 115 a, and Leipzig in Appendix.] [W.S.R.]
CANTUS FICTUS. See Musica Ficjta.
CAPOUL, Joseph Victok Am^d^e, bom
Feb. 27, 1839, at Toulouse, entered the Paris
Conservatoire in '59, studied singing there under
Rdvial, and comic opera under Mocker, and in
'61 gained the first prize in the latter class. On
Aug. 26 of the last-named year he made his
d^but at the Opdra Comique as Daniel in * Le
Chalet ' (Adam), and next played Tonio in ' La
Fille du Regiment.' He became a great favourite
there, being good-looking, with a pleasant tenor
voice, somewhat spoiled by the * vibrato ' ; he
was a good actor in both serious and light parts,
and was considered by the Parisians as the suc-
cessor to Roger, though never the equal of that
famous artist. He remained at that theatre
until '70. Among his best parts may be men-
tioned Georges Brown ('La Dame Blanche'),
Mergy (* Prd aux Clercs '), Raphael D'Estuniga
(* La Part du Diable '), Fra Diavolo, etc., and
of those he created, Eustache in * Les Absents '
(Poise), Oct. 26, '64; Horace in 'La Colombo'
(Gounod), June 7, '66 ; the tenor part in * La
Grande Tante ' (Massenet), April 3, '67 ; Gaston
de Maillepr^ in * Le Premier Jour de Bonheur '
(Auber), Feb. 15, '68 ; the title-part in 'Vert-
Vert' (Off'enbach), March 10, '69. In '72-'73
he sang in Italian opera in Paris (Salle Venta-
dour), in '76 at the Theatre Lyrique tind Gait^,
where on Nov. 15 he played the hero on the suc-
cessful production of Mass^'s ' Paul et Virginie,*
and in '78 he returned to the Salle Ventadour,
where he played Romeo on the production, Oct.ia,
of ' Les Amants de Vdrone ' (Marquis D'lvry).
On June i, 1871, M. Capoul first appeared in
England at the Italian Opera, Drury Lane, as
Faust, and sang there with success, and also
during the season as Elvino and the Duke in
' Rigoletto.' He appeared at the same theatre
every season until '75, with the exception of '74,
in several characters, being especially good as
Lionel (* Martha'), Wilhelm Meister ('Mignon'),
and Faust. From '77 to '79 he appeared at
Covent Garden with tolerable success, in spite
of great exaggeration and mannerism both in
singing and acting, and played for the first time
Fra Diavolo, his original characters in the above
CAPOUL.
operas of Massd and D'lvry, June i, '78, and
May 24, '79, and Camoens on the production of
riotow's * Alma I'lncantatrice,' July 9, '78. He
has also sung in Italian opera in Yienna, and in
America with Nilsson, where he has also been
'79-80 as principal tenor of the French Opera
Bouffe company. On Dec. 18, '81, he played at
the Renaissance on the production of * Le Sais '
(Mrne. Marguerite Olagnier), and on June 8, '87,
took part in the concert given at the Trocad^ro
for the benefit of the sufferers in the Op^ra
Comique fire. [A.C.]
CARADORI-ALLAN. Add that she sang
in the Ninth Symphony of Beethoven on its
production at the Philharmonic, March 21, 1825.
CARAFA. Correct date of birth to Nov. 17,
1787. P. 308 h, 1. 6, add date of * La Violette,'
Oct. 1828. Line 21, for a post which he was
still filling in 1876, read where he died, July
26, 1872.
CAREY, Henry. P. 309 5, 1. 19, for Nov.
read October. P. 310 a, 1. 5, for date of first
publication of his poems read 1713. Line 14,
for 1739-40 read 1737. P. 310 &, 1. 6, add
dates of George Savile Carey, 1743-1807. (Diet.
ofNat. Biog.)
CARILLON. P. 311a, 1. 34, /or Louvain
(35 bells) read Louvain (two carillons of 40
and 41 bells respectively). Correct note below
the same column by adding that Aerschodt
made the 33 bells for Cattistock Church, the
machinery only being supplied by Gillet and
Bland. See also Chimes in Appendix.
CARISSIMI. Line 13 of article, /or in read
Jan. 12.
CARLTON, Rev. Richaed. Add that he
was at Clare College, Cambridge, and took the
degree of B.A. in 1577. Soon after his ordin-
ation he obtained an appointment at Norwich
Cathedral. In Oct. 161 2 he was presented by
Thomas Thursby to the rectory of Bawsey {sic)
and Glosthorp. (Diet, of Nat. Biog.)
CARMAN'S WHISTLE. The first line of
the musical example on p. 316 a, is an intro-
duction to the tune proper. In bar 3 of the
first line, /or G, F, read A, G.
CARMEN. Opera comique in four acts; words
by Meilhac and Halevy (founded on Prosper
Mevim^e's story with the same title), music by
Georges Bizet. Produced at the Opera Comique,
Paris, March 3, 1875. In Italian, at Her
Majesty's, June 22, 1878 [seeHAUCK, Minnie].
In English (Carl Rosa) at Her Majesty's, Feb. 5,
1879. In French, at the same theatre, Nov. 8,1886
(Mme. Galli-Marie in her original part). [M.]
CARNABY, William, Mus. D. Correct day
of death to Nov. 7.
CARNEVAL,^ Scenes mignonnes sue 4
notes (the translation, on the printed copy, of
the autograph heading, 'Fasching. Schwanke
auf vier Noten f. Pfte von Eusebius'). A set of
21 piano pieces written by Schumann in 1834,
1 This is the spelling of the original edition; in hig letters Schu-
mauu generally, but uot always, yrritcs Camaval.
CAROL.
579
and dedicated to Carl Lipinski. Each piece
has its title. The allusions to the Carnival are
obvious — 'Pierrot,' 'Arlequin,' 'Pantalou et
Colombine ' ; but the other subjects of which
Schumann's mind was then full are brought in,
such as 'Chiarina' (Clara Wieck), *Estrelle'
(Ernestine von Fricken), * Chopin,' * Paganini,'
'Papillons'; he himself is depicted under the two
aspects of his mind as * Florestan ' and * Euse-
bius,' and the events of a ball are fully deline-
ated in the * Valse noble ' and ' Valse allemande,'
'Coquette' and 'Rdplique,' 'Reconnaissance,*
* Aveu ' and * Promenade.' The whole winds up
with a * March of the Davidsbiindler against the
Philistines,' who are represented by the common-
place and domestic ' Grossvatertanz.' [See vol. i.
p. 634.] The arrangement of the pieces, how-
ever, was made, and the title added, afterwards.
Between numbers 8 and 9 are inserted the
' Sphinxes,' or ' Lettres dansantes,' that is, the
4 notes which in Schumann's mind formed the
mystical basis of the whole.^
Sphinxes.
No. I. No. 2. No. 3.
W^-
:H=Bi
:tt
:btt
i5=&:
A.S.C.H, S.C.H.A.
Lettrea dansantes.
No. I is to be read as S (Es), C, H, A, the
musical letters in the composer's name ; Nos. 2
and 3 as As, C, H, and A, S, C, H, the letters
forming the name of a town in Bohemia, the
residence of a Baron von Fricken, to whose
daughter Ernestine he was actually engaged at
this time.^
The Cameval was published in T837. It was
probably first played in England on June 17,
1856, when Mme. Schumann performed 16 of the
21 numbers.
Schumann returned to the Carnival as the
subject of a composition in his ' Faschings-
schwank aus Wien' (op. 26). [G.]
CARNICER. Add days of birth and death,
Oct. 24 and March 1 7.
CAROL. The history of this word presents a
remarkable parallel to that of the kindred term
Ballad. Both originally implied dancing : both
are now used simply to denote a kind of song.
In old French, Carole signified a peculiar
kind of dance in a ring. This dance gave its
name to the song by which it was accompanied :
and so the word passed, in one or both of these
senses, into most of the languages of Western
Europe.
In the English of Chaucer carolling is some-
times dancing and sometimes singing. In
modern usage a carol may be defined as a kind
of popular song appropriated to some special
season of the ecclesiastical or natural year.
There are, or were, Welsh summer carols, and
winter carols ; there are also Easter carols ;
but the only species which remains in general
use, and requires a more detailed examination,
is the Christmas carol.
2 These are never played by Mme. Schumann,
a Schumaaa's Jugendbriefe. Sept. 5, 1834, nUe.
680
CAROL.
Christmas carols then are songs or ballads to
be used during the Christmas season, in reference
to the festival, under one or other of its aspects.
In some it is regarded chiefly as a time of mirth
and feasting ; in others as the commemoration of
our Lord's nativity. In many carols of widely
different dates some one or more of the customary
circumstances or concomitants of the celebration
appear as the main subject of the verse. This
is the case with the oldest known carol written
in England, which exists in the Norman French
language in a manuscript of the 13th century.
(Joshua Sylvester, in * A Garland of Christmas
Carols,* etc., J.C. Hotten, 1861, states that it was
discovered on a leaf in the middle of one of the
MSS. in the British Museum, but as he gives jio
reference, its identification is almost impossible.)
This points to an important fact in the history
of the Christmas festival. In Northern Europe
especially the solemnities of the annual celebra-
tion of Christ's birth were grafted upon a great
national holiday-time, which had a religious
significance in the days of paganism ; and this
has left a distinct impression upon Christmas
customs and on Christmas carols. The old
heathen Yule has lent its colouring to the
English Christmas ; and it is largely to this
influence that we must attribute the jovial and
purely festive character of many of the traditional
and best known, as well as of the most ancient
Christmas carols. These carols have not, like
the hymns appropriate to other Christian seasons,
exclusive reference to the events then com-
memorated by the Church, but represent the
feelings of the populace at large, to whom the
actual festivities of the season are of more
interest than the event which they are ostensibly
intended to recall.
At the same time there are many other Christ-
mas carols, ranging from an early period, which
treat entirely of the occasion, the circumstances,
the purpose and the result of the Incarnation.
These differ from hymns chiefly in the free ballad
style of the words and the lighter character of the
melody. Moreover, a large proportion of them
embody various legendary embellishments of
the Gospel narrative, with a number of apocry-
phal incidents connected with the birth and early
years of Jesus Christ. For these they are in all
probability indebted immediately to the Mystery
Plays, which were greatly in vogue and much
frequented at the time from which Christmas
carols trace their descent ; that is, the 1 2th or
1 3th century. Indeed, it seems probable that the
direct source of Christmas carols, as we under-
stand the term, is to be found (as has been
already stated in this Dictionary ^) in similar
compositions which were introduced between the
scenes of the Mysteries or Miracle Plays, the
great religious and popular entertainments of the
middle ages. Three such compositions, belong-
ing to one of the Coventry plays,* have been
preserved, by accident, apart from the play
J Vol. I. p. 761 a.
2 The Pageant of the Company of Sheremen and Taylors In
Coventry, as performed by them on the festival of Corpus Christ I,
etc Cwventry. 1817.
CAROL.
itself, with this note : • The first and last the
shepheards singe : and the second or middlemost
the Women singe.' It is easy to see from this
how carols relating to the mysteries of man'«
redemption might become rooted in the memo-
ries and aflfectiona of the people. Christmas
carols have also been afiected by the hymns of
the Church on the one side, and by purely secu-
lar songs or ballads on the other. The words of
a very large number, dating from the 15th
century downward, are extant, and have been
published in such collections as those of Sandys,
Husk, Sylvester, and, most recently, A. H.
Bullen ; but the materials for a history of
their musical character are less copious and less
easily accessible. It cannot be doubted that the
style of the tunes was that of the ballad music
of the period to which they belong : a period
which extends, so far as concerns existing melo-
dies, from the 15th century to the 19th. An
example of a strictly mediaeval carol tune is to
be found in that of the second of the carols in-
troduced into the Coventry play already men-
tioned. * LuUy, lulla, y'' littell tine childe,*
which has been published in modem notation by
Mr. Pauer. Others, in three or four parts, of
the time of Henry VII. and Henry VIII. exist
in manuscript.^
In the time of King Henry VII. and later it
was one of the duties of the choir of the Chapel
Royal to sing Christmas carols before the sove-
reign ; and it may be that this custom gave rise
to the elaborate compositions bearing that name,
of which some specimens are preserved among
the works of William Byrd. Each of the collec-
tions numbered a, 3, and 8 in the list of his
works given in this Dictionary* contains a
Christmas carol, so called. The first, 'Lulla,
lullaby,' is probably the Lullaby referred to by
the Earl of Worcester in his letter about the
doings at Queen Elizabeth's court.* The first
strain of the second is here given as a specimen.
The third, * This day Christ is borne,' is headed
' A Carroll for Christmas day,' and is followed by
' A Carroll for New yeares day.'
A Carowlefor Christmas Day.
W. Byrd.
w
SE^
■^^=s--
g-7:j3z=q
From Virgin's womb, etc
^
^:
^£
^E^
?=:
From Virgin's womb, etc
From Virgin's womb, etc.
^
> Additional MSS. 5465 and 5665 in the British Museum contain
such tunes.
4 Vol. I. p. ZS7 a. » Vol. I. p. 287 6.
CAROL.
CARTER.
581
From Ylrsin'i womb.
r-fnrr-T^z^Eg
'i " fM
this day, this day
spring.
r-rrrrrif
as
f-'J-^r- H
q==c
1
But these were not carols in the popular
sense, or for popular use. They exhibit the
same abundance of contrapuntal resources which
is conspicuous in Byrd's other compositions ; nor
do they differ, except so far as they may be
affected by the character of the words, from
other madrigalian music of the Elizabethan era.
They may well be compared, both in regard to
their structure and their position in the develop-
ment of vocal music, with the Italian and French
examples of a similar treatment of this species
of composition referred to under Noel.^
The • Sacred Hymnes,' of Byrd's contemporary
John Amner, published in the year 1615, include
two ' Motects ' for Christmas, each for six voices.
The former, which begins 'O yee little flock,
O ye faithful shephercfi,' is divided into three
parts ; the latter, of which the first words are
*Loe, how from heaven like stars the angels
flying,' into two. There is also a carol, * Upon
my lap my Soveraigne sits,' which approaches
more to the character of a part-song, in the
* Private Musicke ' of Martin Peerson, printed
in the year 1620.
Meanwhile, no doubt, the older and simpler
kind of Christmas carol held its place among the
lower orders of society ; and it reappeared, which
these more elaborate and artificial forms of
Christmas songs never did, when the pressure of
the Puritan ascendancy which prevailed during
1 Vol. ii. pp. 402 (.463 a.
the Commonwealth was removed. Both before
and after that period books of carols for Christ-
mas Day and its attendant feasts were printed,
with the names of the tunes to which they were
to be sung. These are in most cases popular
airs of secular character.'' But gradually even
these musical directions disappeared. During
the last century the carol literature was of the
humblest kind. Sheets of words were printed
for the use of itinerant singers ; but if the
strains to which they were to be sung were
committed to paper at all, the possession of them
must have been pretty well confined to parish
clerks and village amateurs. Still they were
handed on by tradition ; and many of them have
now been rescued from oblivion, and may even
now be heard, in a more or less modernized form.
The first person who attempted to fix these
vanishing memories of the past seems to have
been Davies Gilbert, F.R.S., etc., who in the
year 1822 published 'Some Ancient Christmas
Carols with the Tunes to which they were for-
merly sung in the West of England ' ; ' being
desirous,' as he says in his preface, ' of preserv-
ing them in their actual forms ... as specimens
of times now passed away, and of religious
feelings superseded by others of a different cast.'
Another reason he gives for so doing is the
delight they afforded him in his youth, when, as
he seems to imply, they were sung in churches
on Christmas Day, and in private houses on
Christmas Eve.
The first line of the first Carol in his collection
is as follows : —
^^
3s=JE
of the dust and
olay.
dust and olay.*
e
^-
V ' in p
VOL. IV. FT. 5.
Its strange tonality seems to indicate a pedigree
of centuries, and an ancestry among the Eccle-
siastical Modes. [H.R.B.]
CARPENTRAS. Additions and corrections
for the article will be found under Genet, vol. i.
588, 9.
CARTER, Thomas. Add that he was organist
of St. Werbergh*s in Dublin from 1 751 to 1769.
The second sentence of the article is to be omitted,
» For example: In ' Christmas Carols Good ft True. Fresh & New,*
printed in 1642, the tunes are as follows: — For Christmas Day.
(1) Troye Towne, (2) All you tliat are good fellowes : (the first line of
the Carol following.) St. Steven's. (1) Wigmore's Galliard, (2) Bonny
Sweet Bobin. St. John's Day, (1) Flying Fame, (2) The King 's going
to Bullelne. Innocents' Day, (1) As at noone Dulcina rested,
(2) The Spanish Pavln. New Yeares-day, Green Sleeves. Twelfe
Day, a) The ladles fall, (2) The Spanish Gipsies.
3 The last three notes stand thus in Gilbert's collection, but they
can hardly be taken as a correct representation of the end of th«
strain. „
Qq
682
CAKTER.
since it probably refers to another Thomas Carter,
who died Nov. 8, 1800, aged 32, of liver com-
plaint. (Gent. Mag.) A third of the same name
was a musician in Dublin and was living at the
beginning of the present century. (Diet, of
Nat. Biog.) The composer of the operas, etc.,
died Oct. 16 (not 12), 1804, aged (according to
the Sun newspaper) 60. W. Hawes, who remem-
bered him well, told the late T. Oliphant that
this Carter had never been to India. [J.M.]
CARULLI, Fbrdinando. Add day of birth,
Feb. 10.
CARUSO, LuTGi. Add day of birth, Sept. 25.
CARVALHO, Maeie Caeoline F^ltx, n4e
Miolan, born Dec. 31, 1827, at Marseilles, re-
ceived instruction from her father, F^lix Miolan,
an oboe player, and &om Duprez at the Conser-
vatoire, Paris (1843-47), where she obtained the
first prize in singing. She made her ddbut in
the first act of 'Lucia,' and in the trio of the
second act of *La Juive,' at Duprez's benefit
Dec. 14, '49. In 1849-56 she sang at the Op^ra
Comique, and made her reputation as Isabelle
in *Le Pr^ aux Clercs,' as the heroines on the
respective productions of 'Giralda' and * Les
Noces de Jeannette,' July 20, '50, and Feb. 4,
*53. In the latter year she married Carvalho, then
engaged at the same theatre. From 1856-69 she
sang at the Lyrique, where she first appeared in
a new opera, *La Fanchonnette * (Clapisson),
and where she increased her reputation as the
foremost female lyric artist of the French stage.
She appeared as Cherubino, Zerlina ('Don Gio-
vanni*), with Nilsson (Elvira) and Charton-
Demeur (Donna Anna), as Pamina to the Astri-
fiammante of Nilsson, and in new operas of Mass^
and Gounod, i. e. 'La Reine Topaze,' Dec. 27,
'56, ' Faust,' March 19, '59, * Philemon et Bau-
cis,' Feb. 18, '60, * Mireille,' March 19, '64,
and *Rom^o et Juliette,' April 27, '67. 'The
opera stage has rarely seen a poet's imagining
more completely wrought than in the Marguerite
of Mme. Miolan-Carvalho . . . I had . . . watched
the progress of this exquisitely finished artist
with great interest . . . finding in her perform-
ances a sensibility rarely combined with such
measureless execution as hers — and it has been
fancied hardly possible to a voice in quality like
hers, a high and thin soprano with little volume
of tone — but I was not prepared for the delicacy
of colouring, the innocence, the tenderness of the
earlier scenes, and the warmth of passion and
remorse and repentance which one then so slight
in frame could throw into the drama as it went
on. Rarely has there been a personation more
complete or more delightful. Those know only
one small part of this consummate artist's skill
that have not seen her in this remarkable Faust.'
(Chorley). In '69-70 and later she sang alter-
nately at the Grand Opera and the Op^ra Comique
until her final retirement, which took place in
scenes from ♦ Faust ' and * Mireille ' at the Opdra
Comique, June 9, 1885. She sang in a duet
from the latter opera, with Faure, at the concert
given at the Trocaddro on June 8, 1887, for the
CASTELLAN.
benefit of the sufferers in the fire at the Op^ra
Comique. She first appeared in England at the
Royal Italian Opera as Dinorah, with great
success, on the production of that opera ('Pardon
de Ploermel') July 26, '59. She sang every
season until '64 inclusive, and again in '71-72,
and worthily maintained her reputation — viz. as
Margaret on the production of 'Faust,' Oscar
(* Bailo in Maschera '), the Zerlinas (Mozart and
Auber), Matilde, Doima Elvira, Rosina (*Bar-
biere' and *Nozze'), Catarina (*L']&toile du
Nord '), etc., and in the small part of the Happy
Shade in ' Orfeo.' Mme. Carvalho has also sung
at Berlin, St. Petersburg, and elsewhere.^
Li^ON Caevailli^, known as Carvalho, born
1825, educated at the Paris Conservatoire, where
in 1848 he obtained an accessit, played small
parts at the Op^ra Comique, was manager of the
Lyrique, in '56-69, afterwards at the Vaude-
ville, where he produced Sardou's celebrated
' Rabagas'; in '76 became manager of the Op^ra
Comique. In consequence of the fire of May 25,
1887, a heavy fine was imposed upon him, and
he was imprisoned for a time, since the accident
was judged to be the result of managerial care-
lessness. In 1888 he was succeeded by M.
Paravey. [A.C.]
CASE, John. Line 3 of article, add that he
became a Scholar of St. John's College in 1564,
and that he took the degree of B.A. in 1568,
and that of M. A. in 1 5 7 2. (Diet. \>S Nat. Biog. )
CASTELLAN, Jeanne Anais, bom at
Beaujeu (Rhone), Oct. 26, 18 19, received instruc-
tion in singing from Bordogni and Nourrit at the
Paris Conservatoire, where she remained six
years ; she obtained an accessit in solfeggio in
'31, first premium '33, second premium in
singing '35, and finally a first premium in singing
and second premium in op^ra comique in '36.
She went on the operatic stage in Italy, and
sang with success at Turin, Milan, and Florence
(where in '40 she married Enrico Giampetro, a
singer), also at Vienna, etc. She next sang in
the United States and Mexico. She first appeared
in England May 13, '44, at a Philharmonic
concert, with such success that she was re-
engaged at a subsequent concert on June 10,
also at concerts given by Sterndale Bennett,
Benedict, etc. In the winter she sang in Italian
opera in St. Petersburg. On April i, '45, she
first appeared at Her Majesty's as Lucia, with
fair success, and remained there during that and
the two next seasons, as the successor to Persiani,
singing, among other parts, Zerlina (' Don Gio-
vanni'), Fiordiligi ('Cosi fan Tutte*), Amina,
Linda di Chamouni, Adina ('L'Elisire d'Amore*),
and Isabella, on production in Italian of * Robert
le Diable,' May 4, '47, for Jenny Lind. From
'48 to '52, except '49, when she was at the Grand
Opera, Paris, where she was the original Bertha
in * Le Prophfete,' she sang each season at Co vent
Garden, where she proved herself a pre-eminently
1 Two brothers of Mme. Oarvalho were also musicians. Q) Ah^d^b
Felix, orchestral conductor, who died at New Orleans. (2) Alex-
ANDBE, professor of organ and harmonium, and as such attached
to the Lyrique for several years ; died April 26 1873.
CASTELLAN.
useful singer in many parts of a diflferent charac-
ter, viz. Margaret of Valois, on the production in
Italian of * Les Huguenots,* July 20, '48, Juliet,
Bertha, Isabella, Elvira (* Masaniello '), Agatha
(• Der Freischiitz '), Anais ('Mosfe in Egitto'),
Matilda ('Guillaume Tell'), Ninetta, Eosina,
Abigail (' Nabuco ')> Pamina, Glicera on pro-
duction in England of Gounod's * SafiFo ' (Aug.
12, '51), Cunegunda on production of Spohr's
* Faust,' July 15, '52 (the composer interpolated
an air for her from his opera ' Der Zweikampf '),
Pamina, and Leonora ('Fidelio'). Madame
Castellan sang frequently at the Philharmonic
and other concerts, and at the festivals at Nor-
vsrich, Gloucester, Worcester, and at Birmingham
four times, from '49 to '58, where in '55 she ori-
ginally sang the soprano music in Costa's * Eli,'
and in '58 the same in Leslie's * Judith.'
Madame Castellan also played in Paris in Ita-
lian in 1847, ^^^ ^^^ *^® ^^^* ^^'^^ in 1 859, as well
as in Italy and elsewhere. She has long since
retired from public life.
* Madame Castellan . . , enjoyed during some
years a settled occupation of trust and variety on
our two Italian Opera stages. So far as industry
and general utility, a pleasing person, and a
competent voice entitled their owner to public
favour, the new French prima donna was emi-
nently qualified. But she fell short of complete
excellence in every point save that of adaptability.
Her voice, an extensive soprano, having both
upper and lower notes sufficient in power, was
never thoroughly in tune . . . Madame Castellan,
though she was always courteously received,
never excited the slightest enthusiasm . . . Her
amenity of manner, however, and the sedulous care
she always showed to keep faith with the public,
maintained her long in London ; and since she
has passed from the stage, she has never been
ireplaced by any one equivalent to her.* (Chorley,
1862). [A.C.]
CATALANI, Alfredo, bom at Lucca, June
19, 1854, studied at first with his father, the
organist of the church of S. Frediano in that
city. At the age of fourteen he wrote a mass
which was sung in the cathedral. At seventeen
he went to the Paris Conservatoire, where he
studied in Bazin's class. Returning to Italy, he
studied for two years at the Milan Conservatorio,
at the theatre of which his first essay at dra-
matic composition, an * Egloga ' in one act, * La
Falce,''^was produced in the summer of 1875.
On Jan. 31, 1880, his grand four-act opera,
* Elda ' (words by D'Ormeville), was brought out
at Turin; on March 17, 1883, a similar work,
* Dejanice,' in four acts (libretto by Zanardini),
was given at the Scala at Milan; in 1885 a
symphonic poem for orchestra, * Ero e Leandro,'
attained considerable success ; and * Edmea,' a
three-act opera (libretto by Ghislanzoni), was
produced at the Scala, Feb. 27, 1886. He has
lately completed a new opera, * Loreley.' He
stands in the foremost rank of the younger Italian
composers. [M.]
CATELANI, Angelo. Add that he died at
S. Martiuo di Muguano, Sept. 5, 1866.
CELLIER.
588
CAVAILL1&-C0L. Add date of death, Jan,
1886.
CAVALLI. Line 16 of article, for 1637
read 1639. ^^^^ 21, for * Xerse * read * Serse,'
and add day of production, Nov. 12. Line 23,
for in read Feb. 7. As to Cavalli's claim to be
regarded as the inventor of the Da Capo, see
Air, vol. i. 47 a, and Opera, ii. 502, 503.
CAVALLINI, Ernesto, a great clarinet
player, born at Milan Aug. 30, 1807. He was
taught in the Milan Conservatorio, and after an
engagement at Venice and considerable travel-
ling he returned to his native city, first as player
in the Scala orchestra and then as professor in
the Conservatorio. In 1852 he accepted a post
at St. Petersburg, which he filled for fifteen years,
after which he returned to Milan in 1870, and
died there Jan. 7, 1873. In 1842 he was elected
member of the Paris Acaddmie des Beaux Arts.
Cavallini travelled much and was well known
in Paris, London and Brussels. He played a
concerto of his own at the Philharmonic Concert,
June 23, 1845. F^tis describes his volubility
and technique as prodigious, and his breath
as inexhaustible ; his intonation was also very
good, though his instrument was only the old
six-keyed clarinet. To this Mr. Lazarus adds
that his music is very difficult, his studies and
duets excellent ; and although his tone was not
of the purest, he might well be called the Paga-
nini of the clarinet for his wonderful execution.
Lists of his works are given by F^tis, and by
Pougin in the Supplement thereto. [G.]
CAVATINA. Add that the derivation of
the word is not clear. Cavata is defined as the
act of producing tone from a musical instrument.
The strict definition of Cavatina will be found
under Opera, ii. 511 a.
CEBELL, a name used by Purcell and others
for the dance form now generally known by the
name of Gavotte. An instance occurs in a suite
of Purcell's printed in Pauer's * Old English
Composers,' and * The Old Cebell ' is given by
Hawkins, History, App. 22. [M.]
CECILIA. P. 3296, 1. 10, for 1739 read
1740.
CELLIER, Alfred, bom Dec. i, 1844, at
Hackney, of French extraction, was educated
there at the Grammar School, and from 1855 to
i860 was a chorister at the Chapel Royal, St.
James's, under the Rev. Thomas Helmore. In
1862 he was appointed organist to the church
of AU Saints, Blackheath. At the age of
twenty-one he became Director of the Ulster
Hall Concerts, Belfast, succeeding Dr. Chipp,
and conductor of the Belfast Philharmonic
Society. He was appointed organist to St.
Alban's Holborn in 1868. Mr. Collier has also
been conductor at the Prince's Theatre, Man-
chester (187 1-5); Opera Comique, London
(1877-9), ^^^ joint conductor, with Sir A. Sul-
livan, of the Promenade Concerts, Covent Garden
(1878 and 9), besides holding numerous smaller
appointments at the Court, St. James's, and
Qqa
S84
CELLIER.
Criterion Theatres. His compositions include
a setting of Gray's Elegy, written for the Leeds
Festival (Oct. lo, 18S3), a Suite Symphonique
for orchestra, various songs and PF. pieces,
among which latter must be mentioned a charm-
ing 'Danse pompeuse,' 1880, dedicated to and
frequently played by Mme. Montigny-Remaury.
But Mr. Cellier is best known as a composer of
light opera or opera bouflfe. Besides much in-
cidental music to plays, etc., he has produced
the following: — 'Charity begins at Home,'
Gallery of Illustration, 1870, 'The Sultan of
Mocha,' produced at the Prince's Theatre, Man-
chester, Nov. 16, 1874, with great success, and
at St. James's Theatre, London, April 17, 1876 ;
'The Tower of London,* Oct. 4, 1875; *Nell
Gwynne,' Oct. 16, 1876; 'Bella Donna, or the
Little Beauty and the Great Beast,' Apr. 27,
1878, all produced at Manchester; 'The Foster
Brothers,' 1876 (St. George's Hall); 'Dora's
Dream,' Nov. 17, 1877; 'The Spectre Knight,'
Feb. 9, 1878 ; ' After all,* Dec. 16, 1879 ; ' In the
Sulks,* Feb. 31, 1880, operettas in one act, all
produced at the Opera Comi que Theatre. * Pan-
dora,' a grand opera in three acts, words by Long-
fellow, was produced in Boston in 1881. Few
of the larger works obtained other than pro-
vincial popularity, in spite of the pleasing
and elegant music contained therein, probably
owing to weak librettos; but on Sept. 25, 1886,
in his opera of 'Dorothy, 'produced at the Gaiety
Theatre, a fresh setting of his 'Nell Gwynne'
to a new book, Mr. Cellier gained his first real
success, thanks to the musical merits of the
work, which ran through the entire autumn
season, and on Dec, 20, was transferred to the
Prince of Wales' Theatre, where it has been
performed ever since. A lever du rideau en-
titled 'The Carp,' was produced at the Savoy
Theatre on Feb. 13, 1886, and another 'Mrs.
Jarramie's Genie,' at the same, Feb. 14, 1888.
On Sept. ai, 1887, the 'Sultan of Mocha* was
revived at the Strand Theatre, with a new
libretto by Lestocq. Mr. Cellier has of late
resided in America and Australia, but returned to
England in 1887. (Died Dec. 28, 1891.) [A.C.]
CEMBAL D'AMORE. Add that the in-
strument should be regarded as a double clavi-
chord, the two instruments being separated by
the tangents. [A. J.H.]
CEMBALO. P. 330 h, 1. 24,/or Pedal read
Pedals, L
CERTON. Line la of article, for 1533-49
read 1527-36, and /or 1543-50 read 1543-60.
CESTI, Antonio. Add that he died at Venice,
1669, and refer to the last sentence of the article
Cabissimi, for another composition attributed to
him.
CHABRIER, Alexis Emmanuel, bom at
Ambert (Puy de D6me) Jan. 18, 1841,* at first
took up music as an amateur, while he was
studying law at Paris, and was employed at the
Ministbre de I'lnt^rieur. While at the Lycde
8t. Louis he had been taught the piano by
1 Date Terifled by the register of birth.
CHELL.
Edouard WolflF, and he afterwards studied har-
mony and counterpoint with Aristide Hignard ;
but in reality he was self-taught. His first works
of any importance were two operettas, more
worthy of notice than most compositions of their
kind: 'L']&toile' (Bouffes Parisiens, Nov. 28,
1877), and ' L'lfiducation manqude* (Cercle de
la Presse, May i, 1879). Two years later,
having devoted himself entirely to music, he
published ' Dix Pieces pittoresques ' for piano ;
and in Nov. 1883, a Rhapsody on original
Spanish airs, entitled ' Espaiia,' was very suc-
cessful at the concerts of the Chateau d'Eau,
where he was for two years (1884-5) chorus
master, and where he helped Lamoureux to pro-
duce the first two acts of * Tristan imd Isolde.*
While there he produced a scena for mezzo-
soprano and female chorus, *La Sulamite*
(March 15, 1885), also selections from his opera
•Gwendoline,' which was given in its entirety
at the Theatre de la Monnaie, Brussels, April
10, 1886; finally he produced, at the Op^ra
Comique in Paris, a more extensive work, ' Lo
Roi malgr^ lui' (May 18, 1887), which, after
three performances, was stopped by the fire of
May 25 ; it was reproduced at the temporary
establishment on Nov. 16, 1887. M. Chabrier^
works show a rare power of combining all the mu-
sical materials at his disposal, and his 'Espana' is
a model in this respect ; but in his original com-
positions a lack of spontaneity is apparent, and
his orchestration, though not deficient in variety
of colouring, is noisy and too thick. He is
a gifted composer, but his attachment to various
schools shows him to be without settled artistic
convictions. [A.J.]
CHANGING-NOTE. See Nota Cambita,
ii. 466, and Wechselnote, iv. 430.
CHANSON. P. 335 h, 1. 37,/or Vive Henbi
QuATBE read Henri Quatbb (Vive).
CHANT. P. 337 a, 1. 6 from bottom, for
1613 read 1623. P. 338 a, 1. 10, for Camidge
read Crotch.
CHAPPLE, Samuel. Add date of death,i833.
CHARD, G. W. Line 5 of article, /or some
years later read in 1802, and add date of appoint-
ment to the College, 1832.
CHARTON-DEMEUR. See Demeub in Ap-
pendix, vol. iv. p. 611.
CHATTERTON, J. B. Line 2 of article, for
1 8 10 read about i8oa. Line 3, add first ap-
pearance at a concert of Aspull's in 1824. Line
4, for 1844 read 184a. Line 7, for in read
April II.
CHAULIEU, Chables. Add day of birth,
June 21.
CHELARD. Line 8 of article, add date of
his obtaining the Grand Prix de Rome, 181 1.
P. 341 6, L 7, for in read Feb. la.
CHELL, William. Add that the works
mentioned in the article appear to be nothing
but copies of the treatises of John de Muris,.
1
CHELL.
Otteby (Hothby), and others. He was Precentor
of Hereford in 1554, but after the accession of
Elizabeth was deprived of all his cathedral ap-
pointments. (Diet, of Nat. Biog.)
CHERUBINI. P. 343 a, 1. 44, add date of
production of 'Ali Baba,' July 22, 1833. Add
that in 181 5 he came to England and conducted
his 'Anacreon' overture and two MS. com-
positions at the Philharmonic concert on March
13. P. 343 a, 1. i^ffor May read March.
CHEST OF VIOLS. ^ A set of six viols,
properly matched as to size, power, and colour,
used for chamber performance. It usually con-
sisted of two trebles, two tenors, and two basses :
occasionally of two trebles, three tenors, and one
bass, the bass being properly twice as long in
the string as the treble. [See Violin.] Sets of
viols, thus duly proportioned, were often made
by the old English makers. They were carefully
fitted into a * chest,' which seems to have been
a shallow vertical press with double doors. Dr.
Tudway, in a letter addressed to his son, printed
in Hawkins (ch. 144) describes it as * a large
hutch, with several apartments and partitions
in it, each partition was lined with green bays,
to keep the instruments from being injured by
the weather.' Hawkins quotes an advertise-
ment, dated 1667, of two 'chests of viols' for
sale, one made by John Kose in 1598, the other
by Henry Smith in 1633. 'Both chests,' says
the advertiser, probably referring to the instru-
ments, but possibly to the hutches, 'are very
curious work.' In a well-known passage in
'Music's Monument' (p. 245), Mace says of
the * Press for Instruments,' which forms a con-
spicuous part of the furniture of his elaborately
designed music room, ' First see that it be con-
veniently large, to contain such a number as you
shall design for your use, and to be made very
close and warm, lyn'd through with bayes, etc.,
by which means your instruments will speak
livelily, brisk and clear. . . . Your best provision,
and most complete, will be a good chest of viols,
six in number, viz. two basses, two tenors, and
two trebles, all truly and proportionably suited.
. . . Suppose you cannot procure an entire chest
of viols, suitable, etc., then thus : endeavour to
pick up, here or there, so many excellent good
odd ones, as near suiting as you can, every way,
viz. both for shape, wood, colour, etc., but
especially for size.' Mace's Press for Instruments
includes, besides the 'chest of viols,' a pair of
violins, a pair of * lusty full-sized theorboes,' and
three 'lusty smart- speaking' lyra-viols, the whole
constituting *a ready entertainment for the
greatest prince in the world.' The principle of
the • chest of viols ' is found in the quartets and
quintets of violins which were occasionally made
by the Cremona makers. [E.J. P.]
CHEV£ or Galin-PabisChev^ System. A
method of teaching part-singing and sight-read-
ing, much used in France, is thus called, from
the names of its founder and chief promoters.
Its essential features are two : first, the use of
the principle of ' tonic rdationship,' the learner
CHEVfi.
585
being taught to refer every sound to the tonic,
and secondly, the use of a numeral notation, the
figures I, 2, 3, etc. serving as the written sym-
bols for the several sounds of the scale. Do [uf)
= 1, Be— 2, etc. The following is an example
of a tune, ' God save the Queen,' thus written in
two parts,
1 1 2
335
?• 1 2
5«"3 5
334
1 1 2
3 • 2 1
1 ^53
21 7
53 5
1«0
3»0
A dot under a figure shows that it is in a lower
octave, a dot above a figure in a higher. The
zero shows a ' rest ' or silence ; a thick dot, as
in the second measure, continues the preceding
sound. The varying lengths of sound are shown
by a bar or bars above the figures, as in the
second and fourth measures. The numerals
are treated only as visual signs ; the names sung
are the old sol-fa syllables. The use of the
numerals is to keep the positions of the sounds
in the scale impressed on the learner's mind,
and thus help him to recognise and sing the
sounds. This figure notation is used only as
introductory to the ordinary musical notation.
The sj'stem has been the subject of much con-
troversy in France, but it has made considerable
way and is now allowed to be used in the Paris
Communal Schools. It has been adapted for
English use by M. Andrade and Mr. G. W.
Bullen. The English class-books and exercises
are published by Messrs. Moffatt and Paige, 28
Warwick Lane. The 'l&cole Galin-Paris-Cheve'
has its head-quarters at 36 Rue Vivienne, Paris,
and has for many years been under the direction
of M. Amand Chevd. He edits the monthly
paper, * L'Avenir Musical ' (10 centimes), which
gives full accounts of the progress of the method.
An experiment was begun some years back,
under the authority of the Paris Municipality,
to test the relative efiectiveness of the method,
by putting certain specified Communal Schools
under the direction of its professors, and this is
still in progress.
The idea of using numerals in the way above
shown is best known to the general world
through the advocacy of Jean Jacques Rousseau.
PiEBKE Galin (i 786-1821), who first developed
the plan practically, was a teacher of mathematics
at Bordeaux. Aimb Paris (i 798-1866), one of
his most energetic disciples, was educated to be
an avocat, but devoted his life to the musical
propaganda. He added to this system a special
nomenclature, since adopted into the Tonic-Sol-fa
system, for teaching * time.' Emile Cheve ( 1 804
— 1864) was a doctor, and married a sister of
Paris. His * Methode Elementaire de la Musique
Vocale,' a complete exposition of the system, has
a curious title-page. The title is followed by the
words 'ouvrage repouss^ [in large capitals] Ik
I'unanimit^ 9 Avril, 1850, par la Commission du
Chant de la ville de Paris, MM. Auber, Adam,
etc., etc.' and below this is a picture of a medal
'Decem^e Juin 1853 k la Soci^td Chorale Galin-
Paris-Chev^ ' for ' lecture k premiere vue ' and
586
CHEVJfi.
other things, by a jury composed of M. Berlioz
and other musicians (6th ed. 1856). [R.B.L.]
CHIAVETtE (i.e. Little Keys, or Clefs).
Under this name, the acute Clefs were used, by
the Polyphonists, for certain Modes of high
range, such as Modes VII, and XIV ; while
those of more moderate pitch were used for
Modes I, III, or VIII, and others of like ex-
tent ; and the graver forms for the lowest Modes
in use — such as Mode XIV transposed. The
Clefs of moderate pitch were called the Chiavi
or Chiavi naturali, and both the acute and the
grave forms, the Chiavi trasporiati ; but the
term Chiavette was generally reserved for the
acute form only.
Chiavi naturali. Chiavette,
It has been suggested, that the system of
Chiavi and Chiavette may serve to assist in the
determination of the Mode, especially with re-
gard to its Authentic or Plagal character : but
this is not true, Palestrina's * Missa Papae
Marcelli,' in Mode XIV (Plagal), and his 'Missa
Dies sanctificatus,' in Mode VII (Authentic),
are both written in the Chiavette. Asola's
• Missa pro Defunctis,' in Mode XIV transposed,
is written in the Chiavi trasportati. Pales-
trina's ' Missa brevis,' Mode XIII transposed, is
written in the Chiavi naturali. [See also vol.
ii.p. 474«.] [W.S.R.]
CHILCOT, Thomas. Add that he died at
Bath, Nov. 1766.
CHILD, William. Line 6 of article, for
1632 read 1630, and add that he was appointed
conjointly with Nathaniel Giles. Line 9, add
that in 1643, when the whole establishment was
expelled, Child is said to have retired to a small
farm and to have devoted himself to composition,
the anthem * 0 Lord, grant the King a long
life ' dating from this time. At the Restoration
he was present at Charles II's coronation, Apr.
23, 1 66 1. On July 4 in the same year he was
appointed Composer to the King, in place of the
Ferraboscos deceased. The story of the pave-
ment at Windsor, told in lines 9-17 from end of
article, is correctly as follows (from a document
in the chapter records) : — * Dr. Child having
been organist for some years to the king's chapel
in K. Ch, 2nds time had great arrears of his
salary due to him, to the value of about £500,
which he and some of our canons discoursing of,
Dr. C. slited (sic), and said he would be glad if
anybody would give him £5 and some bottles of
wine for ; which the canons accepted of, and ac-
cordingly had articles made with hand and seal.
After this King James 2 coming to the crown,
paid off his Brs. arrears; wch. much affect-
ing Dr. Child, and he repining at, the canons
generously released his bargain, on condition of
CHIMES.
his paving the body of the choir wth. marble,
wch. was accordingly done, as is comemorated on
his gravestone.* (Diet, of Nat. Biog.)
CHIMES. Certain beats on one or more bells
used to give notice of the commencement of
religious services or of the time of day. It is
not difl&cult to trace the origin of chimes in
our own land, or in other European Christian
countries, whether applied to sacred or secular
purposes.
The famous manuscript of St. Blaise, said to
be of the 9th century, shows that there was an
attempt made in early times to produce a set of
chimes with small suspended bells which were
tapped with a hammer or wooden mallet by a
cleric or lay performer. The later illustrations
from the illuminated manuscript of the Benedic-
tional of S. u53thelwold, which was executed at
Hyde Abbey about the year 980, would show
that chime bells in early times were mounted in
campaniles without the appendages for ringing
or swinging according with the present custom.
There are examples of the introduction of
the half swinging chimes in the 15th century
which have been carefully recorded, and which
show a more convenient arrangement in * the
dead rope pull ' than the earlier arrangements
of levers ; and also of ' full pull swing ' or
ringing the bells mouth upwards, in distinc-
tion to chiming them, where if swung at all half
the distance is suflScient. In most cases, how-
ever, for the purposes of chiming, the bells hang
dead and are struck with the clapper or with an
outside or distinct hammer, or are only swung
a short distance on centres, which facilitates the
work on large or Bourdon bells. As soon as
S. Paulinus had determined to erect the new
chmrches in Northurabria, and as soon as S. Dim-
stan had with his usual energy devoted himself
to the elevation of the Christian Church among
the Saxons, an impetus was given to chime
ringing, in the one case by the importation and
in the other by the manufacture at home of the
necessary bells for chiming and of the wooden
structures with which they were associated and
which would not have carried large sets of chimes.
This system of application has been repeated
down to modern times in the large stone fabrics,
and is employed in the cases of the famous
christened bells, such as Tom of Oxford, Tom of
Lincoln, Big Ben, and Great Paul.
In King's * Rites and Ceremonies of the
Greek Church in Russia,' it has been said that
* Bells are now always used in Russia, and the
chiming them is looked upon as essential to the
service, the length of the time signifies to the
public the degree of sanctity in the day ; every
church, therefore, is furnished with them, they
are fastened inunovably to the beam that sup-
ports them, and are rung by a rope tied to the
clapper, which is perhaps a mark of their anti-
quity in that country, our method of ringing
being more artificial.'
It is interesting to note the weight of metal
and the dimensions of prominent bells in our
own and other countries. The following list, for
CHIMES.
the most part taken from Denison's 'Clocks/
etc., will show the leading particulars of some of
the most celebrated : —
CHOLLET.
587
Dia-
Or«at Bells qf
Date.
VolT
Weight.
lit. In.
Ts. Uw,
Moscow .
1733
1882
21 6
9 6
193 0
St. Paul's, London, • Great Paul ' .
16 14
Munich
1493
1453
7 3
6 5
Danzig
6 1
Cologne
lUd
. .
6 0
Batisbon
1325
1690
e' 2
5 16
6 15
Leipzig
1034
5 14
Breslau
1721
, .
6 13
Brunn
1515
. .
5 10
Ghent •
5 10
Bodiz
1841
. ,
5 10
Chaiona
5 9
Lincoln
1835
6 10^
5 8
Mariazell
1830
5 5
St. Paul's, London, old bell . . .
1716
6 9k
5 4
Dresden
1787
6 4
6 4
6 2
5 9
Exeter, * Peter'
1675
5 0
1371
1610
1859
6 4
6 3^
6 2
6 0
Old Lincoln ..••••...
4 18
Leeds Town Hall
4 1
Valetta, Malta
6 1
Amiens .. • ••••••.
1736
6 0
5 0
Boulogne .<•.•••••.
4 0
Westminster, fourth
1857
6 0
3 18
„ third
1858
4 6
113^
„ second .....
1857
4 0
1 6
first
1857
3 9
1 1
Exeter tenor
1676
6 Hi
3 7
Hotel de Ville, Paris, clock bell .
3 10
1762
5 9
3 10
Gloucester
15th
5 8^
3 6
Manchester Royal Exchange
[cent.
„ tenor or hour bell
5 8J
3 3
4 0^
3 1
1 3
^ third
, ,
m
„ second
2 10
¥
" first
2 8
8
Manchester Town Hall,1877.
Bradford To\
■n Hall.
Tons
. Owt. Qr».
. Cwt. 0X8.
Hour bell
6
9
0
Hour bell,
Twentieth
5
0
0
Twelfth
4
7
0
Nineteenth
3
11
0
Eleventh
2
19
0
Eighteenth
2
12
0
Tenth
2
1
0
Seventeenth
2
3
0
Ninth
1
13
0
Sixteenth
19
0
Eighth
1
4
0
Fifteenth
11
0
Seventh
18
3
Fourteenth
7
0
Sixth
13
3
Thirteenth
3
0
Fifth
1?,
?,
Twelfth
1
0
Fourth
9
0
Eleventh
17
0
Third
8
91
Tenth
16
0
Second
8
0
Ninth
14
0
First
7
8
Eighth
10
0
Seventh
9
3
Sixth
8
3
Fifth
8
2
Fourth
7
3
Third
7
2
Second
7
1
First
6
S
A manual chiming apparatus, as distinct from
chime barrel machines, was introduced by the
late Kev. H. T. EUacombe at Bitton Church.
His system has been somewhat modified and
elaborated by Messrs. Warner, the well-known
bell-founders of London, who have of late years
erected many of these instruments in churches
for chiming either tunes or changes on church
beUs.
An apparatus for chiming by pneumatics has
been introduced by Mr. Lewis, the church organ
builder, which has some advantages, as the
simple touch on a keyboard produces the
required sound, but on the other hand the com-
plication of an organ bellows and valves to supply
the compressed air required for working, has not
commended it for general use. The simple
rope-pull apparatus before referred to may in a
minute be put into gear for chiming, or out of
gear to admit of the bells being rung.
The proportions and shapes of bells used for
chimes should be of a different character from
ringing bells, to admit of tune and accord in more
pleasant harmonics, a point which also has bear-
ing upon the cup or hemispherical form of chimes
which have of late years been adopted, a flattened
form of hemisphere giving far better results than
the more circular or cup outlines. [S.B.G.]
CHIPP, E. T. Line 7 of article, add that he
was in the Queen's private band from 1843 to
1845. Line 12, the date of his appointment to
the Panopticon is 1855. Line 14, the date of ap-
pointment to Holy Trinity, Paddington, is 1856.
Add that he took the degree of Mus. B. at Cam-
bridge in 1859, and that of Mus. D. in i860. He
died at Nice, Dec. 17, 1886. (Diet, of Nat. Biog.)
CHITAERONE. The instrument described
under this name is in Italy generally called
Arciliuto, the name Chitarrone being given to
a large chitarra, or theorbo with a shorter neck,
strung with wire, and played with a plectrum. The
German authorities, Praetorius (1619) and Baron
(1727), were followed by the writer. [A.J.H.]
CHLADNI, E. F. F. In list of works, No. 4,
for States read Stabes.
CHOLLET, Jean Baptiste Marie, born May
20, 1798, at Paris, was from 1804 to 18 16 taught
singing and the violin at the Conservatoire,
and in 1 8 14 gained a solfeggio prize. In 181 5,
the Conservatoire having been closed owing to
political events, he became chorus singer at the
Opera and the Italian and Feydeau Theatres.
In 1818-25 he played in the provinces, under
the name Dome-ChoUet, the quasi - baritone
parts played formerly by Martin and others.
Ini825 he played both at Brussels and the Op^ra
Comique, Paris, and obtained in 1826 an engage-
ment at the latter, where, having adopted the
tenor repertoire, he remained until 1832. His
principal new parts were in operas of Harold
and Auber, viz. Henri ('Marie*), Aug. 12,
1826, in which he made his first success by
his rendering of the song ' Une robe legfere ' ;
Fritz, in 'La Fiancee,' Jan. 10, 1829; 'Fra
Diavolo,' Jan. 28, 1830, and 'Zampa,' May 3,
1831. In 1832-35 he was again in Brussels,
where hereafter he enjoyed even greater favour
than he obtained in Paris. In 1834 ^^ ^^^S ^* ^^^
Hague, and in 1 835 returned to the Op^ra Comiq ue,
where he remained several years, and created
several other parts in operas of Adam, Haldvy,
and Balfe, viz. Lionel in 'L']fcclair' (Halevy)/
Dec. 30, '35 ; Chapelon in ' Postilion de Lon-
jumeau,' Oct. 13/36 ; Josselyn in *Roi d ' Yvetot,*
Oct. 13, '42 ; Edward III. in 'Puits d' Amour,'
Apr. 20, '43; ' Cagliostro,' Feb. 10, '44; Beau-
manoir in 'Quatre fils d'Aymon' July 15, '44.
He left the Comique, directed the Hague Theatre
588
CHOLLET.
CHORALE.
for a time, and finally re-appeared in Paris at
the Lyrique without success. In '50 he played
with Mitchell's company at St. James's Theatre,
viz. as Lejoyeux (* Val d'Andorre '), in which he
made his d^but, Jan. 4, as Bamab^ (Paer's
*Maltre de Chapelle'), and in his well-known
parts of Zampa, Josselyn and the Postilion. He
was well received, on account of his easy, gentle-
manly, and vivacious acting, and his command
both of humour and pathos, which atoned for
loss of voice. Fdtis says of him that * endowed
with qualities that should have taken him to
the highest point of art, if he had received
a better musical education, he had more inge-
nuity than real ability, more mannerism than
style. Sometimes he jerked out his song with
affectation ; he often altered the character of the
music by introducing variations of the phrase
and numerous cadenzas in which he made use
of his head voice. Vocal studies had not
been studied, inasmuch that his *mezza voce'
was defective, and that he executed ascend-
ing chromatic passages in an imperfect man-
ner. In spite of these faults, the charm of his
voice, his knowledge of what would please the
public, and his aplomb as a musician often
caused him to make more effect than skilful
singers deprived of these advantages. His fare-
well benefit took place at the Op^ra Comique,
April 24, 1872, when Roger reappeared in a scene
from * La Dame Blanche,' and Chollet himself as
Bamabd in the celebrated duo from Paer's
*Maitre de Chapelle.* On this occasion Pala-
dilhe's musical setting of Coppee's * Le Passant '
was first produced, with Mme. Galli-Mari^ and
the late Mile. Priola. [A.C.]
CHOPIN. Add the following list of works
(for PF. solo, unless otherwise stated). The
works marked with an asterisk were published
posthumously.
Op.
Op.
1. Eondo, 0 minor.
35. Sonata. Bb minor.
2. • La cl darem ' Variations (with
36. Impromptu, FJL
Orchestra).
37. Two Nocturnes.
8. Introduction and Polonaise.
38. Ballade, F.
InC(PF.andOello).
39. Scherzo, 05 minor.
4. •Sonata, C minor.
40. Two Polonaises.
e. tBondeau ^ la Hazor.
6. Four Mazurkas.
42. Valse. Ab.
7. Five Mazurkas.
43. Tarantelle.
8. Trio (PF. and Strings).
44. Polonaise, B^ minor.
9. Three Nocturnes.
45. Prelude. C« minor.
46. Allegro de Concert.
10. Twelve Studies.
U. Concerto. K minor.
47. Ballade, A b.
12. Variations (with Orch.). 'Lu-
48. Two Nocturnes.
dovlc* (Harold).
49. Fantasia, F minor.
13. Fantasia on Polish airs.
50. Three Mazurkas,
14. Krakovlak Rondo (with Orch.)
51. Impromptu, D b.
15. Three Nocturnes.
52. Ballade, F minor.
16. Rondo. Eb.
63. Polonaise. Ab.
17. Four Mazurkas.
54. Scherzo, B.
18. Valse, Bb.
56. Two Nocturnes.
19. Bolero.
56. Three Mazurkas.
20. Scherzo. B minor.
67. Berceuse.
21. Concerto.F minor (with Orch.)
68. Sonata. B minor.
22. Polonaise. E b (with Oroh.)
59. Three Mazurkas.
23. Ballade, G minor.
60. Barcarolle.
24. Four Mazurkas.
61. Polonaise Fantaisie.
25. Twelve Studies.
62. Two Nocturnes.
26. Two Polonaises.
63. Three Mazurkas.
37. Two Nocturnes.
64. Three Valses.
28. Twenty-four Preludoi.
66. Sonata. G minor (PF. and
29. Impromptu, Ab.
Cello).
SO. Four Mazurkas.
66. •Fantaisie Impromptu.
SI. Sclierzo.Bb minor.
67. •Four Mazurkas.
82. Two Nocturnes.
68. •Four Mazurkas.
sa Four Mazurkas.
69. •Two Valses.
S4. Three Valsek
70. •Three Valses.
Op.
71. •Three Polonaises.
72. •Nocturne, E minor, Marche
funfebre in 0 minor, and
three ilcossaises.
73. •Rondo for two FFs. in C.
Without opus-number.
•Seventeen Songs with PF. acct.
Three Studies.
•Mazurkas in G, B!^, D, C, and
A minor.
•Valses, E major and minor.
•Polonaises, Qjf minor and Bb
minor.
•Variations in E, 'The Merry
Swiss Boy.'
Duet Goncertante. on 'Robert'
(for PF. and Cello, written
with Franchomme).
CHORALE. Add to the article in volume i.
p. 351, the following : —
In tracing the history of the Chorale it is ex-
tremely difficult to distinguish the composer of
the melody or canto fermo from the harmonizer
(called Tometzer by Winterfeld). A large pro-
portion of extant chorales appear to be based on
old church tunes, so that they present a con-
tinuity with the past which is quite consistent
with Luther's earlier practice. As to the ancient
origin of these tunes, see Luther, vol. ii. p. 1 79.
The Chorales used in this first period are treated
as Motets [see Motet], as the examples in
Winterfeld show : that is, the melody is given
out as a canto fermo, generally in a tenor or at
least a middle part, with the other parts in more
or less florid counterpoint. The music is not yet
measured [see Measure] or divided into equal
rhythm {mnsiea mensurahilis). The contra-
puntal treatment, which became more elaborate
under such musicians as Stephen Mahu and
Joh. Kugelmann — both early in the i6th cen-
tury— advanced greatly in the number of voice-
parts and general complexity towards the
end of the i6th and first half of the 17th cen-
tury, the chief writers being Gumpelzhaimer,
Joh. Eccard, Mich. Praetorius, Joh. Schopp and
Joh. Rosenmiiller. This again, when the sing-
ing came to be restricted to the canto fermo in
unison, originated the school of organ accompani-
ment to the Chorales such as we see in Bach's
organ works, and as it is still occasionally to be
heard in Germany.
It has been noticed that some chorales are
based on secular songs of an earlier date. The
old ecclesiastical forms of music inherited from
Saint Gregory were proper to the Latin hymns
of the Breviary ; but for hymns written in a
modem language and forming no part of a pre-
scribed ritual, the freer style used in secular songs
was, or was soon found to be, quite natural.
Most, however, of the secular melodies thus used
were not so employed till towards the end of the
l6th or beginning of the 1 7th century.
Simultaneously with this elaborate contra-
puntal treatment, which demanded the resources
of a church with a good choir, it is interesting
to note the tendency towards a simpler treat-
ment. This is found ^ar excellence in Goudimel's
setting of Marot and Beza*s Psalms, 1565 [see
Goudimel], in which there are four voices, with
counterpoint note against note, and the melody
generally in the tenor, but in twelve psalms in
the discant. In the latter point this book is
the harbinger of one of the chief revolutions in
the history of hymn-music. The revolution is
fully effected in 1586 by Lucas Osiander in his
* Geistliche Lieder und Psalmen mit 4 Stimmen
auf Contrapunkts weiss . . . also gesetzt, doss ein
CHORALE.
ehristliche Gemein durchauss mit singen Jcann.^
The title shows that the removal of the melody
to the upper part was due to a desire for congre-
gational singing. The earlier books in motet
form of course contemplated only the participa-
tion of the practised choir. This book was
followed in 1594 by a similar treatment of the
Psalter in Lobwasser's version by Samuel Mar-
Bchal. The chorale was after this sung either in
four voice-parts, with the canto fermo in the
discant; or in unison, with florid counterpoint
on the organ. The latter is considered the more
classical form in Germany. [See also BoUB-
GEOis and Franc in Appendix].
The composition, harmonization, and collection
of chorales for the services of the Lutheran (and
other Protestant) churches engaged the artistic
talents of a whole school of musicians, of whom
some of the most eminent are treated in special
articles. [See Agbicola, Martin; Calvisius,
Seth; Cruger,J. ; Ducis, Benedictus ; Eccard,
Joh. ; Frank, Melchior ; Freylinghausen, J.
A. (App.) ; Hammerschmidt, A. (App.) ; Isaac,
Heinrich ; Neumark, Georg. (App.) ; Prae-
TORIUS, Michael and Jacob; Scheidt, S. (App.);
ScHEiN, J. Hermann (App.) ; Senfl, Lud. ;
Vopelius, Gottf. (App.); Vulpius, Melchior
(App.) ; Walther, Joh. Of the more important
musicians not thus treated short notices now
follow.
Arnold de Bruck (i. e. of Bruges), born at
Bruges in 1480; in 1530 Kapellmeister to the
King of Rome (afterwards Emperor Ferdi-
nand I) at Vienna, where he died in 1536 ;
wrote for 4 or 5 voices ; pieces by him are
given in M. Agricola's * Newe deutsche geistliche
Gesenge.'
Georg Rhau (Rhaw), born 1488 at Eisfeld
in Franconia, was Cantor at the Thomasschule
at Leipzig till 1520, after which he settled at
Wittemberg and became a printer, issuing books
both in ordinary typography (including many
first editions of Luther's writings) and in musical
notes, including his own work * Enchiridion
musicae mensuralis' 1532. [See Agricola,
Martin.] Winterfeld ascribes some chorales to
him.
Stephan Mahu, a singer in the chapel of
Ferdinand King of the Romans (afterwards
Emperor) is known as a contrapuntist ; his chief
work is Lamentations for four voices (in Joanelli's
* Thesaurus '), and there are some pieces in G.
Forster's collection of Motets, Hans Walther's
Cantionale, etc.
Johann Kugelmann, of Augsburg, was a
trumpet-player and contrapuntist of the first half
of the 1 6th century, and Kapellmeister to Duke
Albert at Konigsberg; he wrote some church
music printed at Augsburg in 1540.
Nicolas Herman (Heermann), Cantor at
Joachimsthal in Bohemia about the middle
of the 1 6th century, and esteemed also as versifier;
he died very old in 1561. There are chorales
extant, of which both words and music are by
him, e. g. * Erschienen ist der herrlich Tag ' and
* Lobt Gott, ihr Christen alle gleich.' For
CHORALE. 689
tonality and clear rhythm his chorales sound
more modern than most of his age.
Balthasar Resinarius {latine for Harzer),
born at Hessen in the territory of Meissen in
the early years of the i6th century, took clerical
orders and became bishop of Leipa in Bohemia.
He was a pupil of Isaac, and published at
Wittenberg in 1543 • Responsoriorum numero
octoginta de tempore et festis . . . libri duo.*
SiXT Dietrich, an excellent German com-
poser, who lived at Constance in the middle of
the 1 6th century, wrote 36 Antiphons, Witt.
1541, and ' Novum opus musicum,' Witt. 1545.
Lucas Osiander, bom 1534 at Nuremberg,
Protestant minister at several places in Wiirtem-
berg, died in 1604. Of his Chorale book with
the melody in the upper part for congregational
singing mention has been made above.
Samuel Marschal (Marschall), bom 1557 at
Toumay, was a notary, and became University
musician and organist at Basle ; he was living in
1627. He was a composer of hymns, in which
he followed Osiander in putting the melody in
the discant. His works are * Der ganze Psalter
Ambrosii Lobwassers mit 4 Stimmen,' Leipzig
1594 and Basle 1606; 'Psalmen Davids, Kir-
chengesange . . . von M. Luther und anderer,
mit 4 Stimmen,' Basle 1606 ; and * Einfiihrung
zu der Musica.'
NiCOLAUS Selneccer (properly Schellenecker),
bom 1539 at Hersbruck in Franconia, played
the organ as a boy, became an eminent theologian,
and in 1557 was Court preacher at Dresden.
He published ' Christliche Lieder und Kirchen-
gesange,' Leipzig 1587 ; and seven penitential
psalms, 1585, and died 1592,
Adam Gumpelzhaimer, born about 1560 at
Trostberg in Upper Bavaria, was instructed in
music by Father Jodocus Enzmiiller of the con-
vent of S. Ulrich, Augsburg; in 1575 went into
the service of the Duke of Wiirtemberg as
musician, and gained considerable reputation as
composer of songs both sacred and secular. His
sacred songs or hymns, generally for several
voices, sometimes as many as eight, are con-
sidered almost equal to those of Lassus. He
also wrote * Compendium musicae latinum-ger-
manicum,' Augsburg 1595, of which F^tis says
no less than twelve editions were published. In
1 58 1 he took the place of Cantor at Augsburg,
which he held till his death at the beginning of
the next century.
Michael Altenburg, born about 1583 at
Trochtel in Thuringia, studied theology at Halle
in 1601, and was pastor at several places, finally
at Erfurt, where he died ii\ 1640. He worked
at music from his student-years and was one of
the most eminent arrangers of church-music of
his time. Of his chorale tunes, ' Macht auf die
Thor der G'rechtigkeit ' and *Herr Gott nun
schleuss den Himmel auf are still used. But
more important are the collections published by
him, and his larger sacred works : — ' Christliche
liebliche und andachtige neue Kirchen- und
Hausgesange,' Erfurt 1619-21 in 3 vols.; * 16
Intraden' for violins, lutes, organs, etc.; also
590
CHOEALE.
psalms, motets, cantiones, etc., for 4, 6, 8 or 9
voices. His writings combine simplicity with
religious grandeur ; and the congregational and
choral singing of his various churches was re-
nowned and regarded as a model.
Matthaus Apelles von LOwenstern, bom
1594 at Neustadt in Upper Silesia, studied at
the university of Frankfort on the Oder, directed
the music of the church at Neustadt, and was
taken by Duke Henry of Oels to his court as
music-director, becoming in 1626 praeses of the
Prince's school {it Bemstadt, and in 163 1 director
of chamber music at the court of the Emperor
Ferdinand II, whose successor ennobled him.
But he subsequently went back to the Duke of
Oels, with whom he lived in wealth and pros-
perity, and had a character for beneficence and
generosity. His talents were shown both in
writing sacred verse and in composing vocal
music to German words, in a pleasing and flow-
ing style. He published ' Sy m bola oder Gedenk-
spriiche,' containing 30 hymns for 1-9 voices;
the best are ' Jesu meum solatium,' ' Nun
preiset Alle Gottes Barmherzigkeit,' *Wenn
ich in Angst und Noth,' * Main' Augen schliess
ich jetzt ' ; also * Fruelings Meyen,' 1644.
JoHANN ScHOPP, bom at Hamburg at the
beginning of the 17th century, lived there till
1642, and subsequently at Ltineburg. He was
a violinist and composer, and published *Neue
Paduanen, Galliarden, AUemanden, etc.,' Ham-
burg, 1633-40, in 3-6 parts ; ' 30 deutsche Con-
certo von I, 2, 3, 4 und 8 Stimmen,' Hamburg,
1644 ; * Joh. Risten Himmlische Lieder. Mit
sehr anmuhtigen, mehrerentheils von Joh. Scho-
pen gesetzten Melodeyen,' Liineburg, 1641-2 ;
* Joh. Ristens frommer Christen alltagliche
Hausmusik,' Luneburg, 1654 (the melodies by
him and Michael Jacobi in common) ; * Phil,
von Zesens dichterische Jugend- und Liebes-
Flammen und dessen geistliche Wollust Salomo-
nis, rait Melodien,' Hamburg, 1651 ; 'Jacob
Schwieger's Fluchtige Feldrosen mit Melodien,'
Hamburg, 1655. In these works are foimd the
well-known chorale tunes * Lasset uns den Her-
ren preisen,' * Ermuntre dich, mein schwacher
Geist,' * Werde munter, mein Gemuthe.' It is
impossible to overlook the great change that has
come over the chorale with the commencement
of the 17th century, especially in the writings of
Gumpelzhaimer, Lowenstern, and Schopp — a
change which is the direct consequence of putting
the melody in the upper part, and writing for
four fixed voice-parts. The new form of the
tune is closely similar to that of English hymns
of the period ; it has the modem scale with the
leading note, rhythm in equal bars, and the
common chord with its inversions. The melody
has a clearer rhythm and a more rapid and easy
swing, in fact becomes far more like a secular
song ; which goes far to explain the fact that just
about the year 1600 popular secular songs were
adapted to sacred words, especially *Isbruck,
ich muss dich lassen' in 1598, * Venus du und
dein Kind ' in 1605, and * Mein Gmuth ist mir
verwirret ' in 161 3.
CHORALE.
JoHANN Rosenmullbr, bom in the Elector-
ate of Saxony at the beginning of the 17th
century, was collaborator at the Thomasschule
at Leipzig in 1647, and director of music in
1648. On account of alleged scandalous conduct
towards pupils in 1655 (which perhaps was not
true, as in later life he bore a high character in
Germany) he had to leave Leipzig and went to
Venice ; he was subsequently appointed Kapell-
meister at Wolfenbuttel, where he died in
1686. He published chorales harmonized in
many parts. His works are : * Kernspruche,
mehrentheils aus heiliger Schrift, mit 3, 4 bis 7
Stimmen sammt ihrem Basso continuo gesetzt,'
Leipzig, 1648 (containing 20 hymns); 'Stu-
denten-Musik von 3 und 5 Instrumenten,*
Leipzig, 1654 » * 12 Senate da camera a cinque
stronienti,* Venice, 1667 and 1671 ; and Sonatas
with 2-5 instruments, Nuremberg, 1682.
Joh. Geo. Ebeling, bora at Luneburg about
1630, was in 1663 director of the music at the
principal church of Berlin, and in 1668 professor
of music at the Caroline Gymnasium at Stettin,
where he died in 1676. He composed church
music, and some chorales of his are favourites;
e.g. * Warum sollt ich mich denn gramen.*
He published * Archaeologia Orphica sive anti-
quitates musicae,' Stettin, 1657 J * Pauli
Gerhardi Geistliche Andachten, bestehend in
1 20 Liedern mit 4 Singstimmen, 2 Violinen und
General-bass', Berlin, 1666-7 ; and an arrange-
ment of the latter for piano, Berlin, 1669.
Jacob Hintze, born 1622 at Bernau near
Berlin, became in 1666 court musician to the
Elector of Brandenburg at Berlin ; but he retired
to his birthplace, where he died in 1695, with
the reputation of being an excellent contrapuntist.
He edited the 12th edition of Criiger's "Praxis
pietatis," Berlin, 1690, adding to it 65 hymns to
the Epistles by himself, none of which are said
to be ever used now ; but others in the book are
his, some of which continue to be favourites,
especially " Gieb dich zufrieden " and " Alle
Menschen miissen sterben" (if the latter be
really by him). Concerning the chorales composed
by Bach, refer to Spitta's Bach, vol. iii. p. 108,
114, 287, etc. (English edition).
The literature of the subject is considerable,
and only a few of the most important modem
works can conveniently be mentioned here. The
great standard work is that of Carl von Winter-
feld, * Der evangelische Kirchengesang und sein
Verhaltniss zur Kunst des Tonsatzes,' in three
large quarto volumes, with abundant specimens
of the setting of the old tunes from ancient
manuscripts (Leipzig, 1843-47) ; it is, however,
not clearly arranged. G. Doring's ' Choralkunde *
(Danzig, 1865), and E. E. Koch's 'Geschichte
des Kirchenlieds und Kirchengesangs, mit be-
sonderer Rucksicht auf Wurtemberg,' 2 vols.
(Stuttgart 1847), are useful guides. Of collec-
tions of chorales, treated either as 4- voice hymns
or for singing in unison, there is a great number.
The following may be noted as having especial
interest : — * J. S. Bach's mehrstimmige Choral-
gesange und geistliche Arien zum erstenmal
CHORALE.
unverandert . . . herausgegeben von Ludwig
Erk,' 1850 ; * Choralbuch, enthaltend eine Aus-
wahl von 272 der schonsten . . . Kirchengesange
in vierstimmige Bearbeitung. Nebst einem
Anhang, bestehend aus 69 von J. S. Bach theils
ganz neu componirten, theils im Generalbass
verbesserten Melodien. Herausgegeben von J.
G. Lehmann/ third edition, 1871; '371 vier-
stimmige Choralgesange von J. S. Bach.' [Edited
by C. F. Becker.] To what extent the melodies
of these, which editors persist in attributing to
Bach, are really his, is a very difficult question,
on which the present writer hesitates as much to
pronounce an opinion as on the similar question
of Luther's authorship of the music of certain
hymns. Another carefully prepared collection
which bears the respectable names of Baron von
Tucher, Immanuel Faisst, and Joh, Zahn, is
entitled *Die Melodien des deutschen evan-
gelischen Kirchen-Gesangbuchs in vierstimmi-
gen Satze fiiir Orgel und Chorgesang,' Stuttgart,
1854. -^ good popular book also is * Hauschoral-
buch : alte und neue Choralgesange mit vier-
stimmigen Harmonien,' of which the 7th edition
was published at Gxitersloh, 1871. [R.M.]
CHORAL SYMPHONY. Line 9 from end
of article, /or Theater an der Wien, read Karnth-
nerthor Theatre. (Corrected in late editions.)
CHORTON. The * Chorus ' or ecclesiastical
pitch to which organs were usually tuned in the
17th and 1 8th centuries. It was considerably
higher than the chamber pitch, used for secular
music. This chamber pitch (Kammerton) was
of two kinds, the high and the low, but both
were below the chorus pitch. [See Pitch, vol. ii.
p. 757 6. Also Spitta, J. S. Bach, Engl. ed. ii.
a86, 324, 676, etc.] [M.]
CHORUS. Add that the word was very
commonly used, in the 17th and i8th centuries,
to denote the concerted conclusion of duets,
trios, etc., and was in fact the exact equivalent
of our 'ensemble.' The meaning of the word
has frequently been misunderstood, as for in-
instance in many modern editions of Purcell's
well-known duet * Hark, my Daridcar ! ' where
the last ensemble section, beginning ' So ready
and quick is a spirit of air ' has been omitted, no
doubt under the impression that the word
* Chorus ' meant that these bars were to be sung
by many voices. Conclusive proof that the word
was used commonly in this sense is afforded in
many of Handel's Italian operas, in the scores of
which the names of the quartet of soloists are
placed at the beginning of their respective lines
in ensemble numbers, though the movement is
entitled • Coro.' [M.]
CHOUQUET, GusTAVB. Add that from
1840 to 1856 he was teaching in New York, and
that he died Jan. 30, 1886.
CHRISTUS. P. 355 o, last line but one, /or
27 read 26.
CHRYSANDER, Friedrich. For his chief
work as editor of Handel's works see Handel-
Gesellschaft in this Appendix. Of the • Denk-
CLARK.
591
maler der Tonkunst' edited by him, vol. i of
Corelli and vol. 2 of Couperin are published
and the second and final volumes of each nearly
ready ; and the Te Deum of Urio is published.
The 'AUgemeine Musikalische Zeitung' was
edited by him from 1869 to 1871 and again
from 1875 to 1883, when it became extinct.
The 'Jahrbucher ftir musikalische Wissenschaft '
ceased to appear after vol. 2. His life of Handel
has been laid by on account of the constant and
absorbing labour on the edition of Handel's works;
but it is believed that there is still hope of its
resumption and completion. [R.M.]
CHWATAL, Fr. Xav. See vol. ii. p. 729 6.
Add that he died June 24, 1879.
CIMAROSA. Add dates to the following
operas: — L'ltaliana in Londra, 1779; ^ Con-
vito di pietra, 1782; II Pittore Parigino,
1782 ; II Sacrifizio d'Abramo, 1786 ; Le Astuzie
femminile, 1793; L'Impresario in angustie,
1786; II Matrimonio per raggiro, 1779; Gli
Orazii e Curiazii, 1796; Artaserse, 1781 ; Semi-
ramide, 1799.
CIMBALOM. See Dulcimer, vol. i. p. 468 J.
CINELLI. The ordinary Italian name for
cymbals. The name Piatti is almost universally
used in orchestral scores, though it is, strictly
speaking, only applicable to the small cymbals
used in Janitscharenmusik. [M.}
CINQ MARS. An ' op^ra dialogue ' in four
acts ; words by Poirson and Gallet, music by
Gounod. Produced at the Op^ra Comique, April
5> 1877. [M.]
CIVIL SERVICE MUSICAL SOCIETY.
Add that the society ceased to exist in 1880,
owing to financial difficulties consequent upon
the resignation of several of the older members.
A concert was given on May 1 1 of that year in
Steinway Hall.
CLAGGET, Charles. Add that he is said
to have died in 1820, and that the tuning-fork
referred to in the last sentence of the article is
one of the sounding bars of his ' Aiuton.'
CLARIBEL. See Barnard, Charlotte
Alington, in Appendix, vol. iv. p. 531 a.
CLARINET. P. 361 a, 1. 15 from bottom,
add a reference to Abbreviations, i. 4 a, and to
Chalumeau, for examples of the use of the term.
P. 362 J, last paragraph, add that the first in-
stance of the use of the clarinet as an orchestral
instrument is said to be in J. C. Bach's * Orione '
(1763). [M.]
CLARK, Jeremiah. Add that he is said to-
have been born in 1669, but that the date is
probably much earlier. L. 13 from end of
article, for the same year read 1699. L. 9 from
end, add date for *The World in the Moon,'
1697. To the list of plays for which be fur-
nished music, the following are to be added :
—'The Campaigners,' 1698 ; 'The Bath,' 1701 ;
•All for the better,' 1702, and 'the Committee,'
1 706. Since the publication of the article in the
Dictionary of National Biography, from which
592
CLARK.
the above additions are taken, its writer, Mr.
W. Barclay Squire, has succeeded in establishing
the date of Clark's death, concerning which
Authorities have hitherto been at variance. The
printed copies of Hawkins's History give Nov. 5
AS the date, but in a copy coiTected by Hawkins
himself, now in the British Museum, this is
altered to Dec. i, 1707 ; a contemporary news-
sheet has been found which confirms this date
beyond a doubt. For the detailed account of the
occurrence, and for the process by which the
true date has been established, the reader is
referred to the Athenaeum of April 2, 1887. [M.]
CLARK, ScoTSON. See Scotson Claek.
CLARKE, John (Clabke-Whitpeld). L. 7 of
article, from the semi-colon read as follows : —
in the same year (i 793) he was appointed master
of the choristers (not organist) at St. Patrick's
Cathedral and Christ Church, Dublin. In 1794
he succeeded Richard Langdon as organist of
Armagh Cathedral, whioh post he held till 1797.
In 1795 he took the degree of Mu8. D. in
Dublin, and in 1799 the Irish rebellion led him
to resign his appointments, (etc. as in 1. 13).
L. 21, add date of death of H. F. Whitfeld, 181 4.
Other corrections will be found under Trinity
College, vol. iv. p. 1706, note 8. [M.]
CLAUS. For Claus read Clauss-Szarvady,
and add that she visited London in the summer
of 1886, giving one concert in a private house.
CLAUSULA. The mediaeval name for what
is now called a Cadence, or Close.^
The most important Close employed in Poly-
phonic Music, is the Clausula vera, or True Ca-
dence, terminating on the Final of the Mode.
The Clausula plagalis, or Plagal Cadence, is
rarely used, except as an adjunct to this, follow-
ing it, at the conclusion of a Movement, in the
form of a peroration. A Close, identical in con-
struction with a True Cadence, but terminating
upon some note, other than the Final of the
Mode, is called a Clausula Jida, suhsidiaria, or
media \ i.e. a False, Subsidiary, or Medial
Cadence. A Clausula vera, or ficta, when ac-
companied, in the Counterpoint, by a suspended
discord, is called a Clausula diminuta, or Dimin-
ished Cadence, in allusion to the shortening of
the penultimate note, in order to allow time for
the suspension and resolution of the dissonance.
Though the Clausula vera is the natural
homologue of the Perfect Cadence of modern
Music, and may, in certain cases, correspond
with it, note for note, it is not constructed upon
the same principles — for, the older progression
belongs to what has been aptly called the * hori-
zontal system,' and the later one, to the • per-
pendicular, or vertical system.' ^ In the Claur
1 It Is necessary to be very cautious In the use of these two English
words, which. In the 16th century, were not interchangeable. Morley,
for Instance, at pp. 73 and 127 of bis Plalne and Easie Introduction
(2nd Edit. 1608) applies the term ' Close ' to the descent of the Canto
fermo upon the Final of the Mode ; and ' Cadence ' to the dissonance
with which this progression Is accompanied, In the Counterpoint,
when the form employed Is that Icnown as the Clausula diminuta.
In cases like this, it is only by reference to the Latin terms ttutt all
danger of misconception can be avoided.
2 See TOl. J. p. 672 6.
CLAUSULA.
sula vera, the Canto fermo must necessarily
descend one degree upon the Final of the Mode ;
the Counterpoint, if above the Canto fermo, ex-
hibiting a Major Sixth, in the penultimate note;
if below it, a Minor Third. In the Clausula
diminuta, the Sixth is suspended by a Seventh,
or the Third, by a Second. In either case, the
Cadence is complete, though any number of
parts may be added above, below, or between,
its two essential factors. The constitution of
the Perfect Cadence is altogether different. It
depends for its existence upon the progression
of the Bass from the Dominant to the Tonic ;
each of these notes being accompanied by its
own fundamental harmony, either with, or with-
out, the exhibition of the Dominant Seventh in
the penultimate Chord. But, by the addition of
a sufficient number of free parts, the two Ca-
dences may be made to correspond exactly, in
outward form, through the joint operation of two
dissimilar principles ; as in the following exam-
ple, in which a Clausula vera, represented by
the Semibreves, is brought, by the insertion of a
Fifth below the penultimate note of the Canto
fermo, into a form identical with that of the
Perfect Cadence.
Clausula vera. Clausula diminuta.
i
321
-^-
r^
^^^^m
A Close, formed exactly like the above, but
terminating upon the Mediant of the Mode, is
called a Clausula media.^ In like manner, a
Clausula ficta, or suhsidiaria, may terminate
upon the Dominant, or Participant of the Mode,
or, upon either of its Conceded Modulations.*
Modem writers are generally inclined to de-
scribe Closes of this kind as True Cadences
in some new Mode to which the composer is
supposed to have modulated. But, the early
Polyphonist regarded them as False Cadences,
formed upon certain intermediate degrees of the
original Mode, from which he was never per-
mitted to depart, by the process now called
Modulation.
The form oi Clausula plagalis most frequently
employed by the Polyphonists was that in which,
after a Clausula vera, the last note of the Canto
fermo was prolonged, and treated as an inverted
Pedal-Point. It is used with peculiarly happy
effect in Mode IV — the Plagal derivative of the
Phrygian — in which the impression of a final
Close is not very strongly produced by the Claur
sula vera.
Clausula vera.
Clausula plagalis.
s For a Table of Medial Cadences, in all the Modes, see toL U.
pp. 24»-4. * See vol. 11. p. 3i2.
CLAUSULA.
The Dominant of this Mode is the fourth de-
gree above its final, corresponding with the
modern Sub-dominant. And, as this forms so
important an element in the treatment of the
inverted Pedal, modern Composers apply the
term Plagal to all Cadences in which the Sub-
dominant precedes the Tonic Bass. The term
serves its purpose well enough : but it rests
upon an erroneous basis, since there is no such
interval as a Sub-dominant in the Plagal Modes
jfrom which the progression derives its name.
In all the Clamules hitherto described, the
two essential parts form together, in the final
note, either an Octave, or Unison. There is yet
another class in which the parts form a Fifth.
CLfi DU CAVEAU.
i
-^ ^
pi
Morley^ seems inclined to class these among the
True Closes ; but most early writers regard them
as ClausulcB Jicta, vel irregulares. [W.S.R.]
CLAVICHORD. Line 2 of article, add The
Italian name is Manicordo, the name Clavicordo
being the equivalent of the German Clavier in
the sense of any keyboard instrument having
strings. P. 367 a, add at heginning of line 18,
in clavichords of the 1 8th century. P. 368 a, 1. 22,
*An admired effect due to change of intonation *
is inaccurate. To play out of tune was depre-
cated by C. P. E. Bach. There is no doubt that
clavichord players preserved a very tranquil posi-
tion of the hand in order to preserve truth of
intonation. Line 26, for shortened read tight-
ened. Line 30, for with varying power of touch,
read without quitting the key. Line 31, The
Bebung (vibrato) was obtained without allowing
the finger to quit the key.
With respect to the introduction of the chro-
matic keyboard, Hubert van Eyck painted the
S. Cecilia panel of the famous Ghent altar-piece
in which there is a Positive organ depicted with
the chromatic division of the keyboard. He
died in 1426, and that was therefore the last
year in which this panel could have been painted.
It is probable that the Halberstadt organ, built
in 1 360, had this division. If so, it is the earliest
known example.
P. 368 h, 1. 17, for the end read the middle.
(Corrected in late editions.) Line 25. The
Latin version of Virdung is, as is now well
known, by Luscinius, whom many have credited
with being the original author. Line 34. The
scale of Guido should include the highest note e,
and contain, with the B molle et durum, 22 notes.
Line 8 from bottom, the statement that there
was a clavichord dated 1520, wanting two semi-
tones in the octave, proves to be unfounded.
See Welcker's earlier account of it in * Neu eroff-
netes Magazin musikalischen Tonwerkzeuge/
D. 106 (Frankfort, 1855).
1 FUlne and Euie latroduotlon. P. 7i (2ad edition, leoe).
59a
The last clavichords that were made were
constructed by Hoffmann, Stuttgart, in 1857, on
the pattern of one belonging to Molique. They
were made for the late Joseph Street, of Lloyds.
[See also Tangent.] [A.J.H.]
CLAVICYTHERIUM. P. 3696. This in-
strument is figured in "Virdung, 15 ii, and a
remarkable specimen from the Correr collection,
now belonging to Mr. G. Donaldson of London,
was exhibited in the Music Loan Collection, 1885,
and is figured from a drawing in colours in Mr.
A. J. Hipkins's * Musical Instruments * (Black,
Edinburgh, 1887).
CLAY, Feederic. Add the productions of
* The Merry Duchess ' (Royalty Theatre, May
23, 1883), and *The Golden Ring' (Alhambra,
Dec. 3. 1883).
CLAYTON, Thomas. Add that he is said
to have died about 1730.
CLlfe DU CAVEAU. The title of a large
collection of French airs, including the tunes of
old songs dating from before the time of Henri
IV, old vaudevilles, commonly called pont-neifs,
and airs from operas and operas comiques which
from their frequent use in comedies-vaudevilles
have become popular airs (what are called
timbres). The fourth and last edition of the
work, published by Capelle, goes down to 1 848 ;
a new edition would have to include airs taken
from comic operas by Auber, Adam, etc., written
since the above date, and airs from the operettas
of Offenbach and Lecocq, which have now
become new types for the vaudeville couplet and
have enriched the domain of the popular song.
The collection is so arranged that it is perfectly
easy to find either the tune of a song of which
the words only are known, or the metre and
rhythm of words which will fit any particular
air. The publication is especially useful to
dramatists who have to write couplets for a vau-
deville, and to amateur song- writers ; it contains
2350 different airs, and as many forms or models
for couplets. The origin of the title is as follows :
— Three French song- writers of the 18th century
Piron,Cr^billon^i^j, and CoU^, instituted, in 1 733,
a sort of club, where they dined regularly, together
with other song- writers and literary men. They
called their society le Caveau, from the place of
meeting, an inn of that name kept by one Lan-
delle in the Rue de Buci, near the Comddie
Fran9aise and the Cafe Procope, where these
boon companions finished their evenings. From
that time all societies of song-writers have con-
nected themselves as much as possible with this
first society, and so the name Caveau is sjmony-
mous with a club of the same kind. The original
society lasted exactly ten years, after which, in
1762, Piron, Crdbillon ^^s, and Gentil-Bernard
formed a new society in the same place, which
lasted only five years. After the Revolution, the
•Caveau modemeVas founded in 1806 by Capelle,
the author of the Cle du Caveau, with the help of
Grimod de la Reynifere, Piis, Armand Gouffe,
and Philippon de la Madeleine ; they met at
Balaine's in the Rocher de Cancale, rue Mont-
594
CLfi DU CAVEAU.
orgueil. The society lasted till 1815, and in 1825
an effort was made to revive it, but after a
year's existence it disappeared, together with
another club, * Les Soupers de Momus,' founded
in 1 8 13. In 1835 a ^^^ society was founded at
Champeaux's under the direction of Albert Mon-
t^mont, and was called at first les Enfants du
Caveau, and then le Caveau only. It still exists,
and is managed by a committee headed by a presi-
dent elected every year, who holds Panard's glass
and Colly's bells as symbols of his office. [A. J.]
CLEGG, John. P. 371 a, I 2, for 1742 read
On Jan. 21, 1743-4. Add that he was discharged
as cured on July 20, 1744, but again admitted on
Dec, 15 of the same year. He was finally dis-
charged Oct. 13, 1746. (Diet, of Nat. Biog.)
CLEMENS NON PAPA. L. 34 of article,
for\I.readYIl.
CLl&MENT, Felix. Add date of death, Jan.
33, 1885.
CLEMENTI. L. 3 of article,/or March 9
read March 10. Add that he was buried in the
south cloister of Westniinster Abbey. P. 372 J,
1- 5> fo^ Condicelli read Cordicelli. P. 373 a,
third paragraph, add that during his continental
tour, 1802-10, he married a daughter of Leh-
mann, the cantor of the Nicolaikirche in Berlin,
who, after a journey to Italy with her husband,
died in childbirth. [M.]
CLIFFORD, Rev. James. Lines 13 and 13
of article, yor About the year 1700, read in Sept.
1698.
CLIFTON, John C, bom 1781, studied for
five years under Richard Bellamy. He subse-
quently became a pupil of Charles Wesley, and
devoted himself entirely to music, resigning an
appointment in the Stationery Office which he
had held for about two years. After an engage-
ment at Bath, where he conducted the Harmonic
Society, he went in 1802 to Dublin, and in 181 5
produced there a musical piece called * Edwin.'
He organized, together with Sir John Stevenson,
a concert in aid of the sufferers by the Irish
famine. In i8i6 he invented an instrument
called the * Eidomusicon,' intended to teach
sight-reading. An attempt made in 181 8 to
bring out his invention in London failed, and he
then adopted Logier's system of teaching, and
remained in London for some time. He married
the proprietress of a ladies' school at Hammer-
smith, where he died Nov. 18, 1841, having be-
come partially insane some three years pre-
viously. [W.B.S.]
COCCIA, Cablo. Correct date of birth to
April 14, 1782, and add place and date of death,
Novara, April 13, 1873. L. 12 from end of
article, /or 36 read 40. L. 5 from end, /or 1816
read 181 5.
CODETTA. For the special meaning of the
word in fugue, see vol. i. 568 a, and vol. iv. 1386.
COGAN, Philip, Mus. D. was born in Cork
about 1750, and became a chorister and after-
wards a member of the choir of St. Finbar's
COLMAN.
Cathedral in that city. Ini 7 7 2 he was appointed
a stipendiary in the choir of Christ Church
Cathedral, Dublin, but soon resigned his post.
In 1780 he became organist of St. Patrick's
Cathedral, and about the same time obtained
the degree of Mus. D. from the University of
Dublin. He resigned the organistship of St.
Patrick's in 18 10, and resided in Dublin as a
teacher of music, dying there at an advanced
age. He was distinguished as a player on the
organ and the harpsichord, as well as for his
powers of fugue extemporization. He published
several sonatas of merit, written somewhat in the
manner of Mozart. Michael Kelly, who took
lessons from Cogan about 1777, describes his
execution as * astounding.' [G.A.C.]
COLLA. See Agujaei.
COLLARD. Line 9 of article, /or Gieb read
Geib.
COLLECTIONS OF MUSIC. Lists of con-
tents of the following published collections of
music will be found in this Dictionary under
the headings referred to.
Alflerl. Baccolta di Musica Sacra. Motet Society, il. 376.
Iv.520.
Alte Klaviermusik. See Klavler-
mustk.
Alte Meister. See Melster, Alte.
Arnold's Cathedral Music. 1. 86 b.
AusTvahl vorzuglicher Musik-
werke. 1. 105 a.
Bach-Gesellschaft. Edition of.
i.U9; li.602i: iT.529a.
Banurd. Church Music. 1. 140.
Berg. Fatrocinium Musices. i. 230.
Berlin. See Auswahl.
Bodenschatz. Florilegium Por-
tense. i. 253.
Boyce. Cathedral Music. 1. 268.
Burney's History, Examples In.
It. 570.
Cathedral Music. See Arnold,
Barnard, Boyce, Tudway.
Choron. Baccolta generale (Col-
lection generate, etc.) III. 63.
Clementi, Practical Harmony.
HI. 24.
Crotch's Specimens, iii. 648-50.
Ecclesiasticon. i. 481, 482.
Eslava's 'Lira saoro - hispana.'
1. 494, 495.
Farrenc's 'Tr^sor des Planlstes.'
iv. 168.
Fltzwilllam Music. 1. 530, 531.
Florilegium Portense. See Boden-
schatz.
Harmonia Sacra (Page). 11. 632 b,
Hawkins s History, Examples In
1.700.
HuUah. See Part Music and
Vocal Scores.
Elaviermusik. Alte. II. 63.
Latrobe. Selection of SacredMusic.
li. 102. 103.
Lira sacro-hispana. See Eslara.
Meister, Alte. 11.247.
Moskowa, Prince de la. Becuell,
etc. iIL31.
Musica Antlqua. il.4ia
Musica Divlna. 11.411,412,
Musical Antiquarian Society, it
• 416.
Novello. See FitzwIUiam Moslc.
Orpheus. It. 613.
Page's 'Harmonia Sacra.* 11.6336.
Parthenia. 11.653.
Part Music. 11.656,827.
Fatrocinium Musices. See Berg.
Pianoforte Music, old. See Kla-
viermusik, Meister, Parthenia.
Practical Harmony, iii. 24.
Prince de la Moskowa. Recaeil,
etc. HI. 31.
Proske's ' Musica DlvIna.* U. 4U.
412.
Baccolta di Musica Sacra (Alflerl).
Iv. 520.
Baccolta generale, etc. (Choron).
iii. 63.
Hecueil des morceaux de muslque
ancienne. See Prince Mos-
kowa.
Bochlitzs Sammlung, etc. iii,
141. 142.
Sammlung Sion. Appendix.
Sammlung vorzaglicher Gesang-
stUcke. SeeBochlitz.
Scotish Music, ancient. See
Skene MS.
Selection of Sacred Music. See
Latrobe.
Skene MS., contents of. Hi. 524,
525.
Smith. J. Stafford. See Musica
Antlqua.
Specimens, Crotch's, iii. 648-50.
Trt5sor des Planlstes. Iv. 1C8.
Tudway. Collection of Church
Music, iv. 198, 199.
Virginal Music. S«e Parthenia,
and Iv, 808-312.
Vocal Scores, iv. 319, 320.
COLMAN, or COLEMAN, Charles, Mus.D.
Add that he took the degree of Mus.D. on
July 2, 1651, and that in Nov. 1662 he was
appointed Composer to the King, with a salary
of ^640 per annum. He contributed the musical
definitions to Phillips' ' New World of Words '
(1658). Last line but one of article, for 1657
read 1656, and add that he died in July, 1664.
(Diet, of Nat. Biog.)
COLMAN, or COLEMAN, Edward. Add
that he was the original composer of the music
COLMAN.
in Shirley's * Contention of Ajax and Ulysses,'
on its production in 1653, and that on Jan. 21,
1662, he took Lanier's place in the royal band.
L. 5 from end of article, /or 19 read 29. (Diet,
of Nat. Biog.)
COLOMBA. Opera in 4 acts ; the words,
founded on Prosper Merim^e's story with the
same title, by Francis Hueffer ; music by A. C.
Mackenzie (op. 28). Written for, and produced
by, the Carl Kosa company, Drury Lane,
April 5, 1883. Given at Hamburg (in German)
Jan. 27, 1884, and at Darmstadt, April 29 of
the same year. [M.]
COLONNE, Judas (called Edouard), violin-
ist and conductor, born at Bordeaux, July 24,
1838, studied music at the Paris Conservatoire,
where he gained the first prize for harmony in
1858, and the same for violin in 1863. He
became first violin in the Op^ra orchestra, but
left it in 1873 to establish, with the music-pub-
lisher Hartmann, the * Concert National.' lliese
concerts lasted two seasons, and were first held
at the Oddon theatre, where Franck's * Redemp-
tion ' and Massenet's * Marie Magdeleine ' were
performed for the first time ; the concerts were
subsequently held at the ChUtelet. In 1874,
Hartmann having retired, Colonne endeavoured
to form an association among artists which should
be patronised by amateurs and the public. In this
way were founded the Concerts du Chatelet, which
though at first unsuccessful, have since gained
80 wide a reputation. It was not easy to struggle
against the established popularity of the Concerts
Populaires, conducted by Pasdeloup, but Colonne
had the excellent idea of giving more prominence
to the works of the younger French composers ;
he produced several orchestral suites by Masse-
net, the first and second of which had previously
been given at the Concerts Populaires, and various
orchestral compositions by Lalo, Dubois, Franck,
etc. ; but the success of the concerts was not
fully assured until Colonne, foreseeing a reaction
in favour of Berlioz, and incited by the example
of Pasdeloup, in a manner devoted his concerts
to the great French composer by producing with
great care, and in their entirety, all his works
for chorus and orchestra ; * L'Enfance du Christ,'
*Ilomdo et Juliette,' and particularly * La Damna-
tion de Faust,' the success of which crowned the
popularity of his undertaking. The enterprise,
having quite replaced the Concerts Populaires in
public favour, became most profitable to all con-
cerned in it, and to its director, who in 1880
was decorated with the Legion d'Honneur ; he
had before, in 1878, been chosen to conduct the
concerts at the Trocad^ro during the Exhibition.
He is an extremely careful conductor, he re-
hearses with the most scrupulous care, and suc-
ceeds in giving a correct and vigorous interpre-
tation of the works he performs. In his anxiety
for clearness he had at one time a tendency to
slacken the tempi, and was sometimes lacking in
fire and energy ; but in this respect he has cor-
rected his deficiencies, and now infuses more
warmth into the members of his orchestra. [A.J.]
COMPLINE.
595
COLTELLINI. Add date of death, 181 7.
COLYNS, Jean-Baptiste, a distinguished-
violinist, was born at Brussels Nov. 25, 1838.
He was admitted to the Brussels Conservatoire
at the age of 8, where he gained prizes for
violin playing, harmony, etc. He became solo
violinist at the Theatre de la Monnaie at a very
early age, and soon afterwards was appointed
professor of his instrument at the Conservatoire.
He has made many professional tours in
Europe with great success, and has at various
times received advantageous offers to leave his
native city. Among others he was in 1876
invited by the King of Saxony to migrate to
Dresden as Concertmeister and Professor at the
Conservatorium there. These offers he has de-
clined for family reasons. He visited England in
1873, and played at the Crystal Palace, April
12, and at the Philharmonic, July 7. M. Colyns
has occupied himself with composition for his
special instrument, and has also produced several
dramatic works — for example, an opera in r act,
'Sir William' (1877); opera in 3 acts, * Capi-
taine Raymond' (1881). [T.P.H.]
COMES. See Answer, Dux, and Fugue.
COMMA. Line 5 from end of article, for
551441 reac? 531441.
COMMER, Franz. Add date of death, Aug.
17, 1887, and that 14 vols, of 'Musica Sacra'
have now appeared, of which only the earlier
volumes were edited by Commer.
COMMODO, * easily,' 'at a convenient pace';
a direction of rare occurrence by itself, but gen-
erally used with Allegro, as in the Rondo of
Beethoven's Sonata in E, op. 14, no. i. [M.]
COMPLINE (Lat. Completorium). The last
of the 'Horse Diurnse,' or 'Day Hours,' of the
Roman Ritual.
CompKne is sung after Vespers, either with
or without a pause between the two Offices. It
begins with the Versicle, 'Jube domine bene-
dicere ' ; the Benediction, ' Noctem quietam,
etc.'; and the Lectio, 'Fratres, sobrii estote.'
These are followed by the ' Confiteor,' and * Ab-
solutio,' with the usual alternations between the
Officiant and the Choir; the Versicles and
Responses, * Converte nos, etc' ; and Psalms
iv, XXX, xc, and cxxxiii (Vulg. vers.) sung under
the Antiphon 'Miserere mihi.' These Psalms
never change ; nor, except in the last verse, does
the Hymn, *Te lucis ante terminum,' which im-
mediately succeeds them. The Officiant next
sings the Capitulum, ' Tu autem ' ; followed by
the Responsorium breve, ' In manus tuas ' ; the
* Gloria Patri,' and the Versicle and Response,
'Custode nos.' This part of the Office, which
changes with the Season, is followed by the Can-
ticle, * Nunc dimittis,' sung with the Antiphon,
* Salva nos.' On certain days, the Canticle is fol-
lowed by the Preces, ' Kyrie eleison, etc.,' sung
kneeling. When these are omitted, the Officiant
proceeds, at once, with the unchanging Prayer,
' Visita, quaesumus, Domine.' Then follows the
Benediction, ' Benedicat et custodiat ' ; and the
096
COMPLINE.
0£Bce concludes with one of the four Antiphons,
*Alma Redemptoris Mater/ *Ave, Regina,*
• Regina coeli,' or • Salve Regina/ which change
with the Season. [W.S.R.]
COMTE ORY. Correct statement as to
first performance in England (last two lines of
article) by adding that it was given at the
King's Theatre (in Italian) Feb. 28, 1829.
CONCENTO, the sounding together of all
the notes in a chord, and thus the exact opposite
of Arpeggio. [M.]
CONCERT. P. 384 a, 1. 17 from bottom
should run : — were pre-eminent from 1 791 to
1795. Ini8i3 the (Corrected in late editions) .
Last paragraph but one of article, /or 1780 read
1777.
CONCERT SPIRITUEL. Corrections and
additions will be found under AltIis, iv. 521 b.
CONCERTINO {%. c. a little Concert).
I. A term applied to the little band of Solo In-
struments employed in a Concerto grosso —
which see. The title of Corelli's Concertos is,
Concerti grossi con due Violini e Violoncello di
Concertino obhligati, e due altri Violini e Basso
di Concerto grosso ad arbitrio che si potramo
radoppare.
II. A Concerto on a small scale. See vol. i.
p. 387 «• [W.S.R.]
CONCERTO GROSSO. I. An Orchestral
Concerto ; i. e. a succession of Movements,
played by two or more Solo Instruments; ac-
companied by a full, or stringed Orchestra.
Handel's so-called * Concertante ' is a com-
position of this kind, written for two Solo Vio-
lins, and Violoncello, accompanied by Stringed
Instruments and Hautboys. Eleven out of the
twelve well-known Grand Concertos, by the same
Composer, are written for a similar assemblage
of Solo Instruments, accompanied by Stringed
Instruments and Continue only ; but No. VII
of this set is of an exceptional character, and
contains no solo passages. Few of these compo-
sitions contain any bravura passages for the prin-
cipal instruments, which are used, for the most
part, like the Wind Instruments in works of
later date, for the purpose of producing variety
of instrumentation ; but sometimes, and espe-
cially in the * Concertante,' long passages of
great constructional importance are assigned to
them.
Handel's six * Hautboy Concertos ' are Con-
certi grossi, written for a Concertino consisting
of two Solo Violins, two Violoncellos, two Haut-
boys, two Flutes, and two Bassoons, with the
addition, in No. I, of two Tenors, and, in No.
VI, of an obbligato Harpsichord ; accompanied,
throughout the entire set, by the Stringed Or-
chestra and Continuo. In some of these, the
solo passages are much more brilliant than in the
Grand Concertos above mentioned.
An exceptional example, of great interest, by
the same Composer, will be found in the Double
Concerto, performed at the Handel Festival in
1885. Though unfortunately incomplete, the
CONDELL.
autograph copy of this work, in the Library at
Buckingham Palace, contains nine movements,
written for two Concertini, each consisting of two
Hautboys, one Bassoon, and two Horns in F,
the whole accompanied by Stringed Orchestra,
and Continuo.
Corelli's Concerti Grossi are written for the
same Instruments as Handel's * Grand Con-
certos.' Sebastian Bach uses instrumental com-
binations of greater variety, and more in accord-
ance with his own peculiar views of orchestral
contrast, as in his Concerto for Violin, Flute,
and Clavier, with the usual accompaniments.
In form, all these works bore a close analogy
to the ordinary Overture, and Suite, peculiar to
the middle of the i8th century, the Movements
consisting of a series of Largos, Allegros, and
Andantes, intermixed, occasionally, with Mi-
nuets, Gavottes, and even Gigas. After the
invention of the Sonata-form, the Concerto grosso
died completely out ; for it would be impossible
to refer to this class of compositions works like
Mozart's Concertone for two Violins, his Concerto
for Flute and Harp, or even his Serenades.
II. A term applied to the Orchestral Accom-
paniments of a Grand Concerto, as distinguished
from the Concertino, or assemblage of principal
instruments. [W.S.R.]
CONCONE, Giuseppe, bom at Turin in 18 10,
was a professor of the pianoforte and singing. He
lived for about ten years in Paris, where he gave
lessons in both branches of music, and brought
out several compositions for the piano, notably
a set of studies published by Griis. Richault was
the publisher of his vocal music, which is melo-
dious and well written for the voice. But it is
chiefly by his solfeggi and vocalizzi that Concono
has made a world-wide reputation for usefulness, to
which the re-publication of these works by Peters
of Leipzig has greatly contributed. Those that
are known consist of a book of 50 solfeggi for a
medium compass of voice, 1 5 vocalizzi for soprano,
25 for mezzo-soprano, and a book of 25 solfeggi
and 15 vocalizzi, 40 in all, for bass or baritone.
This coupling together of bass and baritone is as
a rule a great mistake, but in the present case
the alternative notes given in passages which
run low enable baritone voices to make very
profitable use of the vocalizzi, and as they do
not run very high, ordinary bass voices can sing
them with sufficient ease. There is also a set (a
30 very good florid exercises for soprano.
The contents of these books are melodious and
pleasing, and calculated to promote flexibility of
voice. The accompaniments are good, and there
is an absence of the monotony so often found in
works of the kind. The book of 50 solfeggi has
been re-published by niany houses, and latterly
by Curwen, with the Tonic Sol-fa in addition to
the ordinary notation.
After the French revolution of 1848, Concone
returned to Turin, and became Maestro di Cap-
pella and Organist at the Chapel Royal. He died
in 1861. [H.C.D.]
CONDELL, Henry. Add date of birth,
1757. He wrote overtures to • The House to be
CONDELL.
•old' (1802), Dimond's 'Hero of the North*
(1803), ' Love laughs at Locksmiths ' ; inciden-
tal music to 'Aladdin,' and Reynolds's 'Bridal
Eing' (1810). He died at Battersea, June 24,
1824. (Diet. ofNat. Biog.)
CONRADI, August. Add day of birth,
June 27, and correct day of death to May 26.
CONSECUTIVE. The last sentence of the
article is to be modified, since the ' later inves-
tigations ' prove to be unreliable. There is
ample evidence that the Organum was what it
has been universally considered to be. [See
Notation, ii. 469 ; Organum, etc.] [M.]
CONSERVATOIRE. P. 392 h, 1. 4 from
bottom, ybr Toulon read Tulou, (Corrected in
late editions.)
CONSERVATORIO. The dates of the var-
ious Neapolitan Institutions are more correctly
given under Naples, ii. 444-6. Line 10 of article,
the date of the foundation of the first school by
Tinctor is probably much earlier than 1496, as
he left Italy in 1490. [See Tinctobis, iv. 128.]
CONTI, F. B. P. 395 6, 1. 7,/or Kritische
read Historisch-kritische. Line 4 from end of
article /or Hof-scholar read Hof-compositeur,
CONVICT. The last two sentences of the
article should run : — Its only claim to mention
here is the fact that Schubert was educated for
the Hof-Kapelle in the Convict at no. 45 in the
Piaristen Gasse, Josephstadt, Vienna. That
for the choristers of St. Stephen's is in the
Stubenbastei, No. 2. (Corrected in late editions.)
COOKE, Benjamin, Mus. D. Add that he
was an assistant director at the Handel Com*
memoration in 1784.
COOKE, Henbt. Last line of article, for
1657 read 1656. Add that he composed all the
special music for the coronation of Charles II,
April 23, 1661.
COOKE, Robert. Add dates of birth and
death, 1768 and Aug. 13, 1814.
COOKE, T. S. P. 398 a, 1. 6, add that in
1821 he was called 'director of the music at
Drury Lane Theatre ' (Quarterly Musical Mag-
azine), and that from 1828 to 1830 he was one
of the musical managers of Vauxhall Gardens.
L. 13, add that he relinquished his post at the
Bavarian Embassy in 1838. To list of produc-
tions add * Abu Hassan' (adapted from Weber),
April, 1825; 'The White Lady' (from Boiel-
dieu), Oct. 1826; 'Isidore de Merida' (from
Storace), 1828 ; ' Acis and Galatea,' 1842 ; ' The
Follies of a Night,' 1845. (Diet, of Nat.
Biog.) [M.]
COOPER, George. Line 21 ofarticle,/or Sir
George Smart read J. B. Sale (1856).
COPERARIO, John. P. 399 a, 1. 3, for
1612 read i6\2-i^. Line g,for 1614 reac? 1613.
L. 12, for in the same year read in 161 3-14.
He died in 1627.
COPPOLA, P. A. Line i of article, /or in
1792 read Dec. 11, 1793. Line 13, add date of |
VOL. IV. PT. <;.
CORBETT.
597
'La bella Celeste,' 1837. Last line, /or Nov. 14
read Nov. 13.
COPYRIGHT. The following changes have
been made since the publication of the first
volume :—
I. Domestic copyright. Certain speculators
having bought up the copyright of popular songs
with the object of levying penalties upon persons
innocently singing them at charitable concerts
and penny readings, an Act was passed in 188 a
providing that the proprietor of any musical com-
position who shall be desirous of retaining in his
own hands exclusively the right of public perform-
ance or representation of the same shall cause to
be printed upon the title-page of every published
copy a notice that this right is reserved.
^ 2. International Copyright. By the Conven-
tion of Berne, executed Sept. 9, 1886, the fol-
lowing States entered into an International
Copyright Union : — Great Britain (including all
the Colonies), Germany, Belgium, Spain, France,
Haiti, Italy, Liberia, Switzerland, Tunis. This
treaty will supersede all existing copj'right-
agreements between Great Britain and the States
enumerated. The second article of the treaty
is as follows : — * Authors of any of the countries
of the Union shall enjoy in the other countries
for the works, whether published in one of those
countries or unpublished, the rights which the
respective laws do now or may hereafter grant
to natives.' The term of protection is not, how-
ever, in any case to exceed in length the term of
protection in the country of origin. Thus, a
German who has complied with tlie formalities
and conditions required for copyright in Ger-
many, will possess, in England, the same copy-
right privileges in his work as an Englishman ;
but these will not last longer than the term of
protection which the law of his own country
gives to his work. It is expressly stated that
Article ii. applies to the public representation of
dramatic or dramatico-musical works, and to the
public performance of unpublished musical works,
and of published musical works in which the
author has declared on the title-page that he
forbids the public performance. [C.A.F.]
COR ANGLAIS. The statement in the last
sentence but one, as to Rossini's use of the in-
strument, is to be corrected by a reference to
Oboe di Caccia, vol. ii. p. 489.
CORANTO. See Courante, vol. i. p. 410.
CORBETT, William. Add that he made
two journeys to Italy ; the first, as stated in the
Dictionary, about 1711, from which he returned
and gave a concert at Hickford's Rooms in 1714
(April 28). It was at this time that he was ap-
pointed to the Royal band, his name appearing
on the list of musicians from 1716 to 1747. He
died March 7, 1 747-8. The last sentence should
run : — After his return he published * Concertos,
or Universal Bizzaries composed on all the new
Gustos in his travels through Italy,' containing
36 concertos, in two books, the first in four parts,
the second in seven, professing to exhibit, etc.
(Diet, of Nat. Biog.) [M.]
Rr
598
CORDER.
. CX)RDER, Frederick, at this date (1888) [
one of the foremost of our rising young com-
posers. Bom in London, Jan. 26, 1852, he ,
showed from infancy a strong aptitude for music,
which he was, however, not allowed to indulge,
being at the age of iS made to go into business.
From his first situation he was unexpectedly
released by the pecuniary embarrassments of his
employers, and he then persuaded his parents to
let him enter the Royal Academy of Music,
where his talent for original composition was
quickly recognised. He only remained there a
year and a half, as, on being elected to the
Mendelssohn Scholarship, he was sent to Cologne,
where he studied hard for four years under Dr.
Ferdinand Hiller. Shortly after his return to
England he was appointed conductor at the
Brighton Aquarium, where by his talents and
energy he raised the musical entertainments
from the very low level at which he found them,
and brought the orchestra to its present state of
eflBciency. Mr. Corder's gifts and culture are
wide and varied. During the years when music
proved unremunerative — as for years it must
do to all young composers of high aim and
oncoinpromising temper — he supported himself
mainly by literary work, in much of which he
had the cooperation and help of his accomplished
wife. His musical star seems now in the as-
cendant. Several of his orchestral works have
been performed at the Crystal Palace, the Phil-
harmonic concerts and elsewhere. His romantic
opera *Nordisa,' written for the Carl Rosa
company, was produced on Jan. a6, 1887, at
the Royal Court Theatre, Liverpool, with bril-
liant success. It has since been performed in
several provincial towns, and was brought out
at Drury Lane, May 4, 1887. Subjoined is
a complete list of Mr. Corder's compositions.
The words of all the vocal works but the two
last are his own. The works marked with an
asterisk have been published.
1. Evening on the Sea-shore. Idyll for Orchestra. iXm,
2. Im SchTvarzwald. Suite. ]876.
5. Uorte U'Artbur. Grand Opera. 4 acts. 18T7— S.
4. PhUomel. Operatic Satire, 1 act. 1880.
6. A Storm In a Teacup. Operetta. 1880.
«. The Cyclops, Cantata. 18«1.
•7. River Songs. Trios for Female voices. 1881.
5. Overture. Ossian (written for the Philbarmonie Society). 1883.
9. Nocturne for Orchestra. 1882.
10. Dreamland. Ode for Chorus and Orchestra. 188S.
•11. Roumanian Dances, Violin and Piano. 188S.
12. The Nabob's Pickle. Operetta. 1883.
13. The Noble Savage. Do. 18t&
•14. Overture. ' I'rospero.' 1885.
15. Orchenral scenes for The Tempest. 188«.
•16. The Bridal of Triermain. Cantata (Wolverhampton Festival).
1886.
•17. 'Nordisa.* Romantic Opera. 1886.
18. Roumanian Suite for Orchestra. 1887.
•19. 'The Minstrel's Curse." Ballad for declamation, with orchestral
accompaniment. Crystal Palace, March 10, 1888.
•90. Song. ' O sun, that vrakenest all ' (Tennyson). fF A M 1
CORFE, Joseph. Line 4 of article, /or 1783
read 1783, and add that he sang in the Handel
Commemoration. Line g,for Cathedral reac?
Church. Line 10, for eight read eleven. Add
that A. T. Corfe organized a successful festival at
Salisbury on Aug. 19-22, 1828, Last line, /or
is read was, from 1 846 to 1 883 ; and add dates of
birth and death, 18 14, and Dec. 16, 1883.
CORNELYS.
Another of his sons, John Davi& Corfe, torn
1804, was for many years organist of Bristol
Cathedral, and died in Jan. 1876. (Diet, of
Nat. Biog.) [M.]
CORN ELIUS. Correct date of death to Oct.
26, and add that on Oct. aS, 1887, his opera, * Der
Barbier von Bagdad,' was reproduced with sao-
cess at Coburg.
CORNELYS, Theresa, bom at Venice in
1723, was the daughter of an actor named Imer.
She was the mistress of a senator Malipiero at
the age of seventeen, and in 1753 bore the same
relation to the Margrave of Baireuth, being then
married to a singer named Pompeati. About
the same period she was nominated director ot
the theatres in the Austrian Netherlands. Shd
came to England and sang as second woman on
the first rendering of Gluck's opera ' La caduta
de' Giganti ' at the Haymarket, Jan. 7, 1 746.
She sang at Amsterdam as Mme. Trenti, and
took the name of Comelys from that of a gen-
tleman at Amsterdam, M. CornelisdeRigerboos.
Returning to England, she bought Carlisle
House, Soho Square, in 1760, in order to give
a series of public entertainments, to which a
number of ladies and gentlemen subscribed
under the name of * The f^iety.' On Feb. 26,
1 761, she sang as Mme. Pompeati in the Music
Room in Dean Street for the benefit of a Signer
Siprutini. Her eleventh entertainment waa
advertised to take place on May 5, 1 763. The
first * grand concert of vocal and instrumental
music ' took place on Friday, Feb. 24, 1764, and
the first 'morning subscription music* on April
6 of the same year. In spite of opposition and
quarrels her rooms became very popular. Bach
and Abel directed her concerts in 1765; they
appear to have been connected with Carlisle
House down to 1773, and perhaps later. In
April 1768 Mrs. Cornelys was honoured with
the presence of some of the Royal Family, and
in August of the same year the King of Den-
mark visited her rooms. In 1769 she gave a
festival and grand concert under the direction of
Guadagni. Galas, concerts, and masked balls
followed each other in rapid succession, but the
proprietors of the Italian Opera House felt that
the * Harmonic meetings ' were becoming dan-
gerous rivals to their own attractions. Mrs.
Cornelys and Guadagni were fined at Bow Street,
and she was indicted before the Grand Jury,
Feb. 24, 1 77 1, for keepinjj 'a common disorderly
house.' Goldsmith's 'Threnodia Augustalis'
lor the death of the Princess of Wales?, with
music by Vento, was given at the rooms Feb.
20, 1772. Her fashionable supporters began to
leave her house for the Pantheon, and in the
'London Gazette' for Nov. 1772 appeared the
name of * Teresa Cornelys, dealer.' In the fol-
lowing month Carlisle House and its contents
were sold by auction. On several occasions
between 1775 and 1777 Mrs. Cornelys is to bo
heard of as giving concerts and balls at Carlisle
House, but after the latter date she remained in
retirement under the name of Mrs. Smith, and
CORNELYS.
was supported by a son, who pre-deceased her.
A short time before her death she sold asses*
milk at Knightsbridge and unsuccessfully tried
to arrange some public breakfasts. She died in
the Fleet Prison Aug. 19, 1 797, at the age of 74,
leaving a daughter who called herself Miss
Williams, The merits of Mrs. Comelys as a
singer were small, but the 'Circe of Soho Square,'
as she was styled, organized during twelve years
the most fashionable series of entertainments in
London. She was an able woman of business and
thoroughly understood the art of advertising.
Carlisle House passed through various fortunes.
In 1780 the ball-room was used by a debating
society, and in 1 785 the property was sold afresh.
Carlisle House was pulled down about 1 788 and
the present houses, 21A and 21B, built on the
site. St. Patrick's (Roman Catholic) Chapel in
Sutton Street, consecrated in 1792, was the
former banquetting- or ball-room. (See Life in
Diet, of Nat. Biog. vol. xii.) [H.R.T.]
CORNET. Line 3 of article, add reference to
ZiNKE, vol. iv. p. 511.
CORNYSHE, William. Lines 3, 4, /or Gil-
bert Banestre about the year 1490 read William
Newark in 1509. Add that he went with the
king to the Field of the Cloth of Gold, where he
devised tlie pageants at the banquet. He died
before November, 1524. For further informa-
tion the reader is referred to the Diet, of Nat.
Biog.
CORONA. A synonym for Ferraata or Pause,
of somewhat rare occurrence; a familiar instance
of its use is in the 'Virgo virginum' of Dvorak's
* Stabat Mater,' in which Senza Corona is placed
over the last note of the movement in the vocal
parts, to emphasize the fact that the instruments
alone hold out the pause. [M.]
CORONACH {Gaelic, a funeral cry, from Co,
'together' — analogue of the Latin con — and
ranach, * a shrieking or weeping ' : root ran, ' a
shriek or cry'). This was the dirge chanted in
former times in Celtic Scotland by the Bard or
Seannachie on the death of the chief or other
great personage of a clan. In some degree it
resembled the song of praise composed and led
by special bards: the genealogy, the virtues,
»nd the great deeds of the deceased were re-
counted in pathetic verse to plaintive wild music,
the bard giving vent to his own grief, while the
sounds of the harp and the wailings of women
excited that of the hearers. However rude, it
appears to have been rhythmical, and was chanted
in recitative. Although the great funeral cere-
monial, of which the dirge was only a part, must
have been confined to persons of distinction, yet
in all cases the coronach was indi.spensable, as
without it, according to popular belief, the spirit
was condemned to wander forlorn bewailing its
miserable fate that this rite had lieen denied
to it. These ceremonies had, however, no reli-
gious significance; the virtues, heroi.sm, and
achievements of the dead were alone their sub-
ject; and the rite continued thus to be observed
in Ireland and the Highlands of Scotland long
CORONACH. '59!
after the conversion of the people to Christianity.
Dr. Stewart of Nether Lochaber— perhaps the
highest living authority on such matters-
writes : —
Our oldest Gaelic Laments are to this day to be clianted
rather than sung • and I can recollect an old seannachio
in the Braes of Lochaber, some thirty-five years ago,
chanting Macintosh's Lament to me, in a style of reci-
tative that impressed me greatly ; his version of the well-
known and beautiful air being in parts very different
from that printed in our books ; and if ruder and wilder,
all the more striking because of its naturalness.
Sir Walter Scott mentions the coronach as a
part of the funeral rite when the body of the
chief of clan Quhele was borne to an island in
Loch Tay (Fair Maid of Perth, chap, xxvii.) ; and
again in 'The Lady of the Lake' (canto iii.) he in-
troduces the coronach in the beautiful verses : —
He is gone on the mountain,
He is lost to the forest,
Like a summer-dried fountain
When our need was the sorest.
In a note he also gives a translation of a genu-
ine Gaelic coronach. In ordinary cases of death
this dirge was simply the expression of the
grief of the women of the clan for the loss of a
protector or breadwinner, intensified by the genius
of a poetic and highly imaginative people.
These funeral customs must have prevailed in
Scotland before the advent of the Romans, and
been handed down from pre-historic times, forthey
were confined to the Gaelic-speaking districts,
north of the wall of Antoninus, and Mr. W. F.
Skene has now proved beyond a doubt that the
Picts, the inhabitants of tliat region, were a Celtic
race, their language being Gaelic with traces of
Cornish. In Scotland in modern times the
rhapsody of the bard and the wail of the women
are no longer heard : the name Coronach has been
transferred to the Cumhadh or musical lament, a
kind of pibroch now played by the pipers who lead
the funeral procession. These pibroch laments
are in a peculiarly weird, wild style, well suited
for the bagpipe, but not capable of being repro-
duced on any other instrument. They begin with
a simple motivo, and this is worked up, with
ever-increasing intricacy and rapidity of notes,
through a number of divisions or variations,
till the same simple wild strain reappears as the
close. Some of these laments have a high re-
putation, such as those of Macintosh, MacLeod,
Mac Rimmon {Cha till mi tuille — 1 return no
more). The last is often played as the emigrant's
farewell to his c<»untry.
In Ireland these funeral rites would seem ta
have been celebrated in early times on a much,
grander scale tlian in Scotland. Profes.sor Sulli-
van, in his excellent Introduction to O'Curry's
Lectures on the Manneis and Customs of the
Ancient Irish, quoting from the Book of Balli-
mote and other Irish MSS., shows that in many
cases a funeral pyre was erected, the favourite
dogs and horses of the deceased slain and burned
with the body, and that, in one instance at least,
there was an extraordinary addition to the cere-
monial. This took place at the funeral of
Fiachra, the son of Eochad Muidhmeadlian. He
had won a great battle in Munster, and waa
Rr a
^00
CORONACH.
returning home to Temar (Tara) with the spoil
and hostages taken from the enemy :
When he reached Ferud in Meath Fiachra died of his
wounds there. His Leacht (stones set up to protect the
urn) was made ; his Fert (mound of earth) was raised ;
his Cluiche Caintech (pyre) was ignited; his Ogham name
was written; and the hostages which he liad brought
from the South were buried alive round the Fert of
Fiachra, that it might be a reproach to the Momonians
for ever, and that it might be a trophy over them.
The Cluiche Caintech here used for the pyre
was properly the whole funeral rite, and included
the burning of the body, the enclosing of the
ashes in the urn, the recitation of dirges, and the
performance of games. When in Christian times
burial took the place of cremation, some of these
observances survived, in particular the dirge or
wail, while the lighted candles are supposed to
represent the ignition of the pyre. Much in-
foi-mation of a most interesting nature will be
found in Professor Sullivan's work, and not
altogether confined to matters of antiquity.
These observances seem to be a survival of
rites common to the Aryan nations of antiquity.
The funerals of Patroclus and of Hector, as re-
lated in the Iliad, may be taken as descriptions
of a traditionary custom, thousands of years
older than Homer, practised by the progenitors
of these nations before even the earliest swarm
had left its fatherland.
Much interesting matter regarding Celtic cus-
toms will be found in O'Curry's Lectures ;
Walker's Memorials of the Bards; Logan's Gael,
edited by Dr. Stewart, and an admirable chapter
on the ethnology of the country in W. F. Skene's
Celtic Scotland. Mr. George MacDonald is
thartked not only for the Gaelic etymology, but
also for kind hints on the subject. [J.M.W.]
CORRI, DoMENioo. Line i of article, add day
of birth, Oct. 4, and for Naples read Rome.
Line 2, for about 1826 read May 22, 1825. Add
that in 177 1 he was invited to Edinburgh to conduct
the concerts of the Musical Society, and settled
there as a publisher and singing-master. He went
to London, as stated in the Dictionary, in I774»
but did not again visit England till 1787, when
he joined Mazzinghi and Storace in writing ad-
ditional music to Paisiello's * Re Teodoro.' The
opera of * The Travellers ' was produced on Jan.
32,1806. His instruction book, called 'The
Singer's Preceptor' was issued in 18 10, and con-
tains an autobiographical preface. Last line but
two of article, for Antonio read Philip An-
tony, and add that he was one of the original
promoters of the Philharmonic Society. (Diet.
ofNat. Biog.) [M.]
COSI FAN TUTTE. To last line but one
add that it was also produced as * The Re-
taliation ' at the Theatre Royal, English Opera
House (Lyceum), April 14, 1841. Add that *Tit
for tat' was produced at the English Opera
House, July 29, 1828.
COSTA. Line 22 of article, for Psalm, etc.
read cantata on Is. xii. P. 406 b, line 12, for in
February 1838, read Jan. 14, 1837. Add date
of death, April 29, 1884.
COSTELEY, William. Line 8 of article.
COURTEVILLE.
correct the statement that the society founded
by him was called * Puy de Musique, etc.,' that
title referring to a musical contest established
by the guild in 1575, at which Orlando de Lassus
carried oflF the first prize, a silver harp. Add
day of death, Feb. i, (Diet, of Nat. Biog.) FM.}
COTTA, Johannes, who died at Willerstedt
in 1868, is worthy of mention as composer of the
spirited music for four male voices to Arndt's
patriotic song, which electrified Germany at the
time of the rising against Napoleon in 181 3,
' Des Deutschen Vaterland," commencing * Was
ist des Deutschen Vaterland.' The san)e song
was skilfully set, but with undesirable complexity,
by G. Reichardt in 1826. But Cotta's tune U
the one wedded to the poem from the beginning,
and during the period of enthusiasm for the new
national idea. [R.M.]
COTTON, John, the author of a treatise on
music, dating from the latter part of the eleventh
or the beginning of the twelfth century. There
exist five copies in MS., at Leipzig, Paris,
Aft twerp, the Vatican Library, and two at
Vienna. A sixth copy, used by Gerbert, who
published the treatise in 1784, was destroyed in
the fire at St. Blasien in 1768. In the Paris
and Antwerp copies the authorship is ascribed
to Cotton or Cottonius, two of the others bearing
the title • Joannis Musica.' Gerbert quotes an
anonymous work (* De Script. Eccles.*), in which
reference is made to a learned English musician
known as Joannes ; and the dedication of the
book, which runs * Domino et patri suo venera-
bili Anglorum antistiti Fulgentio,' bears out the
assumption that its author was Englit>h. It has
been variously proposed to ascribe its authorship
to Pope John XXII, and to Joannes Scholasti-
cus, a monk of the monastery of St. Matthias at
Treves, but the above theory is probably correct.
The treatise is valuable as explaining' the har-
monic system of the period in which it was
written. (Diet, of Nat. Biog.) [W.B.S.]
COUCHED HARP. An obsolete name for
Spinet, which see.
COUPPEY, LE. See vol. ii. p. 731 J, and add
that he died in 1887.
COURTEVILLE, Raphael. Line 16 of
article,/or 1696 read 1695. Line 19, etc.. The
statement that he died and was succeeded by his
son in 1 735 is without confirmation. The vestry
registers of the Church of St. James's, Piccadilly,
show no entry of a change of organists between
1691 and 1 771, and as several entries imply that
Courteville had been for many years befoie the
latter date unable to perform his duties, it is
highly probable, if not actually certain, that one
person of the name held the post for eighty
years. He seems to have married in 1735 a lady
of large fortune. (Notes and Queries, ser. II. x.
496.) In 1738 he published • Memoirs of Lord
Burleigh.* siirning it only with initials. A
pamphlet by him on Insolvency was published
in 1 761, and a satire on his writings appeared
in the * Westminster Journal ' of Dec. 4, 1 742,
bearing his signature, with the appended titles.
COURTEVILLE.
' Organ-blower, Essayist, and Historiographer.'
He died early in June, 1772, and was buried on
the loth of the month. [M.]
COUSSEMAKER, C. E. H. db. Line 20,
for 10 read 1 2.
CO VENT GARDEN THEATRE. P. 41 3 a,
1. 16, for 1862 read 1856. (Corrected in late
editions.) Line i^,for 1862 read 1861.
COWARD, James, bom in London, Jan. 25,
1824, entered the choir of Westminster Abbey
at an early age. He was given the appointment
of organist at the parish church, Lambeth ; and
at the opening of the Crystal Palace at Syden-
ham he received a similar appointment there,
which he retained until his death. He held
various church appointments in addition to this,
being at one time or another organist of St.
George's, Bloomsbury, and St. Magnus the
Martyr, London Bridge. He was conductor of
the Western Madrigal Society from 1 864 to 1872,
and directed also the Abbey and City Glee Clubs
for some time before his death, which took place
at his house in Lupus Street, Jan. 22, 1880. He
was for some time organist to the Sacred Har-
monic Society, and the Grand Lodge of Freemason s.
Although best known by his brilliant transcrip-
tions for the organ of operatic melodies, etc., his
published works show him to have possessed con-
siderable musical knowledge and artistic feeling.
They include an anthem, ' O Lord, correct me ' ;
* Sing unto God,' a canon four in two ; two other
canons ; Ten Glees ; ' Ten Glees and a madrigal,'
published 1871 ; besides many pieces for piano-
forte, organ, etc. He had a remarkable power of
improvisation, which however, was often turned
to account in order to accompany the perform-
ances of acrobats and similar exhibitions. [M.]
COWEN, F. H. To the list of his works add
the oratorio of *St. Ursuhi' (Norwich, 1881),
and the cantata *The Sleeping Beauty' (Bir-
mingham, 1885) ; an orchestral suite, 'The
Language of Flowers,' and a 'Scandinavian'
symphony (No. 3). A 'Welsh' symphony (No. 4)
was played at the Philharmonic in 1884, and a
fifth, in F, written for the Cambridge University
Musical Society, was performed there, and sub-
sequently at a Richter concert, in 1887. An
oratorio entitled ' Ruth,' the words by Joseph
Bennett, was given at the Worcester Festival of
the same year. In 1 888 he was appointed con-
ductor of the Philliarmonic Society, and was given
the post of musical director of the Melbourne
Centennial Exhibition. [M.]
CRAMER. P. 413 J, 1. 20, omit the words
or the next. Line 26, add that Franz or Fran-
cois Cramer was appointed Master of the King's
music on the death of Christian Kramer in 1834.
Line 29, after Johann Baptist, add the eldest
son. Add that J. B. Cramer's first appearance
took place in 1 781. Line ^2, for 1774 read 1784.
CREATION, THE. Line 10 of article,/or
29 read 2.
C HEED. Line 1 2, omit the words but in later
revisions the word ' sung ' has been removed.
GUI.
601
CRESCENTINI, Gibolamo. Line a of article,
for in read Feb. 2. Last line but one, /or in
read April 24.
CREYGHTON, Rev. R. Last two lines,
correct date of death to Feb. 17, 1733, and /or
age read 94.
CRISTOFORL Line 13 of article, /or in 1651
read probably May 4, 1655 (the date given by
Paloschi). Line 16, for Florence read Padua.
P. 418, paragraph 3, add that a second instru-
ment by Cristofori was exhibited at the Festival
of 1876, and at the Trocad^ro, Paris, 1878, by
the Signori Krauss of Florence. The date of it
is 1726 ; the action is the same as in that be-
longing to the Signora Martelli, but with the
advantage of possessing the original light ham-
mers. The touch is good and very facile. P. 4 1 8 a,
1. 9 from bottom, for in read Jan. 2 7. [A. J.H.]
CROCE, Giovanni. Line 6 of article, for in
read in August.
CROCIATO IN EGITTO. Line 4 of article,
for June 30 read July 23.
CROFT, William, Mus. D. Correct date of
birth to 1678; he was baptized on Dec. 30 in
that year. P. 4196, 1. 15, for 1703 read, 1702,
and /or 1704 read 1703. [W.B.S.]
CROSDILL, John. Line 17 of article, for
In 77 he succeeded Peter Gillier read In 78 he
succeded Nares.
CROSS, Thomas. See London Violin
Makers, vol. ii. p. 164 b.
CROSSE, John. Add date of birth, July 7,
1786, and correct date of death to Oct. 20, 1833.
CROTCH, W. P. 420 b, 1. 16, for the spring
of 1780 read Oct. 1779. Line 19 from bottom,
for About 1820, etc., read He lectured at the
Royal Institution in 1804, 5 and 7, and again
from 1820 onwards.
CROUCH, Mrs. A. M. Line 8, for in the
winter of read on Nov. Ii. Line 3 from end of
article, for About 1800 read In 1801, and add
that on May 14 of that year she appeared as
Celia in 'As You Like It,' for Kelly's benefit.
CRWTH. Line 7 of article should run :—
about 609, by Venantius Fortunatus, Bishop, etc.
(Corrected in late editions.)
CUDMORE, Richard. Correct date of death
to Dec. 29, 1840.
CUI, Cesab Antonovitoh, bom Jan. 6, 1835,
at Wilna, was educated at the School of Engineer-
ing in St. Petersburg, where he ultimately
became Professor of Fortification, and published
several books on the art of war. He received a
thorough musical education from Moniuszko and
Balakirew, and from 1864 to 1868 contributed
musical articles to one of the St. Petersburg
papers, In which he warmly advocated the cause
of modern music, and in particular of Schumann,
Berlioz, and. Liszt. In 1878-9 he contributed a
series of articles entitled 'La Musique en Russie'
to the Paris 'Revue et Gazette musicale.' Of
his four operas, ' Der Gefangene im Kaukasus,'
* Der Sohn des Mandarins,' * William Ratcliflf,'
602
cm.
»nd • Angelo * (the last on Victor Hugo's play),
the two latter have been published with Russian
and German words. Two scherzos and a tarantelle
for orchestra, a suite for piano and violin, and up-
wards pf fifty songs, are mentioned by Riemann,
from whose lexicon the above notice is taken.
A very effective Polonaise in C was played by
Rubinstein in London in 1886, and has lately
been published by Stanley Lucas & Co. [M.]
CUMMINGS, W. H. Add that he is editor
of the publications of the Purcell Society, and
that he contributed a life of that master to the
* Great Musician ' series. He was appointed con-
ductor of the Sacred Harmonic Society in 1882.
CUR WEN, John, the founder of the 'Tonic
Sol-fa' method of teaching singing, was bom
Nov. 14, 1816, at Heckmondwike, Yorkshire.
For an account of the main work of his life, see
Tonic Sol-pa and Tonic Sol-fa College. He
came from an old Cumberland family, and was
educated (at University College, London) for
the profession of his father, a Nonconformist
minister. It was at a conference of Sunday-
school teachers held in Hull ini84i that he was
commissioned to make enquiry as to the best and
simplest way of teaching to sing by note, and the
investigations tlius begun led him to make the
spreading of music among the people the great
object of his life. Ini843 his 'Grammar of Vocal
Music ' appeared. In 1 853 he founded the 'Tonic
Sol-fa Association,' and ini879 the ' Tonic Sol-fa
College.' In 1864 he gave up ministerial work,
and devoted his whole time ' to the direction of
the large organisation ' which had grown up under
his care. He died at Manchester June 26, 1880.
A biography published in 1882 by his son, John
Spencer Curwen (Principal of the Tonic Sol-fa
College), under the title of 'Memorials of John
Curwen,* gives a picture of a very full and useful
life, as well as of a signally fine character. Since
the article ToNio Sol-fa was written, the method
has been more and more widely adopted, and it
is now the most generally accepted means, in
England and the Colonies, of teaching the
elements of music for sight-singing purposes.
The following is a list of Mr. Curwen's educa-
tional works, omitting the large number of
smaller instruction- books, etc., prepared for the
use of classes of different kinds : —
' The Standard Course of Lessons and Exercises on
the Tonic Sol-fa Method.' [First edition, 18GI ; issued in
a new form, 1872, as the * New Standard Course,' the
most complete class book of the method for general use,
includes Harmony, Musical Form, Composition, etc.].
'The Teacher's Manual of the Art of Teaching in
General, and especially as applied to Music,' 1875. [A
book designed for the teaching of teachers, with full
«xplanation8 and discussions of theoretical points, hints
on the management of classes, and on the art of teach-
ing generally. This book superseded an earlier book of
a similar character—' Singing for Schools and Congre-
gations,' 1843].
* How to observe Harmony.' First edition 1S61 j re-
issued in a new form 1872. [The text book used for
teaching Harmony on the T. S. F. method. The musical
illustrations are printed in both notations].
■ 'A Tonic Sol-fa Primer' iNo. 18 of the series of
Primere edited by Dr. Stainer, and published by Messrs.
Novello). [Written 'to explain the letter T. S. F. nota-
tion and method of teaching to those already familiar
with the established mode of writing music by means of
the Staff.'J
CUZZONI.
' Musical Theory,' 1879. [Mr. Curwen's latest woric.
Musical examples given in the two notations. In five
main divisions, Common Scale and Time, Minor Mode
and Transition, Musical Form, Expression, and Har-
monv].
♦ Musical Statics : an attempt to show the bearing of
the recent discoveries in Acoustics on Chords, Discord*
Transitions, Modulations, and Tuning, as used by modern
musicians.' 1874.
'Tonic Sol-fa Keporter.' Published monthly (Id.).
Begun 1851: nearly 900 numbers since issued: each
number gives articles and essays, together with some
pages of part music, choruses, part songs, madrigals, etc.,
by old and living composers. The list of pieces thus
published shows about 3000 titles.
Various Hymn and Tune Books, Collections of Part
Music, School Songs, etc., including ' Modern Part Songs '
in 96 numbers (by contemporary composers, Sullivaa,
Macfarren, Pinsuti, Smart, Bamby, and others.
Mr. Curwen also edited in Sol-fa a large number
of classical works (oratorios and other compositions
by Handel, Haydn, Mozart, Rossini, etc.), and
works by modern composers (Macfarren,Mendels-
sohn, and others). [Seealsovol.ii.428a.] [R.B.L.]
CUSHION-DANCE. Omit the words (t. e. pos-
sibly ' kissing-dance '). The false derivation was
probably suggested by some too ingenious Ger-
man, and rose from the similarity of the words
Kissen and Kiissen. A full description of the
dance is given intheHarmonicon,vol.ix.i9i. [M.]
CUSINS, W. G. Line ai of article, add that
he resigned the Philharmonic appointment in
1883.
CUTLER, W. H. Add that he is last heard
of as giving a grand concert at the Opera House
on July 5, 1824. The date of his death is un-
known.
CUZZONI, Fbancesca, born at Parma,* or
Modena,* about 1 700, » received her first instruc-
tion from Lanzi, a noted master, and became one
of the most famous singers of the last century. She
made her debut at Venice with Faustina, 171 9,
in M. A. Gasparini's 'Lamano,' being described
as ' Virtuosa di Camera ' of the Grand Duchess
of Tuscany ; and she appeared again with Faus-
tina and Bernacchi in the *Pentimento Gene-
roso,* in the same year and at the same place.
After singing on most of the principal stages of
Italy she came to England. On her first arrival
here she married Sandoni, a harpsichord-master
and composer of some eminence.* Her first ap-
pearance in London was on Jan. 12, 1722, as
Teofane in Handel's *Otho.' Her singicg ojf
her first air, a slow one, ' Falsa iinmagine,' fixed
her reputation. A story is told about this song
which illustrates her character as well as that ojf
Handel. At rehearsal she took a dislike to the
air, and refused to sing it; whereupon Handel
seized her by the waist, and swore he would throw
her out of the window if she persisted. She
gave way, and in that very song achieved one of
her greatest triumphs. Success followed her in
' Coriolano,* in ' Flavio,' and in ' Farnace ' ; and
she became a pojiular favourite.
In the following year she sang in *Vespa-
siano' and 'Giulio Ces:ire.' Meanwhile Cuz-
zoni's popularity had diminished that of Duras-
tanti, who left England, and had eclipsed that ot
poor Anastasia Kobinson, who soon after retired,
a HawklDi. < vitlM,
CUZZONI.
Cuzzoni continued her triumphal career in * Cal-
fumia,' ' Tamerlane/ and * Artaserse ; ' and in
*Rodelinda' (1725) she created one of her most
successful parts, gaining great reputation by her
tender singing of the song * Ho perduto il caro
gposo.' Fresh applause met her in 'Dario,'
*Elpidia,' ' Elisa,' * Scipio/ and finally in * Ales-
sandro * (Handel), when she first encountered, on
the English stage, the redoubtable Faustina. In
this opera her style and that of her rival were
skilfully contrasted by the composer ; but the con-
test was the first of a series which did the Italian
Opera much harm.
In 1727 she created a great effect in the song
*Sen vola' (*Admeto'), which displayed her
warbling style; and an enthusiast in the gal-
lery was 80 far carried away by the charm that
he exclaimed, * D — her ! she has a nest of
nightingales in her belly I * Her next part was
in *A8tyanax/ The violence of party feeling
had now become so great that, when the ad-
mirers of Cuzzoni applauded, those of Faustina
hissed ; and vice versa. This culminated during
the performance of * Astyanax,* when shrill and
discordant noises were added to the uproar, in
spite of the presence of the Princess Caroline.
Lady Pembroke headed the Cuzzonists, and was
lampooned in the following epigram ^
Upon Laot Pbmbrokk's promotimo thb cat-calls of
Faustina.
Old poets sing that beasts did dance
Whenever Orpheus play'd,
So to Faustina's charming voice
Wise Pembroke's asses bray'd.
Cuzzoni's chief supporters, among the men, are
commemorated in the following ^
Epigram ox thk Miracles wrought bt Cuzzoni.
Boast not how Orpheus charm'd the rocks,
And set a-dancing stones and stocks,
And tygers rage appeas'd;
All this Cuzzoni has surpass'd,
SSir Wilfred » seems to have a taste.
And Smith* and Gage^ are pleas'd.
In 1728 Cuzzoni appeared in *Siroe' and
* Tolomeo ' with unabated success, in spite of the
* Beggar's Opera' and all these heart-burnings.
At the close of the season, however,^ the direc-
tors, troubled by the endless disputes of the
rivals, decided to oflfer Faustina one guinea a
year more than the salary of Cuzzoni. The latter
had been persuaded to take a solemn oath that
she would not accept less than her enemy, and
80 found herself unengaged. About this time*
she yielded to the invitation of Count Kinsky,
and went to Vienna. She sang at court with
great 4clat ; but her arrogant demands pre-
vented her from getting an engagement at the
theatre.
1 Harl. MSS. 7316, pp. 904. 819.
• Simon Smith, Smi.
e Bkwkins.
» Sir W. LaTTSon.
« Sir William Gage.
• y^tii.
CZAR UND ZIMMERMANN. 60a
At Venice she next sang at one theatre, while
Faustina performed at another. In London again,
a few years later (1734), she appeared in Por-
pora's 'Ariadne;' and, with Farinelli, Senesino,
and Montagnana, in ' Artaserse ' as Mandane,
and also in other operas.
Hawkins says that she returned again in
1748, and sang in 'Mitridate;' but this is not
recorded by Buiney, who puts her third visit in
'750> when she had a benefit concert (May i8)i
She was now old, poor, and almost voiceless.
The concert was a failure, and she disappeared
again. She then passed some time in Holland,
where she soon fell into debt, and was thrown
into prison. Gradually she paid her debts by
occasional performances given by the permission
of the governor of the prison, and returned to
Bologna, where she was obliged to support her-
self by making buttons. She died there in
extreme poverty and squalor in 1770.'
It was difficult to decide whether she excelled
more in slow or in rapid airs. A * native warble *
enabled her to execute divisions with such faci-
lity as to conceal their difficulty. So grateful
and touching was her natural tone that she ren-
dered pathetic whatever she sani;, when she had
the opportunity to unfold the whole volume of
her voice. Her power of conducting, sustaining,
increasing, and diminishing her notes by minute
degrees acquired for her, among professors, the
credit of being a complete mistress of her art. Her
shake was perfect : she had a creative fancy, and
a command of tempo rubato. Her high notes
were unrivalled in clearness and sweetness, and
her intonation wjis so absolutely true that she
seemed incapable of singing out of tune.' She had
a compass of two octaves, C to c in alt. Her style
was unaffected, simple, and sympathetic. As an
actress she was cold, dressed badly, and her figure
was short and ungraceful. Yet the fine ladies
imitated the costume (brown silk, embruidered
with silver) which she wore in • Roilelinda,' and
it became the rage ! She was silly, fantastical,
capricious, ungrateful, and extravagant : with all
her charms .she had many faults, by which she
herself was the greatest sufferer, as is usual.
Her face was * doughy and cross, but her com-
plexion fine.' • There are no good portraits of
her ; but she figures in several of the caricatures
of the time, and notably in Hogarth's * Mas-
querades and Operas,' where she is the singer to
whom the Earl of Peterborough is presenting
£1000. Her portrait in Hawkins's * History' is
taken from a print by Vander Guclit after
Seeman. [J.M.]
CYCLUS. See Liederkreis.
CZAR UND ZIMMERMANN. Line 2 of
article, /or 1854 *'^*^ ^^'il-
• Mancinl, PtntUri, 1774.
• Walpole.
604
D.
DA CAPO. P. 427 a, 1. 8, for Tenaglia's
opera of * Clearco read Cavalli's opera of
'Giasone ' (1655).
DALAYRAC, Nicolas. Add days of birth
and death, June 13 and Nov. 37.
D'ALBERT, Charles Louis Napoleon, son
of Fran9oi8 Benoit d' Albert, was bom at Men-
stetten, near Altona, Hamburg, Feb. 25, 1809.
His father was a captain of cavalry in the French
army. On his death in 18 16 the mother and son
emigrated to England. She was a good musician,
and her son's first musical education — in Mozart
and Beethoven — was due to her. He then had
lessons in the piano from Kalkbrenner, and in
composition from Dr. Wesley, and afterwards
learnt dancing at the King's Theatre, London,
and the Conservatoire, Paris. On his return to
England he became ballet-master at the King's
Theatre, and at Covent Garden. He soon
relinquished these posts, and devoted himself to
teaching dancing and composing dance-music,
in which he was very successful, and achieved
a wide reputation. He ultimately settled at
Newcastle-on-Tyne, married there in 1863, ^.nd
for many years was a resident in the North
of England and in Scotland. He published
* Ball-room Etiquette,' Newcastle, 1835; and
a large number of dances, beginning with the
* Bridal Polica,' 1845 ; all of these were very
great favourites, especially the * Sweetheart's
Waltz,' * Sultan's Polka,' and ' Edinburgh Quad-
rille.* In the latter years of his life he removed
to London, where he died May 36, 1886.
His son, EugIine Fbancis Charles, was bom
at Glasgow, April 10, 1864. His genius for
music showed itself from a very early age, and
he was carefully taught by his father. In 1876
he was elected Newcastle scholar in the National
Training School, London, where he learnt the
piano from Mr. Pauer, and harmony and com-
position from Dr. Stainer, Mr. Prout, and Sir
Arthur Sullivan. Here his progress in piano play-
ing, counterpoint, and composition, was rapid
and brilliant, and he also occupied himself much
in the study of languages. In 1881 he was
elected Mendelssohn Scholar, which gave him a
year abroad. An overture of his was performed
at a student's concert at St. James's Hall on
June 23, 1879. He played a PF. Concerto of
his own in A at the Richter concert, Oct. 24,
1881, also Rubinstein's Concerto in D minor,
May 3, 1882. In Nov. 1 881, at the instance of
Richter,he went to Vienna, and very shortlyafter-
wards played the first movement of his own Con-
certo at the Philharmonic Concert there. He then
became a pupil of Liszt's, who called him * the
young Tausig,' in allusion to his extraordinary
technique. An Overture of his, styled 'Hy-
perion,* was played at a Richter concert, June 8,
1885, and a Symphony in F (op. 4) at the same
on May 24, 1886. Both these pieces are full of
nobility and beauty, though the work of a young
composer. A string quartet of his was played
at Vienna last winter, and a Dramatic Over-
ture at the Tonkunstlerfest at Cologne, in 1887,
and he is understood to be engaged on great
works. [G.]
DALLAM. Add to the account of Thomas
Dallam that he came to London from Dallam in
Lancashire, and was apprenticed to a member
of the Blacksmith's company, of which he after-
wards became a liveryman. The organs which
he built for King's College, Cambridge, and for
Worcester Cathedral, were taken down at the
time of the civil war ; parts of the former are
said to be contained in the existing instrument.
He was in all probability the same Dallam who
in 1615, 1633 and 1637 was employed to repair
the organ of Magdalen College, Oxford.
Concerning his son Robert, add as follows : —
He was, like his father, a member of the Black-
smith's company. Between 1624 and 1627 he
built the organ of Durham Cathedral, which
remained till 1687, when Father Smith, after
putting in four new stops, sold the Choir Organ
for £100 to St. Michael's-le-Belfry, York. It
remained there until 1885, when it was sold for
£4 to an organ builder of York. It is said that
Dallam received £1000 for the original organ,
but there is no foundation for the statement.
In 1634 he built an organ for Jesus College,
Cambridge, in the agreement for which he is
called 'Robert Dallam of Westminster.' He
added pedals in 1635 J ^^ organ, after being
taken down at the time of the civil war, was
replaced at the Restoration. In 1635 he built
an organ for Canterbury Cathedral. The Calen-
dar of State Papers for the same year contains a
bill of Robert Dallam's, dated Nov. 1 2, for work
done to Laud's organ at Lambeth. An organ
which he built for St. Mary Woolnoth's was so
much injured in the fire of London, that it was
replaced by a new instrument built by Father
Smith, who, however, used some of Dallam's
stops. (Diet, of Nat. Biog. ; Hopkins and Rim-
bault, *The Organ,* 3rd ed.) [See vol. ii. pp. 588-
591.] [W.B.S.]
DALLERY. The eldest of these organ-
builders was Charles, bom at Amiens about
1 7 10, and was originally a cooper. His ne-
phew Pierre, born 1735, after working with hig
uncle, was for a few years in partnership with
Clicquot (see vol. i. p. 374). To the union of
these two clever men are due the organs of Notre-
Dame and the Sainte Chapelle in Paris, that
of the Palace of Versailles, and many others
DALLERY.
now destroyed or mutilated by ignorant work-
men.
P1EEEE-FEAN901S, son of Pierre, bom in Paris
1764, worked with his father from 1801 to 1807,
when the latter retired from business, and
Pierre- Francois remained alone. He never had
an opportunity of undertaking a large work, but
was entirely occupied in repairing instruments.
He was clever in certain points, but had not
studied his art profoundly, and being a needy
man, often used inferior materials. He died in
Paris in 1833, leaving nothing but his name to
his son, Louis Paul, who was born in 1797 and
continued the business. [V. de P.]
DAMASCENE, Alexandee. Line 3, for
June 26, read July 22. Line 5, for Aug. 30,
1691, read Dec. 6, 1690.
DAMOREAU, L. C. M. P. 428 J, 1. 8 from
bottom, add date of tour in the United States,
1843.
* DAMROSCH, Leopold, born at Posen,
Prussia, Oct. 22, 1832. After a preliminary
education at the gymnasium in his native town,
he graduated at the Berlin University in 1854,
with the degree of Doctor of Medicine. Showing
decided musical tastes in early life, he deter-
mined, Jifter his graduation, to abandon medicine
and devote himself to the study of music, which
was pursued by him with such success, at Berlin,
that he was permitted to make a public appear-
ance, as solo violinist, at Magdeburg, in 1855.
After giving concerts in the principal German
cities he was appointed (1857) by Liszt leading
violinist in the court orchestra at Weimar, of
which Liszt was then director. In 1858 Dam-
rosch was appointed conductor of the Philhar-
monic Society of Breslau, where he manifested
his admiration for Wagner's theories and for
the new school of musical art in Germany. His
programmes presented, togetlier with the com-
positions by the older masters, works by Wagner,
Liszt, and Berlioz — music not then widely ad-
mired or appreciated. In i860 numerous en-
gagements as solo violinist compelled him to with-
draw from the Philharmonic Society. In 1861
lie established the Orchester-Verein of Breslau,
of which he remained director until 1871, when
he went to New York on the invitation of the
Arion Society. On the organization of the
Oratorio Society (1873) and of the Symphony
Society (1878) he was elected conductor of each,
positions held by him, with that of conductor of
the Arion (male voices) until his death. During
the season 1876-77 he officiated as conductor of
the Philharmonic Society's concerts.
Dr. Damrosch was mainly instrumental in the
establishment of German opera at the Metro-
politan Opera House, New York, and was its
director-in-chief from Aug. 1884 until his
death, Feb. 15, 1885. His last appearance in
public was at a performance of 'Lohengrin,'
Feb. 9. A son, Walter Damrosch, succeeded him
in the direction of the Oratorio Society and Sym-
phony Society, and was continued in the service of
the opera company as assistant director. The
tt Copyright 1889 by F. H. Jenks.
DANCE RHYTHM.
605,
following compositions have been pwblish^ in
Gennany : —
Op.
1. Idylle and Mazurka ; Vln. and
PF.
2. Stimmungen ; S pieces, Vln.
and PF.
a Improvisation on theme by
Schumann; Vln.
4, Two Bomanzas ; Vln. and PF.
6. Five Songs.
6. Three Songs.
7. Three Songs.
8. Twelve Songs.
9. Concertstack. in form of sere-
nade, four movements ; Vln.
Without opus number : —
Concerto; Vln. and Orch.or PF. IBrautgesangftThland); Tenorand
Nachtgesang; Vln. and Orch. or Baritone Solos, Male Chorus,
PF- I Orchestra.
Capricietto : Vln. andOrch. orPF.'
Published in the United States, without opus
number : —
and Orch. or PF.
10a. Bomanza ; Vln. and PF.
6. Six Songs.
11. Twelve Spanish Songs.
12. Bomanza; Vln. and Orch.
orPF.
13. Three Songs.
14. Three Songs.
15. Festival Overture ; Orch.
16. Five Songs.
17. Five Songs.
18. Six Choruses ; male Toices.
19. Patriotic Songs.
Ruth and Naomi ; Oratorio.
Saint Cecilia; collection of An-
thems and other Church Music.
•Tell me where is Fancy bred';
Glee, Male voices.
Siegfried's Sword ; Tenor Solo and
Orchestra or PF.
' Thou, Who art God alone ' ; Ma-
sonic Song, Baritone Solo, Male
Chorus and Orchestra.
Lexington Battle-Hymn; mixed
chorus.
Two duets ; Tenor and Baritone.
The Fisher-Boy (Schiller) ; Sonf,
Soprano.
[F.H.J.]
DANCE RHYTHM and dance gestures have
exerted the most powerful influence on music
from prehistoric times till the present day. The
analogy of a similar state of things among un-
civilised races still existing confirms the inherent
probability of the view that deliniteness of any
kind in music, whether of figure or phrase, was
first arrived at through connection with dancing.
The beating of some kind of noisy instrument as
an accompaniment to gestures in the excitement
of actual war or victory, or other such exciting
cause, was the first type of rhythmic music, and
the telling of national or tribal stories and deeds
of heroes, in the indefinite chant consisting of a
monotone slightly varied with occasional ca-
dences, which is met with among so many bar-
barous peoples, was the first type of vocal music.
This vague approach to musical recitation must
have received its first rhythmic arrangement
when it came to be accompanied by rhythmic
gestures, and the two processes were thereby
combined, while song and dance went on together,
as in mediaeval times in Europe.
The process in the development of modern
music has been similar. The connection between
popular songs and dancing led to a state of
detiniteness in the rhythm and periods of secular
music long before the times which are commonly
regarded as the dawn of modern music ; and in
course of time the tunes so produced were not
only actually used by the serious composers of
choral music, as the inner thread of their works,
but they also exerted a modifying influence upon
their style, and led them by degrees to change
the unrhythniic vagueness of the early state of
things to a regular definite rhythmic system.
The fact that serious music was more carefully
recorded than secular makes the state of the art
in the time of Dunstable, Tinctor, De Muris,
and the Francos to appear more theoretical than
effective. Serious musicians were for the most
606
DANCE RHYTHM.
part very shy of the element of rhythm, as if it
was not good enough company for their artistic
purposes. Consequently the progress of serious
art till the i6t.h century was confined to the
development of good part-writing and good pro-
gressions of harmony. The result is a finely
continuous mass of tone, and expressive effects
of harmony, in the works of these old masters up
to the early years of the i6th century, but a
conspicuous absence of definiteness in both the
rhytiims and phrases ; as may be observed in the
* Chansons mondaines ' of Okeghem, Josquin de
Prez, and Hobrecht, as well as in their sacred
music. But while these composers were pro-
ceeding on their dignified way, others whose
names are lost to fame were busy with dance
tunes which were both sung and played, and
may be studied in the * Orchfeographie ' of
Tholnot Arbeau, and Stafford Smith's * Musica
Antiqua,' the ' Berliner Liederbuch,* the * Wal-
ther'sches Liederbuch,' and elsewhere. And
quite suddenly, within the space of less than a
generation, the rhythmic impulse of this choral
dance music passed into serious music, and
transformed the vague old-fashioned 'Chanson
mondaine' into a lively rhythmic tune; and at the
same time gave the development of the art in
the direction of modern harmony a lift such as it
never could have got by continuing in its old
path. In fact, the first change of the Chanson
mondaine into the typical madrigal seems to
have been greatly helped by the progress in
artistic merit of the forms of the dance tunes,
such as were sung in paits by voices, and by the
closely allied Frottole and Villanellas. As early
as Arcadelt and Festa rhythmic definition of a
dance kind is found in works which are univer-
sally recognised as madrigals ; and as it is
possible that composers did not keep steadily
in view the particular class to which after ages
would refer their works, they wrote things
which they intended to be madrigals, but
which were in reality pervaded by a dance
impulse almost from beginning to end, inasmuch
as the harmonies move often together, and
form rhythmic groups. But, on the other hand,
the most serious masters of the great period of
madrigal art evidently resisted the influence of
regular dance rhythms, and in the richest and
maturest specimens of Marenzio, Palestrina,
Vecchi, and our greatest English masters, it
would be difficult to point to the distinct rhyth-
mic grouping which implies a connection with
dance motions. But nevertheless even these
great masters owed something to dance influ-
ence. For it was the independence from artistic
responsibility of the early dance writers which
enabled them to find out the elementary princi-
ples of chord management, by modifying the
conventional modes as their instincts led them ;
while their more serious and cautious brethren
were being incessantly thwarted in their efforts
by their respect for the traditions of these modes.
And hence dance music reacted upon serious
music in a secondary as well as direct way,
since its composers led the way in finding out {
DANCE RHYTHM.
tbe method of balancing and grouping chords
in the manner which in modern music is
familiar in the inevitable treatment of Tonic
and Dominant harmonies, and in the simpler
branches of modulation of the modern kind.
This secondary influence the great madrigal
writers were not directly conscious of, however
much they profited by it; and the growth and
popularity of the independent forms of Frottola,
Villanella, Balletto, and so forth, helped to keep
their art form free from the niore obvious fea-
tures of dance music. When the madrigal art
came to an end, it was not through its submit-
ting openly to the seductive simplicity of dance
rhythm, but by passing into part songs with a
definite tune, such as were early typified in the
best days by Dowland's lovely and finished
works ; or into the English glee ; or through its
being corrupted by the introduction of an alien
dramatic element, as by Monteverde.
All such music, however, was deposed from the
position it occupied prior to the year 1600 by the
growth of new influences. Opera, Oratorio, and
many other kinds of accompanied song, and,
above all, instrumental music, began to occupy
most of the attention of composers.
In the first beginnings of Opera and Oratorio
the importance of dance rhythm is shown by
negative as well as positive evidence. In the
parts in which composers aimed at pure decla-
matory music the result, though often expressive,
is hopelessly and inextricably indefinite in form.
But in most cases they submitted either openly
or covertly to dance rhythm in some part or
other of their works. In Cavaliere's one oratorio
the connection of the chorus ' Fate festa al
Signore ' with the * Laudi spirituali ' is as obvious
as the connection of the said Laudi with popular
dance songs. For in the Italian movement, fos-
tered by Neri, as in the German movement in
favour of the Chorale, to which Luther gave the
impetus, the dance principle was only two gene-
rations off. Both Chorales, and Laudi Spirituali,
and the similar rhythmic attempts of the early
French Protestants were either adaptations of
popular songs, or avowedly modelled on them ;
and, as has been already pointed out, the popular
songs attained their definite contour through
connection with the dance. But besides this
implication, in Cavaliere's work distinct instruc-
tions are given for dancing, and the same is the
case with Peri's opera * Euridice,' which came
out in the same year (1600). As a matter of
fact. Peri seems to have been less susceptible to
the fascination of clear dance rhythm than his
fellow composers, but the instructions he gives
are clear and positive. The last chorus is
headed * Ballo a 3,* * Tutto il coro insieme can-
tano e ballano* Similarly Gagliano's *Dafne*
(printed at Florence in 1608) ends with a
'Ballo.* Monteverde's 'Orfeo' (1609) contains
a chorus headed ' Questo balletto fu cantato al
suono di cinque Viole,' etc., and the whole ends
with a • Moresca ' which is preceded by a chorus
that is to the utmost degree rhythmic in a dance
sense. To refer to the works of Lulli for exam-
DANCE RHYTHM.
pies of the influence is almost superfluous, as
they are so full of dances and gesticulation
that the sum total of his operas is more terpsi-
chorean than dramatic, and this does not only
apply to the actual dances so called, but also to
vocjd pieces. Handel, Rameau, and Gluck used
their dance effects with more discretion and
refinement, and in the later development of Opera
the traces of dance and rhythm fade away in the
dramatic portions of the work ; though it cannot
be said that the influence has ceased even in
modem times, and positive independent dance
movements persist in making their appearance,
with complete irrelevance in many cases, as much
to the annoyance of people of sense as to the
delight of the fashionable triflers to whom opera-
houses are dear because it has been the fashion
foir a century or so for similar triflers to frequent
them.
In Oratorio the dance influence maintained its
place, though of course not so prominently as in
Opera. Next after Cavaliere, Carissimi sub-
mitted to its influence. He was, in fact, one of
the first Italians who frequently showed the
power of a definite rhythmic figure, derived from
the dance, in giving go and incisiveness to both
choruses and solos. As instances may be quoted
the song of Jephthah's daughter when she comes
out to meet him — * Cum tympanis et Choris ' —
after his victory, and the solo and chorus de-
■cribing the king's feast at the beginning of
'Balthazar* — 'Inter epulas canori, exultantes
sonent chori.' In Handel's oratorios the intro-
duction of artistic dance music was common, and
the influence of it is to be traced elsewhere as
well. But in modern times the traditional con-
nection of dance and religion has ceased, except
in the Easter dances in the Cathedral of Seville,
and oratorios no longer afford examples of minuets
and jigs. But the influence is still apparent. In
the first Baal Chorus in 'Elijah' Mendelssohn
allowed a rhythm of a solemn dance order to
appear, and the same quality is to be discerned
in the Pagan Chorus in 'St. Paul,' *0 be
gracious, ye immortals ' ; while he permitted
himself to drift into a dancing mood, with less
obvious reason, in the middle movement of the
symphony to the * Lobgesang,' and in the chorus
• How lovely are the messengers' in * St. Paul.'
The obligations of instrumental music to dance
rhythm are far greater than that of any re-
spectable form of choral music. Almost all
modern instrumental music till the present time
may be divided into that in which the canfahile
or singing element predominates, and that in
which the rhythmic dance principle is paramount.
In fact, dance rhythm may be securely asserted
to have been the immediate orfgin of all instru*
mental music. The earliest definite instrumental
pieces to be found are naturally short dances.
A step in the direction of artistic effect was
made when two or more dances, such as a Pavan
and a Galliard, were played one after another for
the sake of the contrast and balance which was
thereby obtained. The result of such experi-
ments was the Suite-form, and in the article on
DANCE RHYTHM.
607
that subject the question of the direct connec-
tion of the form of art with the Dance is dis-
cussed at length.
When the more mature form of the Sonata
began to develop, other forms of art were ma-
turing also, and had been imitated in instru-
mental music. Madrigals having been ' apt for
voices or viols* were imitated for instruments
alone. Movements for solo voices with accom-
paniment were also being imitated in the shape
of movements for instruments, and were rapidly
developing into a distinct art form ; and again the
movement, consisting of a succession of chorda
interspersed with Jioriture, such as singers used,
had been developed by organists such as Claudio
Merulo, partly by instinct and partly by imita-
tion. Most of these forms were combined with
dance forms in the early stages of the Sonata ;
and in the articles on that subject, and on Form
and Symphony, the question is discussed in de-
tail. Here it is not necessary to discuss more
than the general aspect of the matter. Com-
posers early came to the point of trying to
balance movements of a singing order with dance
movements. In the early Violin Sonatas, such
as those of Biber and Corelli, dance principles
predominated, as was natural, since the type of
the movements which were sung was not as yet
sufficiently developed. But the special fitness
of the violin for singing speedily complicated this
order of things, and the later representatives of
the great Italian violin school modified the types
of dance forms with cantabile and highly expres-
sive passages.
The Clavier Sonata, on the other hand, in-
clined for a time towards a rhythmic style. The
harpsichord was not fitted for cantabile, and the
best composers for the instrument fell back upon
a clear rhythmic principle as their surest means of
effect. When the harpsichord was displaced by
the pianoforte a change naturally followed. The
first movement came to occupy a midway posi-
tion, sometimes tending towards dance rhythms,
and sometimes to cantabile, and sometimes com-
bining the two. The central slow movement
was developed on the principle of the hIow
operatic aria, and adopted its form and style.
The last movement continued for a long tinje to
be a dance movement, often actually a gigue, or
a movement based on similarly definite rh} i/lims ;
and when there were four movements the third
was always decisively a dance movement. In the
old style of Operatic Overture, also known as a
Symphony, there was at least one distinct dance
movement. This kind of work developed into
the modern Orchestral Symphony, in which
at least one decided dance movement has main-
tained its position till the present day, first
as the familiar minuet and trio, and then in the
scherzo, which is its offspring, and always im-
plies a dance rhythm. But the fitness of a dance
movement to end with is palpable, and composers
have constantly recognised the fact. Haydn has
given a strong example in the last movement of
the fine Symphony in D minor. No. 7 of the
Salomon set j and many others of his Rondos are
608
DANCE RHYTHM.
Absolute dance movements. Among Mozart's
the last movement of the Eb Symphony may be
pointed to ; among Beethoven's the wild frenzy
of the last movement of the Symphony in A
minor, No. 7. In modern times the influence
of dance music upon the musical character of
composers has become very marked. The dance
which has had the greatest influence of all is
undoubtedly the Waltz, and its ancestor the
Landler. Beethoven, Weber, Schubert, Schu-
mann, and Brahms have not only written dance
movements of this kind, but show its influence
in movements which are not acknowledged as
dance movements. Even Wagner has written
one dance of this kind in ' Die Meistersinger.'
Many modem composers have introduced bond
fide national dance-tunes into their instrumental
works, as Beethoven did with Russian tunes in
the Rasoumofisky Quartets. Some go further,
as may be seen by the example of Schubert,
Brahms, and DvoHk, and others of note. For
they accept, as invaluable accessories to their art,
rhythmic and characteristic traits drawn from
the dances of Hungaiians, Scandinavians, Bohe-
mians, Sclavs, and Celts of various ilks ; and
subjects which appear in movements of sonatas
and symphonies by famous composers are some-
times little more than figures taken from national
dance-tunes slightly disguised to adapt them to
the style of the composer.
The connection of music with gesture is a
question too special and intricate to be entered
on in detail. But it may be pointed out that a
considerable quantity of the expressive material
of music is manifestly representative of, or cor-
responding to, expressive gestures. The branch
of dancing which consisted of such expressive
gestures was one of the greatest importance, but
it has almost entirely ceased to hold place among
modern civilised nations. In music the traces of
it are still to be met with, both in the finest
examples of Sarabandes, and also, more subtly,
in some of the most expressive passages of the
greatest masters. [C.H.H.P.]
DANZI, Fkanz. Add days of birth and
death, May 15 and April 13.
DARGOMYSKI, A. S. Add day of birth,
Feb. 2.
DAVENPORT, Fbancis William, bom 1 847
at Wilderslowe, near Derby, was educated at
University College, Oxford. He studied music
under Sir George Macfarren, whose only daughter
he married ; was appointed a Professor at the
Royal Academy of Music in 1879, ^^^ subse-
quently Examiner for the Local Examinations
in connection therewith. In 1882 he was ap-
pointed a Professor at the Guildhall School of
Music, Mr. Davenport's compositions include
Symphonies, No. 1 in D minor (ist prize at the
Alexandra Palace Competition, 1876), No. 2 in
C ; Overture ' Twelfth Night,' Viard-Louis Con-
certs, 1878; Prelude and Fugue for Orchestra,
Crystal Palace, Nov. i. 1879; "^ pieces for
piano and 'cello, a selection from which was
given at the Popular Concert, Nov. 24, 1879 »
DAVIES.
foiir pieces for same; a Trio in Bb, Popular
Concerts, Jan. 31, 1881, and again in 1882 ; two
Part Songs — 'Phyllis is my only joy,' and ' Sweet
day, so cool'; three songs and many works in MS.
He has written two books on music, viz. • Elements
of Music' (1884), and 'Elements of Harmony
and Counterpoint * (1886). [A.C.]
DAVID, Felicien. Correct date of birth to
April 13. P. 433 a, 1. 28, add that for seven
years before his death he had held the post of
librarian to the Conservatoire.
DAVIDE, GiACOMO. P. 434a, 1. 10 from
bottom, add inverted comma after the word
* Festivals.' P. 434 h, 1. 17,/or 1814 read 1816,
DAVIES, Fanny, a distinguished pianist,
comes of a musical stock, her mother's father,
John Woodhill, of Birmingham, having been
well known in his day as a cello player. Sne
was bom in Guernsey. Her early instruction
on the piano was given her by Miss Welchman
and Charles Flavell, both of Birmingham. Har*
mony and counterpoint she studied there with
Dr. Gaul. In 1 882 she went to Leipzig for a year,
and took lessons on the piano with Reinecke and
Oscar Paul, and in fugue and counterpoint with
Jadassohn. In September 1883 she removed
to the Hoch Conservatorium at Frankfort, where
she studied for two years in close intercourse
with Madame Schumann, and where she acquired
the accurate technique, the full tone, fine style,
and power of phrasing, which encourage the hope
that she may eventually become Madame Schu-
mann's successor as a pianoforte player. At
Frankfort she added to her musical knowledge
by a year's study in fugue and composition under
Dr. B. Scholz. Her first appearance in Eng-
land was at the Crystal Palace, Oct. 17, 1885,
in Beethoven's G major Concerto ; on Nov.
16 she played at the Monday Popular Concerts
(Chromatic Fantasia and Schumann's Quartet
in Eb), and on April 15, 1886, Bennett's C
minor Concerto at the Philharmonic. These
were the beginnings of a series of constant en-
gagements at all the leading concerts in town
and country. In Berlin she first played with
Joachim, Nov. 15, 1887, and at the Gewandhaus,
Leipzig, Jan. 5, 1888. [G.]
DAVIES, THE Sisters. Add that Marianne
was born in 1744, and first appeared at Hick-
ford's rooms on April 30, 1751, when she played
a concerto for the German flute, and a concerto
by Handel on the harpsichord, besides singing
some songs. There is no evidence to support
the statement that the sisters were related to
Benjamin Franklin. The date of Cecilia's birth
is certainly later than 1740, and probably 1750
is the right date. Her first appearance seems
not to have taken place till Aug. 10, 1767, in
' some favourite songs from the opera of Artax-
erxes and Caractacus.' The date of the per-
formance of the ode mentioned in lines 13, etc.
of article, is June 27, 1769. She first appeared
in Italian Opera in England in October, 1773,
singing Sacchini's * Lucio Vero,' on Nov. 20. In
the following year she sang at the Hereford
DAVIES.
Festival. She sang after her return from
Florence at the Professional concert on Feb. 3,
1787, and made her first appearance in oratorio
in 1791 at Drury Lane, soon after which she fell
into great poverty. About 181 7 she published
a collection of songs by Hasse and others. During
the last years of her life she was assisted by
the National Fund, the Royal Society of Musi-
cians, etc. She died July 3, 1836. (Diet, of
Nat. Biog.) [W.B.S.]
DAVISON, James William, was bom in
London, Oct. 5, 1813.^ He was educated with
a view to the Bar, but forsook that career for
music, and studied the pianoforte with W. H.
Holmes, and composition with G. A. Macfarren.
His early friends were W. S. Bennett, H. Smart,
G. A. Macfarren, T. M. Mudie, E. T. Loder, and
other musicians. He composed a great deal for
orchestra, piano, and the voice, and will be re-
membered by some elegant and thoughtful
settings of poetry by Keats, Shelley, and others.
He made the acquaintance of Mendelssohn dur-
ing one of his early visits to England, and
deepened it in 1836, when, in company with
Sterndale Bennett, he attended the production
of * St. Paul ' at Dusseldorf.2 He gradually for-
sook composition for criticism.' In 1842 he
started the * Musical Examiner,' a weekly maga-
zine which lasted two years; and in 1844 suc-
ceeded Mr. G. A. Macfarren, sen., as editor of the
* Musical World,' which continued in his hands
down to his death. Mr. Davison contributed
to the * Saturday Review * for ten years, and for
long to the ' Pall Mall Gazette ' and ' Graphic'
But it was as musical critic of the ' Times ' that
his influence on music was most widely exercised.
He joined the staff of that paper in 1846, and
his first articles were those on the production of
* Elijah ' at the Birmingham Festival of that
year. But Mr. Davison's activity in the cause
of good music was not confined to newspaper
columns. He induced JuUien in 1844 to give
classical pieces in his Promenade Concerts. The
Monday Popular Concerts, in their present
form (see vol. ii. p. 352), were his suggestion;
and the important analyses contained in the
programme-books were written by him down to
his death. So were those for Charles Halle's
recitals, and it is unnecessary to call attention
to the vast range of works which these covered.
All these efforts were in support of the best and
most classical taste ; so was his connexion with
Miss Arabella Goddard, whose studies he di-
rected from 1850, and who under his advice
fiist made the English public acquainted with
Beethoven's Sonatas, ops. loi to m (except-
ing op. 106, which had been played by Billet),
and many another n)asterpiece. He married
> His mother, «<?« Duncan, yras an eminent actress, and was chosea
by Byron to deliver bis monody on Sheridan at Drury Lane theatre.
2 The overture to the Naiads was sketched In going up the Bhlne
after the performance.
3 This was humorously embodied in an epigram by his friend
Charles Kenny:—
' There was a J. W. D.
Who thought a composer to be:
But his muse wouldn't budge,
So he set up as judge
OTtr better composers than b&'
DEGREES. 60d
Miss Goddard in the spring of 1859, *^<i ^^^J
had two sons, Henry and Charles.
Mr. Davison's position naturally brought him
into contact with all musicians visiting England,
and he was more or less intimate with Mendels-
sohn, Rossini, Auber, Spohr, Meyerbeer, Halevy,
Hiller, Berlioz, Ernst, Joachim, Piatti, L. de
Meyer, etc., etc., as well as with Jules Janin,
Thdophile Gautier, and other prominent members
of the French press. Among his friends, too, he
was proud to number Dickens, Thackeray, Shirley
Brooks, and other English literary men.
While adhering, as we have described, to the
classical school up to Mendelssohn and Bennett,
his attitude to those who came later was full of
suspicion and resistance. Of Schumann, Gounod,
Liszt, Wagner, and Brahms, he was an uncom-
promising opponent. In regard to some of them
his hostility greatly changed in time, but he was
never cordial to any. This arose partly from
dislike to their principles of composition, and
partly from jealousy for his early favourites.
He even resisted the advent of Schubert to the
English public on the latter of these grounds,
though he was more than reconciled to him
afterwards. Certainly his opposition did not
proceed from ignorance, for his knowledge of new
music was large and intimate. Whether it be
a good trait in a critic or not, it is a fact that a
nature more affectionate and loyal to his friends
never breathed than Mr. Davison's. His in-
creasing age and infirmities at lenicth made him
give up the 'Times,' and his last articles appeared
Sept. 9-13, 1879. His knowledge was very
great, not only of music, but of literature of all
ages and schools, especially of the mystic and
humorous class ; of Burton's * Anatomy of Me-
lancholy* he was very fond. Among poets,
Shelley was his favourite. His knowledge and
his extraordinary memory were as much at the
service of his friends as the keen wit and gro-
tesque humour — often Rabelaisian enough —
with which he poured them forth. He was very
much of a Bohemian. An autobiography from
his pen would have been invaluable, but he
could never be induced to undertake it. He
died at Margate March 24, 1885. [G.]
DAY, Alfred. P. 436, 1. 20, add date of
death, Feb. 11, 1849, (Added in late editions.)
Same column, note i, for Novello & Co. read
Harrison & Co., Pall Mall.
DEGREES, MUSICAL. Since the publi-
cation of the early part of the Dictionary the
regulations as to Musical Degrees at Oxford,
Cambridge and Dublin have undergone alter-
ations, and these Degrees have been instituted
at the University of London. The following
rules are now in force : —
At Cambridge no candidate can be admitted
to the examination for the Mus. Bac. degree
unless he (a) have passed Parts I and II of
the University * Previous Examination ' ; or
(J) have passed one of the Senior Local Exami-
nations in certain specified subjects ; or (c) have
passed one of the ' Higher Local Examinations 'of
610
DEGREES.
the University ; or (d) produce the certificate
of the * Oxford and Cambridge Schools Exami-
nation Board.* These conditions are not, how-
ever, required of persons holding degrees of any
British University other than those in music.
The musical examination itself remains as before.
At Oxford, no candidate can be admitted to
the degree for Mus. Bac. unless he produce either
his Testamur for Responsions (or the ' Previous *
Examination at Cambridge) ; or a higher cer-
tificate from the Delegates for the Examination
of Schools ; or a certificate that as a candidate
in the Senior Local Examinations he has shown
sufficient merit to be excused from Responsions ;
or that he has satisfied the Examiners of Senior
Candidates in English, Mathematics, Latin, and
in one of these four languages — Greek, German,
French, Italian. The musical examination re-
mains as before.
At Dublin a similar literary or general ex-
amination is imposed upon candidates for musical
London. The candidate for B. Mus. must
have passed the intermediate examination in
music at least one year previously. He has to
send in an exercise, with five-part vocal counter-
point, canon and fugue, and quintet string
accompaniment. If this is approved, he will be
tested by a further examination in practical
harmony and thorough bass, counterpoint, canon,
fugue, form, instrumentation and a critical
knowledge of some selected classical composition.
The candidate may, if he chooses, offer to be
examined in playing at sight from a five-part
vocal score, and playing an accompaniment from
a fig.ured bass.
Every candidate for D. Mus. must have ob-
tained the degree of B. Mus. and pass two
subsequent examinations, of which the first is
called the Intermediate D. Mus. examination.
This includes the phenomena of sound in general,
and the nature of aerial sound-waves, the special
characteristics of musical sounds, and the more
elaborate phenomena of compound sounds, musical
scales of various nations, temperament, Greek
and church modes, history of measured music,
principles of melodial progression, history of
harmony and counterpoint, theory of chords
and discords and progression in harmony, the
general distinction between physical and aestheti-
cal prineiples, as bearing on musical forms and
rules.
The final D.Mus. examination must be pre-
ceded by composition of an exercise with eight-
part harmony with solo and fugue, and ac-
companiment for full orchestra. The exami-
nation comprises practical harmony of more
advanced character, counterpoint, form, in-
stiumentation, general acquaintance with the
greatest composers, and critical knowledge of
specified works. Candidates may oflfer playing
at sight from full orchestral score and extempore
composition on a given subject. [C.A.F.]
DEHN, S. W. Correct date of birth to Feb.
25, 1799, and add day of death, April la.
(Falosuhi.)
DELIBES.
DE LA BORDE, Jean Benjamin, bom in
Paris Sept. 5, 1734, became a pupil of D'Au-
vergne for the violin, and of Rameau for com-
position, and ultimately attained great eminence
as an amateur composer. He wrote nearly fifty
operas of a more or less trifling kind, many songs
for single voice, and several works on music,
among which the * Essai sur la Musique ancienne
et moderne' (1780), is the most important. He
was guillotined July 23, 1794. [M.]
DELAIRE, Jacques Augustb. See vol. iii.
p. 99 a note I.
DELIBES, Clement Philibert Leo, bom at
St. Germain du Val (Sarthe), on Feb. 21,* 1836,
came to Paris in 1848, and was admitted into the
Solffege class at the Conservatoire, and at the
same time sang in the choirs of the Madeleine
and other churches. Having obtained a first
prize for solffege in 1 850, he studied pianoforte,
organ, harmony, and advanced composition under
Le Couppey, Benoist, Bazin, and Adolphe Adam
respectively. Through the influence of the last-
named, he became accompanyis't at the Theatre
Lyrique in 1853, and also organist in the
church of St. Pierre de Chaillot, and elsewhere,
before his final appointment at St. Jean St.
Fran9ois, which he held from 1 862 to 1 871.
He devoted himself from an early period to
dramatic composition, and wrote several short
comic operas for the Theatre Lyrique — * Maitre
GrifFard' (1857), ' Le Jardinier et son Seigneur*
(1863) ; and a number of operettas for the Folieff
Nouvelles, the Bouffes Pari8iens,and the Varie^tes,
of which some were very successful — 'Deux
vieilles Gardes' (1856), 'L'Omelettek la Fol-
lembache' (1859), *Le Serpent k plumes* (1864),
'L'£cossais de Chatou* (1869), etc. He also
wrote a number of choruses for male voices, a
mass and some choruses for the school children
of St. Denis and Sceaux, where he was inspector.
In 1863 Delibes became accompanyist at the
Opera, and soon .afterwards second chorus master
(under Victor Massd): he kei)t this appointment
until 1872, when he gave it up on the occasion
of his marriage with the daughter of Mile. Denain,
a former actress at the Comddie Franyaise. By
his appointment at the Opera a new career was
opened out to him. Having been commissioned
to compose the ballet of *La Source' (Nov. 12,
1866) in collaboration with the Russian musician
Minkous, he displayed such a wealth of melody
as a composer of ballet music, and so completely
eclipsed the composer with whom he had as a
favour been associated, that he was at once
asked to write a divertissement called * Le Pas
de Fleurs' to be introduced into the ballet of his
old master, Adolphe Adam, * Le Corsaire,' for
its revival (Oct. 21, 1867). He was finally en-
trusted with the setting of an entire ballet, on
the pretty comedy * Copp^lia ' (May 25, 1870),
which is rightly considered his most charming
production, and which has gained for him a full
recognition. He did not wish however to con-
fine himself to the composition of ballets ; in
> Pftte verified by regliter of birth. . •
DELIBES.
DE RESZKE.
611
1872 he pjublished a collection of charming
melodies, * Myrto/ * Les Filles de Cadiz,' * Bon-
jour Suzon,' etc., and on May 24, 1873, he
produced at the Opdra-Coniique a work in three
acts, 'Le Roi I'a dit,* which in spite of the
charm and grace of the first act has not had a
liEisting success, in Paris at least, though it has
met with considerable favour in Germany.
After this Delibes returned to the Opera, where
he produced a grand mythological ballet, * Sylvia,*
(June 14, 1876), which confirmed his snpeiiority
in dance music. In spite of this fresh success
Delibes was still anxious to write a serious vocal
work, and produced a grand scena, *La Mort
d'Orph^e,' at the Trocaddro Concerts in 1878.
He then composed two dramatic works for the
Op^ra Comique, * Jean de Nivelle ' (March 8,
1880) and 'Lakme' (April 14, 1883). His
ambition is certainly laudable, but though his
musical ability secures him a partial success,
these more serious works have not such lasting
charm as his lighter productions. In spite of
this reservation, Delibes is nevertheless one of
the most meritorious composers of the modern
French school. In addition to the above works
he has composed incidental music for *Le Koi
s'amuse,' on its revival at the Coni^die Fran9aise,
Nov. 22, 1882, and has published several songs,
almost all intended for representations at the
last-named theatre. Among them are * Ruy Bias,'
* A quoi rgvent les jeunes filles, 'and 'Barberine.'
Jn 1877 Delibes was madeChevalier of the Legion
of Honour; in Jan. 1881 he succeeded Reber,
who had just died, as professor of advanced com-
position at the Conservatoire ; and in Dec. 1884
he was elected a member of the Institut in the
place of Victor Massd. (Died 1891.) [A.J.]
DEMEUR, Anne Aesene, nee Charton, was
born March 5, 1827, at Saujon (Charente), was
taught music by Bizot of Bordeaux, and in
1842 made her d^but there as Lucia. She sang
next at Toulouse, and in 1846 at Brussels. On
July 18 in the same year she made a successful
d^but at Drury Lane as Madeleine in * Le Postil-
ion,' and also played both Isabelleand Alice ('Ro-
bert '), Eudoxie, on production of ' La Juive' in
England, July 19, and with great success as An-
gfele (* Domino Noir') with Couderc, the original
Horace. On Sept. 4, 1 847, she married M. Demeur
the flautist.^ In 1849-50 she w.as first female
singer of Mitchell's French Company at St.
James's Theatre, and became highly popular in
various light parts, many of which were then
new to England, viz. Angfele, Henriette (' L'Am-
bassadrice ' ), Isabelle (* Pr^ aux Clercs'), Zanetta,
Feb. 13, i8^9 ; Laurette ('Cceur de Lion*), and
Adfele (Auber's 'Concert k la Cour'), both on
Feb. 26, 1849; Lwcrezia ('Acteon') March 4,
1849; the Queen of L^on (Boisselot's *Ne touchez
pas h. la Reine'), May 21, 1849; Countess
('Comte Ory'), June 20, 1849; Anna ('Dame
I Demeur, Jules Amtoime, born Sept. 23,1814, at Hodimont-lez
Verviers— studied the flute at the Brussels Conservatoire from
Lahore— subsequently learnt the Boehm flute from Dorus at Paris;
from '42 to '47 was first flautist at the Brussels Opera, and as such
played at Drury Lane in '46 ; relinquished that post to accompany
kit wife ou all her eugagemenu.
Blanche"), Camille ('Zampa'), Jan. 4, 1850;
Rose de Mai (*Val d'Andorre'), Jan. 17; Vir-
ginie (* Le Caid '), Feb. 1 1 ; Catarina (' Les
Diamans *), etc. She sang at the Philharmonic
Concert of March 18, 1850; in 1852 she ap-
peared in Italian at Her Majesty's on July 27,
as Amina; and on Aug. 5, in the Duke of
Saxe-Coburg-Gotha's ' Casilda.' * She made an
impression when singing in French comic opera
by her pleasing voice and appearance and by a
certain cosiness of manner which was very charm-
ing.' (Chorley.) Mme. Charton-Demeur having
sung with little success in 1849 and 1853 at the
Op^ra Comique, adopted the Italian stage, and
won both fame and fortune in St. Petersburg,
Vienna, in North and South America, and in
Paris at the Italiens as Desdemona in 1862. On
Aug. 9 of that year she played the heroine on
the production of Berlioz's * Beatrice et B^ne'dict '
so much to the composer's satisfaction that he
requested her to play Dido in ' Les Troyens k
Carthage,' produced at the Lyrique Nov. 4, 1863.
Berlioz has commemorated in his Memoirs her
great beauty, her passionate acting and singing
as Dido, although she had not sufficient voice
wholly to realise his ideal heroine, and last, not
least, her generosity in accepting the engage-
ment at a pecuniary loss to herself, a more lucra-
tive ofier having been made her for Madrid. On
the conclusion of the run of the opera she sang at
Madrid, but afterwards returned to the Lyrique,
where, on May i, 1866, she played Donna Anna
with Nilsson (Elvira) and Carvalho (Zerlina). For
many years past Mme. Charton has been living
in retirement, but has occasionally appeared at
concerts, viz. at the Berlioz Festival at the Paris
Opera, with Nilsson in the Duo Finale to the
1st act of 'Beatrice et Benedict,' March 22, 1870 ;
at the Pasdeloup concerts with Monjauze in the
finale to the 2nd act of Reyer's 'Sigurd,' per-
formed for the first time, March 30, 1873 ; and
made her last .appearances at the same concert
as Cassandra in the first production of Berlioz's
' Prise de Troie,' Nov. 23 and 30, and Dec. 7,
1879. [A.C.]
DEMONIC, IL. Opera in three acts; the
words by Wiskowatoff, after Lerinontoff's poem,
music by Anton Rubinstein. Produced at St.
Petersburg, Jan. 25, 1875, and at Covent Garden,
June 21,1881. [M.]
DE RESZKE, Edouard, born at Warsaw,
Dec. 23, 1855, was taught singing by his
brother Jean, Ciaffei, Steller, and Coletti, and
made his d^but April 22, 1876, as the King in
* Aida,' on its production at the Italiens, Paris.
He sang there with success for two seasons, and
afterwards went to Italy, where, in 1880, at
Turin, he made a success in two new parts — the
King in Catalani's *Elda,' Jan. 31, and Charles V.
in Marchetti's ' Don Giovanni d'Austria,' Mar.
II, and appeared at Milan on the production of
Ponchielli's ' Figluol Prodigo.' Dec. 26. From
1880 to '84 he was engaged with the Royal
Italian Opera, until its collapse. He made
1 his d^ut on April 13, 188Q, as Indra (' Roi de
612
DE RESZKE.
Lahore'), but his Buccess as a foremost lyric
artist was established by his admirable perform-
ances of St, Bris, the Count in * Sonnambula,'
Basilio, and later as Walter ('Tell '), Peter the
Great, Prince Gudal ('Demonio'), June 21, 1881;
S^non (Lenepveu's ' Velleda'), July 4, 1883;
Almaviva ; Mephistopheles ; Alvise, on produc-
tion of *La Gioconda,* May 31, 1883; Hagen,
on production of Reyer's 'Sigurd,' July 15,
1884 ; etc. In 1883-84 he reappeared in Paris
at the Italian Opera (Theatre des Nations),
with great success, in 'Simone Boccanegra,* in
Massenet's • Herodiade,' on its production in
Paris, in Dubois* 'Aben Hamet,' Dec. 16, 1884,
and in favourite operas. He is now engaged at
the French Op^ra, where he first appeared April
13* 1885, as Mephistopheles, which part he
played at the 500th performance of 'Faust,'
Nov. 4, 1887. He appeared as Leporello in the
centenary performance of * Don Juan,' Oct. 26,
1887, and has played parts in two operas re-
cently produced there, viz. *Le Cid' and * Patrie.'
He played at the ItiUian Opera at Drury Lane
in 1887, as Basilio, St. Bris, Mephistopheles, and
Henry the Fowler (* Lohengrin '), and more than
confirmed the reputation previously made as
perhaps the best bass singer and actor on the
lyric stage.
His elder brother, Jean, bom at Warsaw, Jan.
14, 1852, was taught singing by his mother, a
distinguished amateur, and at the age of twelve
sang solos in the Cathedral there. He was
taught later by CiafFei, Cotogni, and Sbriglia.
Under the name 'De Reschi ' he made his debut
at Venice as Alfonso (* Favorita *) in Jan. 1874,
according to an eye-witness with success.^ He
made his d^but at Drury Lane on April 1 1 of
the same year, and in the same part, and played
there two seasons as Don Giovanni, Almaviva,
De Nevers, and Valentine. A contemporary*
spoke of him as one of whom the highest ex-
pectations might be entertained, having a voice
more of a low tenor than a baritone, of delicious
quality ; he phrased artistically and possessed
sensibility, but lacked experience such as would
enable him to turn his vocal gifts to greater
account and to become an eflFective actor. The
quality of the organ was more of the robust
tenor timbre tlian a baritone. Under his own
name he made his d^but at the 'Italiens * as Fra
Melitone ('Forza del Destino'), Oct. 31, 1876,
with some success, and as Severo (Donizetti's
* Poliuto ') Dec. 5, Figaro (* Barbiere ') Dec. 19.
He made his tenor debut as 'Robert,' at Madrid
in 1879 with great success, and as such was
engaged at the Theatre des Nations in 1884.
He played there the part of St. John the Baptist
on the production of * Herodiade ' so much to
the satisfaction of Massenet, that he procured
him an engagement at the Acaddmie to create
the title part of * Le Cid,' in which he made
his ddbut on its production, Nov. 30, 1885. He
is still engaged there, and has become a great
favourite. He has pliyed there also as Radames,
1 Letter of Mr. Michael WilUams In Musical World, Jan. a. 1874.
> Atlienwum, April 13 aad July 20, 1874.
DIAPHONIA.
Vasco de Gama, and John of Leyden, and as
Ottavio and Faust in the celebrations mentioned
above, for the first time in Paris. His next part
there was that of Bussy d'Amboise in Salvayre'a
unsuccessful ' Dame de Monsoreau.*
He re-appeared at Drury Lane as Radames,
June 13, 1887, and during the season played
Lohengrin, Faust, and Raoul with great applause
and worthily fulfilled prediction by the marked
improvement both in his singing and acting, and
for his ease and gentlemanly bearing, such im-
provement being almost entirely due to his own
hard work and exertions. He has been almost
unanimously pronounced to be the best stage
tenor since Mario.
Their sister, Josephinb, educated at the Con-
gervatorium, St. Petersburg, attracted the notice
of M. Halanzier at Venice, and was engaged by
him at the Acad^mie, where she made her d^but
as Ophelia, June 21, 1875. She sang there with
success for some time, where she was the original
Sitae Roi de Lahore'), April 27, 1877. Later
she was very successful at Madrid, Lisbon, ete. ;
sang at Co vent Garden as Aida, April 18, 1881,
and again in Paris at the 'Nations' as Salome
(' Hdrodiade '), March 13, 1884. She retired
from public on her marriage with M. Leopold de
Kronenburg of Warsaw. [A.C.]
DERING, Richard. Line 9 of article, add
the date of his appointment in Brussels, 1617.
In that year appeared his second work, * Can^
tiones sacrae quinque vocum,' etc. In 1619
another volume of similar composition appeared,
and in 1620 two books of canzonets were pub-
lished at Antwerp. Line 14, for about 1658
read early in 1630. It should be added that his
earliest production is probably the first instance
of the use of figured bass. [ W.B.S.]
DESMARETS, Henri, bom in Paris 1662.
and brought up at the court of Louis XIV.
His first opera, ' Didon,' in five acts, was per-
formed June 5, 1693. It was followed by 'Circe *
(1694), 'Thdagfene et Charicl^e' and • Les Amours
de Momus ' (1695), 'Vdnus et Adonis' (1697),
' Les Fdtes Galantes ' (1698). About this time he
got into trouble in consequence of a secret mar-
riage with the daughter of a dignitary at Senlis,
and had to escape to Spain, where he became, in
1700, maltre de musique to Philip V. In 1704 his
* Iphig^nie,' written in collaboration with Cam-
pra, was given in Paris, but he does not appear
to have returned from Spain until 17 14, when
he took up his residence at Lun^ville, under the
patronage of the Duke of Lorraine, with whose
help he obtained, in 1722, the ratification of his
marriage. In that year his ' Renaud, ou la
Suite d'Armide ' was performed in Paris, and in
1 741 the composer died, in prosperous circum-
stances, at Lun^ville. [M.]
DEUX JOURNlfcES. LES. Line 4, add
other names of German adaptations, * Die Tage
der Gefahr,' and ' Graf Armand, oder die zwei
unvergesslichen Tage.* Refer to Water Carrier.
DIAPHONIA (from 815, twice; and <p<uvioj,
I sound. Lat. Discanius ; from dis, twice, and
DIAPHONIA.
DIES IR^.
613
cantus, a song. Inexact synonjrm, Organum).
A term, applied, by Guido d'Arezzo, in his
Micrologus, to a form of composition in which a
second Part, called Organum, was added below
a given Cantus firmus. Writers, of somewhat
later date, while generally describing Diaphonia
under its Latinized name, Discantus, have treated
that word as the exact synonym of Organum.
Guido, however, clearly restricts the term, Orga-
num, to the Part added below the Cantus
firmus ; and not without good reason, since it is
only to the union of the two Parts that the
terms, Diaphonia, or Discantus, can be logically
applied. In its oldest known form, the added
Part moved in uninterrupted Fourths below the
Cantus firmus. Guido disapproved of this, and
recommended, as a more agreeable {mollis)
method, that the Major Second, and the Major
and Minor Third, should be used in alternation
with the Fourth. When a third Part was added,
by doubling the Organum in the Octave above,
the form of composition was called Triphonia.
Tetraphonia was produced by doubling both the
Organum and the Cantus firmus, in the Octave
above. Guido called the third Part, Organum du-
plicatum. In later times, it was called Triplum
( = Treble), and the fourth Part, Quadruplum.
Diaphonia.
Triphonia.
Tetraphonia.
1
- ■ gg !^-^__
j
Hi - se - re - re.
"^ ,.
1
For Hucbald's treatment of Discantus and
Organum, see vol. ii. p. 609, and vol. iii. p. 427.
[W.S.R.]
DIBDIN, Charles. Correct statement as to
his being the originator of ' table entertainments '
by a reference to vol. iv. p. 51a.
DICTIONARIES OF MUSIC. For ampli-
fication of first sentence, see Tinctoris, vol. iv.
p. 1 28 a. P. 444 b, bottom line, add a reference to
Brossard, in Appendix. P. 446 a, I. i, add that
the supplement to F^tis was published in 1878 by
M. Arthur Pougin, in 2 vols. Add to second
paragraph that Mendel's Lexicon lias been
completed in 11 vols., together with a supplemen-
tary volume edited by Dr. August Reissmann,
in 1883. Mention should also be made of
Dr. Hugo Riemann's handy ' Musik-Lexicon *
published in Leipzig in 1882 (second edition,
1887). P. 446 J, 1. 13, add that the musical
articles in the Encyc. Brit, have been more
recently written by Mr. W. S, Rockstro.
VOL. IV. PT. 5.
DIES IR^ (Prosa de Morfuis. Prosa de
Die Judicii. Sequentia in Commemoration e
Defunctorum. '^H opy'qs kKciv' -^fiepa). The Se-
quence, or Prose, appointed, in the Roman
Missal, to be sung, between the Epistle and
Gospel — that is to say, immediately after the
Gradual and Tractus — in Masses for the Dead.
The truth of the tradition which ascribes the
Poetry to Thomas de Celano, the friend, dis-
ciple, and biographer, of S. Francis of Assisi,
seems to be established, beyond all controversy.
F. Thomas was admitted to the Order of the
Friars Minor soon after its formation; enjoyed
the privilege of the closest intimacy with its
saintly Founder; and is proved, by clear inter-
nal evidence, to have written his * Vita Sancti
Francisci' between Oct. 4, 1226, on which daj'
the death of the Saint took place, and May
25, 1230 — the date of the translation of his
Relics. This well-established fact materially
strengthens the tradition that the 'Dies irae'
w-as written not very many years after the be-
ginning of the 13th century; and effectually
disposes of the date given by some modern
Hymnologists, who, though attributing the Se-
quence to Thomas de Celano, assert that it w^as
composed circa 11 50. F. Bartholomoeus Pisa-
nus (ob. 1401) says that it was written byFrater
Thomas, who came from Celanum ; and that it
was sung in Masses for the Dead. But, many
years seem to have elapsed before its use be-
came general. It is very rarely found, in early
MS. Missals, either in England, France, or Ger-
many ; and is wanting in many dating as late as
the close of the 15 th century, or the beginning
of the 1 6th. It is doubtful, indeed, whether its
use was recognized in all countries, until its in-
sertion in the Missale Romanum rendered it a
matter of obligation.
As an example of the grandest form of mediae-
val Latin Poetry — the rhymed prose ^ which
here attains its highest point of perfection — the
'Dies irae' stands unrivalled. Not even the
* Stabat Mater ' of Jacobus de Benedictis, writ-
ten nearly a century later, can be fairly said to
equal it. For, in that, the verses are pervaded,
throughout, by one unchanging sentiment of
overwhelming sorrow ; whereas, in the * Dies
irae,' wrath, terror, hope, devotion, are each, in
turn, used as a natural preparation for the con-
cluding prayer for * Eternal rest.' The tender-
ness of expression which has rendered some of
its stanzas so deservedly famous, is contrasted,
in other verses, with a power of diction, which,
whether clothed in epic or dramatic form, is
forcible enough to invest its awful subject with
an all-absorbing interest, a terrible reality, which
the hearer finds it impossible to resist. A great
variety of unfamiliar ' readings ' is to be found
in early copies. The version believed to be the
oldest is that known as the Marmor Mantuanum,
in which, among other variations from the version
contained in the Roman Missal, four stanzas,
each consisting of three rhymed verses, precede
the authorized text.
1 Seevol. tit. p. 465 6.
Ss
614
DIES mJE.
Sir Walter Scott's rendering of the opening
stanzas, at the end of * The Lay of the Last
Minstrel,' is known to every one. A very fine
English paraphrase, by the Rev. W. I. Irons,
B.D., beginning, ' Day of wrath, 0 day of mourn-
ing!' is inserted, in company with the old Plain
Song Melody, in the Rev. T. Helmore's * Hymnal
Noted.' Innumerable German translations are
extant, of which the best-known is that begin-
ning, * Tag des Zoms, du Tag der Fulle.'
The old Ecclesiastical Melody is a remark-
ably fine one, in Modes i. and ii. (Mixed Do-
rian) ranging throughout the entire extent of
the combined Scale, with the exception of the
Octave to the Final. No record of its origin,
or authorship, has been preserved; but we
can scarcely doubt, that, if not composed by
Thomas de Celano himself, it was adapted to his
verses at the time of their completion. Fine as
this Melody is, it has not been a favourite with
the greatest of the Polyphonic Masters; partly,
no doubt, on account of the limited number of
Dioceses in which the Sequence was sung, prior
to its incorporation in the Roman Missal ; and,
partly because it has been a widespread cus-
tom, from time immemorial, to dispense with the
employment of Polyphonic Harmony, in Masses
for the Dead. The 'Dies irae' is wanting in Pa-
lestrina's * Missa pro Defunctis,' for five Voices,
printed at the end of the third edition of his
First Book of Masses (Rome, 1591); and, in
that by Vittoria, sung in 1 603 at the Funeral
of the Empress Maria, wife of Maximilian II.,
and printed at Madrid in 1605. It is found,
however, in not a few Masses by Composers of
somewhat lower rank ; as, for instance, in a
Missa pro Defunctis, for four Voices, by Gio-
vanni Matteo Asola (Venice, 1586) ; in one for
eight Voices, by Orazio Vecchi (Antwerp, 161 2) ;
in one for four Voices, by Francesco Anerio ;
and in one for four Voices, by Pitoni. In all
these Masses, the old Ecclesiastical Melody is
employed as the basis of the composition ; but
Pitoni has marred the design of an otherwise
great work, by the introduction of alternate
verses, written in a style quite unsuited to the
solemnity of the text.
With modern Composers the ' Dies irse ' has
always been a popular subject ; and more
than one great master has adapted its verses to
Music of a broadly imaginative, if not a dis-
tinctly dramatic character. Among the most
important settings of this class, we may enu-
merate those by Colonna and Bassani, copies of
which are to be found in the Library of the
Royal College of Music ; that in Mozart's Re-
quiem, of which, whether Mozart composed it
or not, we may safely say that it was written by
the greatest Composer of Church Music that the
School of Vienna ever produced : the two great
settings by Cherubini ; the first, in his Requiem
in C Minor, and the second, in that in D Minor ;
the extraordinarily realistic settings in the
Requiems of Berlioz and Verdi; and finally,
the setting in Gounod's • Mors et Vita.' For far-
ther information concerning the poem and other
DITSON.
musical compositions on the words, the reader
is referred to a series of articles in 'The Musical
Review' (Novello) for June, 1883. [W.S.R.]
DIETRICH, Albert Hermann, bom Aug.
28, 1829, at Golk near Meissen, and educated at
the Gymnasium at Dresden, from 1842 onwards.
While here he determined to devote himself to
music, but in spite of this resolution, he went,
not to the Conservatorium, but to the Uni-
versity of Leipzig, in 1847, having previously
studied music with Julius Otto. At Leipzig
his musical tuition was in the hands of Rietz,
Hauptmann and Moscheles. From 1851 he had
the advantage of studying under Schumann at
Diisseldorf until 1854, when the master's mental
condition made further instruction impossible.
During this time, in the autumn of 1853, an
incident occurred which brought Dietrich into
collaboration with his master and Johannes
Brahms. Joachim was coming to Diisseldorf jb
to play at a concert on Oct. 27, and Schumann ^H
formed the plan of writing a joint violin-sonata ^
with the other two, by way of greeting. Die-
trich's share was the opening allegro in A minor.
[See vol. iii. p. 404 a.] In 1 854 his first symphony
was given at Leipzig, and a year later he was
appointed conductor of the subscription concerts
at Bonn, becoming town Musikdirector in 1859.
In 1 86 1 he became Hof kapellmeister at Olden-
burg. On his frequent visits to Leipzig, Cologne,
and elsewhere, he has proved himself an exceUent
conductor, and an earnest musician. Among
his works may be mentioned an opera in three
acts, * Robin Hood' ; pieces for pianoforte, op. 2 ;
songs, op. 10 ; a trio for piano and strings,
op. 9 ; a symphony in D minor, op. 20 ; a c(moert
overture, * Normannenfahrt ' ; ' Morgenhymne' ;
' Rheinmorgen'; and * Altchristlicher Bittgesang' ;
works for choir and orchestra ; concertos for horn
(op. 29), violin (op. 30) and violoncello (op. 32);
a pianoforte sonata for four hands; etc. [M.]
DIETSCH, Pierre Louis Philippe. See
vol. iv. p. 213 a, note i, and add that in 1863 he
was dismissed from his post as conductor by
M. Perrin, and that he died Feb. 20, 1865.
DIGNUM, Charles. Line 10 from end of
article, /or 96 read 90.
* DITSON, Oliver, & Co. The oldest music-
publishing house in the United States now
engaged in business, as well as the largest.
Its headquarters are at Boston, where the
senior partner has followed the business since
1823, when, at the age of 12, he entered the
employ of Samuel H. Parker, a book and music
seller. On reaching his majority ini832, Ditson
was taken into partnership by his employer, and
the firm, Parker & Ditson, continued until
1845, when, on the retirement of Parker, the
business was carried on by Ditson in his own
name until 1857, when John C. Haynes was
admitted a partner, and the style, Oliver Ditson
& Co., was adopted. Ditson's eldest son, Charles
H., was admitted in 1867, and was placed in
chargs of the New York branch, Charles H.
• Copyright 1889 by F. H. J ekes.
DITSON.
Ditson & Co. In 1875 another son, J. Edward,
became a member of the firm, and the head of
the Philadelphia branch, J. Edward Ditson
& Co. In i860 a branch was established in
Boston for the importation and sale of band and
orchestral instruments and other musical mer-
chandise, under the name of John C. Haynes &
Co. A further branch has existed in Chicago
since 1864, styled Lyon & Healy, who transact
a general business in music and musical mer-
chandise with the growing country that lies to
the westward. The catalogue of sheet music
published by the house and its four branches
embraces over 51,000 titles. Some 2000 other
titles — instruction books, operas, oratorios,
masses, collections of psalmody and of secular
choral music, in fact every variety of music and
text book known to the trade — are also included
in the list of publications bearing the imprint of
the firm. [F.H.J.]
DOCTOR OF MUSIC. Line 20 of article,
and following, correct date of Bull's degree to
1592, that of Callcott to 1800, and that of Bishop
to 1853. Line 10 from bottom, correct date of
Nares' degree to 1 756. Refer to Oxfokd, vol. ii.
624 h, for a further list of names, and see
Degrees in Appendix.
DODECACHORDON (original Greek title,
AnAEKAXOPAON, from SajSe/ea twelve, and
Xop^Tj, a string). A work, published at Basle,
in September, 1547, by the famous mediaeval
theorist, now best known by his assumed name,
Glareanus, though his true patronymic was
Heinrich Loris, latinized Henricus Loritus. [See
vol. i. p. 598.]
The Dodecachordon owes its existence to a
dispute, which, at the time of its publication, in-
volved considerations of great importance to
Composers of the Polyphonic Schools and the
clearness and logical consistency of the line of
argument it brings to bear upon the subject
render it the most valuable treatise on the
Ecclesiastical Modes that has ever been given
to the world.
In the time of S. Ambrose, four Modes only
were formally acknowledged. S. Gregory in-
creased the number to eight. Later students,
finding that fourteen were possible, advocated
the use of the entire number. In the opening
years of the 9th century, the controversy grew
so hot, that the question was referred to the
Emperor Charlemagne, who was well known to
be one of the most learned Musicians of his age.
Charlemagne, after long deliberation, decided
that twelve Modes were sufficient for general
use : and his dictum was founded on an indis-
putable theoretical truth; for, though fourteen
Modes are possible, two are rendered practically
useless, by reason of their dissonant intervals.
The decision of Charlemagne was universally
accepted, in practice ; but, in process of time, an
element of confusion was introduced into the
theory of the Modes, by certain superficial stu-
dents— prototypes of the party which now tells
us that ' Plain Song ought always to be sung in
DODECACHORDON.
615
unison ' — who, unable to penetrate beyond the
melodic construction of the scale, imagined that
certain Modes were essentially identical, because
they corresponded in compass, and in the posi-
tion of their semitones. It is quite true that
every Authentic Mode corresponds, in compass,
and in the position of its semitones, with a cer-
tain Mode taken from the Plagal Series ; just as,
in the modern system, every Major Scale cor-
responds, in signature, with a certain Minor
Scale. But, the intervals in the two Modes are
referable to, and entirely dependent upon, a
different Final ; just as, in the Relative Major
and Minor Scales, they are referable to a differ-
ent Tonic. For instance, the Authentic Mixoly-
dian Mode corresponds, exactly, in its compass,
and the position of its semitones, with the Plagal
Hypoionian Mode. The range of both lies
between G and g ; and the semitones, in both,
fall between the third and fourth, and the sixth
and seventh degrees. But, the Final of the
Mixolydian Mode is G, and that of the Hypo-
ionian, C ; and, though Palestrina's Missa Papae
Marcelli, written in the Hypoionian Mode, ends
every one of its greater sections with a full close
on the Chord of C, and bases every one of its
most important Cadences on that Chord, there
are critics at the present day who gravely tell us
that it is in the Mixolydian Mode, simply because
the range of its two Tenors lies between G -and
g. Glareanus devotes pages 73-74 of the Dodeca-
chordon to an unanswerable demonstration of the
fallacy of this reasoning ; and all the great
theorists of the 1 6th century are in agreement
with him, in so far as the main facts of the
argument are concerned, though they differ in
the numerical arrangement of their ' Tables.' To
prevent confusion on this point, it is necessary to
consider the system upon which these * Tables '
are constructed.
The most comprehensive and reasonable system
of classification is that which presents the com-
plete series of fourteen possible Modes, in their
natural order, inserting the impure Locrian and
Hypolocrian forms, in their normal position,
though rejecting them in practice. The complete
arrangement is shown in the following scheme.
I. Dorian.
II. Hypodorian.
Hyper-
IX. ^olian.
X. Hyposeolian.
XL Locrian {or
ceolian).
XIL Hupolocrian^crHyper-
phrygian).
XIII. Ionian (or lastian).
XIV. Hypoionian (or Hy-
poiastian).
III. Phrygian,
IV. Hypophrygian.
V. Lydian (or Hyper-
plirygian).
VI. Hypolydian.
VII. Mixolydian (or Hy-
perlydian.)
VIII. Hypomixolydian.
The system most widely opposed to this recog-
nises the existence of eight Modes only — Nos.
I-VIII in the foregoing series ; and represents
the iEolian, Hyposeolian, Ionian, and Hypoio-
nian forms, as replicates of Modes II, III, VI,
and VII — or, still less reasonably, Modes I, II,
V, and VI — with the substitution of different
Finals.
In all essential points, Glareanus follows the
first-named system, though he describes the
Ionian, and Hypoionian forms, as Modes XI and
SS2
616
DODECACHORDON.
XII, and simply mentions the rejected Locrian
and Hypolocrian scales by name, without assign-
ing them any definite numbers.
Zacconi's Table agrees with that of Glareanus.
Fux generally describes the Modes by name, and
takes but little notice of their numerical order.
In later times, the editors of the Mechlin Office-
Books have endeavoured to reconcile the two
conflicting systems by appending double numbers
to the (Ssputed Modes. Dr. Proske, in his
•Musica divina,' follows the first-mentioned
system, describing the Ionian and Hypoionian
Modes, as Nos. XIII and XIV ; and the same
plan has been uniformly adopted in the present
Dictionary. The want of an unvarying method
of nomenclature is much to be ^ regretted ; but
it no way afiects the essence of the question, for,
since the publication of the Dodecachoidon, no
one has ever seriously attempted to dispute the
dictum of Glareanus, that twelve Modes, and
twelve only, are available for practical purposes ;
and these twelve have found pretty nearly equal
favour among the Great Masters of the Poly-
phonic School.*
The Dodecachordon enters minutely into the
peculiar characteristics of each of the twelve
Modes ; and gives examples of the treatment of
each, selected from the works of the best Masters
of the early Polyphonic School. The amount of
information it contains is so valuable and ex-
haustive, that it is doubtful whether a student
of the present day could ever succeed in thoroughly
mastering the subject without its assistance.
The text, comprised in 470 closely printed
folio pages, is illustrated by 89 Compositions, for
two, three, and four voices, with and without
words, printed in separate parts, and accompanied
by directions for deciphering the Enigmatical
Canons, etc., by the following Composers : —
Antonio Brume! (4 compositions) ; Nicolaus
Craen (i) ; Sixt Dietrich (5) ; Antonius Fevin
(i) ; Adam de Fulda (i); Damianus k Goes
Lusitanus (i) ; Heinrich Isaac (5) ; Josquinus
Pratensis [ Josquin des Frfes] (25); Listenius (i) ;
Adam Luyr Aquaegranensis (i) ; Gregor Meyer
(10) ; Joannes Mouton (4); Jac. Obrechth (3) ;
Johannes Okenheim (3); De Orto(i); Petrus
Platensis [Pierre de la Rue] (3) ; Richafort (i);
Gerardus k Salice Flandri (i); Lutvichus Sen-
flius (3); Andr. Sylvanus (i) ; Thomas Tzamen
(i) ; Jo. Vannius [Wannenmacher] (i) ; Vaque-
ras (i) ; Antonius h. Vinea (i); Paulus Wuest
(i); Anonymous (9).
The first edition of the AH AEKAXOPAON was
printed at Basle, in 1547. A second edition,
entitled * De Musices divisione ac definitione,'
but with the same headings to the chapters, is
1 It will be noticed that the variations affect the later Modes only.
The first eight Modes— the only Modes that can consistently be called
•Gregorian'— are distinguished by the same numbers in all systems
but one. This exception is to be found In the Table given by Zarlino,
who numbers the Modes thus :— I. Ionian ; II. Hypoionian ; III.
Dorian ; IV. Hypodorian ; V. Phrygian ; VI. Hypophryglan ; VII.
Lydlan ; VIII. Ilypolydian ; IX. Mixolydlan ; X. Hypomlxolydlan ;
XI. .fiollan; XII. Hyposeollan. This method Is exceptionally con-
fusing, since not one of iU numbers corresponds irith those of any
other system.
2 Ccnsult, on this point, Balni't 'Life of F«1estrin&' (' Memorle,'
etc.) Tcm. ti. p. 81.
DOLES.
believed to have been printed, at the same place,
in 1549.' A small volume, entitled * Music®
Epitome, sive Compendium, ex Glareani Dode-
cachordo,' by J. Wonnegger, was published at
Basle in 1557, and reprinted in 1559. The
original work is now very scarce, and costly ;
though, happily, less so than the 'Syntagma'
of Praetorius, or the * Musica getuscht und aus-
gezogen ' of Sebastian Virdung. Copies of the
edition of 1547 will be found at the British Mu-
seum, and the Royal College of Music ; and the
British Museum also possesses the first edition of
Wonnegger's * Epitome.' [W.S.R.]
DORFFEL, Alfred, bom Jan. 24, 1821,
at Waldenburg in Saxony, received his first
musical education from the organist Joh. Trube.
In 1835 he entered the Leipzig Conservatorium,
where he received instruction from Karl Kloss,
G. W. Fink, C. G. Miiller, Mendelssohn and
Schumann. In 1837 ^^® made a successful
appearance as a pianist, and soon afterwai-ds
attained to a high position as a musical critic
In the ' Neue Zeitschrift fiir Musik' he wrote
some reviews of Schumann's works, which an-
ticipated the verdict of posterity, although they
did not correspond with contemporary opinion
concerning that master's greatness. His criticism
of 'Genoveva' gave the composer great pleasure.
From 1865 to 1881 he contributed to the *Leip-
zige Nachrichten,' and in i860 was appointed
custodian of the musical department of the town
library. In the following year he established
a music lending library together with a music-
selling business, in both of which he was suc-
ceeded in 1885 by his son, Balduin DorfFel. He
has undertaken much work for the firm of Breit-
kopf & Hartel, whose critical editions of the
classics, and especially that of Beethoven, have
been chiefly con*ected by him. For the edition
of Peters he has edited the pianoforte works of
Schumann, and otlier compositions, and several
of the Bach-Gesellschaft volumes have been
issued under his direction. In 1887 he edited the
' St. Luke Passion ' for the first-named firm. To
the literature of music he has contributed an
edition of Berlioz's treatise on instrumentation,
the second edition of Schumann's 'Gesammelte
Schriften,' and has published an invaluable his-
tory of the Gewandhaus concerts from 1781 to
1881 ('Festschrift zur hundertjahrigen Jubel-
feier, etc. Leipzig, 1884), in recognition of which
the University of Leipzig conferred upon him
the degree of Doctor. [H.B.]
DOLES, JoHANN Friedeich, born in 171 6 at
Steinbach in Saxe-Meiningen, was educated at
the Schleusingen Gymnasium, where he availed
himself of instruction in singing and in playing
on the violin, clavier, and organ. In 1738 he
went to Leipzig for a course of theology at the
University, and while there pursued his musical
studies under J. S. Bach. His compositions,
however, bear little trace of Bach's influence ;
though fluent and correct, they have none of
that great master's depth and grandeur. Doles
* See Tol. L p. 508 a.
DOLES.
would seem to have been more affected by tlie
Italian Opera, with which he became familiar
by constant attendance at performances given
for the Saxon court at Hubertsburg. His light,
pleasing, and melodious compositions, together
with the charm of his manners, rapidly brought
him popularity at Leipzig. In 1743 he
was appointed conductor of the first Gewand-
HAUS Concerts;^ and on March 9, 1744,
he was commissioned to write a Festival
Cantata in celebration of the anniversary of
their foundation. In that same year he was
appointed Cantor at Freiburg, where he wrote,
in 1 748, on the occasion of the hundredth anni-
versary of the Peace of Westphalia, the Sing-
spiel, out of which arose the famous dispute
between Biedermann, Mattheson, and Bach. ^
In 1755 he succeeded Gottlob Hasser as Cantor
of the Thomasschule and also as director of the
two principal churches, which posts he held
until 1789, when old age and failing health
compelled him to resign them. In the spi'ing
of 1789 Mozart visited Leipzig, and on April
22 he played on the organ at St. Thomas's
Church, and made his well-known remark to
Doles about Bach's music. [See Mozart, vol. ii.
p. 392 &.] It was probably on the same occasion
that J. C. Barthel played before Mozart at
Doles's house. [See Barthel, J. C] And in
the following year Doles published his cantata
to Gellert's words, * Ich komme vor dein Ange-
sicht ' (Leipzig, 1 790), dedicated to his friends
Mozart and Naumann. Special interest attaches
to this work, because its preface records Doles's
opinions as to the way in which sacred music
should be treated, and those opinions have little
in common with the traditions of J. S. Bach.
It is plain, indeed, that although Doles was
proud of having been Bach's pupil, and there-
fore unwilling to depreciate him openly, he
took no pains whatever, during his directorship
at Leipzig, to encourage and extend the taste
for his great master's works. Bach's church-
music was almost entirely neglected both by
him and his successor, J. A. Hiller. Doles died
at Leipzig on Feb. 8, 1797.
His compositions consist principally of cantatas,
motets, psalms, sacred odes and songs, and cho-
rales, many of which have been printed, including
some sonatas for the clavicembalo. His * Elemen-
tary Instruction in Singing' had, in its day, con-
siderable reputation as a useful practical method.
Among his many unprinted works may be men-
tioned two oratorios (the Passion-music accord-
ing to St. Mark and St. Luke), two masses, a
Kyrie, a Gloria, a Salve, and a German Mag-
nificat. [A.H.W.]
DOMMEK, Arret vox, born Feb. 9, 1828,
at Dantzig, was brought up to theology, but in
1851 went to Leipzig and learnt compo.sition
from Richter and Lobe. After some time passed
1 They were then called 'das grosse Concert' and were held In a
private house ; but almost Immediately after their commencement
they were Interrupted by the outbreak ot the Seven Years War. [See
\ol. i. p. 592, 3.]
2 See Bitter's J. S. Bach, 111. 229, and Spltta's J. S. Bach. lil. 255f.
<£ngl, ed.)
DORSET GARDEN THEATRE. 61?
as a teacher of music, he forsook Leipzig for
Hamburg, where he spent seven years as a
musical critic and correspondent, and in 1873
was made secretary to the Hamburg city library,
a post which he still holds (1887). In 1865 he
published an enlarged edition of H. C. Koch's
Musikalisches Lexicon of 1802, which is a sterling
work, perhaps a little too sternly condensed. Be-
sides this his Handbook of Musical History (1867,
2nd ed. 1878) is highly spoken of by Riemannj
from whom the above is chiefly obtained. [G.]
DON CARLOS. Line 4 of article, for
Demery read Mery. Line 1,fov Her Majesty's
read Covent Garden.
DONIZETTI. For date of birth read Nov.
25> 1797- (Partially corrected in late editions.)
P. 453 a, 1. 10 from bottom, /or 1834 **6«<^ i^SS-
Page 454 a, 1. 38, add day of death, April 8.
In lines 39 and 40, read he was disinterred on
April 26, and reburied on Sept. 12, 1875, in
Santa Maria Maggiore, Bergamo. The following
corrections are to be made in the list of works : —
The title of No. 4 is ' Zoraide di Granata.'
That of No. 13 is 'Alahor in Granata.' The
date of 'Otto mese in due ore' is 1827; the
works of 1828 begin with No. 20. The date of
* L'Esule di Roma ' is 1828 ; the works of 1829,
omitting ' L'Elisire d'amore,' which belongs to
1832, begin with No. 25, 'II Paria.' The title
of No. 30 is ' Isnelda di Lambertazzi. ' The
date of 'Anna Bolena ' is 1830, and that of
* Fausta ' 1832, among the works of which year
* L'Elisire d'amore ' is to be included. No. 40,
* L'Assedio di Calais' is identical with No. 22,
* Gianni di Calais ' ; the date here given is that
of its production in Paris. The date of * Lucrezia
Borgia' is 1833, and the works of 1834 begin
with ' Rosamonda.' The date of 'Gemma di
Vergy ' is 1834, the works of 1835 beginning with
* Marino FaUero.' 'Roberto Devereux ' belongs
to 1837. The title of No. 51 is ' Pia di Tolomei.'
The works of 1843 begin with ' Maria di Rohan,'
not with ' Don Pasquale.'
DORN, Heinrich. L. E. Line 20 from
bottom of page, /or 47 read 49.
DORSET GARDEN THEATRE. This
house was erected upon the garden of a mansion
belonging to the Earl of Dorset, situate upon the
bank of the Thames at the bottom of Salisbury
Court, Fleet Street. Sir William (then Mr.)
Davenant had obtained a patent for its erection
in 1639 and another in 1662, but from various
causes the building was not erected in his life-
time. His widow, however, built the theatre,
from the designs of Sir Christopher Wren ; and
the Duke's company, removing from Lincoln's
Inn Fields, opened it Nov. 19, 167 1. It became
celebrated for the production of pieces of which
music and spectacle were the most prominent
features, amongst which the most conspicuous
were Davenant's adaptation of Shakspere's
'Macbeth,' with Lock's music, 1672; Shad-
well's adaptation of Shakspere's ' Tempest,' with
music by Lock, Humfrey, and others, 1673;
Shadwell's 'Psyche,' with music by Lock and
618 DORSET GARDEN THEATRE.
Draghi, Feb. 1673-4; Shadwell's 'Libertine,'
with Purcell's music, 1676; Dr. Davenant's
•Circe,' with Banister's music, 1677; Shad-
well's alteration of Shakspere's ' Timon of
Athens,' with Purcell's music, 1678 ; and Lee's
* CEdipus ' and * Theodosius,' both with Purcell's
music, in 1679 and 1680 respectively. In 1682
the King's and Duke's companies were united,
and generally performed at Drury Lane ; but
operas and other pieces requiring a large space
for stage effects were stiU occasionally brought
out at Dorset Garden, amongst them Dryden's
•Albion and Albanius,' with Grabu's music,
1685 ; and Powell and Verbruggen's 'Brutus and
Alba,' with Daniel Purcell's music, in 1697.
In 1699 the house was let to William Joy, a
strong Kentish man styled * The English
Samson,' and for exhibitions of conjuring,
fencing, and even prize-fighting. It was again
opened for the performance of plays in 1703,
and finally closed in Oct. 1706. After the
demolition of the theatre the site was succes-
sively occupied as a timber yard, by the New
River Company's offices, and the City Gas
Works. An engraving showing the river front
of the theatre was prefixed to Elkanah Settle's
* Empress of Morocco,' 1673, another, by Sutton
Nicholls, was published in 1710, and a third in
the Gentleman's Magazine, July, 1 814. [W.H.H.]
DOT. It should be added that Handel and
Bach, and other composers of the early part
of the 1 8 th century, were accustomed to use
a convention which often misleads modern
students. In 6-8 or 12-8 time, where groups
of dotted quavers followed by semiquavers occur
in combination with triplets, they are to be
regarded as equivalent to crotchets and quavers.
Thus the passage
VT:
is played
i
-N-^-
TT-tf-
WT
not with the semiquaver sounded after the third
note of the triplet, as it would be if the phrase
occurred in more modem music. [M.]
DOTZAUER, J. J. F. Line 3 of article, /or
Jan. read June. Line 6 from hottova for 9 read 6.
DOUBLE BASS. Line 14, add that the
notes sound an octave lower than they are
written. In the musical example, the first
note of (5) should be E. (Corrected in late
editions.) Omit foot-note i .
DOWLAND, John. Line 5 from bottom of
page, /or 1602 read 1603. The following ana-
gram on his name is given by Camden at the
end of his * Remaines' : —
Joannes Boulandus.
Annos ludendo hausl.
DRAGHI, G. B. P. 461 h, 1. 15, for com-
posed read published ; the opera was performed
in 1673.
DRAGONETTI, Domenico. The date of
birth should probably be altered to April 7, 1763.
DREAM OF ST. JEROME. A piece of
DUBOIS.
pianoforte music attributed to Beethoven, and
published by Cramer & Beale. It consists of
the third of Beethoven's six sacred songs (op. 48)
transcribed for the PF., and followed by an
arrangement of the Welch air * Merch Megan,'
also for the piano. The piece derived its exist-
ence from the demand created by the mention of
* Beethoven's Dream of St. Jerome ' in Thacke-
ray's • Philip,' that again being a mistake for
' St. Jerome's Love,' a poem adapted by Thomas
Moore, in his * Sacred Songs,' to the melody of
the theme of the opening movement of Beetho-
ven's Sonata, op. 26. The story is told in The
Times of June 16 and 28, 1886. [G.]
DRECHSLER, Karl. Add date of death,
Dec. I, 1873.
DROUET, L. F. P. Add day of death,
Sept. 30.
DRUM. P. 464 b, for second line after first
musical example reac? Meyerbeer uses four drums,
G, C, D, and E. P. 465 i, 1. 5 from bottom, add
that Pieranzovini wrote a concerto for the drums.
DRURY LANE. Line 12 from end of article,
for 1869 read 1870.
DUBOIS, Clement Francois Theodore,
born at Rosney (Marne), Aug. 24, 1837, came
to Paris at an early age, and entered upon a
brilliant course of study at the Conservatoire,
where he gained successively first prizes for
harmony, fugue, and organ, and finally, in 1861,
under Ambroise Thomas, the Prix de Rome.
On his return from Italy in 1866 he devoted
himself to teaching, and was appointed mattie
de chapelle of Ste. Clotilde, where, on Good
Friday, 1867, he produced an important and
carefully written work, * Les Sept Paroles du
Christ,' afterwards performed at the Concerts
Populaires in 1870. It has since been given
in other churches on Good Friday, and parts
of it have been performed at the Concerts
du Conservatoire. Being unable to force an
entrance into the great musical theatres, he
contented himself with producing, at the
Ath^n^e, a pleasing little work, *La Guzla de
rfimir ' (April 30, 1873). In 1878 he carried off,
together with B. Godard, the prize at the
Concours Musical instituted by the city of Paris,
and his * Paradis perdu ' was performed, first at
the public expense (Nov. 27, 1878), and again on
the two following Sundays at the Concerts du
Chatelet. His other dramatic works for the
stage are, 'Le Pain bis' (Opera-Comique,
Feb. 26, 1879) ; 'La Farandole,' ballet (Ope'ra,
Dec. 14, 1883) ; and * Aben-Hamet,' a grand
opera (Theatre Italien de la place du Chatelet,
Dec. 16, 1884). The above are his chief works,
but Dubois is a fertile composer, and has pro-
duced many important compositions at various
concerts, not to mention his numerous pieces for
piano, his single songs, and his church and
chamber music. We may refer to his * Diver-
tissement ' and * Pieces d'Orchestre ' (Concert
national, April 6 and Dec. 14, 1873% a * Suite
d'Orchestre ' (Do. Feb. 8, 1874), * Scenes Sym-
DUBOIS.
phoniques * (Concerts du Chatelet, Nov. 25,
1877), and his Overture * Fritiof (Do. Feb. 13,
1 88 1 ). The last of these, a work full of life and
accent, ranks, together with his two small operas,
among his best compositions. He possesses a full
knowledge of all the resources of his art, but
little originality or independence of style. For
some time he was maitre de ckapelle at the
Madeleine, and is now organist there, having
replaced Saint-Saens in 1877. He succeeded
El wart as professor of harmony at the Conserva-
toire, in 1S71, and in 1883 was decorated with
the Legion of Honour. [A. J.]
DUBOURG, G. Add that he died at Maiden-
head, April 17, 1882.
DULCIMER. P. 468 h. Add that English
dulcimers have ten long notes of brass wire in
unison strings, four or five in number, and ten
shorter notes of the same. The first series,
struck with hammers to the left of the right-
hand bridge, is tuned
DUNSTABLE.
619
$
i i -i ^-
the F heitg natural. The second series, struck
to the right of the left-hand bridge, is
the F being again natural. The remainder of
the latter series, stx'uck to the left of the left-
hand bridge, gives
This tuning has prevailed in other countries and
is old. Chromatic tunings are modern and ap-
parently arbitrary. [A.J.H.]
DULCKEN, Mme. Line 3, correct date of
birth to March 29.
DUN, FiNLAY, born in Aberdeen, Feb. 24,
1795, viola player, teacher of singing, musical
editor and composer, in Edinburgh; studied
abroad under Baillot, Crescentini, and others.
He wrote, besides two symphonies (not published)
Solfeggi, and Scale Exercises for the voice
(1829), edited, with Professor John Thomson,
Paterson's Collection of Scottish Songs, and took
part also with G. F. Graham and others in writing
the pianoforte accompaniments and symphonies
for Wood's Songs of Scotland ; he was editor also
of other Scotch and Gaelic Collections. Dun
was a master of several living and dead languages,
and seems altogether to have been a very ac-
complished man. HediedNov. 28, 1853. [W.He.j
DUNSTABLE,^ John, musician, mathemati-
cian, and astrologer, was a native of Dunstable,
in Bedfordshire. Of his life absolutely nothing
is known, but he has long enjoyed a shadowy
celebrity as a musician, mainly owing to a pas-
sage in the Prohemium to the * Proportionale ' of
Johannes Tinctoris (1445-1511). The author,
1 The name U spelt by early authors Duastaple.
after mentioning how the institution of Royal
choirs or chapels encouraged the study of music,
proceeds : * Quo fit ut hac tempestate, facultas
nostras musices tam rairabile susceperit incre-
mentum quod ars nova esse videatur, cujus, ut
ita dicam, nov£B artis fons et origo, apud Anglicos
quorum caput Dunstaple exstitit, fuisse perhibe-
tur, et huic contemporanei fuerunt in Gallia
Dufay et Binchois quibus immediate succes-
serunt moderni Okeghem, Busnois, Regis et
Caron, omnium quos audiverim in compositione
praestantissimi. Haec eis Anglici nunc (licet
vulgariter jubilare, Gallici vero cantare dicun-
tur) veniunt conferendi. Illi etenim in dies
novos cantus novissime inveniunt, ac isti (quod
miserrimi signum est ingenii) una semper et
eadem compositione utuntur.' (Coussemaker,
* Scriptores,' vol. iv. p. 154.) Ambros (* Ge-
schichte der Musik,' ii. pp. 470-1) has shown
conclusively how this passage has been gradually
misconstrued by subsequent writers, beginning
with Sebald Heyden in his * De Arte Canendi '
(1540), until it was boldly affirmed that Dunsta-
ble was the inventor of Counterpoint ! Ambros
also traces a still more absurd mistake, by which
Dunstable was changed into S. Dunstan ; this
was the invention of Franz Lustig, who was fol-
lowed by Printz, Marpurg, and other writers.
It might have been considered that the claim of
any individual to be the * inventor ' of Counter-
point would need no refutation. Counterpoint,
like most other branches of musical science, can
have been the invention of no single man, but
the gradual result of the experiments of many.
Tinctoris himself does not claim for Dunstable
the position which later writers wrongly gave
him. It will be noticed that the * fons et origo '
of the art is said to have been in England, where
Dunstable was the chief musician ; and though
Tinctoris is speaking merely from hearsay, yet
there is nothing in his statement so incredible as
some foreign writers seem to think. So long as
the evidence of the Rota * Sumer is y-cumen in '
is unimpeached, it must be acknowledged that
there was in England, in the early 1 3th century,
a school of musicians which was in advance of
anything possessed by the Netherlands at the
same period. Fortunately the evidence for the
date of the ' Rota ' is so strong that it cannot be
damaged by statements of historians who either
ascribe it to the 15th century or ignore it alto-
gether. Within the last few years an important
light has been thrown upon the relation of
Dunstable to the Netherlands musicians Dufay
and Binchois, by the discovery (Monatshefte fur
Musikgeschichte, 1884, p. 26) that Dufay died
in 1474, and not, as had been hitherto supposed,
some twenty years before Dunstable. Binchois
did not die until 1460, so it is clear that, though
the three musicians were for a time contem-
poraries, yet Tinctoris was right in classing the
Englishman as the head of a school which actually
preceded the Netherlanders and Burgundians.
Dunstable's fame was certainly great, though
short-lived. He is mentioned in a manu-
script preserved in the Escorial (c. iii. 23),
620
DUNSTABLE.
written at Seville in 1480 (J. F. Riano, 'Notes
on Early Spanish Music/ p. 65), in two other
passages in the Treatises of Tinctoris, in the
• Dialogus in Arte Musica ' of John Hothby
(Coussemaker, * Scriptores/ iii. xxxi.), in * lie
Champion des Dames' of Martin Le Franc
(d. 1460), and more than once by Franchinus
Gaforius, who in Book ii. cap. 7 of his 'Practica
Musicae' (Milan, 1496) gives the tenor of a
setting of ' Veni Sancte Spiritus ' by the English
composer.^ Yet he was — in his own country at
least — so soon forgotten, that his name does not
occur in Bale's ' Scriptores Britannise' (1550), and
Morley (* Introduction/ ed. 1597, p. 178) quotes
a passjige from his motet 'Nesciens virgo mater
virum/ in which he has divided the middle of the
word * Angelorum ' by a pause two Long rests
in length, as an exmaple of * one of the greatest
absurdities which I have seene committed in the
dittying of musick/ The passage is doubtless
absurd to modern ideas : but Dunstable's fault
was not considered such at the time he wrote.
Similar passages occur so late as Josquin's days.
The main difl&culty of determining what
ground there was for Dunstable's fame lies in
the fact that so little of his work is now ex-
tant. Gaforius evidently was acquainted with a
treatise by him, and the same work is quoted by
Ravenscroft, from a marginal note in whose
*Briefe Discourse' (1614) we learn that Dun-
stable's treatise was on ' Mensurabilis Musice.*
Until comparatively recent days it was thought
that the fragments printed by Gaforius and Mor-
ley were all that remained of his works. But a
little more than this has been preserved. A
three-part song, * O Rosa bella/ was discovered
in a MS. at the Vatican by MM. Danjou and
Morelot ('Revue de la Musique Religieuse,'
1847, p. 244, and another copy w^as subse-
quently found in a MS. collection of motets,
etc., at Dijon. This composition has been
scored by M. Morelot, and printed in his mono-
graph ' De la Musique au XV« Sifecle.' It
may also be found in the appendix to the 2nd
volume of Ambros' *Geschichte der Musik.'
Its effect in performance, considering the period
when it was written, is really extraordinary, and
quite equal to anything of Dufay's. Besides
these compositions the British Museum possesses
two specimens of Dunstable's work. The first
is an enigma which has not yet been deciphered.
It occurs in a MS. collection of Treatises on
Music (Add. MS. 10,336), transcribed by John
Tuck at the beginning of the i6th century.
Owing to its being written at the end of fol. 18,
and signed *Qd. Dunstable,' an idea has arisen
that it forms part of the preceding treatise,
which has therefore been sometimes alleged to
be the lost treatise ; but this is not the case, for
the treatise, as Coussemaker has shown, is that
which is nearly always ascribed to John de
Muris, and Dunstable's enigma is evidently
written in to fill up the page. In a similar and
almost identical MS. at Lambeth, transcribed
by William Chelle of Hereford, the treatise of
1 8m alio Book III, cap. 4 of the same ivork.
DUNSTABLE.
de Mnris and enigma of Dunstable occur in the
same juxtaposition. The other composition of
Dunstable's in the British Museum is to be
found in a magnificent volume which formerly
belonged to Henry VIII. (Add. MS. 31,922).
It is a three-part composition of some length,
without words : the tenor consists of a short
phrase which is repeated in accordance with
the Latin couplet written over the part. In
addition to these may be mentioned a MS. col-
lection of 15th-century Astronomical Treatises
in the Bodleian at Oxford, which contains at
p. 74, * Longitude et latitude locorum pi-aecipue in
Anglia, secundum aliam antiquam scripturam
de manu Dustapli.' At the bottom of the mar-
gin of the page the date occurs : ♦ Anno Gratiae
1438 die mensis Aprilis/
The Liceo Filarmonico de Bologna also pos-
sesses an early 15th-century MS., which contains
four of Dunstable's compositions, viz. a ' Pa-
trem/ a *Regina coeli laetare/ and two motets
— ' Sub tua protectione/ and ' Quam pulchra es.'
(Ambros, vol. iii. p. 441.)
This, then, is probably all that remains of the
work of this remarkable man. It is hardly suf-
ficient to enable us to judge how well founded
his reputation was, but it is enough to show that
for his time he was a man of remarkable power.
He forms the one link between the early English
school which produced the * Rota,' and the school
of the early i6th century which pi'oduced such
men as Cornysshe, Pigot, and Fayrfax. But
between the two there is a distinct break. The
men of the later generation are far inferior
to their Netherlandish contemporaries, while
Dunstable was equal, if not superior, to Dufay
and Binchois. This singular fact can only be
accounted for by other than purely musical rea-
sons. The death of Dunstable took place in
1453, at the very time when the Wars of the
Roses broke out, and for years England was
thrown into a state of hopeless confusion and
disorganization, which must have stopped the
progress of all the arts of civilization.'^ During
this period, music, like everything else, must
have suffered, and it is doubtless for this reason
that we possess so little of Dunstable's work.
On the re-establishment of order under Henry
VII. the old English school — probably consist-
ing of only a small knot of men — was dispersed
or forgotten, and the inspiration of the Court
composers of Henry VIT. and of the early years
of Henry VIII. was distinctly derived from Bur-
gundy and the Netherlands, which had been
making rapid progress under Dufay's successors
— Okeghem, Hobrecht, and Josquin — while
England, plunged in the miseries of civil war,
had forgotten the art in which she had made so
good a beginning. Thus it was that Dunstable
was forgotten. Fuller, when he came across his
2 It has been the misfortune of English music to suffer more than
once from political events. The violent Interrupiions caused by the
Beformatlon and the Great RebellioQ were as disastrous in their
effects upon later schools of English music as were the Wars of the
Itoses upon the school of Dunstable. More peaceably, but no less
unlortuijately, the advent of the Hanoverian dynasty, with its Ger-
man court and Italian opera, crushed the school of English opera
which rurcell founded.
DUNSTABLE.
epitaphs, made men-y that a ♦ person of such ]ier-
fection ' should be so unknown. The epitaphs
are worth reprinting. The first was on his tomb-
stone in St. Stephen's, Walbrook. Stow ^ says
it was inscribed on * two faire plated stones in the
Chancel], each by other.' It runs as follows : —
Claxidit hoc tumulo, qui Ccelum pectore clausit
Dunstaple I. juris, astrorum conscius illo^
Judice novit niramis abscondita pandere coeli.
Hie vir erat tua laus, tua lux, tua musica princeps,
Quique tuas dulcea^ per mundum sperserat* onus,
Anno Mil. Equater, semel L. trias jungito Christi.
Pridie natale sidus transmigrat ad astra,
Suscipiant proprium civem cceli sibi cives.
The other epitaph is preserved in Weever's
* Funerall Monuments' (1631), where it is
quoted from a MS. in the Cottonian Library,
containing a number of poetical epitaphs written
by John of Whethamstede, Abbot of St. Al-
ban's : —
Upon John Dunstable, an astrologian, a mathema-
tician, a musitian, and what not.
Musicus hie Michalus alter, novusque Ptholomeus,
Junior ac Athlas supportans robore celos,
Pausat sub cinere; melior vir de muliere
Nunquam natus erat; vieii quia labe carebat,
Et virtutibus opes possedit vincus omnes.
Cur exoptetur, sic optandoque precetur
Perpetuis annis celebretur fama Johannis
Dunstapil ; in pace requiescat et hie sine fine.
[W.B.S.]
DUPONT, AUGUSTE, born at Ensival near
Li^ge, Feb. 9, 1828, was educated at the Lifege
Conservatoire, and after several years spent in
successful travel as a pianist was appointed
a professor of the Brussels Conservatoire. His
works for the pianoforte are numerous, and
show a thorough knowledge of the instrument.
They are cast in a popular mould, and may be
said to belong to the class of drawing-room
music, but they are free from all that is mere-
tricious. A ' Concertstiiok ' (op. 42) and a
Concerto in F minor (op. 49) both with orchestral
accompaniment, are his most ambitious works.
Among his solo pieces the best are ' Roman en
dix pages' (op. 48), a set of short pieces showing
the influence of Schumann in their structure,
and ' Contes du Foyer ' (op. 12). A set of songs
called * Pofeme d'amour,' contains much that is
pleasing and original. His younger brother,
Joseph, born at Ensival, Jan. 3, 1838, edu-
cated at Libge and Brussels, has attained great
distinction a.s an operatic conductor. He has
held posts of this kind successively at Warsaw,
Moscow, and Brussels, where he has been pro-
fessor of harmony at the Conservatoire, and
conductor at the Thd^tre de la Monnaie, and at
the Association des Artistes Musiciens since
1872. In the following year he succeeded Vieux-
temps as director of the Concerts Populaires,
During the final seasons of Mr. Gye's manage-
ment of Italian Opera, M. Dupont conducted
many of the most important perfonnances given
at Co vent Garden. [M.]
DUPORT, Jean Pierre. Add date of death,
Dec. 31. Add that Jean Louis Duport made
his ddbut at the Concert Spirituel in 1768, and
died Sept. 7, 18 19.
dvoMk.
621
Stow's Survey, 1633, p. 215.
'lulces' (Fuller).
» Fuller reads ' llle.'
* 'iparseratartes' (Fuller).
DUPUIS, Dr. Correct date of birth to 1730,
and add day of death, July 17.
DURANTE, Francesco. Line 1 7, for not
£20 read about £55.
DUSSEK, J. L. P. 477*, in catalogue of
works, add that ' The Captive of Spilburg ' was
written in collaboration with Michael Kelly.
It should of course be spelt Spielberg.
DUSSEK, Sophia. Linen, /on Sioreadi Si 2.
DV0ilAK,5 Antonin, bom Sept. 8, 1841,
at Miihlhausen (Nelahozeves) near Kralup in
Bohemia. His father, Franz Dvorak, the butcher
and innkeeper of the place, destined him for
the first of these trades. The bands of itin-
erant musicians who used to come round on
great occasions and play in the inn, roused his
musical ambition, and he got the village school-
master to teach him to sing and play the violin.
His progress was so remarkable that before long
he was promoted to singing occasional solos in
church, and to playing the violin on holiJays.
During one such performance, in Passion tide,
he broke down from nervousness. In 1853 his
father sent him to a better school at Zlonitz,
putting him under the care of an uncle. Here
his musical studies were superintended by the
organist, A. Liehmann, who taught him the
organ and pianoforte, as well as a certain amount
of theory, such as would enable him to play
from a figured bass, modulate, or extemporize
with moderate success. Two years afterwards
he was sent to learn German, and so to finish
his education, at Kamnitz, where the organist
Hancke taught him for a year, after which he
returned to Zlonitz, his father having in the
meanwhile removed there. He prepared a sur-
prise for his relations in the shape of an original
composition, a polka, which he arranged to have
performed on some festive occasion. The musi-
cians started, but a series of the most friglitful
discords arose, and the poor composer realised
too late the fact that he had written the parts for
the transposing instruments as they were to •
sound, instead of writing them as they were to
be plajied ! By this time his intense desire to
devote himself to music rather than to the
modest career marked out for him by his father,
could no longer be disguised, but it was not
until many months had been spent in discussions,
in which the cause of art was materially helped
by the organist, who foresaw a brilliant future
for his pupil, that the father's objections were
overcome, and permission given for Anton to go
to Prague and study music, in the hope of
getting an organist's appointment. In Oct. 1857
he went to the capital and entered the organ
school supported by the * Gesellschaft der
Kirchenmusik in Bohmen.' At the beginning of
the three years' course he received a modest
allowance from his father, but even this ceased
after a short time, and the boy — for he was little
more — was thrown on his own resources. His
violin-playing came in most usefully at this time,
and indeed without it it is difficult to see how
5 The accent over the E indicates the presence of a letter pronounced
as the French J.
622 DVORAK.
he could have kept himself alive. He joined
one of the town-bands as viola-player, and for
some three years lived upon the meagre earnings
obtained in caf^s and other places of the same
kind. When a Bohemian theatre was opened in
Prague in 1862, the band to which he belonged
was employed to provide the occasional music,
and when that institution was established on a
firm basis, as the National Theatre, DvoHk,
with some others of his companions, was chosen
a member of the orchestra. While here he
benefited by his intercourse with Smetana, who
held the post of conductor from 1866 to 1874.
A kind friend was found in Carl Bendl, a native
of Prague, who after holding important musical
posts at Brussels and Amsterdam, had returned
in 1866 to Prague as conductor of a choral
society, and who gave Dvorak every opportunity
in his power of becoming acquainted with the
masterpieces of art. His own resources were of
course not sufficient to allow him to buy scores,
and the possession of a piano of his own was not
to be thought of. In spite of these drawbacks,
he worked on steadily at composition, experi-
menting in almost every form of music. As
early as 1862 he had written a string quintet;
by 1865 two symphonies were completed ; about
this time a grand opera on the subject of Alfred
was composed to a German libretto, and many
songs were written. The most ambitious of
these efforts were afterwards committed to the
flames by their author. In 1873 he was ap-
pointed organist of St. Adalbert's church in
Prague, a stroke of good fortune which allowed
him not only to give up his orchestral engage-
ment, but to take to himself a wife. He in-
creased his scanty salary by taking private
pupils, but as yet his circumstances were ex-
ceedingly humble.
It was in this, his 32nd year, that he first
came before the public as a composer, with the
patriotic cantata or hymn, written to words by
H^lek, * Die Erben des weissen Berges ' (The
heirs of the white mountain). The subject was
happily chosen, and the spontaneous and
thoroughly national character of the music
ensured its success. In the same year one
of two Nottumos for orchestra was per-
formed, and in 1874 an entire symphony in
E b, and a scherzo from a symphony in
D minor were given. Neither of these sym-
phonies appear in his list of works ; they were
not the same as the two earlier compositions,
which were in Bb and E minor respectively.
By this time the composer had begun to make
a name for himself, and the authorities of the
National Theatre resolved to produce an opera
by him. When * Der Konig und der Kohler '
(' The King and the Collier ') was put into
rehearsal, however, it turned out to be quite
impracticable, owing to the wildly unconven-
tional style of the music, and the composer
actually had the courage to rewrite it altogether,
preserving scarcely a note of the original score.
In this form it was successfully produced, and, the
rumour of his powers and of the scantiness of his
DVORAK.
resources reaching Vienna, he received in the fol-
lowing year a pension of about £50 per annum from
the Kultusministerium. This stipend, increased
in the following year, was the indirect means of
procuring him the friendship and encouragement
of Johannes Brahms, who, on Herbeck's deatli
in 1877, was appointed to succeed him on a
commission formed for examining the compo-
sitions of the recipients of this grant. In this
way the delightful collection of duets, called
' Klange aus Mahren,' came before the Viennese
composer, and it is not to be wondered at that
he discerned in them all the possibilities that
lay before their author. A wonderfully happy
use of national characteristics is the most at-
tractive feature of these duets, and a good
opportunity for again displaying his knowledge
of these peculiarities was soon given him; he
received a commission from Simrock the pub-
lisher to write a series of ' Slavische Tanze for
pianoforte duet. The work, completed in 1878,
had almost as great a success as the Hungarian
dances of Brahms, published several years before.
The wide popularity which the dances rapidly
attained in all parts of Germany led, as was
only natural, to the publication of compositions
of every form, which the composer had almost
despaired of ever seeing in print. It was now
evident to all musicians that a new and fully
developed composer had arisen, not a mere
student whose progress from lighter to more
elaborate forms could be watched and discussed,
but a master whose style was completely formed,
and whose individuality had, in its development,
escaped all the trammels of convention. His
long experience of orchestras had served him
well, and had given him a feeling for instru-
mental colouring such as has been acquired by
very few even of those composers whose education
has been most complete. But though musical
culture and the constant intercourse with artists
and critics undoubtedly tend to crush distinctive
originality, they have their advantages too, and
a composer who wishes to employ the classical
forms with ease and certainty will hardly be
able to dispense with these necessary evils. In
judging of Dvorak's works, it must always be
remembered that a large amount of his chamber
music was written without any inamediate pro-
spect of a public performance, and without
receiving any alterations such as judicious
criticism might have suggested.
Since the publication of the ' Slavische Tanze,*
the composer has been in the happy position of
the country which has no history, or rather his
history is to be read in his works, not in any
biography. Of late years England has played
an important part in his career. Since the
dances above referred to were arranged for
orchestra, and played at the Crystal Palace (on
Feb. 15, 1879) his name has become gra-
dually more and more prominent, and it cannot
be said that the English musical world has
been remiss in regard to this composer, whatever
may be our shortcomings in some other respects.
An especial meed of praise is due to an amateur
dvoMk.
association, the London Musical Society, which
on March lo, 1883, introduced to the metropolis
his setting of the ' Stabat Mater,' composed as
early as 1876, though not published till 1881.
Public attention was at once aroused by the
extraordinary beauty and individuality of the
music, and the composer was invited to conduct
a peiforniance of the work at the Albert
Hall, which took place on March 13. In the
autumn of 1 884 he was again asked to conduct
it at the Worcester Festival, and at the same
time received a commission from the authorities
to write a short cantata for the next year's
Birmingham Festival. This resulted in the
composition of 'The Spectre's Bride,' to a
Bohemian version by K. J. Erben of the fami-
liar 'Lenore' legend, which, although it was
presented in a very inadequate translation of a
German version, obtained a success as remark-
able as it was well-deserved, carrying off the
chief honours of the festival. This, as well as an
oratorio on the subject of St. Ludmila, written
for the Leeds Festival of 1886, was conducted
by the composer himself.
This is not the place for a detailed criticism of
Dvorak's works, nor can we attempt to foretell
what position his name will ultimately occupy
among the composers of our time ; it may how-
ever be permitted to draw attention to the more
striking characteristics of his music. An inex-
haustible wealth of melodic invention and a
rich variety of colouring are the qualities which
most attract us, together with a certain unex-
pectedness, from which none of his works are
wholly free. The imaginative faculty is very
strongly developed, so that he is at his best
when treating subjects in which the romantic
element is prominent. It must be admitted that
his works in the regular classical forms are the
least favourable specimens of his powers. When
we consider the bent of his nature and the
circumstances of his early life, this is not to be
wondered at ; the only wonder is that his con-
certed compositions should be as numerous and
as successful as they are. As a rule, the interest
of those movements in which an adherence to
strict form is necessary, is kept up, not so much
by ingenious developments and new presentments
of the themes, as by the copious employment of
new episodes, the relationship of which to the
principal subjects of the movement is of the
slightest. But in spite of these technical de-
pai-tvires from time-honoured custom, the most
stern purist cannot refuse to yield to the in-
fluence of the fresh charm with which the
composer invests his ideas, and in most of his
slow movements and scherzos there is no room
for cavil. These two important sections of the
sonata or symphony form have been materially
enriched by Dvorak in the introduction and
employment of two Bohemian musical forms,
that of the * Dumka ' or elegy, and the ' Furiant,'
a kind of wild scherzo. Both these forms,
altogether new to classical music, have been
used by him in chamber music and symphonies,
and also separately, as in op. 12, op. 35, and op. 42.
DVORAK.
623
To his orchestral works the slight censure
passed upon his chamber compositions does not
apply. In his symphonies and other works in
this class, the continual variety and ingenuity
of his instrumentation more than make up for
any such deficiencies as we have referred to in
the treatment of the themes themselves, while his
mastery of effect compels our admiration at every
turn. Beside the three symphonies, op. 24,^ 60, and
70, and the overtures which belong to his operas,
we may mention a set of ' Symphonic Variations '
(op. 40), a * Scherzo capriccioso ' (op. 66), and
the overtures * Mein Heim' (op. 62) and *Hu-
sitska' (op. 67), both written on themes from
Bohemian volkslieder.
Although in such works as the concerto op.
33, the pianoforte quartet in D, op. 23, and
the three trios, op. 21, 26, and 65, Dvorak
has given evidence of a thorough knowledge of
pianoforte effect, his works for that instrument
alone form the smallest and least important class
of his compositions, and it cannot be denied that
though the waltzes and mazurkas contain much
that is piquant and exceedingly original, his
contributions to pianoforte music are by no
means representative.
His songs belong for the most part to the
eai'lier period of his career, but considering the
extraordinary success attained by the 'Zigeuner-
lieder ' on their publication, it is surprising that
the other songs are not more frequently heard.
These 'gipsy songs' show the composer at his
best, uniting as they do great effectiveness with
tender and irresistible pathos. His use of gipsy
rhythms and intervals is also most happy.
In his operas, if we may judge from those of
which the vocal scores are published, his lighter
mood is most prominent. 'Der Bauer ein Schelm'
(' The Peasant a Rogue ') is full of vivacity and
charm, and contains many excellent ensembles.
Both in this and in ' Die Dickschadel ' (' The
obstinate daughter,' literally * The Thickhead ')
his love for piquant rhythm is constantly per-
ceptible, and both bear a strong affinity in style
to the * Kliinge aus Miihren ' duets.
None of his earlier works for chorus gave
promise of what was to come in the 'Stabat
Mater.' The ' Heirs of the White Mountain '
is melodious, and contains passages of great
vigour, and the 'local colour,' though by no
means prominent, is skilfully used; but even
those musicians who knew his previous compo-
sitions can scarcely have expected his setting of
the Latin hymn to be full of the highest
qualities which can be brought into requisition.
Perhaps the most striking feature of his work is
the perfect sympathy of its character with that
of the words. The Bohemian composer has not
only thrown off all trace of his own nationality,
but has adopted a style which makes it difficult
to believe him not to have studied the best
Italian models for a lifetime before setting pen
to paper. We do not mean for a moment to
1 The Symphony in F, written In 1875, to which the above numbef
should have been affixed, has just been published as op. 76. Th«
first performance took place at the Crystal Falace, April 7, 1888.
624
DVORAK.
hint at any want of originality, for here, as else-
where, the composer is indebted to no one for
any part of his ideas. But in such numbers as
the * Inflauimatus ' and others the Italian influ-
ence is quite unmistakable. It has been well
remarked that he treats the hymn from the point
of view of * absolute music ' ; that is to say, that
he dwells, not so much upon the meaning or
dramatic force of each verse or idea, as upon the
general emotion of the whole. It is this, no
doubt, which leads him into an apparent dis-
regard of the order and connection of the words
of the hymn, though a more commonplace
reason, must, we fear, be assigned for the not
infrequent false quantities in the setting of the
Latin verse. These errors in detail serve to
remind us of the deficiencies in Dvorak's early
training, and to increase our admiration for the
genius of a composer, who, in spite of so many
drawbacks, Las succeeded, moie perfectly than any
other modern writer, in reflecting the spirit of the
ancient hynm.
In * The Spectre's Bride ' the composer has
reached an even higher point, and given the
world a masterpiece which is not unworthy to
stand beside those most weird of musical crea-
tions, the Erlkonig and the Fliegende Hollander.
The sustained interest of the narrator's part,
more especially after the climax of the story
has been reached, the ingenuity with which the
diflSculty of the thrice recurring dialogue be-
tween the lovers has been overcome, the moder-
ation in the use of those national characteristics
which we have mentioned above, so that their
full beauty and force are brought into the most
striking prominence ; these are some of the
features which make it one of the most remark-
able compositions of our time, to say nothing of
the beauty and power of the music itself, or of
the richness of the orchestral colouring. It
must be felt that the man who could create such
a work as this has everything within his grasp,
and the assertion that no subsequent composition
is likely to equal ' The Spectre's Bride' in beauty
or originality would be premature, though it is
difficult to refrain from making it.
In the longest and most recent of his works,
the oratorio of ' St. Ludmila,* it is evident that
the tastes and prejudices of the English public
were kept too constantly in mind by the com-
poser. A large proportion of the numbers pro-
duce the effect of having been written imme-
diately after a diligent study of the oratorios of
Handel and Mendelssohn. We do not mean to
accuse Dvorak of conscious or direct plagiarism,
but it cannot be denied that the freedom and
originality which give so great a charm to all
his other works are here, if not wholly absent,
at least not nearly as conspicuous as they are
elsewhere. In the heathen choruses of the first
part the individuality of the composer is felt,
and at intervals in the later divisions of the
work his hand can be traced, but on the whole,
it must be confessed that * St. Ludmila,' even as
it was presented at Leeds, by executants all of
whom were absolutely perfect in their various
DVORAK.
offices, and under the composer^s own direction,
proved extremely monotonous.
There is no reasonable cause for doubting that
the composer will soon again give us a work
worthy of ranking with the * Stabat Mater ' or
' The Spectre's Bride.' Meanwhile, it seems
somewhat strange that none of his operas should
have seen the light in England, where the vogue
of his compositions has been so remarkable.
Of his five operas, only ' Der Bauer ein Schelm '
has as yet been heard elsewhere than in Prague,
having been given at Dresden and Hamburg.
The following is as complete a list of DvoMk's
works as can be made at the present time ; the
lacuna in the series of opus-numbers will possibly
be filled up in the future by some of theearliercom-
positions which have not yet been published : —
1.
2. Four Songs.
5. Four Songs.
4. Die Eibeii des welssen Berges.i
Patriotic Hymn for mixed
chorus, to words by HAlek
6. Das Waisenkind. Ballad for
Voice and PF.
6. Four Serbian Songs.
7. Four Bohemian Songs.
8. Sllhuuetten for VS.
9. Four Songs.
10.
11. Romance for Violin and Or-
chestra.
J2. Furlant and Dumka for PF.
13.
14.
15. Ballade for Violin and PF.
16. String Quartet in A minor.
17. Six Songs.
18. String Quintet In G.
19. Three Latin Hymns for Voice
and Organ.
20. Four vocal Duets.
21. Trio in Bb for PK. and Strings
2i!. Serenade In E for Stringed
Orchestra
23. Quartet in D for PF. and
Strings.
24. Symphony in F (also called
op. 76>.
25. Overture to ' Wanda.
26. Trio in G minor for PF. and
Strings.
27. String Quartet In E major.
28. Uymne der BOhmische Laud'
leute.for nfixed Chorus with
4-hand accompaniment.
29. Six Choruses for mixed Voices
80. Die Erben des welssen Berges.i
31. Five Songs,
32. 'Klfinge aus Mfihren.' Vocal
Duetg.
33. PF. Concerto.
34. String Quartet In D minor,
35. Dumka for PF.
36. Variations in A b for PF.
87. Overture to 'Der Bauer eiu
Schelm.'
38. Four vocal Duets,
39. Suite for small Orchestra,
40. Symphonic Variations for
Orchestra.
41. Scotch Dances for PF. Duet.
42. Two Furiants for PF.
43. Three Choruses with 4-hand
accompaniment.
44. Serenade for Wind, Violon
cello, and Double Bass.
45. Three Slavische Bhapsodlen
for Orchestra,
46. Slavische Tftnze for PF. Duet,
47. Four Bagatellea for Har-
monium (or PF.), two Vio
lins, and Violoncello.
48. String Sextet In A.
49. Mazurek for Violin and Or-
chestra.
50. Three Neugriechisctae
dichte.
51. String Quartet In Eb.
52. Impromptu,Intermezzo,GIgue
and Scherzo for PF.
53. Violin Concerto.
54. Walzer for PF.
5,'>. Zlgeunerl ieder for Tenor voice.
V>. Mazurkas for PF.
57. Sonata in F for Violin and PF
58. Stabat Mater for Solos, Cborui
and Orchestra.
59. Legenden, for PF. Duet, ar-
ranged for Orchestra.
60. Symphony In D.
61. String Quartet in C.
()2. Overture, ' Mein Helm.'
63. ' In der Natur.' Five choruses.
64. Opera, ' Dimitri ' (see belowj.
65. Trio in F minor for PF. and
Strings.
66. Scherzo capriccloso for Or-
chestra.
67. Overture, 'Husitzka.'
6;<. 'AusderBOhmer VValde.' PF.
Duets.
69. 'The Spectre's Bride.' Can-
tata fur Soli, Chorus, and
Orchestra.
70. Symphony in D minor.
71. OratoHo, 'St. Ludmila.'
7J. Xew Slavische Tfinze for Or-
chestra (books 3 and 4).
73. 'Im Volkston.' Four Songs.
74. Terzetto for two Violins and
Viola.
75. Bomantische Stflcke. Violin
and PF,
ie op. 24.
77. String Quintet In G.
78. Symphonic Variations for
Orchestra,
79. Ps. 149 for Chorus and Or-
chestra.
SO. String Quartet In E.
81, Quintet for FP, and Strlngt.
Opesas.
' Der KOnlg und der KOhler.*
comic opera; produced at
I'rague, 1874.
' Die Dickschadel,' comic opera In
one act; words by Dr. Josef
Stolba; produced at Prague
1882 (written In 1874).
'Wanda,' grand tragic opera in
five acts; words by Siimawsky,
from the Polish of Sagynsky;
produced at Prague, lb76.
Der Bauer eIn Schelm,' comic
opera In two acts ; words by J.
O. Vessel^ ; produced at Prague
18T7.
DimitriJ.' tragic opera (on the
same subject as Joncleres' ' Di-
mltrl';; produced at Prague
1882.
[M.]
1 By the composer's desire, ' Die Erben des welssen Berges ' (The
Heirs of the White Mountain), originally published as op. 4, has been
reissued as op. 30 by Messrs. Novello & Co. to whom the thanks of the
irriter are duQ for help in the compilation of the foregoing catalogue.
DYGON.
DYGON, John, the composer of the three-
part motet *Ad lapidis positionem,' printed in
Hawkins's History, is described there .is Prior
of St. Austin's {i. e. St. Augustine's Abbey),
Canterbury. The identity of the name with that
of an abbot of this monastery (1497-1509) has led
to several ingenious conjectures. The only other
authenticated circumstance in the composer's
life, which has been hitherto published, is that
he took the degree of Bachelor of Music at Oxford
in April 15 12, being the only Mus. B. of his
year. The abbot John Dygon was succeeded
in 1509 by John Hampton, and no doubt died
in that year ; a second John Dygon was Master
of the Chantry of Milton in Kent, in which post
he is said to have died in 1524. An examination
of the deed of surrender of St. Augustine's
Abbey, dated July 30, 30 Henry VIII (1538),
shows that at that time John Essex was abbot
and John Dygon principal of the four priors,
being, as appears from his position in the list,
only inferior in rank to the abbot. Unfortu-
nately, in the list of pensions granted to the
officers of this monastery on Sept. 2 following the
dissolution, almost all the monks had, apparently
by way of precaution, assumed new surnames,
or rather, more probably, resumed their original
names, so that it is impossible to state with cer-
tainty which of the nine Johns was the composer.
There are, however, strong grounds for believing
that he is to be identified with John Wyldebere;
and for this reason, that the pension of £ 1 3 6s. 8d.
(20 marks) granted to the latter was very much
larger than any of the other pensions, except the
abbot's. The same difficulty meets us in tracing
the history of John Wyldebere as we found in
the case of John Dygon, namely the existence
of two or more persons of the same name. A
John Wyldebore was Master of the Hospital of
St. Mary's at Strood, in Kent, up to the time of
EDDY.
625
its surrender in 1531, and could not well be the
late prior of St. Augustine's ; there is, however,
good reason for believing that he was the John
Wylbore who was appointed prebendary of
Rochester Cathedral in 1 541, and who died there
in 1553 ; and apart from this the claims of the
head of a monastic establishment like St. Mary's
Hospital woidd naturally be considered before
those of one in a comparatively subordinate posi-
tion, such as our prior's. John Dygon may per-
haps be recognised in the John Wyldebore who
was vicar of Willesborough in 1542. In 1556,
when Cardinal Pole was appointed by Philip
and Mary head of the commission to inquire
into the state of the pensions due to the monks
of the dissolved monasteries, we find John Wil-
borne, into which form the name has been cor-
rupted, still in receipt of his full pension ; if the
terms of the original grant had been strictly
adhered to, this circumstance would preclude the
possibility of his identity with the John Wilbore,
who was vicar of Minster in Thanet from 1550
till his resignation in 1557. After this time we
lose all trace of the real or supposed John Dygon.
The composition by which his name has been
handed down to posterity is the work of a very
skilful musician, and though there may be some
resemblance in style to the music of Okeghem, as
was very natural, considering how nearly contem-
porary the two composers were, we can hardly
coincide with Ambros' opinion that it was ' alt-
frankisch,* at least when we compare it with
other writings of a similar nature and about the
same period ; indeed some passages bear a com-
paratively modern stamp, and one can detect a
foreshadowing of Giovanni Croce, and even of a
still later style in several places. [A.H.H.]
DYKES, Rev. J. B. P. 47 8 a, 1. 3 from end
of article, for was Joint editor read took an
active part in the compilation.
E.
EBERS, C. r. Line 3 of article, /or 20 read
25.
EBERWEIN, T. M. Add day of birth,
Oct. 27.
ECCLES. P. 481 b, 1. 15, add the productions
of ' Loves of Mars and Venus ' (with Finger),
i6c)6,and 'Macbeth,' 1696. Correct lines 17-19
by a reference to Macbeth Music, vol. ii. 185 a.
Line 20, for 1698 read 1705.
ECKERT, C. A. F. Add date of death, Oct.
14, 1879.
* EDDY, Claeence, an excellent and well-known
American organist, teacher and composer, was
born at Greenfield, Massachusetts, June 23,1851.
His musical leanings were manifested during his
• Copyright 1889 by F. II. JENE3.
childhood, when he showed also a notable skill in
improvisation. Such instruction as was pro-
curable in his native town was given to him
until he had reached the age of sixteen, when he
was sent to Hartford, Connecticut, and placed
under the care of Mr. Dudley Buck, Within a
year he was appointed organist of the Bethany
Congregationalist Church, Montpelier, Vermont.
In 187 1 Eddy went to Berlin, where for two
years and a half he studied under August Haupt
and A. Loeschhorn. His progress was rapid
and thorough, and he afterwards undertook a
successful concert tour through Germany, Austria,
Switzerland and Holland. On his return to the
United States in 1875 he was appointed organist
of the First Congregational Church, Chicago.
He soon took a prominent position iu the
626
EDDY.
musical life of the young city, and has ever since
held it. While organist at the church last
named he gave his first series of organ concerts,
twenty-five in number, the programmes of which
included examples of organ music in all reput-
able schools. In 1877 he became general direc-
tor of the Hershey School of Musical Art, and
soon after married its founder, Mrs. Sara B.
Hershey. The institution has been peculiarly
successful in the training of organists and singers.
A series of one hundred weekly concerts was
given by Eddy on the organ belonging to the
school. In all, some 500 works were played.
No composition was repeated and no important
composer or style was omitted from represent-
ation. Several famous composers wrote pieces
for the looth concert, June 23, 1879. Eddy has
since given organ concerts in many other cities
of the Union. He translated and published,
in 1876, Haupt's 'Theory of Counterpoint and
Fugue.* He has also published two collections,
*The Church and Concert Organist' (1882 and
1885). Eddy's compositions for the organ are in
the classic forms, embracing preludes, canons and
fugues. Since 1879 ^^ ^^^ ^^^"^ organist of the
Pirst Presbyterian Church, Chicago. [F.H. J.]
EDWARDS, H. Sutherland, historian and
litterateur ; born at Hendon, Middlesex, Sept. 5,
1829. His musical works comprise 'History of
the Opera . . . from Monteverde to Verdi . . . '
3 vols. (1862); <Life of Rossini' (1869); 'The
Lyric Drama . . .' 2 vols. (1881) ; ' Rossini,' a
smaller work , for ' Great M usicians 'series(i88i);
'Famous First Representations' (1887); 'The
Prima Donna' 2 vols, (1888). Mr. Edwards has
passed much time abroad as special coiTespondent,
and his book * The Russians at Home' (i 861) con-
tains many notes on Russian music. Other works
of his are beyond the scope of this Dictionary. His
farce 'The Goose that lays the Golden Eggs'
may however be mentioned as the most success-
ful of his writings for the stage. [G.]
EHLERT, LuDwiG. Add date of death, Jan.
4, 1884.
* EICHBERG, Julius, born at Diisseldorf,
Germany, June 13, 1824, came of a musical
iamily, and received his first instruction from
his father. When but seven years old he played
the violin acceptably. Regular teachers were
employed for him after he had reached his
eighth year, among them Julius Rietz, from
whom he received lessons in harmony. In
1843 Eichberg entered the Conservatoire at
Brussels, then under the direction of Fdtis, and
graduated in 1845 with first prizes for violin-
playing and composition. He was then appointed
a professor in the Conservatoire at Geneva, where
he remained eleven years. In 1857 he went to
New York, and two years later to Boston, where
he has lived ever since. He was director of the
orchestra at the Boston Museum for seven years,
beginning in 1859, ^^^ '^ ^^^7 established the
Boston Conservatory of Music, of which he is
still the head (1887), and which enjoys in the
United States a high reputation, especially for
• Copyright 1S89 b; F. H. Jbmks.
ELLIS.
the excellence of its violin school. Mr. Eichberg'e
compositions are many and in various forms, for
solo voices, chorus, violin, string quartet, piano-
forte, etc. He has also prepared several text-
books and collections of studies for the violin,
and collections of vocal exercises and studies for
the use of youths in the higher classes of the
public schools. [See vol. iv. p. 203 a.] Mr.
Eichberg's operettas have been very successful.
He has produced four — 'The Doctor of Alcantara,'
' The Rose of Tyrol,' 'The Two Cadis,' and 'A
Night in Rome.' [See vol. ii. p. 530 6.] [F.H.J.]
EISTEDDFOD. Add that a grand Eistedd-
fod was held in London at the Albert Hall,
in Aug., 1887, the prepanitox-y ceremony of the
Gorsedd, or proclamation, having been gone
through one year before in the Temple Gardens.
EITNER, Robert. Add that he has edited
Sweelinck's organ works and other things for
the Maatschappij tot bevordering der Toon-
kunst. [See Vereeniging, vol. iv. p. 255 a.]
ELI. See under Naaman, vol. ii. p. 440 a.
ELIJAH. Line 14, /or full ones read band
rehearsals.
ELLA, John. Line 13 of article,/or 1845
read 1827. For lines 18-19 »*c«<^ He directed
the Musical Union uninterruptedly for thirty-
five years. The concerts came to an end in 1880.
[See Analysis in Appendix, vol. iv. p. 521 i.]
ELLIS (formerly Sharpe), Alexander John,
bom at Hoxton in 18 14, educated at Shrews-
bury, Eton, and Cambridge ; Scholar of Trinity
College, Cambridge, 1835 ; B.A. and 6th Wrang-
ler 1837; F.R.S. 1864; F.S.A. 1870; President
of the Philological Society 1873-4, ^^^ again
1 880-1. Mr. Ellis has turned his attention to
Phonetics from 1 843 ; his chief work on Early Eng-
lish Pronunciation, begun in 1865, is still (1887)
in progress. He studied music under Professor
Donaldson of Edinburgh. After vainly endea-
vouring to get a satisfactory account of the mu-
sical scale and nature of chords from Chladni,
Gottfried Weber, and other writers, Mr. Ellis,
following a suggestion of Professor Max Miiller,
began in 1863 to study Helmholtz's 'Tonempfin-
dungen,' with special bearing on the physiology
of vowels. In that work he found the explan-
ation of his musical difficulties, and became
ultimately the English translator of the 3rd
German ed. 1870, under the title of 'On the Sen-
sations of Tone, as a physiological basis for the
Theory of Music' (London 1875). To Helm-
holtz's work, with the author's consent, Mr.
Ellis added many explanatory notes and a new
appendix, in which were rearranged four papers
published in the Proceedings of the Royal
Society, * On the Conditions, Extent and Realis-
ation of a Perfect Musical Scale on Instruments
with Fixed Tones' (read Jan. 21, 1864); 'On
the Physical Constitution and Relations of
Musical Chords ' and * On the Temperament of
Instruments with Fixed Tones' (June 16, 1864);
and 'On Musical Duodenes, or the Theory of
Constructing Instruments with Fixed Tones in
ELLIS.
Just or Practically Just Intonation' (Nov. 19,
1874) ; also several new theories, tables, etc.
Mr. Ellis has since published, in the Proceedings
of the Musical Association, 1876-7, pp. 1-32, a
paper * On the sensitiveness of the ear to pitch
and change of pitch in Music,' being an exposi-
tion and re-arrangement of the interesting ex-
periments of Professor Preyer of Jena ; and some
original works, *The Basis of Music,' 1877;
'Pronunciation for Singers,' 1877 ; and 'Speech
in Song,' 1878. Mr. Ellis's devotion to the
scientific aspect of music has led him into search-
ing enquiries concerning the history of Musical
Pitch, the varieties and uncertainty of which
are so productive in the present day of disturb-
ance of the musical ear and vexation to musical
instrument makers. The results of those en-
quiries have been read before the Society of
Arts, May 23, 1877, and March 3, 1880, and
printed in their journals May 25, 1877, March
5, 1880, with subsequent appendix and correc-
tions (ibid. April 2, 1880; Jan. 7, 1881) also re-
printed by the author for private issue. Silver
medals were awarded by the Society of Arts for
each paper : the second essay may be appro-
priately described as exhaustive. Mr. Ellis
subsequently turned his attention to the deter-
mination of extra- European musical scales. His
method was by means of a series of tuning-forks
of accurately determined pitches, and with the
assistance of the present writer, to determine
the pitch of the actual notes produced on native
instruments, and then to calculate the intervals
between those notes in terms of hundredths of
an equal semitone. The results are given in his
paper on * Tonometrical Observations on some
existing non-harmonic scales' (Proceedings of
Koyal Society for Nov. 20, 1884), ^-nd, more at
length, in his paper * On the Musical Scales of
Various Nations,' read before the Society of Arts,
Mar. 25, 1885, and printed with an Appendix in
their Journals for Mar. 27 and Oct. 30, 1885.
Eor this paper a silver medal was awarded.
A full abstract of his History of Musical Pitch
and Musical Scales is given in his Appendix to
the 2nd enlarged and corrected ed. of his Trans-
lation of Helmholtz (1885), which also contains
his latest views upon most of the subjects which
form the scientific basis of Music. [Pitch ;
SOHEIBLEK.] [A.J.H.]
ELSNER, Joseph. Add that he was Chopin's
master.
EMPEROR CONCERTO. Line 4 of article,
for op. 75 read op. 73.
EMPEROR'S HYMN. Last line of article,
for Venice read Vienna.
ENCORE. Line 5 of ai-ticle/or Italian read
Latin. An anonymous ballad, circa 1740, en-
titled * Encore,' and beginning • When at my
nymph's devoted feet,' shows the term to have
been in use much earlier than is implied in the
article.
ENFANT PRODIGUE. L'. Add that it
was given in English as ' Azael the Prodigal '
ENGEL.
627
at Drury Lane, on Feb. 19, 185 1. [See Pro-
digal Son.]
ENGEL, Carl, an eminent writer on musical
instruments, was born at Thiedenwiese, near
Hanover, July 6, 1818. His attainments as a
musician, his clear insight into books in many
languages, his indefatigable perseverance in re-
search, and the exercise of a rare power of ju-
dicious discrimination, made him one of the first
authorities on his subject in Europe. When a
student he received piano lessons from Hummel,
and after adopting music as a profession, he for
some time remained in the family of Herr von
Schlaberndorf, a nobleman in Pomerania. About
1844-5 Engel came to England and resided at
first at Manchester, where he gave lessons on
the piano. He removed soon after to London,
and settled in Kensington. He began by read-
ing in the British Museum to prepare himself
for those studies in musical history on which
his reputation is founded, and became a col-
lector when opportunities were more frequent
than they are now for acquiring rare instru-
ments and books. He thus formed a private
museum and library that could hardly be rivalled
except by a few public institutions. The change
in the direction of his musical activity did not
however divert him from pianoforte-playing;
he became as familiar with the works of Schu-
mann, Brahms, and other modern composers,
as he was with those of the older masters.
He wrote and published a Pianoforte Sonata
(Wessel, 1852), the 'Pianist's Handbook' (Hope,
1853), and a * Pianoforte School for Young
Beginners' (Augener, 1855). He also wrote
' Reflections on Church Music ' (Scheuermann,
1856). The first fruits of his archaeological
studies were shown in the publication of ' The
Music of the Most Ancient Nations, particularly
of the Assyrians, Egyptians and Hebrews '
(Murray, 1864), which was followed by 'An
Introduction to the Study of National Music'
(Longmans, 1866). About this time his connec-
tion with the South Kensington Museum began,
to which he gave valuable advice respecting the
formation of the rich collection of rare musical
instruments which is an important branch of
that institution. His first public essay in con-
nection with it was the compilation in 1869 of a
folio volume entitled 'Musical Instruments of
all countries,' illustrated by twenty photographs ;
a work now rarely to be met with. He compiled
the catalogue of the Loan Collection of ancient
musical instruments shown there in 1872 ; and
followed it by a 'Descriptive Catalogue of the
Musical Instruments in the South Kensington
Museum,' published in 1874, a masterpiece of
erudition and arrangement, and the model for
the subsequently written catalogues of the Paris
and Brussels Conservatoires, and of the Kraus
Collection at Florence. He resolved to complete
this important work by an account of the musi-
cal instruments of the whole world, and wrote
a book which, in manuscript, fills four thick
quarto volumes, and is illustrated by upwards of
800 drawings. It remains in the hands of his
628
ENGEL.
executors and is still (1888) unpublished. While
however this, his magnum opus, was in progress,
he wrote a contribution to ' Notes and Queries *
on Anthropology, pp. 110-114 (Stanford, 1874),
•Musical Myths and Facts' (Novello, 1876),
and articles in the * Musical Times,' from which
'The Literature of National Music' (Novello,
1879) is a reprint. Among these articles the
descriptions of his four Clavichords possess an
unusually lasting interest and value. They were
published in July — Sept. 1879, and were followed
by * Music of the Gipsies,' May — Aug. 1880, and
* iEolian Music,' Aug. and Sept. 1882. A post-
humous publication of considerable importance
is ' Researches into the Early History of the
Violin Family' (Novello, 1883). There remain
in manuscript, besides the great work already
mentioned, ' The Musical Opinions of Confucius '
and * Vox Populi ' (a collection of National Airs).
After the death of his wife in 188 1, he thought
of living again in Germany, and sold his library
by public auction, while the more valuable
part of the musical instruments (excepting
his favourite harpsichords, clavichord and lute,
now in the possession of Mr. Herbert Bowman
and the present writer) was acquired by South
Kensington Museum. But, after a short visit
to Hanover he returned to England, and died
at his house in Addison Road, Kensington, Nov.
17, 1SS2. [A.J.H.]
ENGLISH OPERA. P. 488 J, 1. 24 from
bottom, add the name of Christopher Gibbons as
collaborating with Lock in the music to * Cupid
and Death,' P. 489 a, lines 25-29 to be cor-
rected by a reference to Macbeth Music, vol.
ii. p. 184, and Pdrcell in Appendix. Line 30,
for 1677 read 1676. Line 40, add the date of
* King Arthur,' 1691. Line 50, for 1760 read
1743.
ENHARMONIC. See Change I. 3, Diesis,
Modulation, Temperament.
ENTFUHRUNG AUS DEM SERAIL.
Line 5 of article, ^or July 12 read July 16.
ENTR'ACTE. See Divertissement, Inter-
mezzo, Nocturne, Tune (Act-).
EPINE, Francesca Margherita db l'.
Line 5 from end of article.yor appears read is
said. Add that she frequently signed herself
Fran9oise Marguerite. In May, 1703, she
received • 20 s;ga for one day's singing in y® play
call'd the Fickle Shepherdess.' (MS. in the
writer's collection.) At end of article add ' It
appears from a MS. diary (in the writer's pos-
session) kept by B. Cooke (i.e. Dr. Cooke), a pupil
of Dr. Pepusch, that Mme. Pepusch began to be
ill on July 19, 1 746, and that, on the loth August
following, in the afternoon he (B. Cooke) went
to Vaux-Hall with the Doctor, Mrs. Fepusch
being dead. She was "extremely sick" the day
before.' [J.M.]
EPISODES are secondary portions of musical
works, which stand in contrast to the more
conspicuous and definite portions in which the
principal subjects appear in their complete form,
EPISODES.
through the appearance in them of subordinate
subjects, or short fragments only of the principal
subjects.
Their function as an element of form is most
easily distinguishable in the fugal type of move-
ment. In the development of that form of art
composers soon found that constant reiteration
of the principal subject had a tendency to become
wearisome, however ingenious the treatment
might be ; and consequently they often inter-
spersed exposition and counter-exposition with
independent passages, in which sometimes new
ideas, and more often portions of a counter-
subject, or of the principal subject, were used in
a free and fanciful way. By this means they ob-
tained change of character, and relief from the
stricter aspect of those portions in which the com-
plete subject and answer followed one another, in
conformity with certaiii definite principles. In
connection with fugue therefore, episode may be
defined as any portion in which the principal
subject does not appear in a complete form.
There are a certain number of fugues in which
there are scarcely any traces of episode, but in
the most musical and maturest kind episodes
are an important feature. It is most common
to find one beginning as soon as the last part
which has to enter has concluded the principal
subject, and therewith the exposition. Occa-
sionally a codetta in the course of the exposition
is developed to such dimensions as to have all the
appearance of an episode, but the more familiar
place for the first one is at the end of the exposi-
tion. As an example of the manner in which it is
contrived and introduced, the Fugue in F minor,
No. 12 of the first book of J. S. Bach's Wohl-
temperirte Clavier may be taken. Here the
subject is clearly distinguishable at all times
from the rest of the musical material by its slow
and steadily moving crotchets. The counter-
subject which at once follows the first statement
of the subject, as an accompaniment to the first
answer, introduces two new rhythmic figures
which afibrd a marked contrast to the principal
subject
■^SSl
^^sfe
^^^
and out of these the various episodes of the
movement are contrived. The manner in which
it is done may be seen in the beginning of the
first episode, which begins at bar 16, and into
which the former of the two figures is closely
woven.
^^^=^4
i"a' 'cFi
^^
P=fcfc
:»»:
3tSi
^
EPISODES.
ESTB.
629
""^i t§*
-^^r-T-a^
H' .___^
The adoption of this littlefigure is especially happy,
as the mind is led on from the successive exposi-
tions to the episodes by the same process as in the
first statement of subject and counter-subject, and
thereby the continuity becomes so much the closer.
As further examples in which the episodes
are noticeable and distinct enough to be studied
with ease, may be quoted the 2nd, 3rd, 5th,
loth, and 24th of the first book of the Wohltem-
periite Clavier, and the ist, 3rd, 12th, and 20th
of the second book. They are generally most
noticeable and important in instrumental fugues
which have a definite and characteristic or
rhythmically marked subject.
It follows from the laws by which expositions
are regulated, that episodes should be frequently
used for modulation. While the exposition is
going on, modulation is restricted ; but directly it
is over, the mind inclines to look for a change
from the regular alternation of prescribed centres.
Moreover, it is often desirable to introduce the
principal subject in a new key, and the episode
is happily situated and contrived for the process
of getting there; in the same way that after
transitions to foreign keys another episode is
serviceable to get home again. In this light,
moreover, episodes are very frequently charac-
terized by sequences, which serve as a means
of systematizing the steps of the progressions.
Bach occasionally makes a very happy use of
them, by repeating near the end a characteristic
episode which made its appearance near the
beginning, thereby adding a very efiective
element of form to the movement.
In a looser sense the term Episode may be
applied to portions of fugues which stand out
noticeably from the rest of the movement by
reason of any striking peculiarity ; as for in-
stance the instrumental portion near the begin-
ning of the Amen Chorus in the Messiah, or the
central portions of certain very extensive fugues
of J. S. Bach, in which totally new subjects are
developed and worked, to be afterwards inter-
woven with the principal subjects.
In the purely harmonic forms of art the word is
more loosely used than in the fugal order. It is
sometimes used of portions of a binary move-
ment in which subordinate or accessory subjects
appear, and sometimes of the subordinate por-
tions between one principal subject and another,
in which modulation frequently takes place.
It serves more usefully in relation to a move-
ment in Aria or Rondo form ; as the central
portion in the former, and the alternative sub-
jects or passages between each entry of the
subject in the latter cannot conveniently be
called 'second subjects.' In the old form of
Hondo, such as Couperin's, the intermediate
VOL. IV. FT. 5.
I divisions were so very definite and so clearly
marked off from the principal subject that they
were conveniently described as Couplets. But in
the mature form of Hondo to be met with in
modem Sonatas and Symphonies the continuity
is so much closer that it is more convenient
to define the form as a regular alternation
of principal subject with episodes. It some-
times happens in the most highly artistic
Kondos that the first episode presents a re-
gular second subject in a new key ; that the
second episode (following the first return of the
principal subject) is a regular development or
• working out * portion, and the third episode is
a recapitulation of the first transposed to the
principal key. By this means a closer approxi-
mation to Binary form is arrived at. In operas
and oratorios, and kindred forms of vocal art, the
word is used in the same sense as it would be
used in connection with literature. [C.H.H.P.]
EQUAL VOICES. See Unequal, and Voices.
ERARD. P. 491 a, par. 3. The establish-
ment of the London house was not due to the
French Revolution ; Sebastian Erard had already
begun business in London in 1786. [A.J.H.]
ERK, L. C. Add date of death, Nov. 25, 1883.
ERNST, H. W. Line 9 from end of article,
for Ferdinand Hiller read Stephen Heller.
(Corrected in later editions.)
ESCHMANN, J. C. See vol. ii. p. 733 J,
and add that he died at Zurich, Oct. 25, 1882.
ESCUDIER. Add dates of death of Marie,
April 17, 1880, and of Leon, June 22, 1881.
ESMERALDA. Opera in four acts ; words by
Theo Marzials and Albert Randegger, arranged
from Victor Hugo's libretto 'La Esmeralda';
music by A. GoringThomas. Produced by the Carl
Rosa company, Drury Lane, March 26, i883.[M.]
ESSIPOFF, Annette, Russian pianist, born
1850, and educated at the Conservatorium of St.
Petersburg, principally under the care of Theodor
Leschetitzky. After attaining considerable re-
putation in her own country she undertook a
concert tour in 1874, appearing in London at
the New Philharmonic concert of May 16 in
Chopin's E minor Concerto, at recitals of her own,
and elsewhere. She made her debut in the same
concerto in 1875 at one of the Concerts Popu-
laires, and afterwards at a chamber concert
given by Wieniawski and Davidoff. In 1876 she
went to America, where her success was very
marked. In 1880 she married Leschetitzky, and
since that time has been seldom heard in Eng-
land, Her playing combines extraordinary skill
and technical facility with poetic feeling, though
the artistic ardour of her temperament leads her
at times to interpretations that are liable to be
called exaggerated. [M.]
ESTE, Thomas. Line 7, add that he was
engaged in printing as early as 1576. P- 496 a,
for 11. 10-18 read He died shortly before 1609,
in which year a large number of his * copyrights,'
as they would now be called, were transferred to
T. Snodham. [Diet, of Nat. Biog.] [M.]
Tt
«80
EVERS.
EVERS, Carl. Line 8 from end of article,
add that he died in Vienna, Dec. 31, 1875.
EVACUATIO (Ital. Evacuazione ; Germ.
Ausleerung ; 'Eng. Evacuation). A term used
in the 15th and i6th centuries, to denote the
substitution of a * void ' or open-headed note for
a *full,* or closed one; e. g. of a Minim for a
Crotchet. The process was employed, both with
black and red notes, and continued for some time
after the invention of printing; but, its effect
upon the duration of the notes concerned dif-
fered considerably at different epochs. Morley,*
writing in 1597, says *If a white note, w^ they
called blacke voyd, happened amongst blacke
full, it was diminished of halfe the value, so
that a minime was but a crotchet, and a semi-
briefe a minime,' etc. But, in many cases, the
diminution was one-third, marking the difference
between * perfection ' and * imperfection ' ; or
one-fourth, superseding the action of the ' point
of augmentation.' For the explanation of some
of these cases, see vol. ii. p. 471. [W.S.R.]
EVOVAE (EuouAB vel Euou^b). A technical
word, foi-med from the vowels of the last clause
of the ' Gloria Patri ' — secxdomm. Amen ; and
used, in mediaeval Office-Books, as an abbrevia-
tion, when, at the close of an Antiphon, it is
necessary to indicate the Ending of the Tone
adapted to the following Psalm, or Canticle.
The following example, indicating the Second
Ending of the First Tone, is taken from an
Office-Book printed at Magdeburg in 161 3. An
=i=*F
r'.-i-i-H P-TT-='=-=?
Sa-lu-to-n De-L
amusingly erroneous account of the origin of this
word is noticed in vol. ii. 462 a, note. [W.S.R.]
EWER & Co. A firm of music publishers
and importers, originally established by John
J. Ewer about seventy years ago in small
premises in Bow Churchyard. Ewer & Co.
were for many years almost the only importers
of foreign music in this country. Their pub-
lications were chiefly by German composers,
and it was their editions of vocal quartets
with English words, brought out in score and
parts under the title of * Orpheus,' and also
* Gems of German Song,' that first brought the
firm into notice. On the retirement of Ewer,
the business passed by purchase into the hands
of E. Buxton, who removed it, first to Newgate
Street, and afterwards to No. 390 Oxford Street.
The business, under Buxton's direction, gained
a great importance owing to the acquisition of
the copyright for England of all subsequent
works to be composed by Mendelssohn. The inci-
dent that determined Mendelssohn thus to accept
Ewer & Co. is noteworthy. He had offered
Addison & Co., through the mediation of Bene-
dict, the copyright of his Scotch Symphony and
1 'A Flaine and Easle IntrodoetlOD.' Aimotatlon at tba and of
the Tolume, referring to p> 9.
EYBLER.
the fourth Book of the Lieder ohne Worte, with
some smaller pieces. Addison & Co. were willing
to take the pianoforte compositions, but were
not disposed to give the amount asked, £35, for
the Symphony, intimating that the first Sym-
phony had not sold well; and that they had
unsaleable copies on hand. They eventually
offered £20. Mendelssohn, who disliked bargain-
ing, felt hurt, and at the suggestion of Benedict
offered the new works to Buxton, who gladly
accepted them, and agreed to publish all Men-
delssohn's future compositions. Buxton, who
had a large business of another kind, and had
only taken to music publishing from his attach-
ment to the art, in i860 sold his property
of Ewer & Co. to Mr. William Witt, who had
been the manager of the firm from 1852. Mr.
Witt removed the business premises to No. 87
Regent Street, where he added a Musical Li-
brary that offered for circulation every branch of
musical composition. By sparing neither trouble
nor expense his library became one of the most
valuable and extensive in existence. Cheap and
complete editions of Mendelssohn's works were
brought out by him before the like could be
done in the composer's own country. Mr. Witt
retired in 1867, when the firm of Ewer & Co.
went by purchase to Messrs. Novello & Co.
[See Novello, Ewbe & Co.] [A.J.H.]
EXPOSITION is the putting out or state-
ment of the musical subjects upon which any
movement is founded, and is regulated by various
rules in different forms of the art. In fugue the
process of introducing the several parts or voices
is the exposition, and it ends and passes into
episode or counter-exposition when the last part
that enters has concluded with the last note of the
subject. The rules for fugal exposition are given
in the article FuGUB. Counter-exposition is the
reappearance of the principal subject or subjects,
after complete exposition, or such digressions
as episodes. In forms of the harmonic order
the term Exposition is commonly used of the
first half of a movement in Binary form, because
that part contains the statement of the two
principal subjects. This use of the word is
evidently derived from the incomplete and super-
ficial view which was the legacy of theorists
of some generations back, that a Binary move-
ment was based on two tunes which for the
sake of variety are put into two different keys.
Hence it is not so apt in this sense as it is in
connection with fugue. But it may be defended
as less open to objection when it is used as the
obverse to Recapitulation, so as to divide Binary
movements into three main portions, the Ex-
position, Development, and Recapitulation ; and
though it leaves out of count the vital importance
of the contrast and balance of key, it is likely to
be commonly accepted in default of a better.
See also FoBM. [C.H.H.P.]
EYBLER, Joseph von. Correct the last
statement by adding that Dr. Stainer has edited
one movement by Eybler.
631
F.
Line 8 of article, /or iEolian read Lydian.
Add that one of Beethoven's notes to Steiner
is signed jl ^l
3E
^
FACCIO, Franco, born March 8, 1840,* at
Verona, of parents in humble circumstances, who
deprived themselves almost of the necessaries of
life in order to give their son a musical educa-
tion. In Nov. 1855 he entered the Conserva-
torio of Milan, where he made remarkable pro-
gress in composition under Ronchetti. An
overture by him was played at one of the
students' concerts in i860. In the following
year he left the institution, and on Nov. 10,
1863, he had the good fortune to have a three-
act opera, * I Profughi Fiamminghi,' performed
at La Scala. Before this a remarkable work,
written in collaboration with his friend Boito,
and entitled ' Le Sorelle d'ltalia,' had been per-
formed at the Conservatorio. [See vol. iv.
p. 550.] The same friend, for whom he had
formed a warm attachment during the time of
their studentship, wrote him the libretto of
* Amleto,' which was given with success at the
Teatro Carlo Fenice, at Genoa, on May 30, 1865
(not at Florence, as Pougin states), but which
was unfavourably received at the Scala in Feb.
1 871. In 1866 he fought, together with Boito,
in the Garibaldian army, and in 1867-8 under-
took a tour in Scandinavia. A symphony in F
dates from about this time. In July 1868 he
succeeded Croff as professor of harmony in the
Conservatorio, and after acquiring great expe-
rience as a conductor at the Teatro Carcano, was
made conductor at La Scala. A Cantata d'in-
augurazione was performed in 1884, and two
sets of songs by him have been published by
Eicordi. Faccio holds an important position
among the advanced musicians of Italy, and as a
composer his works command attention by their
originality. It is, however, as a conductor that
he is most successful, and he may be considered
as the greatest living Italian conductor. He
directed the first European performance of
Verdi's * Aida' in 1872, and the production of
his * Otello ' in 1887, both at Milan. [M.]
FA FICTUM. In the system of Guido
d'Arezzo, B R, the third sound in the Hexachor-
dum naturale was called B mi; and Bb, the
fourth sound in the Hexachordum molle, B fa.
And, because B fa could not be expressed with-
out the accidental sign {B rotundum) it was
called Fa fictum. [See Hexaohoed.] For this
reason, the Polyphonic Composers applied the
1 Paloschl. Pougin gives the date as 1841. Various articles In the
* Gtzetta muslcale di Milano ' support either date iudifferently.
term Fa fictum to the note Bb, whenever it
was introduced, by means of the accidental sign,
into a Mode sung at its natural pitch ; and, by
analogy, to the E b which represented the same
interval in the transposed Modes. The Fa
fictum is introduced, with characteristic efltect,
in the ' Gloria Patri ' of Tallis's five-part Re-
sponses, at the second syllable of the word
* withoM^ ' ; and a fine example of its employ-
ment in the form of the transposed Eb will
be found in Giaches Archadelt's Madrigal, |I1
bianco e dolce cigno,' at the second and third
syllables of the word 'piangendo,' as shown in
the example in vol. ii. p. i88 b. [W.S.R.]
FAISST, Emmanuel Gottlob Friedrich,
born Oct. 13, 1823, at Esslingen in Wiirtemberg,
was sent to the seminary at Schonthal in 1836,
and in 1840 to Tubingen, in order to study
theology; but his musical talents, which had
previously shown themselves in the direction of
great proficiency on the organ, were too strong,
and, although he received no direct musical in-
struction worth mentioning, he had made such
progress in composition by 1844 that when he
went to Berlin and shewed his productions to
Mendelssohn, that master advised him to work
by himself rather than attach himself to any
teacher. In 1846 he appeared in public as an
organ-player in many German towns, and finally
took up his abode in Stuttgart. Here in 1847 he
founded an organ school and a society for the
study of church music. He undertook the direc-
tion of several choral societies, and in 1857 took
a prominent part in the foundation of the Con-
servatorium, to tho management of which he
was appointed two years later. Some time
before this the University of Tiibingen bestowed
upon him the degree of Doctor of Philosophy, in
recognition of the value of his 'Beitrage zum
Geschichte der Claviersonate,' an important
contribution to the musical periodical * Cacilia,'
and the title of Professor was given him a few
years afterwards. In 1865 he was appointed
organist of the Stiftskirche, and received a prize
for his choral work ' Gesang im Griinen,' at the
choral festival in Dresden. His setting of Schil-
ler's * Macht des Gesanges ' was equally success-
ful in the following year with the Schlesische
Sangerbund. His compositions are almost en-
tirely confined to church music and choral com-
positions. A cantata * Des Sangers Wiederkehr '
was recently performed. Several quartets for
male voices, and organ pieces have been published
collectively, and the Lebert and Stark ' Piano-
forteschule' contains a double fugue by him.
With the latter he published in 1880 an 'Ele-
mentar-und-Chorgesangschule,' which has con-
siderable value. [M.]
Tt 2
ess
FALCON.
FALCON, Marie Cobn^lie, born Jan. a8,
1812, at Paris, received vocal instruction at the
Conservatoire from Henri, Pellegrini, Bordogni,
and Nourrit, and gained in 1830-31 first prizes
for vocalization and singing. On July 30, 1832,
she made her d^but at the Op^ra as Alice in
* Robert,' with brilliant success. * Her acting,
intelligence, and self-possession give us promise
of an excellent actress. In stature tall enough
to suit all the operatic heroines, a pretty face,
great play of feature. . . . Her voice is a well-
defined soprano, more than 2 octaves in compass,
and resounding equally with the same power'
(Castil-Blaze). She remained there until 1838,
when ill-health and loss of voice compelled her
to leave for Italy. Her parts included Donna
Anna on the production of * Don Juan,' March
10, 1834, Julie in *La Vestale' at Nourrit's
benefit May 3, 1834, ^^^ heroines in *Moise'
and * Sifege de Corinthe.' She also created
the parts of Mrs. Ankarstroem (' Gustave HI-'),
Bachel (* La Juive '), Valentine (* Huguenots '),
her best part, the heroine in Louise Bertin's
* Esmeralda,' and in Niedermeyer's * Stradella.'
* Richly endowed by nature, beautiful, possessing
a splendid voice, great intelligence, and profound
dramatic feeling, she made every year remark-
able by her progress and by the development of
her talent.' (F^tis.) [See vol. iii. p. 357 h,
note 3.] After an absence of two years, arid
under the impression that her voice was restored,
on March 14, 1840, she re-appeared at a benefit
given on her behalf in the first two acts of * La
Juive,' and in the fourth act of the * Huguenots.'
But her voice had completely gone, and it was
with diflficulty she could get through the first
part — indeed she fainted in the arms of Duprez.
(Clement, Histoire de Musique, p. 749.) After
this she retired altogether from the Opera, where
her name still survives to designate dramatic
soprano parts. Mme. Falcon afterwards married
M. Malan9on, and we believe that she is still
living in Paris. [A.C.]
^ FANCIES, or FANTASIES, the old Eng-
lish name for Fantasia, which see. In the
various collections catalogued under the head of
ViROiNAE Music all three words occur. The
name seems to have been confined to original com-
positions as opposed to those which were written
upon a given subject or upon a ground. [M.]
FANING, Eaton, the son of a professor
of music, was bom at Helston in Cornwall,
May 20, 1850. He received his first instruction
on the pianoforte and violin from his parents,
and performed at local concerts before he was
five years old. In April, 1870, he entered the
Royal Academy of Music, where he studied
under Sir Sterndale Bennett, Dr. Steggall, Signer
Ciabatta, and Messrs. Sullivan, Jewson,Aylward,
and Pettitt, and carried off successively the
bronze medal (1871), silver medal for the Piano-
forte (1872), Mendelssohn Scholarship (1873),
bronze medal for Harmony (1874), *^d *he
Lucas silver medal for Composition (1876). In
1874 Mr. Faningwas appointed Sub-Professor of
Harmony, in 1877 Assistant-Professor of the I
FARANDOLE.
Pianoforte, and Associate, and in 1878 Professor
of the Pianoforte. He also played the violon-
cello and drums in the orchestra. On July 18,
1877, Mr.Faning's operetta, 'The Two Majors,'
was performed at the Royal Academy, which
event led to the establishment of the Operatic
Class at the institution. An operetta, 'The
Head of the Poll,' was successfully produced at
the German Reeds' Entertainment in 1882. At
the same date Mr. Faning occupied the posts of
Professor and Conductor of the Choral Class at
the National Training School, and Professor of
the Pianoforte at the Guildhall School of Music ;
the latter post he resigned in July 1885, when
he was appointed Director of the Music at
Harrow School. From the opening of the Royal
College of Music until July 1885 he taught
the Pianoforte and Harmony, and until Easter
1887 also conducted the Choral Class at that
institution. Mr. Faning is also conductor of the
Madrigal Society. His compositions include two
operettas, a symphony in C minor, two quartets,
an overture, a Magnificat and Nunc Dimittis
for full orchestra (performed at St. Paul's at the
Festival of the Sons of the Clergy), besides
anthems, songs, duets, and part-songs, among
which the ' Song of the Vikings,' for four-part
chorus with pianoforte duet accompaniment, has
attained wide popularity. [W.B.S.]
FARANDOLE. A national Proven9al dance.
No satisfactory derivation has been given of the
name. Diez (* Etymologisches WSrterbuch der
Romanischen Sprachen') connects it with the
Spanish Farandula, a company of strolling play-
ers, which he derives from the German ^a/trgndd.
A still more unlikely derivation has been sug^
gested from the Greek (pdXay^ and SoCAo?, be-
cause the dancers in the Farandole are linked
together in a long chain. The dance is very
probably of Greek origin, and seems to be a
direct descendant of the Cranes' Dance, the in-
vention of which was ascribed to Theseus, who
instituted it to celebrate his escape from the
Labyrinth. This dance is alluded to at the end
of the hymn to Delos of Callimachus : it is still
danced in Greece and the islands of the .<^gean,
and may well have been introduced into the South
of France firom Marseilles. The Farandole con-
sists of a long string of young men and women,
sometimes as many as a hundred in number,
holding one another by the hands, or by ribbons
or handkerchiefs. The leader is always a
bachelor, and he is preceded by one or more
musicians playing the galouhet, i.e. a small
wooden flute-k-bec, and the tambouHn. [See
vol. iv. p. 55.] With his left hand the leader
holds the hand of his partner, in his right he
waves a flag, handkerchief, or ribbon, which
serves as a signal for his followers. As the
Farandole proceeds through the streets of the
town the string of dancers is constantly recruited
by fresh additions. The leader (to quote the
poet Mistral) * makes it oome and go, turn back-
wards and forwards sometimes he forms it
into a ring, sometimes winds it in a spiral, then
he breaks off from his followers and dances in
FARANDOLB.
front, then he joins on again, and makes it pass
rapidly under the uplifted arms of the last cou-
ple.' * The Farandole is usually danced at all
the great feasts in the towns of Provence, such as
the feast of Corpus Domini, or the * Coursos de
la Tarasquo,' which were founded by King R^n^
on April 14, 1474, and take place at Tarascon
annually on July 29. In the latter the Farandole
is preceded by the huge effigy of a legendary
monster — the Tarasque — borne by several men
and attended by the gaily dressed * chevaliers de
la Tarasque.' The music of the Farandole is in
6-8 time, with a strongly accentuated rhythm.
The following is the traditional * Farandoulo dei
Tarascaire ' of Tarascon : —
•gf: Moderato.
FAURlfi.
633
The Farandole has occasionally been used for
less innocent purposes than that of a mere dance :
in 1 81 5 General Ramel was murdered at Tou-
louse by the infuriated populace, who made use of
their national dance to surround and butcher him.
The Farandole has been introduced on the
stage in Gounod's * Mireille,* and in Daudet'a
* L'Arl^ienne ' (with Bizet's music), but the
dance is not suited for the purposes of a ballet.
Further information concerning it will be found
sub voce in Larousse's Dictionary, in Vidal's *Lou
Tambourin,' Desanat's * Coursos de la Tarasquo,'
Mistral's 'Mireille,' *F^tes de la Tarasque,' and
introduction to Mathieti's * La Farandoulo,' and
in the works of Hyacinthe Morel. A good de-
scription of the dance occurs in Daudet's • Numa
Roumestan.* [W.B.S.]
FARINELLI (second article under that
heading). Line 2, omit the words ' either a
brother or.*
FARMER, John, born Aug. 16, 1836, at
Nottingham, received his musical education at
the Leipzig Conservatorium, and subsequently
under Andrae Spaeth at Saxe-Coburg. He was
a teacher of music at Zurich, and subsequently
music master at Harrow School from 1862 to
1885, where he obtained great popularity. He
has been organist at Balliol College since 1885,
where he has recently instituted in the College
Hall a series of Sunday and Monday Evening
Concerts for the performance of glees, part-songs,
I AniAume Hathleft. La Farandoulo, publiibed with » translft-
tlon and notes by F. Uiitral, ATignon, 1862.
etc., as well as the * Balliol College Musical
Society.' His compositions include * Christ and
hip Soldiers,' oratorio, 1878 ; a * Requiem in me-
mory of departed Harrow friends ' ; * Cinderella,*
a fairy opera 1882; 'Nursery Rhymes Qua-
drilles,' for chorus and orchestra, four sets ;
* Hunting Songs Quadrilles,' for same ; songs, etc.
He has edited * Hymns and Tunes for High
Schools*; the 'Harrow Glee Book,' 'Harrow
School Marches,' ' Harrow School Songs,' etc., as
well as two volumes of Bach for the use of High
Schools. [A.C.]
FARNABY, Giles. Add that he graduated
at Christ Church as Mus. Bac. on July 7, 1592 ;
stating in his supplicat that he had stucfied
music for 12 years. (Wood's 'Fasti,* ed. Bliss,
i. 257.) There are a number of pieces by him
in the Fitzwilliam Virginal Book (see vol. iv. pp.
308-310), among which is a curious composi-
tion for two virginals. The same volume con-
tains four pieces by his son, Richard Farnaby,
of whom nothing is known. Giles Farnaby con-
tributed harmonies to some of the tunes in Ra-
venscroft's Psalter (162 1). Wood's statement
that he was a native of Truro is probably correct,
though the name does not occur in the Visita-
tion of Cornwall of 1620. Thomas Farnaby's
wife came from Launceston; he lived most of
his life in London and Sevenoaks, and his de-
scendants remained in Kent, but the early his-
tory of the family is obscure, and the connection
between Giles and Thomas Farnaby cannot be
traced. [W.B.S.]
FARRENC, Aeistide. Line 2 of article,/or
Feb. 12, 1869, reac? Jan. 31, 1865.
FAURE, Gabbiel Ubbain, bom May 13,
1845, at Pamiers (Arifege), studied at Paris with
Niedermey er, the founder of the ]&cole de Musique
religieuse ; also under Dietsch and Saint-Saens,
of whom he has remained the devoted friend.
His first appointment on leaving the school in
1866 was that of organist at St. Sauveur, Rennes;
in 1870 he returned to Paris, and after holding
the posts of accompanying organist at St. Sulpice
and principal organist at St. Honor^, became
maltre de chapelle at the Madeleine, where he
still remains. He became known as a composer
by his touching and original songs, many of
which are very remarkable. A selection of
twenty has been published by Hamelle, and * Le
Pofeme d' Amour ' by Durand and Schoenewerk,
but his compositions in this class are very
numerous. He has also published many piano-
forte pieces, among which are some delightful
nocturnes ; at the Soci^t^ Nationale de Musique,
where all his most important compositions have
been successively given, he produced a Cantique
de Racine, duets for female voices, and a violin
sonata, afterwards played at the Trocadero, on
July 5, 1878, which last has become popular in
Germany. Among his most remarkable works,
besides a Berceuse and Romance for violin and
orchestra, a beautiful El^gie for violoncello, two
Quartets for piano and strings (1882 and '87),
and a Violin Concerto, we may mention an Orches-
684
FAURfi.
tral Suite (Salle Herz, Feb. 13, 1874), a pretty
•Choeur des Djinns' (Trocad^ro, June 27,
1878), a symphony in D minor (Chatelet, March
15, 1885), a Requiem (Madeleine, Jan. 16,
1888), and his great choral work, *La Nais-
sance de Vdnus.' M. Faurd, who is one of the
most distinguished and steadfast of French com-
posers, confines himself chiefly to vocal and
chamber music, in which his remarkable purity
and sincerity of sentiment, and his penetration of
feeling seem to bind him to Chopin and Schu-
mann. In 1885 the Prix Chartier, given by the
Acad^mie des Beaux Arts for the best chamber
composition, was with excellent judgment
awarded to him. [A. J.]
FAURE, J. B. See vol. i. p. 571.
FAY, GuiLLERMUS DU (Gullielmus, Gugliel-
mus, or Wilhelmus Dufay, Dufais, or Duffai).
Until within the last few years, the personal
identity of the great leader of the First Flemish
School was surrounded by doubts, little less ob-
scure than those which still perplex the biographer
of Franco of Cologne. Neither Burney nor Haw-
kins seem to have troubled themselves, either to
learn the details of his life, or to ascertain his
true place in the History of Art. Since their
day, the authority most frequently consulted has
been Baini, who speaks of Dufay as having sung
in the Pontifical Choir from 1380 to 143a. Fdtis
and Ambros were content to accept Baini's dates
without verification; and most later writers —
ourselves among the number^ — have followed
their example, to the extent of assuming the
learned Abba's words to mean even more than
he intended ; for, though he tells us that Guil.
Dufay's connection with the Pontifical Choir
ceased in 1432, he does not say that the Master
died in that year — and it is now known that he
lived many years later.
One of the first historians of credit who ven-
tured to throw any serious doubt upon Baini's
dates was Robert Eitner, whose discoveries led
him to suggest — as Kiesewetter had previously
done, in the case of Franco — the existence of
two Masters of the same name, flourishing nearly
a century apart. This extravagant conclusion
he based upon the evidence afibrded by three
tumulary inscriptions, lately discovered at Cam-
brai. The first of these, from the tomb of Dufay's
mother, in the Cathedral at Cambrai, runs thus —
CM devant ghist demiselle Marie Dufay, m6re de me
Guillaume Dufay, conone (sic) de c<5ens,^ laquelle tre-
Eissa I'an mil line et XLliii le jour de S* George. Pries
ieu pour Tftme.
The second mentions Dufay, in connection
with a Priest named Alexandre Bouillart of
Beauvais —
Chi gist sire Alexandre Bouillart, pretre, natif de
Beauvais, chapelain de l^glise, et de me G-uillaume Du-
fay, canone de Cambrai, et trepassa I'an mil OCCCLXXiili
le xxe jour d'aoust Dieu en ait les ftmes.
1 See Tol. 11. p. 226 6 ; and HI. p. 260 a. Also, 'A General Hlatory of
Music,' p. 53. (London, 1886.)
2 Another reprint has dens. The word stands, of course, for the
modern French word, eSatu, slgrnitylng here, or of this place. But a
learned German critic has mistaken It for the name of some unknown
town, in the neighbourhood of Cambrai ; and gravely tells us no such
place as C^ens Is mentioned In any atlas or guide-book with which
he la acquainted.
FAY.
The third is the epitaph of Dufay himself, and
gives his titles, thus —
Hie inferius jacet venerabilia vir magr. guillermus
dufay music, baccalareus in decretis olun hu' ecclesie
chonalis deinde canonic' et see. waldetrudis montem.
qui obiit anno dni. millesimo quadrin . . . iio die XXVIl*
mensis novembris.
The hiatus in the date is supplied by an old
MS. in the Library at Cambrai, which esta-
blishes the a 8th of November, 1474, as the exact
date of Dufay's death. It is upon the difierence
between this and the date given by Baini that
the argument in favour of the existence of two
Dufays is based. The details of the controversy
are too complicated for insertion here ; we there-
fore propose to content ourselves with a brief
summary of its results, as influenced by the re-
cent criticisms and discoveries of Jules Houdoy,'
Vander Straeten,* Eitner,' Otto Kade," and
Fr. Xav. Haberl.'
Until the labours of these writers were given
to the world, the general belief was, that Guiliel-
mus Dufay was a native of Chimay, in Hen-
negau ; that he first sang in the Pontifical Choir,
at Avignon ; that he migrated thence to Rome
in 1377, when Pope Gregory XI restored the
Papal Court to that city ; and that he died in
Rome, at a very advanced age, in 1432.
That he sang at Avignon is in the highest
degree improbable ; and neither Baini nor any
other writer has attempted to verify the sup-
position. But the rest of the account seems
plausible enough, if we can only bring ourselves
to believe that the Master attained the age of
104. Haberl rejects this theory, on the ground
that Dufay quite certainly learned to sing, as a
Choir-boy, in the Cathedral at Cambrai ; and
there formed an intimate and lasting friendship
with another young Chorister — Egidius Binchois.
But it is well-known that Flemish children, with
good voices, were taken to Rome at a very early
age: and there is nothing unreasonable in the
supposition that Dufiay, having been bom at
Chimay in 1370, and taught to sing in the
Maitrise at Cambrai, formed there his youthful
friendship with Binchois, and was removed at
ten years old to Rome, where, as Baini tells us,'
on the authority of the Archives of the Cappella
Sistina, he was received into the Pontifical Choir
in 1380. This last-named date we have had no
opportunity of verifying ; and it must be con-
fessed that it assumes both Dufay and his mother
to have lived to a very advanced age indeed.
Haberl unhesitatingly rejects it; and assumes
on this very ground, that Dufay cannot possibly
have been bom before the year 1400. Baini's
assertion that Dufay quitted the Choir in 143a,
is open to less objection. The Archives con-
clusively prove that he sang in it, as a Laic, in
1428 ; and again in 1431, 1433, 1435, and even
1436, in which year his name occupies the first
> Hlstolre artlstique de la Cathedrale de CambraL (Paris. 1880.)
4 La M usique aiu Fays-Bas.
s Mouatshefte far Musik-Geschlchte. (Leipzig, 1884. Nro. 2.)
6 Ibid. (Leipzig, 1885. Nro. 2.)
7 Bausteine fttr Muslk-geschlchte. Nro. L Wllhelm du Fay. (Leip'
zlg. 1885.)
8 Memorie storico-orltlche della ylta dl OloT. Plerlulgl du Pale*-
trioa. (Boma 1828.)
FAY.
place on the list of the twelve Singers. In 1437
his name is omitted, eleven Singers only being
mentioned, without him; and after this he
disappears from the records. A document has,
however, been discovered, in which mention is
made of his release from his engagements, in
1437 ; and M. Houdoy's researches at Carabrai
prove, beyond all doubt, that between that year
and 1450 he spent seven years in Savoy; that
he took his degree of Magister in artibus, and
Baccalareus in decretis, in Paris, at the Sorbonne,
before 1442 ; that he entered the service of
Philippe le Bon, Duke of Burgundy, as music-
tutor to his son Charles, Comte de Charolais;
that he obtained a Canonry in the Cathedral of
Cambrai, in 1450 ; and that he died there in 1474.
In his will, which is still in existence at
Cambrai, Dufay bequeaths to one of his friends
six books which had been given to him by the
Comte de Charolais; to another, a portrait of
Louis XI, who, when Dauphin, spent some time
at the Court of Burgundy ; to a third, a portrait
of Een^ of Anjou, who was Philippe's prisoner
for a long time ; and to a certain Pierre de Wez
30 livres, in return for seven years' use of his
house in Savoy. He also desires that, when he
has received the Last Sacraments, and is in
articulo mortis, eight Choristers of the Cathedral
shall sing, very softly, by his bedside, the hymn
* Magno salutis gaudio ' ; after which, the altar-
boys, with their master, and two choristers,
shall sing his motet, 'Ave Regina coelorum.'
This pious duty was, however, performed, not at
his bedside, but in the chapel, after his death,
*corpore presente.'
The wUl is printed entire by Haberl, who also
gives a woodcut of the tombstone, with the
inscription given above, and a representation
in bold relief of the master, kneeling, with
folded hands, in the dexter comer, in front of
S. Waltrudis and her two daughters, the re-
mainder of the stone being occupied with a
representation of the Resurrection of Our Lord,
while the four corners are ornamented with a
medallion, or rebus, in which the name, Dufay,
is encircled by a Gothic G. The stone is now in
the collection formed by M. Victor de Lattre, of
Cambrai.
The archives of the Cathedral of Cambrai
contain a record of 60 scuta, given to Dufay as
a 'gratification,' in 1451. And the text of a
letter, written to Guil. Dufay by Antonio Squar-
cialupi, a Florentine Organist, and dated i Mag-
gio, 1467, is given, by Otto Kade, in the Monats-
hefte for 1885.
Guil. Dufay is mentioned, by Adam de Fulda,
as the first Composer who wrote in regular form
(magnum initium formalitatis) . This statement,
however, can only be accepted as correct, in
80 far as it concerns the Continental Schools, since
the Reading MS. proves regular form to have
been known and used in England as early as the
year 1226. Nevertheless, though he was not,
as has so long been supposed, the eldest, but the
youngest of the three great Contrapuntists of his
age — Dunstable, Founder of the Second English
f6tis.
635
School having died in London in 1458, and Bin-
chois at Lille in 1460 — his title to rank as the
Founder of the First Flemish School is rather
strengthened, than invalidated, by the recent
discussion to which we have alluded: for, his
contributions towards the advancement of Art
were of inestimable value. If not actually the
first, he was one of the first Composers in whose
works we find examples of the Second, Fourth,
and Ninth, suspended in Ligature : and he was
also one of the first of those who availed them-
selves of the increased facilities of contrapuntal
evolution afforded by the then newly-invented
system of white notation — the * blacke voyd ' of
the English theorists. So highly was his learning
esteemed by his contemporaries, that, when on
a visit to Besan9on, in 1458, he was asked to
decide a controversy concerning the Mode of the
Antiphon *0 quanta exultatio angelicis turmis,'
his decision that it was not, as commonly sup-
posed, in Mode IV, but in Mode II, and that the
mistake had arisen through a clerical error in the
transcription of the Final, was accepted by the
assembled savants as an authoritative settlement
of the question.
Besides the collection of Dufay's MS. Com-
positions among the Archives of the Cappella
Sistina, and the Vatican Library, Haberl has
identified 62 in the Library of the Liceo filar-
monico, at Bologna ; 25 in the university of the
same city ; and more than 30 in other collections.
Many will also be found in the rare Part-Books
printed, at the beginning of the i6th century, by
Petrucci,and in the Dodecachordon of Glareanus.*
The * Ave Regina coelorum ' is given, by Haberl,
in the original notation of the old Part-Books,
and also in the form of a modernized Score;
together with a Score of a ' Pange lingua, as'; and
some important examples are given among the
posthumous Noten-Beilagen at the end of Am-
bros's 'Geschichte der Musik.' A short
quotation from his * Missa I'omme armd ' will be
found in vol. iii. p. 260 a. [W.S.R.]
FELIX MERITIS. Add that the society
ceased to exist in 1888.
FERNAND CORTEZ. Line 5 of article,
for 1808 read 1809.
FESTIVALS. Line 28 of article,/or 1767
read J 764. Same column, line 17-18 from
bottom, for Thuringian Musical Festival, etc.,
read a Festival at Frankenhausen in 1804, and
refer to Spohr's Autobiography, i. 151. P. 516 J,
1. 2, for 1709 read 1698. For other festivals,
consult, beside the articles referred to, Beaulibtt
and Cecilia, St.
FJ&TIS, Fbancois Joseph. Add that in
1829 he came to' England for the purpose of
giving a course of lectures on musical history.
The season was too far advanced to allow of his
doing so, and the plan was abandoned, a single
lecture being given at Sir George Warrender's,
on May 29, when illustrations were given by
Camporese, Malibran, Mme. Stockhausen, Don-
1 A German translation of this work Is now in cours* of pubUoft*
tion, under the editorship of Bobert Eltner.
636
jfiiTis.
zelli, Begrez, Labarre, De B^riot, etc. In i8a8
lie had been for three months in England. See
the Harmonioon for July, 1829. [M.]
FIBICH, Zdbneo, bom Dec. ai, 1850, at
Seborschitz, near Tschaslau in Bohemia, re-
ceived his musical education at Prague from
1865 onwards, at the Leipzig Conservatorium,
and from Vincenz Lachner. In 1876 he was
appointed second conductor at the National
Theatre at Prague, and in 1878 director of the
choir at the Russian church. Riemann's Lexi-
con, ft^m which the above is taken, gives the
names of the following compositions: — Symphonic
poems, 'Othello,' *Zaboj und Slavoj,* 'Toman und
die Nymphe,*two symphonies, several overtures,
two string quartets, a ballad for chorus ('Die
Windsbraut '), a three-act opera ('Blanlk,*
given at Prague Nov. 26, 1881), besides songs,
pianoforte pieces, etc. The only work of his
that has yet been heard in England is an ex-
ceedingly beautiful and original quartet in
E minor for pianoforte and strings (op. 11), given
by Mr. Charles Hall^ on June 8, 1883, and
repeated several times since. [M.]
FIDELIO. Line 20, add (z.) After the death
of Guardasoni, the Italian Director of the Prague
opera, in 1806, and the appointment of Liebich,
and the adoption of the German opera there,
Beethoven, with the view to a probable perform-
ance of * Fidelio,' wrote the overture known as
'Leonora, no. i,*as an 'easier work' than either
of the two preceding. The performance, however,
did not come oflF, and the overture remained in
MS. and unknown till after Beethoven's death,
when it was sold in the Sale of his effects and
published in 1832 (Haslinger) as 'Overture in C,
op. 138' {Auf. ' Characteristische Ouverture').
See Seyfried, p. 9 ; Thayer, iii. 25.
Subsequent numbers (3.) (4.) (5.) to be altered
to (4.) (5.) (6.). [G.]
FIERRABRAS. Add that the full score has
lately been printed by Breitkopf & Hartel, as
one of the earliest volumes of their complete
edition of Schubeit's works.
FILTSCH, Chaelbs. Add date of birth,
July 8, 1830. Omit the parenthesis in lines
7-8, as several of the artists there mentioned
had either been in London before, or came
later.
FINGER, GOTTFEIBD. P. 535 a, 1. 8, for
same read previous.
FINK, Cheistian, bom Aug. 9, 1831, at
Dettingen in Wiirtemberg, studied music until
his fifteenth year with his father, who combined
the offices of schoolmaster and organist. In
1846 he was sent to the Waisenhaus- Seminar
at Stuttgart, where he remained for three years,
his musical education being in the hands of Dr.
Kocher. Appointed in 1849 assistant music
teacher in the seminary at Esslingen, he pur-
sued his studies with such success that he was
able in 1853 to pass the examination for the
upper class of the Leipzig Conservatorium. After
a year and a half he went to Dresden to study
FLORIMO.
the oi^an under Schneider. Prom 1856 to
i860 he appeared as organist at many concerts
and oratorio performances in Leipzig, and in
1863 was appointed head of the seminary at Ess-
lingen and organist of the principal church of that
place. Two years afterwards he was given the
title of Professor. He has published many excellent
works for organ, some of which have appeared
in the Organist's Quarterly Journal (Novello),
besides psalms for chorus and orchestra, songs,
choTOses, etc. (Mendel's Lexicon). [M.j
FIORAVANTI, Valentino. Line 8 of
article, for 1 806 read 1 803. Add the production
of ' Adelaida ' at Naples in 181 7. Last two lines
of article,/or born 18 10 read bom April 5, 1799,
died March 38, 1877.
FISHER, J. A. Add to the list of his
writings for the stage, the music to Cradock's
tragedy 'Zobeide' (Covent Garden, 1771).
FLAUTO MAGICO. See ZauberflStb, voL
iv. p. 503 h, in the last line but one of which ^or
1883 read 1833.
FLEMMING, Friedeich Ferdinand, bom
Feb. a8, 1778, at Neuhausen in Saxony, studied
medicine at Wittenberg from 1796 to 1800, and
subsequently at Jena, Vienna and Triest. He
practised in Berlin, where he took a keen interest
in all musical matters, composing many part-
songs, especially for male voices, for the society
founded by Zelter. His claim to notice in this
Dictionary is based upon his excellent setting of
Horace's ode beginning ' Integer vitae,' which is
still universally popular in English schools and
universities, as well as in Germany. The curious
resemblance in style and structure between this
and Webbe's 'Glorious Apollo' is certainly
fortuitous, since the latter was written in 1787,
and Flemming can hardly have become ac-
quainted with the Englishman's work. [M.]
FLIGHT, Benjamin. Add that Messrs.
Gray & Davison bought Robson's share of the
business after the dissolution of the partnership.
FLORIMO, Francesco, born Oct. 12, 1800,
at San Giorgio Morgeto, Calabria, was taught
music at the Royal College of Music at Naples,
where he learnt counterpoint and composition
from Zingarelli. He was appointed in 1826
Librarian of the College of Music (afterwards
incorporated with that of San Pietro di Majella),
where finding the archives in a state of chaos
and disorder, by his energy and perseverance he
gradually made the Library one of the most in*
teresting and valuable in Europe. He added a
number of important works, besides a collection
of autographs and manuscripts, of all the masters
of the Neapolitan School. Florimo's compositions
include a Cantata, op. i, in honour of the Duke
of Noja, Director of the College of San Sebas-
tiano ; a Dixit ; a Credo ; a Te Deum ; Funeral
Symphony composed on the death of Bellini,
afterwards performed at Zingarelli's funeral ;
a Chorus and Fugal Overture on the unveiling of
Zingarelli's portrait at the College ; ' Ore musi-
cali,' a setting of 10 songs, vocal duet and
FLORIMO.
quartet (Girard, Naples) 1 835 ; 1 2 songs published
under the same title by Boosey (London, 1845)
six of which were included in the first collection ;
3 popular Neapolitan songs in a collection pub-
lished by Lonsdale, 1846; 34 Songs (Ricordi,
Milan) etc. He has written a Method of singing
(Ricordi), 3rd edition 1866; a * History of the
Neapolitan School of Music/ Naples, 2 vols,
1869-71 ; a 'History of the College San Pietro,'
Naples, 1873 ; a second edition of the above with
the History of Music in Italy, Naples, 4 vols.
1880-82 ; * Wagner and the Wagnerites,' Ancona,
1883, with a supplement containing letters from
Verdi and Biilow, from Frau Wagner * to the
most amiable of librarians, and the juvenile oc-
togenarian,' expressing the satisfaction of herself
and her husband at a performance of a Miserere
of Leo by the students of the College on the occa-
sion of their visit there in 1880; also a litho-
graph copy of a letter from Wagner himself to the
Duke of Bagnara the President, from the Villa
d'Angri, Naples, dated April 22, 1880. [A.C.]
FLOTOW. P. 535 a, line 12, for 1869 read
1870. Line 13,/or Flor rearfFiore. Add that
he died at Wiesbaden, Jan. 24, 1883.
FLUD, or FLUDD, Robert, the son of Sir
Thomas Flud, treasurer of war to Queen Elizabeth
in France and the Low Countries, bom at Milgate,
in the parish of Bearsted in Kent, 1574. At the
age of 1 7 he became a student of St. John's College,
Oxford, where he studied physics. After a short
time of residence he went abroad for six years, at
the end of which time he returned and took the
accumulated degrees of Bachelor and Doctor of
Physics. In 1605 he was made a Fellow of the
CoUege of Physicians. From 161 6 until his
death he was engaged in the composition of
various philosophical treaties, in which he
refuted the theories of Kepler and Mersennus,
and advocated those of the Rosicrucian and other
mystics. In the history of philosophy his name
is of some importance, since his writing exercised
a powerful influence over Jacob Behmen. In
musical literature he holds a far less prominent
position, his chief connection with the art being
found in a treatise printed at Oppenheim in 16 17,
entitled *Utriusque cosmi majoris scilicet et
minoris metaphysica, physica atque technica
historia. ' The following sections treat of musical
phenomena: Tract I. Book iii. and Tract II.
Part i. Book vi. and Part ii. Book iv. His
*Monochordum mundi symphoniacum,* written
in reply to Kepler (Frankfort, 1622) contains
a curious diagram of the universe, based on the
divisions of a string. He died at his house
in Coleman Street, Sept. 8, 1637, and was buried
at Bearsted. [M.]
FOLI, SiGNOB, whose real name is Allan
James Foley, was born at Cahir, Tipperary, and
in early life went to America. He was taught
singing at Naples by the elder Bisaccia (father
of Gennaro Bisaccia the pianist), and in Dec.
1862 he made his debut at Catania as Elmiro in
*Otello.' He played successively at Turin,
Modena, Milan, and in 1864 at the Italiens,
FORSYTH BROTHERS.
637
Paris. On June 17, 1865, Signer Foli made a
successful debut at Her Majesty's as St. Bris
(* Huguenots'); on July 6 as the Second Priest
on the revival of * Zauberflote,' and on Oct. 28
as the Hermit in * Der Freischiitz.' From that
time he has sung frequently in Italian at the
three * patent ' theatres in upwards of 60 operas,
viz. as Sarastro, Commendatore, Marcel, Caspar,
Mephistopheles, Sparafucile, Basilic, Assur and
Oroe (* Semiramide '), Rodolfo ('Sonnambula'),
Bide the Bent (* Lucia'), Bertram, and Daland
on the production of *Der Fliegende Hollander,*
at Drui-y Lane, July 23, 1870, etc., in addition
to the parts previously named in which his fine
voice — a rich powerful bass of more than two
octaves from E below the line to F — has been
heard to full advantage.
^ Signor Foli is equally well known as an orato-
rio and concert singer at all the important festivals.
He made his first appearance in the former on
April 25, 1866, in 'Israel' at the National Choral
Society, but his first success was on Feb. 22,
1867, in * The Creation ' at the Sacred Harmonic.
His new parts in this class include Jacob, on the
production of Macfarren's * Joseph' at the Leeds
Festival, Sept. 21, 1877, and Herod, on produc-
tion of Berlioz's L'Enfance du Christ ' under
Hall^ at Manchester, Dec, 30, 1880, and in
London Feb. 26, 1881. He has played in
America, at St. Petersburg, Moscow, Vienna,
etc. In Russia he made a conspicuous success
as Caspar, Moses (which part he has sung with
success at the Sacred Harmonic), and as Pietro
in ' Masaniello.' [A.C.]
FORM. P. 543 b, 1. 7 from bottom, for the
former read they. P. 544 a, 1. 11 from bottom,
for 1688 read 1715. P. 545 a, 1. i9from bottom,
for 1703-85 read 1706-85.
FORMES, Kakl. Add that he visited Eng-
land again in 1888, appearing at Mr. Manns's
benefit concert, April 21. (Died Dec. 1889.)
FORSYTH BROTHERS, a firm founded at
Manchester for the sale of pianos, by the brothers
Henry and James Forsyth in 1857. They had
been brought up, and represented the third
generation of the name, in the establishment
of John Broadwood & Sons. Forsyth Brothers
began engraving music in 1872, with Mr. Charles
Hallo's • Practical Pianoforte School,* the first
numbers of which were published by them in
Jan. 1873, and at the same time they opened a
London branch of their business in Oxford Circus.
An appendix to the School, entitled the 'Musical
Library ' was commenced some time after, and a
catalogue was formed which includes several
compositions by Stephen Heller as well as import-
ant works by other composers. They have also
added to the instrumental part of their business
an agency for American organs, from the manu-
factory of the Dominion Organ Company, Ontario,
Canada. Mr. Henry Forsyth died in July, 1885.
Mr. James Forsyth has, in connection with the
business in Manchester, maintained an important
share in the management of the leading concerts
of that city. [A.J.H.]
638 FOSTER.
* FOSTER, Stephen Collins, an American
composer, of Irish descent, born near Pittsburg,
Pennsylvania, July 4, 1826, entered, in 1840,
the Academy at Athens, Pennsylvania, and, in
1 841, JeflFerson College near Pittsburg. Though
not noted for studious qualities he taught himself
French and German, painted fairly well, and
exhibited a pronounced liking for the works of
Mozart, Beethoven, and Weber. Before this he
had shown his musical inclinations by teaching
himself the flageolet when seven years old. His
first composition, produced while at Athens,
was a waltz for four flutes. His first published
song, * Open thy lattice, love,' appeared in 1842.
This song is one of the very few set by him, the
words of which are not his own. In 1845-46
there were published *The Louisiana Belle,'
' Old Uncle Ned,' and • 0, Susanna.' The fol-
lowing are the titles of his ballads : — * My old
Kentucky Home,' * Old Dog Tray,' * Massa's in
de cold ground,' 'Gentle Annie,' 'Willie, we
have missed you,* *I would not die in spring-
time,' 'Come where my Love lies dreaming,' 'I
see her still in my dreams,' ' Old Black Joe,'
* Ellen Bayne' (which, it has been claimed,
provided the theme of *John Brown's Body,'
the war-song of the Federal troops 1861-65),
* Laura Lee,' and * Swanee Riber ' (more gene-
rally known as ' The Old Folks at Home ' and
sung all the world over).
Altogether some 175 songs are credited to
him. * Beautiful Dreamer ' is the title of his
last ballad. In style they are all completely
melodic, with the most elementary harmonies
for the accompaniments or in the choral por-
tions. But there is a pleasing manner in them,
and they reflect a gentle, refined spirit. It
will be seen that some of the titles betray the
influence of the African race in the country near
Foster's home, and it has even been said that he
was indebted for some of his themes to the un-
tutored plantation-negroes. But it is more
probable that the negro dialect was adopted in
order to meet the demands of the market which
happened to be open to him — the entertainments
by minstrel companies of the Christy type. The
appearance of the name Christy as author of
* Swanee Riber' on some publications of that
song is explained by the fact that Foster con-
sented thereto for a stipulated sum — not the first
time that genius has had to sacrifice principle —
though for the first edition only. Foster died
in New York on Jan. 13, 1864, at the American
Hotel, where he had been attacked with fever
and ague. While yet too weak he attempted to
dress himself, and swooning, fell against a pitcher
which cut a small artery in his face. He died
within three days from the consequent loss of
blood, and was buried in the Alleghany Cemetery
at Pittsburg, beside his parents, and within sight
of his birthplace. Probably there is no song-
writer whose works show a larger circulation than
is recorded for Foster's pretty and sometimes
pathetic ballads. The following information con-
cerning the sales of some of these homely lyrics
was published in December, 1880 : — *01d Folks
» Copyright 1889 bj V. H. Jenks.
FRANC.
at Home,' 300,000 ; ' My old Kentucky Home,'
200,000 ; * Willie, we have missed you,' 150,000 ;
'Massa's in de cold ground,' 100,000; 'Ellen
Bayne,' 100,000 ; ' Old Dog Tray,' 75,000. ' O,
Susanna ' and ' Old Uncle Ned ' have been sold
in immense numbers, but not being copyrighted
the sales cannot be estimated. The copyrights
of many of Foster's songs are still valuable.
There have been numerous imitators of his style,
but none have shown his freshness and taste, and
he still stands as the people's composer in Ame-
rica, as well as the only American musician
whose works, simple as they are, have a distinc-
tive individuality.
The greater part of the material for this
sketch was taken from 'Music in America,'
F. L. Ritter, New York, 1883. [F.H.J.]
FOUGT. Se© Mdsic-Pbinting in Appendix.
FRANC, or LE FRANC, Guillaumb, the son
of Pierre Franc of Rouen, was probably one of
the French Protestants who fled to Geneva as an
asylmn from the persecution to which those who
embraced the doctrines of the reformation were
then exposed. He settled in that city in 1541,
shortly before the return of Calvin from Stras-
burg, and obtained a licence to establish a school
of music. In 1542 he became master of the
children and a singer at St, Peter's at a salary
of 10 florins. In 1543 the Council of Geneva
resolved that ' whereas the Psalms of David are
being completed,^ and whereas it is very neces-
sary to compose a pleasing melody to them, and
Master Guillaume the singer is very fit to teach
the children, he shall give them instruction for
an hour daily.' His pay was increased from 10
to 50 florins, and afterwards raised to 100, with
the use of part of a house, but on the refusal of
the Council to grant a further addition to his
salary Franc left Geneva in 1545 and joined the
choir of the Cathedral of Lausanne, where he
remained until his death about the beginning of
June, 1570.
Franc's name is chiefly known in connection
with the Psalter published at Geneva by Calvin
for the use of the Reformed Churches. The first
edition of this celebrated work appeared in
1542, containing 35 psalms, and was enlarged
from time to time until its completion in 1562.
Of this Psalter Franc has been generally believed
to be the musical editor ; but recent researches,
especially those of M. O. Douen, show the claim
set up for him to be devoid of foundation. [See
BouKGEOis, vol. iv. p. 557.] He certainly had no-
thing to do with the Psalter after leaving Geneva
in 1 545, and although the resolution of the Council
quoted above may appear to indicate an intention
of employing him to adapt melodies to some of the
psalms then newly translated by Marot, there is
no evidence that this intention was ever carried
into e£fect.
Franc, however, did edit a Psalter. The
church of Lausanne had on several occasions
shown a spirit of independence of that of Geneva,
and at the time of Franc's arrival sang the
i This refen to the additional veralODS then being written bj Marot.
FRANC.
FRANCK.
63^
psalms to melodies by Gindron, a canon of the
cathedral, which differed from those in use at
Geneva. As early as 1552 Franc appears to
have been engaged on a new Psalter, for in that
year he obtained a licence to print one at Geneva,
there being then no press at Lausanne. No
copy of this book, if it was ever published, is
known to exist, but the terms of the licence^
show that it consisted of the psalms of Marot
with their original melodies, and the 34 psalms
translated by Beza the year before, to which
Franc, probably in rivalry with Bourgeois, had
adapted melodies of his own. At any rate, in
1565, three years after the completion of the
Genevan Psalter, that of Lausanne appeared,
under the following title : — * Les Pseaiunes mis
en rime fran9oise par Clement Marot et Theo-
dore de Bbze, auec le chant de I'eglise de Lau-
sane [st'c] 1565. Auec privilege, tant du Roy,
que de Messieurs de Geneue.'
In the preface Franc disclaims any idea of
competition with those • who had executed their
work with great fidelity,' or even of correcting
• what had been so well done by them.* He
gives no intimation that he had himself taken
any part in that work, and states, with respect
to his own book, that in addition to a selection
of the best tunes then in use in the church of
Lausanne as well as in other Reformed Churches,
he had supplied new ones to such of the psalms,
then recently translated, as had not yet been set
to music, and were consequently sung to the
melodies of psalms in the older editions of the
Psalter. He adds that his object was that each
psalm should have its proper tune and confusion
be thereby avoided.
Stress has been laid by some writers who
attributed the Genevan melodies to Franc, on a
letter written to Bayle by David Constant, pro-
fessor of theology at Lausanne at the end of the
17th century, in which he states that he had
seen a certificate bearing date Nov. 2, 1552, and
given by Beza to Franc, in which Beza tes-
tifies that it was Franc who had first s^t the
psalms to music. Constant adds that he himself
possessed a copy of the psalms in which the
name of Franc appeared and which was printed
at Geneva under the licence of the magistrates of
that city. Baulacre, however, writing in 1745
in the Journal Helv^tique, after investigating
the accuracy of Constant's statement, shows that
the account he sent to Bayle of Beza's letter was
erroneous, as that letter contained no reference
to the authorship of the melodies. Even had it
done 80, we have seen above that in that very
year Franc had obtained a licence to print a col-
lection of psalms for Lausanne, and the psalter
1 This Important document, which has only lately been discovered
In the registers of the Council of Geneva, deserves to be quoted In
tali:-
Jendl 28 iuillet 155Z.
.. . Sur ce qui le dlt maistre Jacques, minlstre de Lausanne, a pro-
pose que k Lausanne llz ne se sont peult estre d'accord de chanter les
pseaulmes changes icy par maistre Leys Bourgols, ny ceulx qu'll a
myst en chans du sieur de Beze, llz sont en propos de faire imprimer
les pseaulmes translatez par Marot en leur premier chant, et aussy
ceulx qu'a translate le sieur de Beze en vng chant que y a mis le
chantre de Lausanne pour les chanter, ce qu'ilz n'hont aus6 &lre
sans licence. Pourquoy U a requis permettre les Imprimer ley. Ar-
rets que, attendu que o'est chose raissonable, 11 leur soit permys.
to which Constant refers is that of 1565, also
compiled for local use.
In this latter collection 27 melodies are com-
posed or adapted by Franc to the psalms left
without them in the Geneva Psalter of 1562,
(51'. 53» 62, 63, 64, 65, 66, 67, 68, 70, 71, 76,
77, 78, 82, 95, 98, 100, 108, 109, III, 116, 1272,
139, 140, 142, and 144), nineteen are selected from
the tunes previously in use at Lausanne, and the
rest are taken from the Genevan Psalter.
Before long, however, Lausanne followed the
example of the other Reformed Churches, and
the Psalter of Franc was superseded by that of
Bourgeois.
Franc's tunes are of small merit. Some speci-
mens of them are given by Douen in his ' Cle-
ment Marot et le Psautier Huguenot,' 2 vols.
Paris 1878-79, from which the materials for this
article are chiefly derived. See also Bovet,
*Histoire du Psautier des dglises reformdes,'
Neuchatel et Paris, 1872 ; G. Becker, ' La
Musique en Suisse,' Genbve et Paris, 1874;
Riggenbach, * Der Kirchengesang in Basel ' ; and
six articles by the present writer in the Musical
Times, June-November, 1881. [G.A.C.]
FRANCHOMME. For Christian names read
AuGUSTE- Joseph, and add that he died in Paris
Jan. 22, 1884.
FRANCK, CisAB AuGUSTE Jean Guillaume
HuBEET, pianist, organist, and composer, be-
came a naturalized Frenchman in 1873, having
been born at Lifege, Dec. 10, 1822. He began
his musical studies at the Conservatoire at his
native place, and at the age of fifteen was ad-
mitted to the Conservatoire at Paris, where
in 1838 he gained a first prize for piano under
Zimmermann, in 1 839 and 1840 a second and
first prize for counterpoint and fugue under
Leborne, and in 184I a second prize for organ
under Benoist. He did not compete for the
Prix de Rome, owing to his father's wish that
he should devote himself to the organ and piano.
Having completed his musical education, Franck
settled in Paris, devoting himself entirely to
teaching and composition; in 1846 he produced
at the Conservatoire his oratorio * Ruth,' which
passed unnoticed at the time, but which, twenty-
five years later, served to bring his name before
the public. The career of this modest and enthu-
siastic artist has been one of assiduous work
and of attention to his profession of organist,
first at St. Jean St. Fran9ois and afterwards at
Ste. Clotilde, where he was appointed maitre de
chapelle in 1858 and organist in i860, and where
he has since remained. In 1872 his nomination
as professor of the organ at the Conservatoire in
place of his master Benoist, who had retired after
fifty years' service, gave him naturally more im-
portance and enabled him to exercise consider-
able influence over music in France. He became
the centre of a group of young composers who
2 Both these psalms had proper times in the Genevan Psalter, to
which Beza's versions of 69 and 117 were respectively sung. Franc
retained the Genevan melodies for the later psalms, and adapted dis-
tinct tunes to the older ones. Of these tunes, that which Franc set
to 51 was its original melody, to which Bourgeois adapted it in 1542.
but which he had replaced by another In 1551.
640
FBANCK.
were anxious to study orchestral composition
without passing through the Conservatoire, where
no attention was paid to the symphonic style,
care being only given to operatic composition.
By his serious character both as a man and an
artist, and by the weight of his learning and the
lofty style of his works, Franck seemed especially
fitted to hold a position then little sought after,
and thus by degrees he acquired great influence
over his disciples, initiating them into the musical
life, and encouraging them by example and advice.
This position has greatly enlarged Franck's sphere
of influence during the last fifteen years, and
the French government has recognized his ser-
vices and his merits by conferring upon him in
August 1885, the title of Chevalier of the Legion
d'honneur.
Franck's compositions, none of which have been
produced on the stage, are too many to enumerate.
His chief works are the four oratorios : ' Euth,'
composed 1845, produced 1846, recast and edited
1868, and revived at the Cirque d'^t^ in 1871,
and at the Concerts du Conservatoire in Feb.
1872 ; * Redemption,' composed 1872, produced
at the Concert Spirituel at the Od^on, on Holy
Thursday, 1873; 'Rebecca' and * Les Beati-
tudes,' both written in 1879, fragments of which
have been executed at various concerts. He has
also composed two operas, * Le Valet de Ferme,'
written in 1848 for the Op^ra National, then
under the direction of Adolphe Adam, and
' Hulda,' finished in 1885, selections from which
have been heard at concerts in Paris and Ant-
werp. The following are also worthy of mention :
^ Les Jfcolides ' and * Le Chasseur maudit ' (after
Burger's legend), both for orchestra; * Les Djinns'
and * Variations Symphoniques/ both for piano
and orchestra ; an important collection of organ
pieces, ofFertoires and chants d'^glise ; trios and
a quintet for piano and strings, a prelude,
chorale, and fugue for piano solo, a mass and
several motets, various songs, and recently a
€onata for piano and violin. Loftiness of thought,
great regard to purity of form, and natural rich-
ness of development, characterize his works ; un-
fortunately his creative power is not equal to his
scientific knowledge, and he is often wanting in
the freshness of inspiration which is found in
* Ruth,' his most poetical and pleasing composi-
tion. His works are nevertheless those of one
who may be depended upon for elegance and for
interesting combinations, and who has more than
once, by force of will and learning, succeeded in
attaining the high ideal which he has always
had in view. (Died Nov. 1890.) [A.J.]
FRANCO, Magisteb (Franco de Colonia;
Franco Leodiensis ; Franco Parisiensis ; Franco
of Cologne ; Franco of Lifege ; Franco of Paris.)
Though the claim of Magister Franco to the
honour of having written the earliest known
dissertation upon Measured Music has been very
generally admitted, the confusion which prevails
with regard to his personal identity has been
increased rather than diminished by the en-
deavours of successive historians to set the ques-
tion at rest. If we are to accept the contradictory
FRANCO.
theories that have been handed down to us, since
the times of Bumey and Hawkins, we shall find
it impossible to avoid the conclusion ; either,
that three distinct Francos flourished at dif-
ferent epochs, in Cologne, Lifege, and Paris ; or,
that a certain Magister Franco held scholastic
appointments in those three cities, at impossibly
distant dates.
The chief source of uncertainty is, the very
grave doubt as to whether the writer of the
famous musical tracts is, or is not, identical with
a certain philosopher, named Franco, who wag
equally celebrated, in the nth century, for his
knowledge of Mathematics, Alchemy, Judicial
Astrology, and Magic.
Sigebertus Gemblacensis,* who died in 1 113,
tells us that this learned writer dedicated a tract,
*De Quadratura Circuli,' to Herimanus, Arch-
bishop of Cologne J and, as this Prelate died in
February, 1055, the work must have been com-
pleted before that date. Trithemius '^ attributes
this same tract, * De Quadratura Circuli,' together
with another, * De Compute Ecclesiastico, et alia
plura,' to Franco, Scholasticus Leodiensis Eccle-
siae ; who, he says, flourished under the Emperor,
Henry III, about the year 1060, though there
is evidence, of another kind, to prove that Franco
continued in office at Liege, at least until the
year of 1083.
The authors of the ' Histoire Litt^raire de la
France'* assure us that this Scholastic of Lifege
was the author of the tract * De Musica Men-
surabili,'
But, in direct opposition to this, Kiesewetter*
brings forward evidence enough to satisfy himself,
at least, that the tracts on Measured Music were
neither written by the Alchemist and Magician
of Cologne, nor, by the Scholastic of Liege, but,
by some other Franco, who flourished not less
than 130 or 150 years later — i.e. towards the
close of the 12th century. This opinion — in
which it is only fair to say that he is followed
by De Coussemaker, Von Winterfeld, and Peme
— rests, however, upon no stronger ground than
the supposition that the period interposed be-
tween the writings of Guide d'Arezzo and Franco
was insufficient for the development of the im-
proved system described by the last-named
master. F^tis, reasonably enough, protests
against a conclusion unsupported by any sort of
historical, or even traditional evidence. Kiese-
wetter first stated his views in the Leipziger
allgem. mus. Zeitung, for 1828, Nos. 48, 49,
50. Fetis, in his Dictionary, opposed the new
theory. Kiesewetter replied to the objections
of Fetis, in Leipziger allgem. mus. Zeitung, for
1838, Nos. 24, 25. And, in the meantime, De
Coussemaker, in his Histoire de I'Harmonie au
moyen age (pp. 144-147), suggests, somewhat
confidently, that the real author of the disputed
tracts was another Franco, who is known to
have flourished at Dortmund, in Westphalia,
I Cbron. ad son. 1047. > De Script. Eccles. (Lnt. Far. 102.)
» Among these wa» one ' De Motu perpetuo.'
* L'Hlst. Litt. de la France. Tom. Till. p. 128. (Farii, 1747.)
0 Gescblcbta der Europ&bch-Abendl&uditcben Huslk. (Iieipzlg.
1846.)
FRANCO.
about the year 1190. But, since not a particle
of trustworthy evidence has ever been adduced
in favour of these fanciful theories, we shall do
well, until more light can be thrown upon the
subject, to believe, with F^tis, and our own
Bumey and Hawkins, that the tracts attributed
to Franco were really written by the philosopher
of Cologne, about the year 1060.
The musical tracts attributed to Franco are —
1. Ars Maestri Franconis de Muaica Mensurabili.
2. Magistri Franconis Musica.
3. Compendium de Discantu, tribus capitibus.
The earliest known copy of the first of these
MSS. is said to be preserved at Lire, in Nor-
mandy. The second tract — in the Bodleian Li-
brary, at Oxford 1 — is an exact transcript of the
first, under a different title ; though the authors
of the * Hist. Litt. de la France ' do not appear to
have been aware of the fact. The third tract —
also in the Bodleian Library^ — contains the best
account of Discant, immediately after the time
of Guide, that we possess. Copies of the Ars
Cantus mensurabilis are also to be found in the
Ambrosian Library at Milan, in the Paris
Library, and in the British Museum (No. 8866,
a fine MS. of the 15 th century, unknown to
Bumey.) Fdtis discovered a copy of the Com-
pendium de Discantu in the Paris Library ; and
another MS, copy was presented to the Vatican
Library by Queen Christina of Sweden. The
Compendium begins with the words, *Ego
Franco de Colonia,' the genuineness of which
Kiesewetter disputes.
Franco's claim to the honour of having in-
vented the Time-Table rests, partly, on the
contents of the treatise ' De Musica Mensurabili,'
and, partly, on the authority of MSS. of later
date than his own.
Marchetto di Padova, in his *Pomerium de
Musica Mensurata,' written about 1283, mentions
his as the inventor of the first four musical
characters — i.e. the Long, the Double-Long, the
Breve, and the Semibreve. Joannes de Muris,
in a MS. written about 1330, and bequeathed
by Christina, Queen of Sweden, to the Vatican
Library^, speaks of 'Magister Franco, qui in-
venit in Cantu Mensuram figurarum,' and his
testimony is particularly valuable, since he him-
self was, for a long time, very generally re-
garded as the inventor of Measured Music.
Franchinus Gafurius* twice mentions Franco
as the inventor of the Time-Table. Morley'
says, * This Francho is the most antient of al
those whose works of practical Musicke haue
come to my handes ' j after which, he proceeds
to describe Franco's treatment of the Long, and
the Breve. And Ravenscroft" also tells us that
Franchinus {dc) de Colonia was the inventor of
the * four first simple notes of Mensurable
Musicke.'
On the other hand, it is certain that Franco
1 Ho. 842, f. 49. a No, 2OT5, 60. 4.
• Compendium Joannls de Muribus ; in Blbl. Vat. No, 1146.
4 Practica Husicas, Lib. li. cap. 5.
s Flaine and Easie Introd,, in the Annotations at the end of the
Tolume.
• Briefe Discourse of the true Use of charactering the Degrees in
Kentorable Musicke, p. 1. (London, 1614.)
FRANCO.
641
cannot lay claim to all the inventions mentioned
in his ' Ars Cantus Mensurabilis,' since he him-
self says, in that very tract, * Proponimus igitur
ipsam Mensurabilem Musicam sub compendio
declarare, benedictaque aliorum non recusabi-
mus interponere, errores quoque destruere et
fugare, et si quid novi a nobis inventum fiierit,
bonis rationibus sustinere et probare.'
The four primary characters are described in
the Second Chapter of the MS., where they are
figured thus —
Longa. Duplex longa. Breyls. Semlbreyls.
The Perfect Long, he tells us, is equal to three
Breves, ' quia a summa Trinitate, quae vera est
et pura perfectio, nomen sumpsit.' The Imper-
fect Long, represented by the same figure, is
equal to two Breves only. The Breve was also
Perfect, or Imperfect, under the same conditions.
Two consecutive Longs, or Breves, were always
Perfect ; but, when a longer note was preceded
or followed by a shorter one, the longer note
was Imperfect, the time of the shorter one being
needed to complete its Perfection, Nevertheless,
an Imperfect Long, or Breve, could be rendered
Perfect, by means of the sign called a Tractulus,
the effect of which was precisely similar to that
of the comparatively modem Point of Augmenta-
tion. A similar efiect appears to have been pro-
duced by the Plica, added to the right side of the
Long, or the left side of the Breve : but. Franco's
remarks upon this sign are very obscure.
Plica longa, ascendons
et descendens.
Plica brevis, ascendena
et descendens.
Longs, Breves, and Semibreves, were grouped
together in certain combinations called Moods,'
of which Franco admits five only, though he says
that other Musicians used six, or even seven — a
clear sign that he did not invent them. Of these
Moods, the First consisted of Longs only ; the
Second, of a Breve followed by a Long; the
Thu-d, of a Long and two Breves ; the Fourth,
of two Breves and a Long ; and the Fifth, of a
Breve and a Semibreve. From which it fol-
lows, that the First Mood expressed the rhythm
of the Spondee, or Molossus ; the Second, that of
the Iambus ; the Third, that of the Dactyl ; the
Fourth, that of the Anapaest ; and the Fifth,
that of the Trochee ; the entire series performing
the functions allotted to the Mood, Time, and
Prolation, of a later period.'
The Third Chapter of the MS. treats of Liga-
tures;* and the Fourth Chapter, of Rests, of
which he gives some complicated examples, all
reducible, however, to the simple form shown
in our example in vol. ii. p. 471 6. In connec-
tion with these. Franco also describes the Finis
Punctorum, drawn across all the lines, and
7 We have here followed, for the sake of clearness, the plan adopted
b7 our early English writers, of translating the word Modu» as
Mood, when it relates to rhythm, and Mode when it refers to the
Ecclesiastical Scales.
8 See Mode, Fbolatiok, and Time, in vols. U. liL and ir.
» See LIQATOEB, vol. ii.
642
FRANCO.
serving to divide the phrases of a Melody, pre-
cisely after the manner of the Bar, or Double-Bar,
of modem Music, of which it is the evident
homologue.
It is interesting to observe — though we be-
lieve no one has hitherto called attention to the
fact — that the system of Notation here described
is precisely that employed in the Reading Rota,
* Sumer is icumen in,' in which the Melody, in
Mode XIII. transposed, is phrased in Franco's
Fifth Mood, each Breve being Perfect when
followed by another Breve, and Imperfect when
followed by a Semibreve; and each phrase of
the Melody being separated from that which
follows it by a Finis Punctorum. Moreover,
the Reading Rota is written upon a Stave
precisely similar in principle to that employed
by Franco, who always uses the exact number
of lines and spaces needed to include the entire
range of his vocal parts.^
The • Compendium de Discantu,' second only
in interest to the *Ars Cantus Mensurabilis,'
describes a form of Discant immeasurably supe-
rior to the Diaphonia taught, less than half a
century earlier, by Guido d'Arezzo, in his
Micrologus.^ Unhappily, in the Oxford MS. —
first described by Burney — the examples are
lamentably incomplete; the Staves, in many
cases, being duly prepared for their reception,
while the notes themselves are wanting. Dr.
Burney, after long and patient study of the text,
was able to restore the following passage, in a
form which he believed to be 'nearly' complete.
•^ A-^
-^ -^
^4^Aii^
;j: \- p-
— ^-^ r 1 -T-^
Virgo Dei •
'^ r- ^ ^ ^^ ^- <^- ^^ II
-i;-^
^-—i U
Maria
Making every allowance for the jaunty modem
Air communicated to this little composition by Dr.
Buraey's employment of ordinary i8th century
Notation, it must be admitted, that, with the
sole exception of the Unison on the eighth note,
and the Hidden Octaves between the last
Crotchet in the Tenor and the last note but two
in the Bass, as indicated by the asterisks, the
rules of Strict Counterpoint, as practised in the
i6th century, are observed in the disposition of
every note, even to the formation of the Clau-
sula vera at the end. The apparently gross
Consecutive Octaves between the two last phrases
offer no exception to the rule ; since the inter-
position of the Finis Punctorum between them
invests the first note of the concluding phrase
with the importance of a new beginning. If,
therefore, the learned historian's penetration
should ever be justified by the discovery of a more
perfect copy of the MS., we shall be furnished
with a clear proof that Magister Franco was on
1 See tlie facsimile, in vol. iU. p. 269.
s See 6DU0 d'Aeezzo. App. vol. iy. p. 660.
FRICKENHAUS.
the high road towards the discovery of Strict
Counterpoint, in its present form. It is, however,
only fair to say that Kiese wetter disputes both the
correctness of Bumey's example, and the existence
of the rules upon which he bases it. [W.S.R.]
FRASCHINI, Gaetano. Add that he died
at Naples, May 24, 1887.
FREISCHtTTZ, DER. Line 5 from end of
article, /or July 23 read July 23, and add that
it was given at Astley's Theatre, with a new
libretto by Oxenford, April 2, 1866.
FRESCOBALDI. ^ We may supplement the
notice of this artist in vol. i. p. 563 by giving
the results of more recent enquiries with regard
to his life. An article by F. X. Haberl in
Earchenmusikalisches Jahrbuch fur das Jahr
1887 (Regensburg) produces documentary evi-
dence which shows that Frescobaldi was bom in
1583 (register of his baptism in cathedral of
Ferrara, Sept. 9, 1583), and that he died March
2, 1644. ^ot Alessandro Milleville, as stated
in vol. i. (who died 1580), but Luzzasco Luz-
zaschi (1545- 1 607) organist of Ferrara Cathedral,
was Frescobaldi's teacher. Already in 1608 he
was appointed organist of St. Peter's, Rome,
where he remained in the first instance till 1628.
In that year, dissatisfied apparently with his
scanty pay at Rome, he sought leave of absence,
and accepted an invitation to Florence from
Ferdinand II, Grand Duke of Tuscany, who
named him his organist. Social and political
troubles in Tuscany obliged him to leave
Florence in 1633 ; and returning to Rome, he
was re-installed in his former post as organist
of St. Peter's, which he continued to hold till
1643. Haberl's article contains a careful biblio-
graphy of all the known works of Frescobaldi,
and invites subscriptions towards a new edition
of them. It may also be added that within the
last year Messrs. Breitkopf & Hartel, Leipzig,
have published in their ' Alte Meister,' edited
by Ernst Pauer (Nos. 61-66) 12 Toccatas of
Frescobaldi, presumably those of 1614, but it
would be well if modem reprints always stated
the source whence they are derived. [J.R.M.]
FRETS. P. 5636, 1. iS, for Balaika read
Balalaika. Line 26 from bottom, add that
although the third of a tone is almost a chro-
matic semitone, it does not appear that either
Persian or Arab lutenists have used equal thirds
of a tone. The Arabic (and Egyptian) division
has been proved to be a succession of three
intervals, smaller than an equal semitone, which
are known as * limmas, or ' commas.' Line 10
from bottom, for half-tones read quarter-tones,
and in the line below, /or diatonic read chro-
matic. [A.J.H.]
FREZZOLINI, Ebminia. Add that she died
in Paris, Nov. 5, 1884.
FRICKENHAUS, Fanny, was bom June 7,
1849, 3.t Cheltenham. Her maiden name of
Evans was abandoned on her marriage with Mr.
Augustus Frickenhaus. She received instruc-
tion in music from Mr. George Mount, after-
FRICKENHAUS.
wards at Brussels from M. Auguste Dupont, and
later from Mr. William Bohrer. Her first im-
portant engagement was. on Jan. ii, 1879, **
one of the Saturday Evening Concerts, where
she played with such success that she was en-
gaged for the remainder of the series. She was
next heard at the London Ballad and Promenade
Concerts. Since then she has played at all the
principal London Concerts, viz. at the Philhar-
monic March 4, 1886; at the Crystal Palace,
where she first appeared Nov. 37, iSSo, in Men-
delssohn^s * Serenade and Allegro giojoso,' and
where she has been since heard in concertos of
Mozart, Schutt, and Dupont, the two last for the
first time in England ; at Mr. Cowen's Concerts
Nov. 27, 1880, where she played the Pianoforte
Concerto of Goetz for the first time in London ;
at the Brinsmead Concerts Dec. 19, 1886; in
the Prize Concerto of Oliver King, and at the
Popular Concerts, where she first appeared Jan.
27, 1883, and has since played with success.
Since 1884 Mme. Frickenhaus has given
every year, in conjunction with Mr. Joseph
Ludwig, a series of chamber concerts at the
Prince's Hall. They have introduced several
important novelties — Dvorak's * Bagatellen ' for
piano and strings, June 11, 1886 ; Steinbach's
septet for piano, strings, and wind, June 17,
1886 ; a sonata for piano and violin by Oliver
King; and on May 21, 1887, * work entitled
* The Strolling Musicians,' for piano duet, violin
and cello, by Arnold Krug. Brahms's second
piano and violin sonata (op. 100) was announced
for first performance in. London at one of these
concerts, but it was actually played the day
before at one of Mr. Hallo's recitals. The most
remarkable characteristics of Mme. Frickenhaus's
playing are her extraordinary perfection and ease
of technique. [A.C.]
FEOHLICH. The following corrections and
additions appear in the later editions : For
date of birth of No. i read Sept. 19, 1793.
For date of birth of No. a read AxxgvLBt 30, 1797,
GAFORI.
643
and of No. 3, Dec. 12, 1803. Five lines lower,
for 1825 read 1821-22. At end of paragraph add
date of death. May 7, 1878. The date of birth of
No. 4 should be June 10, 1800, and that of her
death March 3, 1879.
FURSTENAU. Line 19 of article,/or brother
read father.
FULDA, Adam de, a Franconian Monk,
bom about the year 1450, is chiefly celebrated
for a famous Tract on Music, written in 1490, and
printed by Gerbert von Horn an, in his * Scriptores
eccles. de Mus. Sacr.' vol. ii. p. 329. In this
work, Guilielmus Dufay is eulogised as the first
Composer who wrote in regular form ; and men-
tion is made of the fact that he overstepped the
r ut, and e e la, of Guide, by three degrees,
below and above. The Dodecachordon of Glare-
anus contains a Motet a 4, by Adam de Fulda,
of very advanced character for the period ; and
an 'Enchiridion,' published at Magdeburg, in
1673, contains a Motet * Ach hulp my Leidt und
senlich Klag.' [W.S.R.]
FUMAGALLI, Adolfo, bom Oct. 19, 1828,
at Inzago in the province of Milan, received in-
struction in music and the pianoforte from Ange-
lesi at the Conservatorio, Milan, and in 1848
made his d^but in that town as a pianist. He
made a great success afterwards as a brilliant
fantasia player at Turin, Paris, and Belgiimi,
and in 1854 returned to Italy. He died at
Florence May 3, 1856, quite suddenly, after a
three days' illness, having played at a concert
there on the 1st. His compositions include fan-
tasias on 'Puritani,' * Lucia,* and 'Norma,'
capriccios and other light drawing-room pieces,
among which 'Les Clochettes,' op. 21, was popu-
lar at the time. His brothers, Disma, Polibio,
and LuCA were also pianists : of these the best
known is Luca, bom May 29, 1837. ^^ 1S60 he
played in Paris. In 1875 an opera of his,
'Luigi XI.,' was produced at the Pergola,
Florence. [A.C.]
G.
GADE, N. W. Line 3 of article, for Oct.
read Feb. To his compositions must be
added the following: — An eighth sym-
phony in B minor, op. 47 ; * Novelletten ' for or-
chestra, op. 53; two concertos for violin and
orchestra ; ' Psyche,' a cantata produced at the
Birmingham Festival of 1882, op. 60; and a
sonata for violin and piano, in B b, op. 62.
GADSBY, Hbnbt. Line 3 of article, omit
the words at the same time with Dr. Stainer.
To the list of his works add the cantata * The
Lord of the Isles,* produced at Brighton, Feb.
I3> 1^79 > ^^^ 'Columbus,' a cantata for male
voices.
GAFORI. The following is a short list of
the various editions of the valuable works of
this writer : —
A. ' Theoricum opus musicae discipline.' Franciscus
de Dino: Naples, 1480. 4to. 115 leaves.
Gerber and Becker quote another work, ' De Effectl-
bu8 . . . Musicae,' as published in this year. The mistake
arose from the title of the first chapter being taken as
that of the whole work.
B. ' Theorica Musice.' Philippus Mantegatius : Milan,
1492. fol. 64 leaves.
The 2nd edition of A.
C. 'Practica Musice.' Guillermus Signerre: Milan,
1496. fol. Ill leaves.
Becker states that an Italian translation of this
work was published by Gotardus de Ponte in 1500, but
no copy is known. It is probably a mistake arising from
a contusion with H, which is written in Italian.
D. 'Musice utriusque Cantus practica.' Angelus Bri-
tannicus : Brescia, 1497. fol. Ill leaves.
The 2nd edition of C.
644
GAFOm.
£. *PrMtic» MnsicsB utrinsque Cantns.' Bemadintu
Misinta de Fapia : Brescia, 15U2. fol. Ill leaves.
The 3rd edition of C.
F. 'Practica Musicse utriusque Cantus.' AuRustinus
de Zannis de Portesio : Yenice, 1512. fol. 82 leaves.
The 4th edition of G.
[G. 'Practica Musicse,' etc. Venice, 1622. fol.]
Mentioned in Brunet's Manuel as the 5th edition
of C, but otherwise unknown.
H. •Angelicum ac divinum Opus Muaice.* Gtotar-
doB de Ponte : Milan, 15U8. fol. 48 leaves.
Brunet atatea that an edition of thia appeared in
1500, but no copy was known to F^tia, nor has been
diacovered since, so Brunet's statement is probably a
mistake.
I. ' De Harmonla Muaicorum Instrumentorum.' Go-
tardus Pontanua : Milan, 1518, fol. 106 leavea.
Draudius, followed by Walther, Geyber, and Becker,
mentions a work called <Practica Musica' as published
in 1518: but F^tis points out that this arises from a
misdescription of I.
K. * Apologia Franchini Gafuri . . . adveraus Joannem
Spatarium.' A. de Vicomercato : Turin, 1520. 10 leaves.
Copies of all these editions (with the excep-
tion of G, the existence of which is doubtful)
are to be found in the British Museum. Copies
of B, C, F, H and I are in Anderson's College,
Glasgow, and of 0 and I in the Royal College of
Music. [W.B.S.]
GALILEI, ViNCENZO. Among the little
group of philosophic dilettanti who were ac-
customed to meet in the Palace of Giovanni
Bardi at Florence, during the closing years of
the 1 6th century, no figure stands forth with
greater prominence than that of Vincenzo Ga-
lilei, the father of Galileo Galilei, the great
Astronomer. This enthusiastic apostle of artis-
tic progress — or retrogression? — was bom, at
Florence, circa 1535 ; and, after studying Music,
at Venice, under Zarlino, attained, in later life,
considerable reputation as a Lutenist. We shall,
however, do him no injustice if we describe him
as a literary savant of high general culture, but
a very imperfectly-educated Musician.
When the great question of the resuscitation
of the Classical Drama, on the principles adopted
by the Greek Tragedians, was debated at the
Palazzo Bardi, Galilei took an active part in
the discussion ; * and, according to Giov. Batt.
Doni, was the first who composed Melodies for
a single voice — i. e. after the manner of the then
nascent Monodic School. His first attempt was
a Cantata, entitled 'II Conte Ugolino,' which
he himself sang, very sweetly, to the accompani-
ment of a Viol. This essay pleased very much,
though some laughed at it — notwithstanding
which, Galilei followed it up by setting a portion
of the Lamentations of Jeremiah, in the same
style. Quadrio also speaks of his Intermezzi;
but no trace of these, or of the Monodic Can-
tata, can now be discovered.
Vincenzo Galilei's writings on subjects con-
nected with Art are, however, of great interest.
One of these — a Dialogue, entitled *I1 Fron-
imo' (Veruce, 1583) — is especially valuable,
as throwing considerable light on the form of
Tablature employed by the Italian Lutenists,
and their method of tuning the instrument, in
the latter half of the i6th century. Another
important work, entitled ' Discorso intomo alle
1 8m vol. IL p. 498.
GALLI-MARlfi.
opere di messer Gioseflte Zarlino di Chioggia,*
(Florence, 1581) was produced by some remarks
made^ by Zarlino, in his ' Istitutioni armoniche '
(Venice, 1558), and * Dimostrationi armoniche'
(Venice, 15 71), concerning the Syntonous Dia-
tonic Scale of Claudius Ptolomy, which he pre-
ferred to all other Sections of the Canon, and
which Galilei rejected, in favour of the Pytha-
gorean immutable system. It is impossible to
believe that Galilei ever really tuned his lute
on the Pythagorean system, which was equally
incompatible with the character of the instru-
ment and the characteristics of the Monodic
School. Moreover, Zarlino himself preferred
that the lute should be tuned with twelve
equal semitones to the octave. But Galilei,
whose prejudices were strong enough to overthrow
his reason, followed up this attack by another,
entitled * Dialogo della musica e della antica mo-
dema* (Florence, 1589), and a second edition of
the same, bearing the additional words • in gua
diffesa contro Joseffo Zerlino' (Florence, 1603).
In these works, he argues the subject with great
acrimony : but, the Scale advocated by Zarlino
represents the only form of Just Intonation now
adopted by any European theorist; and the
Scale he advocated for the lute is the only one
now used for the pianoforte, the organ, and tem-
pered instruments of every kind. The * Dialogo '
contains, however, much interesting matter, but
very slightly connected with the controversy
with Zarlino ; for instance, the text and musical
notation of the three apocryphal Greek Hymns,
to Apollo, Calliope, and Nemesis, which have
since given rise to so much speculation, and so
many contradictory theories.
Vincenzo Galilei died at Florence towards
the close of the i6th century, or beginning of
the 17th. [W.S.R.]
GALIN. See ChbvjS in App. vol. iv. p. 585.
GALLIARD, John Ebnest. After line 19
of article, add that in 1713 he was playing in
the orchestra at the opera, having a solo part in
the accompaniment of the last air in the first act
of Handel's 'Teseo.* P. 579 a, L 3, after violin
insert violoncello.
GALLI-MARI6, Celestinb, bornNov.i84oin
Paris, was taught singing by her father, Mdcfene
Mari^ de I'lsle, formerly a singer at the Paris
Opera under the name Mari^. In 1859 ^^^
made her ddbut at Strasburg, and next sang in
Italian at Lisbon. About this time she married
a sculptor named Galli, who died soon after in
1861. In April 1862, on the production in
France of the * Bohemian Girl,' she attracted
the attention of the late ifimile Perrin by her
performance of the Gipsy Queen, and obtained
from him an engagement at the Op^ra Comique,
of which he was then director. Here she made
her d^but Aug. 13 in 'La Serva Padrona,' re-
vived for the first time for a hundred years.
She made a great success in this, and in a revival
of Grisar's 'Les Amours du Diable' (1863),
since which time she has remained at that
theatre to the present time, with the exception
GALLI-MARI1&.
of engagements in the provinces, in Italy, Bel-
gium, and elsewhere. Among the operas in which
she has appeared may be named : — March 24,
1864, 'Lara' (MaiUart); Dec. 29, 1864, * Capi-
taine Henriot ' (Gevaert) ; Feb, 5, Massd's * Fior
d'Aliza,'and Nov. 17, 1866, 'Mignon'; Nov. 23,
1867, 'Robinson Cruso^,' and Jan. 18, 1872, Tan-
tasio ' (Oflfenbach) ; April 24, 1872, Paladilhe's
* Passant,' at ChoUet's farewell benefit ; Nov. 30,
1872, Massenet's 'Don Cdsar'; March 3, 1875,
* Carmen' ; April 11, 1876, Guiraud's 'Piccolino'j
Oct. 31, 1877, Poise's ' Surprise de 1' Amour,' etc.,
and in revivals of Harold's 'Marie,' Grisar's
*Les Porcherons,' ' Mireille,' singing the parts of
Taven and Andrelun, and as the heroine Rose
Friquet in Maillart's ' Dragons de Villars.' As
Mignon and Carmen she has earned for herself
world-wide celebrity. In 1886 she played with
a French company for a few nights at Her Ma-
jesty's Theatre as Carmen, in which she made
her ddbut Nov. 8, and as the Gipsy in 'Rigoletto.'
She was well received, but would doubtless have
appeared to greater advantage with the support
of a better company.
* Mme. Galli-Miiri^ should take rank with those
numerous artists who, although endowed only
with no great voice, have for a century past
rendered to this theatre services made remark-
able by their talent for acting and their incon-
testable worth from a dramatic point of view.
. . . Equally capable of exciting laughter or of
provoking tears, endowed with an artistic tem-
perament of great originality . . . which has per-
mitted of her making out of parts confided to
her distinct types ... in which she has repre-
sented personages whose nature and charac-
teristics are essentially opposed one to the
other' (Pougin). [A.C.]
GALUPPI. Correct date of birth to Oct. 6,
and that of death to Jan. 3, 1784.
GANZ. Correct date of birth of Moritz Ganz
to Sept 13, 1806, and add date of death, Jan. 22,
1868. Correct date of birth of Leopold Ganz to
Nov. 28, 1810. At end of article add that
William (more correctly Wilhelm) Ganz was con-
ductor of the New Philharmonic Concerts during
their last season of 1879, after which they were
carried on till June 17, 1882, as 'Ganz's Or-
chestral Concerts.'
GARCIN, Jules Auguste (real name Salo-
mon), violinist and conductor, born at Bourges,
July II, 1830. He came of a family of artists, and
was cousin to the famous actress Rose Ch^ri, their
maternal grandfather, Joseph Garcin, being direc-
tor of a travelling company which performed opdra
comique in the central and southern provinces of
France for nearly twenty years with great success.
At the age of thirteen Garcin entered the Paris
Conservatoire, where he studied the violin under
Clavel and Aiard ; he gained the first prize in
1853, and in 1856 became a member of the opera
orchestra, and after a competitive examination
was appointed (1871) first solo violin and third
conductor. In 1 8 7 8 he was also appointed second
conductor at the concerts of the Universal Ex-
VOL. IV. PT. 6.
GARLANDIA.
645
hibition. Since i860 he has been a member of
the orchestra of the Concerts du Conservatoire,
first as solo violin, and then as second conductor
in place of Altfes (1881), who had become first
conductor at the opera at the end of 1879. At
that time the first conductor of the Societd des
Concerts was Deldevez, who had replaced Hainl
in 1 8 7 2 , n ot after his death in 1 8 7 3 . [See Hainl,
Deldevez, Concert Spieitcel, in vol. i. and
Altes, vol. iv. p. 521 6.] In 1885, Deldevez
having retired on account of his health, Garcin
was elected conductor of the Socidt^ des Concerts
with a majority of 26 votes over Guiraud.
Garcin, who was a pupil of Bazin for harmony,
and of Adam and Ambroise Thomas for com-
position, has written a number of works for
violin and orchestra or piano, the most prominent
of which is a concerto played by himself at the
Conservatoire, and at the Concerts Populaires
in 1868, and by Maurin at the Concerts Popu-
laires in 1878. M. Garcin is an experienced and
conscientious artist, without the exaggerated
gestures and manner which too often deceive
the public. [A.J,]
GARDONI, Italo, Add date of death, March
30, 1882.
GARLANDIA, Johannes de. The works
on music which appeared under this name were
formerly ascribed to a Gerlandus who, owing to
some confusion of dates, was said to have flour-
ished in 1 04 1, but who was afterwards identified
with the mathematician Gerlandus, canon of the
abbey of St. Paul at Besan9on in the middle of
the 1 2th century. It appears, however, more
probable that the writer on music, Johannes de
Garlandia, was identical with the grammarian
and poet of that name who flourished nearly a
century later. Of the life of this latter we
gather several particulars from his great work
'De triumphis Ecclesiae' (finished in 1252), of
which the British Museum possesses an almost
contemporary copy (Claudius A. X.), which has
been printed by Mr. Thomas Wright. Born in
England late in the 12th century, Johannes de
Garlandia studied first at Oxford, and afterwards
at Paris. Here he opened a school in the Clos
de Garlande, since known as the Rue Gallande,
from which he is supposed to have derived his
name de Garlandia, or, as one early writer spells
it, de Gallandia. It was probably about this
time that he wrote his treatise on music. In
1 2 18 we find him present at the siege of Tou-
louse, apparently himself taking part in the
crusade against the Albigenses. It was to this
place also that he was invited in 1229 to assist
in the formation of the newly-founded Univer-
sity; and here he remained till 1232, when he
and his colleagues were forced to leave owing to
the persecution to which they were subjected at
the hands of the Dominicans and others. They
escaped after many dangers to Paris, where John
de Garlandia was still residing in 1245. Here
no doubt were written most of his poems on
historical and theological subjects, and his gram-
matical treatises. The titles of his musical works
Uu
646
GARLANDIA.
which have come down to us are two fragments,
« De fistulis' and * De nolis,' printed by Gerbert
from a MS. at Vienna ;— ' De musica mensurabili
positio/ of which there are MSS. at Paris and
Rome; in this work the author figures as a
composer, giving, among many other examples of
his own, one in double counterpoint; — a trea-
tise, *De cantu piano,' to which he himself refers
in the last-mentioned work; this may be the
*Introductio musice plane et etiam mensura-
bills' in the St. Did MS.— Philip de Vitry refers
to other works by de Garlandia, of whom he
writes as * quondam in studio Parisino exper-
tissimum atque probatissimum.* The 'Optima
introductio in contrapunctum pro rudibus,' con-
tained in MSS. at Pisa and Einsiedeln, should
perhaps be assigned to a Johannes de Garlandia
of a rather later date ; or, if the work of the
same man, must have been written by him when
at an advanced age. The same may be said of the
extracts quoted by Handio and Hanboys. Most of
the above works are printed by de Coussemaker.
A John de Garlandia is mentioned by Roger
Bacon as eminent at Paris apparently shortly
before 1267. [A.H.-H.]
GARRETT, Db. George Mursell, was born
at Winchester in June 1834. ^^ 1844 he entered
the choir of New College, Oxford, where he
studied under Dr. S. Elvey until 1848. He then
returned to Winchester and studied for six years
with Dr. S. S. Wesley, to whom he acted for
some time as assistant. In 1854 he accepted the
post of organist at the cathedral of Madras, but
returned to England in 1857 o^ ^^^ appointment
as organist at St. John's College, Cambridge, in
which town he has since resided. Dr. Garrett
took the degree of Mus. B. in 1857, and that
of Mus. D. in 1867. In May 1875 he suc-
ceeded Mr. J. L. Hopkins as organist to the
University. In Nov. 1878, by grace of the
senate, he received the degree of M.A. propter
merita, a distinction which had never been pre-
viously conferred on a musician who did not fill a
professorial chair. Dr. Garrett is also an ex-
aminer for the University, the Local Examina-
tions, and the Irish Intermediate Education
Board ; an Honorary Fellow of Trinity College,
London; and a member of the Philharmonic
Society. His compositions include a sacred can-
tata, ' The Shunamraite ' (performed by the Cam-
bridge University Musical Society in 1882 and
at the Hereford Festival in the same year),
church music, songs, part-songs, and a few
pieces for the organ ; but it is chiefly as a com-
poser of services that he has won a well-deserved
reputation. (Died Apr. 9, 1897.) [W.B.S.]
GASPARINI (or GUASPARINI), Fban-
CESCO. Correct date of birth to March 5, 1668,
and add that it took place at Camaiore. Line 7
of article,/or 1725 read 1735 ; and in line 13,
for 1727 read 1737. These dates are given by
Certi in his * Cenni storici dell' insegnamento
della musica in Lucca.'
GATES, Bernard. Line lo of article, for
aged 88, read in his 88th year.
GERSTER.
GAVINlfeS, Pierre. The correct place and
date of birth are probably Bordeaux and May
26,1726. (Paloschi.) Add that he directed the
Concert Spirituel from 1773 to 1777, and insert
day of death, Sept. 9.
GAYARRfi, Julian, bom at Pampeluna,
first attracted attention at St. Petersburg,Vienna,
Rome, where he appeared in Libani's *Conte
Verde,' April 5, 1873, and Milan, where he played
Enzo on production of Ponchielli's 'Gioconda,'
April 8, 1 8 76. In 1 8 7 7-8 1 he was engaged at the
Royal Italian Opera, where he made his d^ut
April 7, 1877, as Gennaro, and proved himself
a very serviceable tenor, though he did not fulfil
the hopes entertained of him as Mario's successor.
He played with success in the * Huguenots,' *Pro-
phfete,' 'Lohengrin,' * Tannhauser,' *Der Frei-
schutz,' 'Rigoletto,'* Lucia,* etc. Since then he has
sung abroad with great success, notably at Paris
1884-86, both in the Italian and French opera.
He re-appeared at Covent Garden in 1886 and
again in 1887, in the * Vie pour le Czar,' July
12. (Died Jan. I, 1890.) [A.C.]
GEBAUER, F. X. Omit the reference to
Spirituel Concerte.
GEMINIANI, F. Page 587 b, 1. 20 from
bottom, for in 1761 read on Sept. 24, 1762
(* Gent. Mag.'). P. 588 a, line 8, add to title of
book, op. 9. Line 3 from end of article, after
London add date, 1743.
GERN, August, was foreman to Cavailld-Col
of Paris, and came over to London to erect the
organ built by the latter for the Carmelite
Church at Kensington. Having set up on his
own account in London in 1 866, he has built an
organ for the French Church near Leicester
Square, besides many excellent instruments for
churches and private houses. [V. de P.]
GERNSHEIM, Friedrich. Add to list of
works a symphony in G minor, and a cantata
• Salamis,' op. 13, which has recently been pub-
lished by Novello & Co. with English words.
GERSTER, Etelka, bom 1856 at Kaschau,
Hungary, received instruction in singing from
Mme. Marchesi at Vienna, and made her ddbut
Jan. 8, 1876, at Venice as Gilda, with great
success, and as Ophelia. She played next at
Genoa and Marseilles, and in March 1877 at
KroU's Theatre, Berlin, with her sister, Mme.
Bertha Gerster-Kauser, at an Italian season
there under the direction of Signer Pietro
Gardini, to whom she was married in the May
following. She made a great success there,
and subsequently at Pesth, and at the Silesian
Festival at Breslau. On June 23 of the same year
she made her d^but at Her Majesty's as Amina,
and became an immediate favourite, remain-
ing there for four seasons until 1880 inclusive.
Her parts there included the Queen of Night,
Elvira (• Puritani '), Linda, Dinorah, Lucia,
Edith ('Talismano'), Margaret, Violetta, and
Gilda. A propos of the last, the * Saturday
Review' of June 29, 1878, wrote that she has
•given a fresh proof of her extraordinary vocal
GERSTER.
and dramatic genius. The exquisite beauty of
her singing has never been shown to greater
advantage, and her acting at every moment re-
veals true art and feeling. Among fine touches
in Mme. Gerster's dramatic performance, we
may specially note her wrapping her head in
a cloak before she rushes in at the fatal door in
the last scene, that she may at least not see the
descending knife.'
In the autumn of 1878 she went to America,
and obtained her usual success both in opera and
concerts. Returning to England she sang with
success at the Birmingham Festival of 1879.
She went back to America in the following year,
singing there frequently until 1883. A concert
tour in the States was begun in Nov. 1887. [A.C.]
GIBBONS, Christopher. Page 595 a, for
1. II from bottom read In 1638 he succeeded
Thomas Holmes as. Line 5 from bottom, after
Abbey, add He resigned his Winchester appoint-
ment June 23, 1661, and was succeeded by John
Silver. After him came Randal Jewett, who
held the post from 1667 to 1675.
GIBBONS, Orlando. Vol. i. p. 594 h, 1. 6
from bottom, for smallpox read apoplexy. A
post-mortem was held on him, the report of
which is preserved in the Record Office, and was
printed in the 'Athenaeum,' Nov. 14, 1885. He
was buried on June 6. Mr. Cummings (* Musical
Society,' April, 1886) says he took the Mus.B.
Degree at Cambridge in 1606. P. 595 a, 1. 24,
add that the portrait referred to is a copy from
a lost original once in the possession of a Mrs.
Eussell. [W.B.S.]
GIGELIRA. See Strohfiedel.
GILMORE, Patrick Saesfield, a popular
bandmaster in the United States, was born
Dec. 25, 1829, near Dublin. While a young
man he went to Canada with an English band
of which he was a member, and soon after
went across into the United States and settled
at Salem, Massachusetts, where he was ap-
pointed leader of a military band. In 1859
Gilmore went to Boston and organized a band,
named after himself, which became distin-
guished for its fine playing, the result of his
training. During the Civil War Gilmore was a
bandmaster in the Federal Army stationed at
New Orleans, where, in 1864, he gave a festival
with a monster orchestra made up from the
army bands, and startled the audience with some
novelties, one of which was the firing of guns by
electricity, making the report come on the fiirst
beat of the bar, as though they were great
drums. This efifect was reserved for the per-
formances of patriotic music. Gilmore's widest
reputation, not confined to the United States,
was earned by his success in organizing the
two immense music festivals in Boston — one
in 1869, known as the National Peace Jubilee,
with an orchestra of 1000 and a chorus of 10,000 ;
the other in 1872, called the World's Peace
Jubilee, with 2000 players in the band and
20,000 choristers. On each occasion a powerful
orgau; chimes of bells, anvils and artillery were
GIOVANNINI.
647
added to the orchestral resources, and an im-
mense shed was built for the concert-room.
Shortly after the second jubilee Gilmore went to
New York and took charge of a large military
band, with which he has travelled over the
United States and even about Europe (1878) on
concert tours. He has also had charge of large
bands at concert gardens in New York and at
summer resorts on the neighbouring coast. His
compositions of military and dance music, as well
as his arrangement of works of different kinds
for open air performance, have enjoyed a wide
popularity. [F.H.J.]
GIORDANI. Line 5 of article, /or 1 762 read
1753 > *^^y came to London with the singer
Lini. Line 16, for Baccio read Bacio. Line 31,
for Tomasso read Tommaso. Line 35, for Leoni
read Lini.
GIOVANNINI, a name interesting in musical
history solely on account of the part it plays in
the discussion concerning the song 'Willst du
dein Herz mir schenken,' which for many years
was attributed to Sebastian Bach. The song
appears in the larger of the two music books
of Anna Magdalena Bach, written on two leaves
now loose, but evidently once belonging to the
volume, in which they occur after p. iii. The
outer page of the first leaf bears the title * Aria
di Govannini ' (^sic) the song itself appearing on
the two interior pages. As a copy of the song
* Schlummert ein, ihr matten Augen ' is written
on the outer page of the second leaf, it has been
considered that the contents of these pages were
contemporary with the rest of the book, and
Zelter, into whose hands the volume came from
C. P. E. Bach, hazarded the conjecture that the
song was by Bach himself, that the Italian name
was the equivalent of the composer's first name,
and that the copy was made partly by Anna
Magdalena herself. Zelter's theory became fixed
in the public mind as a certainty, since a play
by Ernst Leistner and a novel by A. E. Brach-
vogel made the composition of the song an
incident in the love-story of Bach ; and even at
the present day the question can hardly be
taken as settled. Forkel refused from the first
to believe in its authenticity, judging it from
internal evidence, but Dr. W. Rust has adopted
Zelter's theory, and has even gone so far as to
assert that some of the bass notes are in the
composer's autograph. (Bach-Gesellschaft, vol.
XX. I. p. 15.) More recently, however, strong
evidence has been brought which may be taken
as proving the song to be the composition of an
actual Giovannini, whose name appears in Ger-
ber's Lexicon as that of an Italian violinist and
composer who lived chiefly in Berlin from 1740
until his death in 1782. In the same writer's
*Neues Lexicon' (1812-1814) the additional in-
formation is given that about 1745 he went to
London, and produced, under the pseudonym of
the Count of St. Germaine, a pasticcio entitled
'L'Incostanza delusa* in which the airs were
much admired. He also published some violin
solos under the same name. Dr. Spitta, in his
UU2
us.
GIOVANNINI.
excellent r^sum^ of the question (J. S. Bach,
vol. iii. p. 66i, etc., English edition), tells us
further that songs by Giovannini are included
in Graefe's Odensamralung (1741 and 1743) two
of which were since published in Lindner's
*Geschichte des deutschen Liedes,' etc. (1871).
These are said to show a strong resemblance to
the style of ' Willst du dein Herz mir schenken,'
and there seems no longer any reasonable doubt
that this Giovannini is the real composer. The
external evidence quite admits the possibility of
this, as the book may very probably have come
into other hands after the death of Anna Mag-
dalena Bach, and so competent a critic as Dr.
Spitta sees no reason to endorse Dr. Rust's
opinion that some of the notes are in Bach's
handwriting; while from internal evidence it
might well be thought that no musician who had
even a slight acquaintance with Bach's work
could ever suspect it to be by him. [M.]
GIUGLINI, Antonio. Add place and date
of birth, Fano, 1827. (Paloschi.)
GLADSTONE, De. Eeancis Edward, was
bom at Summertown, nearOxford, March 2,1845.
When 14 he was articled to Dr. S. S. Wesley .with
whom he remained at Winchester for five years.
After being organist for two years at Holy Trinity
Church, Weston-super-Mare, in 1 866 he obtained
the post of organist at LlandafF Cathedral. In
March 1870 Mr. Gladstone was appointed organ-
ist at Chichester Cathedral, but three years later
he moved to Brighton, where he remained until
1876, when after a short residence in London he
accepted the post of organist at Norwich Cathe-
dral, which he resigned in 1S81. Dr. Gladstone
then became organist to Christ Church, Lan-
caster Gate, London, a post which ill health
compelled him to resign in 1886. He took the
degree of Mus.B. Cantab, in 1876, and shortly
after was made an Honorary Member of the
Royal Academy of Music. He took the degree
of Mus. D. in 1879, and is also a Fellow of the
College of Organists, a Member of the Board of
Musical Studies at Cambridge, and a teacher of
oi^an, etc., at the Royal College of Music. Having
been lately received into the Roman Catholic
Church, he has been recently appointed director
of the choir at St. Mary of the Angels, Bays water.
Dr. Gladstone, who is one of the first of living
English organists, has composed much music for
his instrument, besides services, anthems, songs, a
chorus (with orchestral accompaniment), *A wet
sheet and a flowing sea,' an overture (MS.), a
piano trio (MS.), and two sacred cantatas —
* Nicodemus' and * Philippi, or, the Acts of Paul
and Silas in Macedonia,' — the latter of which
was written for the North-Eastern Choirs As-
sociation, and produced at Newcastle in July
1883. A cantata, 'Constance of Calais,' per-
formed by the Highbury Philharmonic Society,
a mass in E minor (MS.), written for the Bromp-
ton Oratory, and a short mass in E b, are among
Dr. Gladstone's most recent works. [W.B.S.]
GLINKA, Michael Ivanovitch. Line i of
article, /or 1803 read May 20, 1804; 1. 2, for
GLOVER.
Feb. 15 read Feb. 2. Add that 'La Vie pour
leCzar' was produced at Covent Garden in
Italian, July 12, 1887.
GLOCKENSPIEL, a name applied to any
instrument by means of which a series of bells
can be struck by a single performer, and the
effect of a chime be produced with little trouble.
In Germany the term includes both the smaller
kinds of Carillons, and a stop on the organ
which brings a set of small bells into connection
with the keyboard. The istromento d'acciajo
which appears in the score of the ' Zauberflote,*
is such a set or frame of bells played by means
of a keyboard, and represents in the orchestra
the Glockenspiel played by Papageno on the
stage. The instrument used in German military
bands is composed of inverted metal cups ar-
ranged pyramidally on a support that can be
held in the hand. It is somewhat similar in
shape to the ' Turkish crescent ' formerly used in
the British army. (See vol. ii. p. 20&). It is
this form of the instrument which has been
introduced by Wagner into the orchestra; its
effective employment in the ' Feuerzauber ' in
* Die Walkiire ' is a familiar instance of its
occurrence. The peal of four large bells, cast
for the performance of Sir Arthur Sullivan's
* Golden Legend ' is arranged for convenience in
a somewhat similar form. [M.}
GLOVER, Stephen, teacher and composer,
was born in 181 2 in London. From the year
1840 to nearly 1870 his facile pen produced
sacred and sentimental songs, ballads, duets and
pianoforte pieces, resulting in a record of some
twelve to fifteen hundred separate compositions,
many of them published. * The Dream is past '
dates probably from 1837 ; * The Gipsy's Tent,*
'Echo's Song,' and 'The Merry Mill,' 1840;
' The Monks-of old,' 1842 ; ' The Gipsy Countess*
belongs to about the same period ; * I love the
merry sunshine,' 1847; 'W^hat are the wild
waves saying?' duet, 1850; 'The Blind Girl to
her Harp,* 1854; 'The Good-bye at the door,'
1856 ; ' The Music of the Birds ' (one of his
many duets for two ladies' voices), 1 863 ; * Beauty
and the Beast,' chamber opera, 1868. Less
popular but more favourable examples of his
talent are perhaps contained in a collection of
(12) ' Songs from the Holy Scriptures,' published
by Jefferys ; and his setting of Longfellow's
' Excelsior ' is not without merit.
Stephen Glover, who was never very robust,
retired in early life to the country; but his
death took place in London (Bayswater), when
he was 58, on Dec. 7, 1870.
His music received that mere drawing-room
popularity which proclaimed it worthless as re-
presentative of genuine national song on the one
hand, and as the effort of a pioneer of culture on
the other. His success in the narrow field of
his labours was enormous, and has probably not
been equalled, in the publishers' sense, by any
composer of the present day, although the present
day also is not without its musicians who regard
the expediency of the moment as their natural
GLOVER.
law. It is due to Stephen Glover to say,
while considering his works in this connection,
that little evidence of power to do better things
appears therein. An agreeable feature in this
older writer is the healthiness and cheerful spirit
of his music. Sunshine, moonshine, and twilight
— but especially sunshine — fairies, flowers, gip-
sies, and fishermen were the subjects Stephen
Glover loved to treat ; in conventional method
and with superficial characterization, but cor-
rectly in the details of the simple forms and
harmonies he affected.
Such colourless music obtained the favour of
many English amateurs of the time. That the
same class of performers forty years afterwards
should neglect it entirely and demand a coarser,
cleverer type of commonplace, serves to remind
the musician that the modern drawing-room
song, with its pent-up agony and morbid hues,
will ere long be overtaken by its inevitable mor-
tality. [L.M.M.]
GNECCO, Fbancbsoo, according to F^^tis,
was bom in 1769 at Genoa, became a pupil of
Mariani, musical director of the Sistine Chapel
and of the Cathedral of Savona, and died in 1810
at Milan. According to Regli and Paloschi,
Gnecco was bom in 1 780, was a pupil of Cima-
rosa, and died in 181 1 at Turin. Gnecco com-
posed several operas, both serious and comic,
of which two only, we believe, have ever been
performed out of Italy, viz. 'Carolina e Fi-
landro,' 1798, at the Italian Opera in the Salle
Favart, Paris, Oct. 11, 181 7 (Castil Blaze), and
*La Prova d'un opera seria,' opera buflf'a in 2
acts, libretto by the composer, produced at Milan
1805, and at the Salle Louvois, Paris, Sept. 4,
1806, with Signora Canavassi and Barilli. This
la^^t opera was a great success, and enjoyed con-
siderable popularity. It was thrice revived in
Paris, viz. in 1810, in 1831 with Malibran and
Lablache; on Oct. 28, of the same year, with
Pasta ; and on Nov. 20 it was played with the
first act of ' Tancredi ' on the occasion of Mali-
bran's last appearance in Paris. In 1834 it was
reduced to one act. ' La Prova ' was produced
June 23, 1 831, at the King's Theatre, with
Pasta, Curioni, Lablache, and, thanks to the
last-named singer, became popular. It was re-
vived in one act July 3, 1854, with Lablache,
Viardot-Garcia, Stigelli, and Ronconi, and was
last produced on June 18 and 19, i860, at Her
Majesty's, for Ciampi, since which it has dis-
appeared from the stage. A duet from it, * Oh
guardate che figura,' was highly popular in
the concert-room when sung by Viardot and
Tamburini, and on one occasion the former
made it a vehicle for imitation of the latter's
mannerisms, which the gentleman by no means
took in good part. (' Musical Recollections,' Rev.
J. E. Cox.) [A.C.]
GODARD, Benjamin Louis Paul, bora in
Paris, Aug, 18, 1849, first studied the violin
under Richard Hammer, and entered the Con-
servatoire in 1863, where he studied harmony
under Reber : he competed twice for the Prix
GODARD.
649
de Rome, but without success. He then left
the institution and joined several societies for
chamber music, in the capacity of viola-player,
at the same time devoting himself to composition
with an ardour and a fertility which time has
only served to increase. He wrote numerous
songs, of which several are most charming, a
number of pieces for piano, some very pretty ;
he also orchestrated with much delicacy Schu-
mann's * Kinderscenen ' (produced in this form
at the Concerts du ChS,telet in 1876), for at
the beginning of his career he seemed to be
specially inspired by this master both in the
concentrated expression of his songs and in the
elegant forms of his piano pieces. He next
produced more fully developed compositions:
two violin concertos, the second of which, entitled
Concerto Romantique, was played at the Concerts
Populaires by Mile. M. Tayau in 1876, and
repeated several times both by her and M. Paul
Viardot ; a trio for piano and strings ; a string
quartet and a piano concerto played by G. Lewita
at the Concerts Populaires in 1878. In this
year Benjamin Godard, bracketed with Th.
Dubois, carried off the prize at the musical com-
petition instituted by the municipality of Paris,
and his prize composition * Tasso ' was performed
with much success at the Concerts du Chatelet
(Dec. 18, 22, and 29, 1878). This dramatic
symphony, written on a poem by Grandmougin,
both the words and music of which are inspired
by the * Damnation de Faust, 'still remains Godard's
chief work, and that upon which his growing
reputation is most firmly founded. The com-
poser here shows a real talent and a rare instinct
for orchestration, though at times his rhythms
are apt to become too bizarre and his employ-
ment of excessive sonority too frequent. He
also possesses unusual feeling for the pictur-
esque in music, and is able at will to strike
the poetic note and to impart a vigorous dramatic
accent. With all this we have to notice an
inconsistent mixture of Italian forms and of
totally opposite styles, which proves that the
composer has not set before himself an ideal
resulting from serious reflection. There is also
a tendency to employ far too freely the whole
strength of the orchestra, and an unfortunate
habit of contenting himself with the first idea
that occurs to him without duly considering it in
order to enrich it in orchestration ; and lastly — and
this is the composer's chief fault — a too rapid pro-
ductiveness and a too great leniency in judging
his own works. Since the exaggerated success
of this very interesting and promising work. M.
Godard, intoxicated by praise, has only produced
compositions the good qualities of which have
often been obscured by too hasty workmanship.
The most important are 'Scenes Podtiques' (Con-
certs du Chatelet, Nov, 30, 1879); a symphony
(do. Dec. 26, 1880); 'Diane, poeme dramatique'
(Concerts Populaires, April 4, 1880); *Sym-
phonie-ballet ' (do. Jan, 15, 1882); 'Ouverture
dramatique' (do. Jan, 21, 1883); • Symphonie
Gothique' of no interest (do. Nov. 11, 1883);
' Symphonie Orientale,' five descriptive pieces on
«50
GODARD.
poems by Leconte de Lisle, Aug. de Ch&tillon,
Victor Hugo, and Godard (for he is himself a poet
at times), the most remarkable of which is the
piece called * Les Elephants,' cleverly contrived to
give the eflFect of ponderous weight (do. Feb. 24,
1884) ; and lastly a * Symphonie L^gendaire,'
written partly for orchestra alone, partly for solo
vocalists, and partly for chorus and orchestra.
The libretto is by various poets, of whom Godard
is one, and forms on the whole a somewhat
heterogeneous production, embracing all kinds of
fantastic paraphernalia, through which the com-
poser can revel in descriptive music to his heart's
\;ontent (Concerts du Chatelet, Dec. 19, 1886).
After the retirement of Pasdeloup, who was a
firm admirer of Godard's works, and generally al-
lowed him to conduct them himself, the latter
formed the idea of reviving the Concerts Popu-
laires under the name of Concerts Modemes,
but the undertaking proved impracticable, lasting
with great difficulty till the end of its first season
(Octi885-Aprili886). On Jan. 31,1884, Godard,
who has not succeeded in producing any work on
the French stage, brought out at ^twerp a
grand opera, * Pedro de Zalamea,' written on a
libretto by Silvestre and Ddtroyat, but without
success. Some selections from it, performed at
concerts in Paris, had no better fate. He has
lately written three orchestral incidental pieces
for ' Much Ado about Nothing,' produced at
the Od^on, Dec. 8, 1887. On Feb. 25, 1888, his
opera ' Jocelyn ' was produced at Brussels with
moderate success. He has ready for perform-
ance two grand operas, ' Les Guelfes ' and * Ruy
Bias ' ; it is to be hoped that they will soon
be produced, for Godard has undoubted talent,
and would have had much more success had he
known how to impose a stricter discipline upon
his natural gifts, and to judge his own compo-
sitions more severely, without thinking that all
the productions of his facile pen merit the at-
tention of the musical world. [A. J.]
GODDARD, Arabella. The last sentence
on p. 604 is to be corrected, as the Sonata in
Bb, op. 106, had been introduced to England
by M. Alexandre Billet on May 24, 1850, at St.
Martin's Hall. In that and the following year,
M. Billet gave thirteen concerts of chamber-
music in London, with very interesting pro-
grammes.
GODFREY. Add date of death of Adolphus
Fredebick, Aug. 28, 1882.
GOD SAVE THE KING. P. 606 a, the last
note of the final musical example should be A.
Line 9, for p. 98 read fo. 98 ; and 1. 22, for p. 66
read fo. 56. P. 607 a, after 1. 17 from bottom,
add has set it for solo and chorus with accom-
paniment for PF., violin, and cello (B. & H's.
ed. No. 259).
Add that the version made by Harries for use
in Denmark appeared in the * Flensburgsches
Wochenblatt ' for Jan. 27, 1790, and begins *Heil
Dir, dem liebenden.' It is expressly stated to have
been written for the melody of *God save great
George the King.' The Berlin form, beginning
GOLDBERG.
*Heil Dir, im Siegerkranz,' is by Balthasar Ger-
hard Schumacher, and was published in the
*Spenersche Zeitung,' Berlin, Dec. 17. 1793. See
a paper by A. Hoffman von Fallersleben in his
' Findlinge,' Leipzig, 1859.
Besides the authorities quoted in vol. i., and
Mr. Cummings's papers, see an article by Major
Crawford in Julian's ' Dictionary of Hymnology,*
P- 437-
GOETZ, Hermann. Correct date of birth to
Dec. 7, 1840 (Paloschi, and Pougin's supplement
to Fetis). Add to works mentioned in article : —
Cantata 'Nanie' (Schiller) for chorus and or-
chestra, op. 10; Cantata *Es liegt so still' for
male chorus and orchestra, op. 11 ; six songs,
op. 12; and ' Genrebilder,' six pianoforte pieces,
op. 13. His posthumous works include a setting
of Psalm cxxxvii. for soli, chorus and orchestra,
first performed in England by the London Musical
Society, June 27, 1879 ; Quintet in C minor for
piano and strings (with double bass) ; a piano
sonata for four hands, concertos for piano and
violin ; and several songs and vocal quartets.
GOLDBERG, Joseph Pasquale, bom at
Vienna Jan. i, 1825 ; began his career as a
violinist, as a pupil of Mayseder, and studied
counterpoint and composition under Ritter von
Seyfried at Vienna. At the age of 12 he ap-
peared at the Grand Redoutensaal, and per-
foi-med a concerto in E minor, with orchestra, of
his own composition, dedicated to Spohr. After
a few years he left Vienna for Italy, and played
at Trieste, Venice, Bergamo, etc. From Italy
he went to Paris, and was then urged by Rubini
and Meyerbeer to become a singer ; he received
his vocal instruction from Rubini and Bordogni,
and afterwards from the old Lamperti in Italy.
He was engaged for three years as Primo Basso
assoluto, in the princij^al theatres of Italy. At
the age of 18 he made hia d^ut at Padua in
Donizetti's * Regina di Golconda,' and met with
a most favourable reception. At Verona and
Genoa he sang with his sister, Fanny Goldberg
Marini, at that time one of the most celebrated
prima donnas of Italy, in * Maria di Rohan.*
But being of a serious and retiring disposition,
and detesting the stage, he decided to leave it,
and returned to Paris determined to sing only at
concerts and to teach the art of singing. At
Paris he became a favourite, and was on the
most intimate terms with Rossini, Donizetti,
Chopin, Hal^vy and Thalberg. In 1847 he
came to London to fulfil a six- weeks engagement
with Jullien. From 1850 to i86i he made
several provincial concert tours in England with
Grisi, Alboni, Mario, etc., and then settled in
London, where he has since remained as a pro-
fessor of singing. Among his pupils we will
name Giuglini and Brignoli, Mme. Gassier, Mme.
Rabatinsky, and his own sister, Catherina Gold-
berg-Strossi, who earned a great success at La
Scala, Milan, and at the Grand Teatro, Barcelona.
In 1 87 1 Mr. Goldberg was commissioned by
Correnti, Minister of Public Instruction, to
report upon the Conservatoires of Italy, and to
k
GOLDBERG.
propose reforms in the method of instruction.
His proposals were approved by Lauro Rossi,
the then Principal of the Naples Conservatorio,
and have since been put in force throughout
Italy. In consideration of these services Gold-
berg was created a Knight of the Crown of Italy.
A large number of his vocal compositions have
been published and sung by the most celebrated
singers here and on the continent. He was also
the composer of *La Marcia Trionfale,' which was
played by the military bands when the troops of
Victor Emanuele entered Rome for the first
time. Mr. Goldberg has been many years pro-
fessor at the Royal Academy of Music, and also
professor to H.R.H. the Princess Louise. [G.]
GOLDMARK, Kakl. Correct date of birth
to May 18, 1830, on the authority of Paloschi,
and Pougin's supplement to F^tis. Add that
his three-act opera * Merlin' was produced in
Vienna, Nov. 19, 1886. Selections from it were
given at a Richter concert in the following year.
A new symphony in E b was given at Pesth in
1887.
GOLDSCHMIDT. P. 608, 1. 7, note that
Joachim and von Billow, though studying at
Leipzig, were not in the Conservatorium. Add
that he introduced in Germany Handel's * Ode
for S. Cecilia's day,' and in England conducted
*L' Allegro ed II Penseroso,' for which he wrote
additional accompaniments. These works had
not been heard in Germany or England in a
complete form since Handel's time.
GOLINELLT, Stefano, born Oct. 26, 181 8,
at Bologna, was taught pianoforte playing and
counterpoint by Benedetto Donelli, and compo-
sition by Vaccaj. He was professor at the Liceo
of Bologna from 1840 to 1870, having been ap-
pointed by Rossini while director. To this
composer Golinelli dedicated his 24 Preludes for
pianoforte, op. 23. He became acquainted with
Hiller while on a visit to Bologna in 1842, and
dedicated to him his 12 Studies, op. 15. He
subsequently made a tour throughout Italy, and
acquired a reputation as a composer. He also
played in France, Germany, and England, ap-
pearing in London in 1851 at the Musical
Union, playing with Sivori and Piatti. He
retired from public life altogether in 1870, and
has since resided at Bologna or in the country.
His compositions, to the number of 200, published
by Ricordi, T. Boosey & Co. and Breitkopf &
Hartel, are written exclusively for the piano.
They include 5 Sonatas, 3 Toccate (op. 38, 48,
and 186) ; 24 Preludes dedicated to Mile. Louise
Farrenc (op. 69); 24 Preludes, *Ai Giovani
Pianisti'(op. 177), adopted by the Liceo ; Album,
dedicated to Mercadante ; Tarantella, op. 33 ;
Barcarola, op. 35; *Adfele et Virginia,' 2
melodies, op. 34; * Le Viole Mammole,' op. 39;
Allegretto giojoso, Milan 1878; operatic fan-
tasias, etc. [A.C.]
GOLLMICK, Adolph, bom Feb. 5, 1825, at
Frankfort-on-the-Main. He received instruction
on the pianoforte from his father, Carl Gollmick
GOOVAERTS.
651
(1796- 1 866), writer and composer, and on the
violin from Riefstahl and Heinrich Wolf. In
1844 he came and settled in London, and gave
his first concert Aug. 21 at Pape's Pianoforte
Rooms. He was favourably received both as
pianist and violinist. In 1847 ^^ founded the
Reunion des Beaux Arts, in 1864 the West-
bourne Operatic Society, and in 1879 the Kil-
bum Musical Association. In addition he gave
concerts in London and the provinces, and at
Hamburg, Frankfort, etc. His compositions in-
clude the operas • Balthazar,' performed in private
at Frankfort, i860 ; ' The Oracle,' Bijou Theatre,
Bayswater, 1864; *Dona Costanza,' Criterion
Theatre, 1875; 'The Heir of Linne,' operatic
cantata, Dublin and St. George's Hall, 1877 ;
' The Blind Beggar of Bethnal Green,' dramatic
cantata, London, Birmingham, etc., 1877 ; ^ sym-
phony in C minor, MS. ; a pianoforte quartet and
trio in C minor ; drawing-room pieces, ' Abschied,'
* The Dripping Well,' *La Flatteuse ' ; transcrip-
tions of German Volkslieder, various songs, etc.
He died in London March 7, 1883. [A.C.]
GOMEZ, A. C. P. 609 a, 1. 4 from bottom,
add date of production of 'Fosca,' Feb. 16, 1873.
P. 609 b, 1. 3, for in o'ead July 19.
GOODBAN, Thomas. Correct date of ])irth
to Dec. 1 784.
GOOVAERTS, Alphonse Jean Makie An-
DKB, bom at Antwerp, May 25, 1847, comes of
an artistic family, his grandfather being a Flemish
poet of some celebrity, and liis father an excel-
lent amateur musician. When still a child M.
Goovaerts showed great talent for music, but after
some education at the Jesuits' College at Ant-
werp, owing to family losses he was obliged at
the age of 15 to embrace a mercantile career.
During this part of his life he studied music with
the greatest assiduity, and soon after 1866 (when
he obtained a post in the Antwerp Town Library)
his sacred motets began to be performed in the
churches of his native town. From 1868 to
1 8 74 he published seven small volumes of Flemish
songs, to words by Fran« Willems, set for three
voices and intended for the use of primary
Flemish schools. In 1869 his 'Messe Solennelle,'
for orchestra, chorus, and organ, was performed
on St. Cecilia's Day with great success, although
it was the work of a musician entirely self-taught
in harmony, composition, and orchestration. It
had been preceded by a small Mass a 4 with
organ accompaniment and several Flemish songs,
etc. M. Goovaerts next began to occupy himself
with literature, without however neglecting the
composition of church music. In 1874 ^® began
the efforts for the reform of church music by
which he is best known. Having been appointed
musical secretary to the Antwerp Cathedral, he
established an amateur Domchor, for which he
transcribed ninety motets, etc., by Palestrina,
Lasso, and the great Flemish and Italian com-
posers. These attempted reforms met with strong
opposition, to which M. Goovaerts replied by
articles in the 'Fdddration Artistique' and other
papers, and by a work on the subject published
652
GOOVAERTS.
simultaneously in French and Flemish, *La
Musique d'^glise. Considerations sur son ^tat
actuel et Histoire abr^g^e de toutes les ecoles de
I'Europe.' After two journeys in Germany and
Holland, to study the work of the Ratisbon school
of the former country and the Gregorian Associa-
tion of the latter, M. Goovaerts in i88i became
one of the leaders of the Gregorian Association
founded by the Belgian bishops in that year,
for which he has recently composed a motet,
* Adoramus,* for four equal voices. In 1877 ^®
was crowned by the Belgian Acad^mie, and in
1880 he received the gold medal for his * History
of Music Printing in the Netherlands.' In the
same year appeared his valuable work on Abra-
ham Verhoeven, which was translated into Flem-
ish in the following year. M. Goovaerts, after
having been for some time Assistant Librarian
at the Antwerp Town Library, is now (1887)
employed at the Archives Royales at Brussels.
He is a member of many learned societies, both
Belgian and foreign. The following is a list of
his principal musical and literary works : —
MUSICAL.
Ave Maria.
2 0 Salutarls.
Flemish Songs.
Pieces for Piano and Violin.
Petite Messe.
Messe Solennelle.
Dree stemmlge Llederen voorde
Schooljengd.
Adoramus.
Ave verum.
Tantum Ergo.
O Jesu, sapientte,
NoSl (P. V.)
Lleder and ;
Choral Music, i
LITERARY.
Notice biographique et bibllo- La Musique d'Eglise (translated
graphique sur I'ierre Phal6se,| into Flemish).
impiimeur de Musique k An-lG^n^alogiedelafamilledeLiagre.
vers au 1G» slfecle, suivie du Le Peintre Michel-Ange Immeu-
catalogue chrouologique de ses I raet.
impressions. G^nealogle de la famille Wouters.
Levensschets van Eidder Leo de Histoire et Bibliographle de la
Burbure. Typographie Musicale dans les
Une nouvelle oeuvre de Pierre Be- Pays Bas.
noit, analys^e par Pierre Pha-'origine des Gazettes et Nouvelles
16se (translated into Flemish). I Periodlques. Abraham Ver-
Notice Historique sur un tableau | hoeven (transl. into Flemish).
de Michel-Angelo de Cara- Articles in the Biographie Na-
vaggio. ' tionale. I W.B.S.l
GORDIGIANI, LuiGl. Last line of article,
for in read May i.
GORIA, A. E. See vol. ii. p. 733 6.
GOSS, Sir John. Line 3 of article add date
of birth, Dec. 27, 1800. P. 611 a. 1. 9, complete
date of 'The Church Psalter, etc.', 1856. Add
date of Goss's death. May 10, 1880.
GOSSEC, F. J. Add to list of works an
oratorio, * L'Arche d'alliance,' performed at the
Concert Spirituel ; Choruses to the tragedy of
'Electra' (1783); 'Berthe' (with Philidor and
Botson, Brus-sels 1775); operas, 'Hylas et
Silvie,* * La Reprise de Thoulon,' and * Le Peri-
gourdin,' not publicly performed. It should also
be noticed that the introduction of horns into the
orchestra is attributed to him, and that the em-
ployment of the gong or tam-tam in his funeral
music in honour of Mirabeau is the first instance
of its use as an orchestral instrument. [■''^•l
GOSTLING, Rev. John, bom about the
middle of the 1 7th century, was sworn a gentle-
man extraordinary of the Chapel Royal on Feb.
25, 1678, and three days later was admitted in
ordinary, on the death of William Tucker. He
GOTTSCHALK.
is called *a base from Canterbury, Master of
Arts.' He subsequently became a minor canon
of Canterbury, vicar of Littleboum, chaplain to
the King, Sub-dean of St. Paul's and Prebendary
of Lincoln. He died July 17, 1733. He was
one of the most famous singers of lus time, on
account of the volume and compass of his bass
voice. He was one of the 'ministers' at the
coronations of James II, and of William and
Mary. Hawkins gives an anecdote explaining
the origin of Purcell's anthem, • They that go
down to the sea in ships,' a work written to suit
Gostling's voice, and at his own request, in his
History, p. 707 (Novello's ed.). [See vol. i.
p. 148 a, iii. p. 47 a, 49 &.] [M.]
GOTTSCHALK, Louis Moeeau, born at
New Orleans, May 2, 1829, of an English father,
Doctor of Science at Cambridge, Mass., and a
French mother, daughter of Count Antoine de
Brusl^, colonel of a cavalry regiment and gover-
nor of St. Domingo at the time of the insurrec-
tion. His family being in easy circumstances,
young Gottschalk studied the piano as an
amusement ; at the age of 1 2, having already
gained much applause as a performer, he obtained
permission to go to France in order to perfect
himself. In Paris his first master was Charles
Hall^ ; he afterwards studied with Camille
Stamaty, and for composition with Maleden,
who was Saint-Saens' first master. While he
was in Europe his family sustained heavy
pecuniary losses, and he at once thought of turn-
ing his talents to account. He was not content
with merely playing in drawing-rooms, but gave
concerts, by which his name as a composer and
pianist was quickly established. He also made
a professional tour in the French provinces,
Savoy, Switzerland, and Spain, in which last
country he had an enormous success (1852). On
his return from his travels he was recalled by his
father to New Orleans. He then began his first
tour through America, playing his piano compo-
sitions and conducting his orchestral works at
monster festivals ; a symphony entitled * La Nuit
des Tropiques,' a trium[^hal cantata, an overture,
fragments of an unpublished opera, etc., were
heard in this way. His success was so great
that an American speculator, Max Strakosch,
since famous for having brought out Mme. Patti,
engaged him to make an enormous tour through
the States. From this period Gottschalk's career
was one of incessant and successful travel. He
died suddenly at Rio de Janeiro, Dec. 18, 1869,
at the very time when, tired of his wandering
life, he was planning a quiet retreat at Paris.
For some time he had been weakened by fever
and fatigue, and at one of his concerts, as if
seized by a fatal presentiment, he was unable to
finish his last composition, * La Morte.' Prob-
ably no artist travelled more than Gottschalk ;
in Spanish America, where he was idolized
by the public, there is scarcely a town of any
importance where he did not give concerts. He
wrote voluminously for the piano, and his works,
popular at the time of their production, have
an originality and a local colour which were
GOTTSCHALK.
much enhanced by the extraordinary charm,
passion, and melancholy of his playing. He
began to compose at the age of sixteen, and his
* Bananier,' at one time famous in both hemi-
spheres, dates from this time. Few of his pieces,
except a Tarantella for piano and orchestra,
often played by Plants, have lived to the present
day, and even most of their titles are forgotten.
Gottschalk himself is only remembered as an ex-
ceptionally gifted virtuoso, whose successes were
considerable, but who was not a great artist in
the highest sense of the term, since he was never
connected with the classical school, and his com-
positions owe their worth entirely to the charm,
freshness, and variety of his playing. [A.J.]
GOUNOD, Charles Fban^ ois. The follow-
ing observations are to be added to the article in
vol. i. p. 613, etc. : — In spite of the entire failure
of * Polyeucte,' he continued to write new works
for the Op^ra, where, up to the present time,
' Faust,' originally written for another theatre,
has alone held its ground. 'Le Tribut de
Zamora' was represented on April I, 1881, but
the opera disappeared from the bills as quickly
as ' Polyeucte ' had done. He then took up
his first opera, ' Sapho,' enlarged it into four
acts, added some music, and produced it in this
form on Apr. 2, 1 884. According to the general
opinion the work lost by this treatment, and the
only parts which were still pleasing were those
in which a certain youthful charm was found in
the midst of purely scholastic scoring. The result
was not such as the author had wished for, and
'Sapho' was withdrawn after a limited number of
representations. For several years past, Gounod
has plunged into a religious mysticism, and de-
voted himself to the composition of great sacred
works. The first of these, 'The Redemption,'
sketched in 1868, but not finished till 1881, was
performed at the Birmingham Festival of 1882,
and in Paris, April 3, 1884; the second, * Mors
et Vita,' composed when he was rewriting
* Sapho,' was produced at the Birmingham
Festival of 1885, and in Paris May 22, 1886.
This new ideal of dramatico-religious music,
which he calls * music treated in the style of
fresco' {musique plane et peinte clfresque) seems
to have first occurred to Gounod when he turned
his attention to religious subjects in order to
emulate the reputation of Berlioz's * Enfance du
Christ' and Massenet's * Marie Magdeleine,' and
desired to introduce innovations on the work of
his rivals. He has made simplicity an absolute
rule. The long recitatives on a single note, or
rising and descending by semitones, the solo parts
proceeding invariably by the intervals of a third, a
sixth, or an octave, while the choral and orches-
tral parts adhere to incessant reiterations of the
same chords ; these impart a monotony and a
heaviness to the work which must weary the best
disposed audience. The same style predominates
in the * Messe k Jeanne d' Arc,' which he declared
his intention of composing on his knees in the
Cathedral of Rheims on the stone on which Joan
of Arc knelt at the coronation of Charles VII.
This work was first performed in the Cathedral
GRABU.
653
of Rheims, July 24, 1887, and in the church of
S. Eustache in iParis, Nov. 22, 1887, S. Cecilia's
Day. A fourth Messe Solennelle and a Te Deum
have just been published. When Verdi was made
grand oflScer of the Legion d'honneur in March
1880, Gounod received the same distinction (July
1880); and in January 1881 this title, a most
exceptional one for a composer, was conferred on
Ambroise Thomas. • As neither one nor the other
has as yet obtained the 'grand croix,' there can
be no cause for jealousy. [See vol. iv. p. 104,
where correct statement in line 5 from end of
article Thomas.] (Died Oct. 18, 1893.) [A. J.]
GOW, Neil. Add days of birth and death,
March 22, and March I. To the end of article
add that Nathaniel Gow, born at Inver, May 28,
1766, died in Edinburgh, Jan. 19, 1831, wrote
the song ' Caller Herrin'.' He held a position in
the fashionable world of Edinburgh similar to
that held by his father, and in his later years had
received a pension from George IV. His brother,
Neil, composed the songs * Flora Macdonald's
Lament ' and * Bonnie Prince Charlie.' [M.]
GRABU, Lewis, or Louis Grabut, or some-
times Grebus, a French musician, who came to
England about 1666, and finding favour with
Charles II., whose predilection for everything
French was unbounded, was assigned a promi-
nent place in the direction of the Court music, to
the great chagrin of John Banister, then ' Master
of the Music' Upon Oct. i, 1667, he produced
at Court an * English Song upon Peace,' which
Pepys, who heard it, criticised very unfavourably,
although admitting, at the same time, that ' the
instrumental musick he had brought by practice to
play very just.' His incapacity both as performer
and composer were commented upon by Pelham
Humfrey (Pepys,Nov. 15, 1667). His opera, 'Ari-
adne, or. The Marriage of Bacchus,' originally
composed to French text, was produced at Drury
Lane, adapted to English words, in 1 674. He was
selected to compose the music for Dryden's opera,
'Albion and Albanius,' produced at Dorset
Garden, June 6, 1685, at great expense, but
performed for six nights only. It has been
asserted that its failure was occasioned by the
Duke of Monmouth's rebellion, the news of
which reached London on the last day it was
played : the real causes however were the innate
worthlessness of both drama and music. Both
were published, and readers may therefore judge
for themselves. Dryden, in his preface to the
piece bestowed some extravagant encomiums
upon Grabu, extolling him above all English
composers, but a few years later changed his
tone and awarded the palm to Purcell. A
satirical song upon the piece, ridiculing both
author and composer, is contained in Hawkins's
History (Novello's edition, 707). It is presumed
that Grabu lost his Court appointment at the
Kevolution, but he seems to have remained in
England, as in 1690 he composed the instru-
mental music for Waller's alteration of Beaumont
and Fletchers ' Maid's Tragedy.' A few songs
by him are contained in some of the collections
of the period. [W.H.H.]
654
GRADENER.
GRADENER, Carl G. P., bom Jan. 14,
181 2, at Rostock, received his first musical
employment as a violoncellist at Helsingfors.
After three years he went to Kiel and was ap-
pointed Musikdirector to the University there, a
post which he retained for ten years. In 1851
he founded an academy for vocal music at Ham-
burg, and remained there until in 1862 he was
appointed to teach singing and theory in the
Vienna Conservatorium. After three years he
returned to Hamburg, where the rest of his life
was spent. In 1867 he joined F. W. Grund in
forming the Hamburger Tonktinstlerverein, the
presidentship of which he held for some years.
As a composer of chamber music, the chief
interest of which centres in the ingenuity and
freshness of its harmonies and the excellence of
its form, he is justly esteemed. His works in-
clude two pianoforte quintets, two trios, three
string quartets, an octet, two symphonies, besides
a concerto, a sonata, and many pieces for the
piano. He died at Hamburg, June ii, 1883.
His son Hermann, bom May 8, 1844, at Kiel,
entered the Vienna Conservatorium in 1862 ; in
1864 was appointed organist at Gumpendorf,
and became a member of the court orchestra in
Vienna. In 1874 he was appointed teacher of
harmony, etc., in the Conservatorium, and in
1882 received the title of Professor. In 1886
he became director of the academical society for
orchestral music, and of the academical Gesang-
verein. His compositions, though not numerous,
show very strong individuality. As in the case
of his father, he is at his best in chamber music ;
his piano quintet has been played in London
with success. His * Lustspielouvertiire * and an
octet for strings may also be mentioned. [M.]
GRAHAM, George Faequhar. Line 3 of
article, /or in 1790 read Dec. 29, 1789.
GRAND OPERA. P. 617 a, 1. 19 from
bottom, for dramatic essay read essay in this
form of opera. P. 617 6, 1. 5, for ' La Favorite '
read ' Don Carlos.'
GRAND PIANO. For the third paragraph
of the article read as follows : — The Silbermann
pianos bought by Frederick the Great, still pre-
served at Potsdam (at the Town Palace, the
New Palace, and Sans Souci) are three in number,
and are of the grand form. They are copies of
the grand pianos by Cristofori dated 1720 and
1726, which are preserved at Florence. This
important fact was determined by the writer on
a special visit to Berlin in 188 1. P. 618 a, 1. 15.
The actions here referred to are different. [See
Pianoforte.] Line 2 5, for rather toSilbermann's
ideal read to an early German action (not
Schroeter's model) improved upon by Stein. For
1. 4 from end of article, read Allen's tubes and
plates, patented in 1820. [A.J.H.]
GRAND PRIX DE ROME. In the list of
composers, under the year 1859, for Eugene read
Ernest.
The following list completes the number of
composers who have gained the prize since the
1883. VidaL ' Le Gladlateur.'
1884. Debussy. ' L'Enfant pro-
dtgue.'
1885. Leroux. 'Endymlon.'
1886. Savard. *LaVlston deSaai.
1887. Oharpentier. ' Didon.'
GREATHEED.
publication of the article in vol. i. p. 618, until
the present time : —
1878. Brontin and Rousseau. ' La
Fille de Jepht^.'
1879. Hue. 'M6d6e.'
1880. Eillemacber (Lucien). *Fln-
gal.'
1881. No first prize.
1882. Marty and Plem«. 'Kdlth.'
After the year 1803 the competition for the
Grand Prix de Rome was decided by the Institut.
In 1864 it was modified by a decree of Napoleon
III: from 1864 to 1 871 the works were judged
by a special jury composed of nine members
drawn by lot from a list chosen by the general
superintendent of theatres. Since 1872 the final
judgment has been restored to the united sec-
tions of the Academic des Beaux Arts ; and the
method of procedure is as follows : — The six
composers forming the musical section of the In-
stitut (now represented by MM. Thomas, Gounod,
Reyer, Massenet, SaintSaens, and Delibes),
assisted by three composers not belonging to the
above-mentioned body, give a previous verdict
which the entire Academic has to ratify or veto.
The competition takes place in June, and the
performance of the prize cantata in October, at
the annual public seance of the Acaddmie des
Beaux Arts. [A.J.]
GRAS, Mme. J. A. DoETJS. Correct date of
birth from 1807 to Sept. 7, 1804. P. 619 a, 1. 5
from bottom, after retirement add the words
from the Grand Opera. (See Damoeeau, vol. i.
428 6.)
GRASSINI, Josephina. Line 5 from end of
article, for in January read Jan. 3.
GRAUN, K. H. Add that the • Tod Jesu '
was performed at an orchestral concert given by
the Royal Academy of Music on April i, 1887,
under the direction of Mr. Bamby.
GRAZIANI. Add christian name, Fran-
cesco, and that he was bom at Fermo, April 26,
1829. His brother, LoDOVico, bom at Fermo,
August 1823, was a tenor singer of some celebrity.
He died in May 1885.
GREATHEED, Rev. Samuel Stephenson,
was born in Somersetshire on Feb. 22, 1813.
He received his first instruction in harmony from
Mr. W. Chappell Ball, organist of St. Mary's,
Taunton. In 1831 he entered at Trinity Col-
lege, Cambridge, where he graduated B.A. a»
fourth wrangler in 1835, and was elected to a
Fellowship in 1837. I» ^^Y ^^S^ be was or-
dained by Bishop Allen (of Ely), and in the
same year vacated his Fellowship by marriage.
In 1838 and 1839 Mr. Greatheed spent about
six months in Berlin, where he studied music
under G. W. Schwarz. In 1840 he was appointed
to the Curacy of West Drayton, Middlesex, and
in 1862 to the Rectory of Corringham, Essex.
Mr. Greatheed began to study counterpoint
systematically in 1 844. His published works are
as follows : — * Te Deum,' composed upon the
original melody ; * Benedictus,' * Magnificat,' and
'Nunc Dimittis,' upon the 8th tone ; ten anthems;
♦ Enoch's Prophecy,' a short oratorio, performed
GREATHEED.
GREGORIAN TONES.
655
by the Harmonic Union, June ii, 1856; music
to Bishop Coxe's ' Hymn of Boyhood ' ; organ
fugue in the Dorian mode ; * Quam dilecta,'
varied for the organ ; many harmonies to old
Church melodies ; a few original chants and
hymn tunes ; and some pieces for domestic use.
He is also the author of * A sketch of the History
of Sacred Music from the earliest Age,' which ap-
peared in the Church Builder (1876-1879), and a
' Treatise on the Science of Music ' in Stewart's
Teacher's Assistant (1878-9). [W.B.S.]
GREEK PLAYS, Incidental Music to.
The great interest which has of late years been
taken at the English Universities in the per-
formances of Greek dramas in the original has
given opportunity for the composition of choruses
and incidental music. As these works are of
some importance in the history of English music,
a list of them is here appended : —
The Agamemnon of Aeschylus ; The Eumenldes of Aeschylus ;
Oxford, June 1880. Music by Cambridge, Dec. 1 to 5. 1885.
Walter Parratt. Music by C. V. Stanford.
The Ajax of Sophocles; Cam- The Alcestis of Euripides ; Oxford,
bridge, Nov. 28 to Dec. 2, 1882. May 18 to 24. 1887. Music by C.
Music by Sir G. A. Macfarren. H. Lloyd .
The Birds of Aristophanes; Cam- The Oedipus Tyrannus of Sopho-
bridge, Nov. 27, to Dec. 1, 1883. cles ; Cambridge. Nov. 22 to 26,
Music by C. Hubert H. Parry. 1887. Music by 0. V Stanford.
[M.]
GREENE, Maurice, Mus. D. Line 16, for
death read retirement. Greene died Dec. i (coffin-
plate) or Dec. 3 (Vicar-Choral Book), not Sept. i.
On May 13, 1888, Dr. Greene's body was re-
moved from St. Olave's, Jewry, and re-interred
in St. Paul's Cathedral beside that of Dr. Boyce.
(See 'Mus. Times,' June 1888.)
GREGOIR, Jacques Mathieu Joseph, born
at Antwerp Jan. 18, 181 7, made his first appear-
ance as a pianist in Dussek's B minor Concerto
when only eight years old. After the revolu-
tion of 1830 he was sent to Paris to study under
Herz, but his health obliged him to return to his
native country after a few years. Subsequently
he went with his brother to Biberich, where he
studied with Rummel until 1837, when he re-
turned to Antwerp. His success as a performer
was very great, and some compositions other than
the numerous works written for his own instru-
ment were favourably received. A 'Lauda
Sion,' a cantata, * Faust,' and an opera in three
acts, * Le Gondolier de Venise ' were produced
shortly before 1848, in which year he established
himself for a time in Brussels. After a years'
work as music-teacher in an English school at
Bruges, he returned to Brussels. Many succes-
ful concert- tours were undertaken by him in
Germany, Switzerland, and elsewhere. He died
at Brussels Oct. 29, 1876. His pianoforte works
include a concerto, op. 100, several excellent
books of studies, besides fantasias and other
drawing-room pieces. He collaborated in several
duets for piano and violin with Vieuxtemps and
Leonard, and in several for piano and violoncello
with Joseph Servais.
His brother, Edouaed Georges Jacques, was
bom at Tumhout, Nov. 7, 1822. After the
journey to Biberich mentioned above, he ap-
peared in London in 1841, with success, and in
the following year undertook a concert tour with
the sisters Milanollo ; in 1847 and 1849 several
of his compositions were produced at Amster-
dam and in Paris, and after a short tenure of a
musical professorship at the Normal School at
Lierre, he settled down at Antwerp, where he
has since exercised a powerful influence in
musical matters. He has produced a large num-
ber of compositions in various forms, among the
most prominent of which are the following; —
' Les Croisades,' historical symphony (Antwerp,
1846); *La Vie,' opera (Antwerp. Feb. 6,
1848); *Le Deluge' symphonic oratorio (Ant-
werp, Jan. 31, 1849); *De Belgen in 1848,*
drama with overture, airs, choruses, etc. (Brus-
sels, 1 851); *La derni^re nuit du Comte
d'Egmont ' (Brussels, 1851); 'Leicester,' drama
with incidental music (Brussels, Feb. 13, 1854);
' Willem Beukels,' Flemish comic opera (Brussels,
July 21, 1856), *La Belle Bourbonnaise,' comic
opera, and 'Marguerite,' gTand opera. Two
overtures, many part-songs for male chorus,
numerous works for piano, organ and harmonium,
to the interests of which last instrument he is
particularly devoted, are also among his compo-
sitions. His contributions to musical literature
are scarcely less abundant than his musical
productions. He has taken an active part in
musical journalism, besides writing a number of
essays on historical subjects. These latter, though
containing much valuable material, are not
always reliable, as the writer is too much given
to accepting information from any quarter. A
History of the Organ, published at Brussels in
1865, is perhaps the most useful of his literary
productions. [M.]
GREGORIAN TONES, THE. (Lat. Toni
Gregoriani ; Toni Psalmorum ; Fr. Les Chants
Gregoriens ; The Psalm-Tones, or Psalm-Tunes.)
The Gregorian Psalm-Tones are, beyond all
controversy, the oldest Melodies now known to
be in existence. So great is their antiquity, that
no one has ever yet succeeded, with any degree
of certainty, in tracing them to their original
source. Though the arguments advanced by
the Prince Abbot Gerbert von Hornau, Padre
Martini, P. Kircher, P. Lambilotte, Mersenne,
Rousseau, the Abbe Le Boeuf, Baini, and the
later writers M. de Coussemaker, Kiesewetter,
Gevaerts and Ambros, have thrown much valu-
able light upon the subject, not one of these
speculators can be said to have arrived at a
satisfactory conclusion. Three only of the numer-
ous theories proposed seem to rest upon any
reasonable basis — those, namely, which pretend
to trace the so-called Gregorian Melodies to a
Greek, an early Christian, or a Hebrew origin.
On one point only are all authorities agreed.
No doubt exists as to the historical fact, that the
Psalm-Tones were sung by the primitive Chris-
tians, and, through them, handed down by oral
tradition alone, until, through the efforts of S.
Ambrose in the 4th century, and S. Gregory in
the 6th, they were collected, classified, and re-
duced to rule and order, in a form which, pro-
tected by ecclesiastical authority, has remained
656
GREGORIAN TONES.
in uninterrupted use in the Church, to the pre-
sent day.
This fact admitted, the question arises, whence
did the primitive Christians obtain the venerable
Melodies they have handed down to us ?
The objections to the suggestion that they in-
vented them are very strong indeed. The Church
was too much shaken by persecution, during the
first three centuries of its existence, to afford its
members an opportunity for the introduction of
new Art-forms into Services which were of
necessity conducted with the utmost possible
secrecy and caution. There is abundant evi-
dence to prove that the Psalms were sung in the
Catacombs ; but, none whatever to show that
those who sang them composed the Music to
which they were adapted.
Still more extravagantly improbable is the
popular and widely-spread theory that the early
Christians derived their Music from the Greeks.
If the Psalm- Tones really came from Greece,
they must have been used in the worship of
Dionysos, or some other deity equally obnoxious
both to the Christians and the Jews, Is it pos-
sible to believe that men who were content to
suffer Martyrdom, rather than utter a single
word which could be construed into toleration
for heathen superstitions, would have consented
to sing the Psalms to heathen Mtilodies ? More-
over, though the Ecclesiastical Modes have been
universally named, since the time of Boethius,
after those of the Greek system, they are so far
from coiresponding with them, that it would be
impossible to accommodate them to the tonality
demanded by the Pythagorean Section of the
Canon. If, therefore, they are really of Greek
origin, their constitution must have been changed
beyond all possibility of recognition — a supposi-
tion quite untenable.
There remains the theory, that the Psalm-
Tones were brought to Rome by the primitive
Christian converts, after the destruction of Jeru-
salem by Titus. And here, it must be con-
fessed, the probabilities lie entirely on the side
of the theorists. What more natural than that
the persecuted refugees should have sung the
Psalms, in the Catacombs, to the Melodies to
which they had sung them in the Temple—the
Melodies to which, beyond all doubt, the in-
spired words had originally been set ? The
theory is so enticing, that hard-headed critics
have been tempted to condemn it as empty
sentimentality ; yet, it cannot be denied that
it rests upon a foundation of plain common-
sense.
The structure of the Psalm-Tones strongly
favours this theory. They represent the only
known form of simple Melody to which it is
possible to sing the words of the Psalms, without
obscuring their sense; adapting themselves so
closely to the parallelism of Semitic Poetry,
that, whether the Psalms be sung in the
original Hebrew, or in the form of Latin, Eng-
lish, or any other translations, the song and the
sense never fail to go together — a fact which
was so strongly felt, when the Choral Service I
GREGORIAN TONES.
was restored, in our English Cathedrals, during
the reign of King Charles II., that the Com-
posers of the School of the Restoration could find
no other model than this to serve as the basis of
their Anglican Single and Double Chants, though
the whole range of musical form was at their
command.
In considering the construction of the Grego-
rian Tones, we must bear in mind, that, in the
Roman OflBce-Books, the Psalm is both preceded,
and followed, by a special Antiphon. It is in-
dispensable that this Antiphon should terminate
upon the Final of the Mode ; but it is not at all
necessary that the Psalm-Tone should do so,
since its true termination is supplied by the
Antiphon, without which it would be incom-
plete: and, in point of fact, very few of the
Psalm- Tones actually do terminate upon the
Final.
The Psalm-Tones, as bequeathed to us from
the times of S. Ambrose, and S. Gregory, are
eight in number — one in each of the first eight
Modes, with the numerical order of which they
correspond. In addition to these, two irregular
forms are in use : one, in Mode IX., called the
Tonus Peregrinus, used only for the Psalm, ' In
exitu Israel ' ; and one, in ' Mode VI. irregular,*
called the Tonus regius, and sung to the
• Domine salvum fac,' in connection with the
Prayer for the reigning Sovereign, at the end of
High Mass. Each of these Tones consists of
five distinct members : —
(i) The Intonation, consisting of two or
three notes, so disposed as to form a connecting
link between the Psalm-Tone proper, and the
Antiphon, or portion of • the Antiphon, which
precedes it.^ The Intonation is only sung in
connection with the first verse of the Psalm.
(3) The Reciting-Note, coincident with the
Dominant of the Mode, on which the first part
of the first half of the verse is monotoned, with
more or less rapidity, according to the sense of
the words.
(3) The Mediation ; a short melodic phrase,
adapted to the concluding syllables of the first
half of the verse.
(4) The Second Reciting-Note, coincident,
like the first, with the Dominant of the Mode,
and used, in like manner, for the recitation of
the first part of the second half of the verse.
(5) The Ending, or Close, a short melodic
phrase, like the Mediation, and in like manner
adapted to the concluding syllables of the second
half of the verse.
On Ferial Days, the Intonation is usually
omitted, and the Mediation is sung in a less
elaborate form than that used for high Festivals.
Some of the tones have as many as three or four
different Endings, which are common both to
Festal and Ferial Services. For the Introit, at
High Mass, a special form is used, in which both
the Mediation and the Ending are still farther
elaborated. The following example shows the
I On Ferial Days only the first clause of the Antiphon Is sung
before the Fsalm, though, after it, the Antiphon Is always sung in
Its complete form.
GREGOEIAN TONES.
Third Tone, divided into its five proper sec-
tions : —
(«) (b) (c) (d) (e)
(/)
(g)
(a) The last notes of the Antiphon, as sung be-
fore the Psalm. (6) The Intonation, leading to
(c) The First Reciting-Note. (d) The Media-
tion, (e) The Second Reciting-Note. (/) The
Ending. (^) The first notes of the Antiphon, as
resumed, after the Psalm.
The following Table shows the Tones, with
their various endings, in the form now formally
authorised by the Congregation of Rites. The
Festal and Ferial Mediations are common to all
the Endings of their respective Tones.
Tone I. Festal Mediation.
Tone II. Festal Mediation. Ferial Mediation.
^
IE=
Ending:.
Ending iii.
Ending iv.
Eiti
Tone IV. Festal Mediation. Ferial Mediation.
GREGORIAN TONES. 657
Tone V. Festal Mediation. Ferial Mediation.
Ending,
Tone VII. Festal Mediation.
Tone VIII. Festal Mediation. Ferial Mediation.
Ending i.
Ending ii.
^
]}
Tone IX, Irregular. Tonus Peregrinus. (Transposed).
Tone VI, Irregular. Tonus Regius.
Ig!^^^!^^
The above forms, believed to approach more
nearly to the primitive purity of the Psalm-
Tones than any other version now known to be
in existence, differ considerably, both from those
given in the Mechlin Office-Books, which are, for
the most part, more elaborate, and from those
found in the Sarum Psalter, and adapted to the
English 'Psalter Noted,' by theRev.T.Helmore,
some few of which are a little less complex.
For many centuries, most of the great Dioceses
on the Continent vaunted a special ' Use ' of their
own ; and in France, especially, the practice of
Machicotage* led to the indefinite multiplication
of forms peculiarly ornate and impure, yet none
the less, in certain cases, extremely beautiful.
Some of these, vulgarly known in England as
* Parisian Gregorians,' though more frequently
taken from the * Use ' of Rouen, are extremely
popular in London Churches ; they are all, how-
ever, more or less corrupt, and differ materially
in style from the true Gregorian Tones.^
1 See Macicotaticum.
2 For a large collection of these, including as many as sixteen
different endings to the First Tone, see 'The Ferial Psalter,' by the
Ber. T. Kavenshaw, and W. S. Kockstro. (London, Masters and Co.)
658
GREGOEIAN TONES.
The more elaborate forms, used for the In-
troits, at High Mass, will be found in the Gra-
duals printed within the last fifteen years, at
Ratisbon, and Mechlin. [W.S.R.]
GRELL, Eddabd August, born Nov. 6,
1 8oo, the son of the organist of the Parochial-
kirche in Berlin, received his musical education
from his father, J. C. Kaufmann, Ritschl, and
finally from Zelter, on whose recommendation he
received the appointment of organist of the
Nicolaikirche at the age of i6. In 1 817 he
entered the Singakademie, with which institution
he was connected in one way or another for
nearly sixty years. In 1832 he became its vice-
director, under Rungenhagen, after whose death
he was in 1853 appointed director, a post which
he held until 1876. In 1841 he was made a
member of the musical section of the Royal
Academy of Arts, with which institution he was
connected until 1881. In 1858 he received the
title of professor, and in 1 864 the order pour le
mirite. He died Aug. 10, 1886. Although his
scholastic functions absorbed so large a propor-
tion of his time, lie yet found opportunity for
the composition of many works of large extent
and of the most elaborate structure. He was
one of the most learned contrapuntists of his day
in Germany, and his works show him to have
been not only an ingenious theorist, but a richly
gifted artist. His opus magnum is a mass
in 16 parts a capella, besides which he pro-
duced psalms in 8 and 11 parts, a Te Deum,
motets, cantatas, an oratorio entitled ' Die
Israeliten in der Wiiste,' and many songs and
duets. [M.]
GRESHAM MUSICAL PROFESSOR-
SHIP. Line t6 from end of article, add date
of Theodore Aylward's appointment, 1771.
GRJ&TRY, A. E. M. P. 628 a, 1. 16, for Le
Vendemmiante read La Vendemiatrice. L. 43
of same column, for duet read quartet. Add
that a complete edition of Gretry's works has
recently been undertaken by the firm of Breit-
kopf & Hartel. Seven volumes have already
appeared (1887).
GRIEG, Edvard. The following additions
are to be made to the catalogue of his works : —
Op,
21. 4 Songs.
•22. 'SigurdJorsalfar.' PF.4 hands.
23. 'Peer Gynt," Incidental music.
FF. 4 bands.
24. Ballade. FF. solo.
25. 5 Songs.
26. 4 Songs.
27. Quartet for Strings In G minor.
28. Albumbiatter. FF. solo.
29. Improvisata on 2 Norwegian
Songs. FF. solo.
SO. Album for male chorus.
31. ' Landlcennung.' Male chorus.
32. ' Der BergentrUclfte.' Baritone
and Orchestra.
33. 12 Songs.
34. 2 Melodies for Stringed or-
chestra.
35. Norwegian dances. FF. 2 or
4 hands.
36. Sonata for FF. and Violon-
cello.
37. Walzer-Caprlcen. FF. 2 or 4
hands.
38. Neue lyrische Stttckchen. FF.
solo.
89. 5 Songs.
40. 'Aus Holberg's Zeit.' FF.
Suite.
41. FF. transcriptions of his own
songs.
43. 'Lyrische Stttckchen.' Book 3.
FF. solo.
44.
45. 3rd Sonata in C minor for PF.
and Violin.
All the songs, with the exception of op. 2 and
lo, are included in the five volumes of Peters'
• Grieg- Album.'
Add that the composer visited London in i888,
playing his A minor Concerto and conducting
GUDEHUS.
his op. 34, at the Philharmonic Concert of May 3;
He and Mme. Grieg gave a recital on the 16th
of the month. [M.]
GRIMM, J, O. Line 3 of article, /or Saxony
read Livonia.
GRISI, GiULiA. Line 7 of article, add date of
death of her sister Giuditta, May i, 1840. P.
6336, last line but one,/or Nov. 25,rca<ZNov. 29.
(Corrected on authority of Mendel and Paloschi.
Pougin and Riemann agree with the text.)
GROUND BASS. P. 634 h, add to title. It.
Basso ostinato. Also among the citations add
See an example of a ground bass of four mininrnf
only, accompanying a canon 7 in i, by Bach, in
Spitta's Life, iii. 404.
GRUND, Friedrich Wilhelm, born at Ham-
burg Oct. 7, 1 791, at first studied the violoncello
and pianoforte with the intention of becoming a
public performer on both instruments, but after
a few successful appearances in his 17th year,
his right hand became crippled, and he was
obliged to abandon his public career. He now
took a keen interest in the musical affairs of his
native town, where in 1819 he was instrumental
in founding the Singakademie ; he remained
director until 1862, when he also retired from
the direction of the Philharmonische Concerte
with which he had been connected since 1828. In
1867 he took an active part with Gradener in the
formation of the Hamburger Tonkunstlerverein.
He died Nov. 24, 1874. His numerous works
include two operas, ' Mathilde ' and * Die Burg
Falkenstein,' a cantata * Die Auferstehung und
Himmelfahrt Christi,' an eight-part mass, sym-
phonies, overtures, and much chamber music. [M.]
GRUPPO, GRUPETTO, the Italian names
for our Turn, which see. Sebastien de Brossard
(Dictionnaire de Musique) says that the turn is
called Groppo (or Gruppo) ascendente and
Groppo descendente, according as the last note of
the group rises or falls. The two examples given
under Trill represent the two kinds. [See
also vol. iii. p. 598 &, note 4.] [M.]
GUDEHUS, Heinrtch, bom at Celle, near
Hanover, the son of a schoolmaster there. He
was taught singing, first at Brunswick by Mal-
wina Schnorr von Carolsfeld, widow of the tenor
singer, and in 1870 at Berlin by Gustav Engel.
On Jan. 7, 1 871, he first appeared on the stage
at Berlin as Nadori in a revival of * Jessonda,*
and subsequently as Tamino, and was well re-
ceived, but feeling the necessity of further study,
retired for a time and studied under Fraulein
Louise Resse of Berlin from 1872 to 1875. In 1875
he re-appeared at Riga, and sang there during the
season 1875-76, and afterwards was engaged at
Liibeck, Freiburg, Bremen, and in 1880 at Dres-
den, where he is at present. During these five
years Herr Gudehus has played in many operas
of Mozart, Weber, Meyerbeer, Wagner, Auber
(* Masauiello ' and ' Fra Diavolo '), M^hul (* Jo-
seph'), Bellini ('Norma'), Boieldieu (' Damo
Blanche '), Verdi, etc. On leave of absence from
Dresden he has sung with success at Vienna,
GUDEHUS.
GUIDO D'AKEZZO.
659
Frankfort, and Ba3nreuth, where he made his
reputation on July 28, 1882, at the second per-
formance of 'Parsifal,' and in 1884 ^^ *^^ ^®'^"
man Opera, Covent Garden, where he made his
d^but June 4 as Walther (' Meistersinger '). He
was very successful in this part, and subsequently
as Max, Lohengrin, Tannhauser, and Tristan.
On Nov. 10 and 15 of the same year he sang at
the Albert Hall at the concert performances of
'Parsifal,' then introduced into England for the
first time in its entirety by the Albert Hall
Choral Society under the direction of Mr. Barnby.
He played Parsifal and Tristan at Bayreuth in
1886. [A.C.]
GUJfeDRON, Pierre.
note 3.
See vol. iii. p. 593 h,
GUIDO D'AREZZO (Guido Aretinua; Era
Guittone ; Guy of Arezzo). Though this name
is more frequently quoted by musical historians
than that of any other writer of equal antiquity,
it would be diflBcult to point to a teacher whose
method has been more commonly misrepresented,
or whose claim to originality of invention has
been more keenly contested. The doubts which
have been expressed with regard to the true
nature of his contributions to musical science,
may be partly accounted for by the ambiguity
of his own language and partly by the retire-
ment of his monastic life, which afforded him
but little opportunity for making his learning
known to the world at large ; though, after his
death, his fame spread so rapidly that almost
every discovery made during the next hundred
and fifty years was attributed to him.
Fortunately, the uncertainty which hangs over
his system does not — as in the case of Magister
Franco — extend to his personal identity. He was
born at or near Arezzo, not long before the close of
the loth century ; and, in due time, became a Monk
of the Order of S, Benedict. An annotation on
the back of the oldest known MS. of his ' Micro-
logus,' which he is generally believed to have
written in, or about, the year 1024, asserts that
he completed the work in the thirty-fourth year
of his age — thus referring us to 990 as the
probable year of his birth. His talent must have
been very early developed ; for. Pope Benedict
VIII., hearing that he had invented a new
method of teaching Music, invited him to Rome
— Baronius says, in 1022 — for the purpose of
questioning him about it, and treated him with
marked consideration, during the short time that
he remained in the city. Pope Benedict died
in 1024; and his successor, John XIX., after
sending three special messengers to induce Guido
to return, accorded him a highly honourable
reception, on the occasion of his second visit,
and consulted him frequently on the details of
his method. Guido brought with him, on this
occasion, an Antiphonarium, written in accord-
ance with his new system ; and the Pope was so
struck with this, that he refused to terminate
the audience until he had himself learned to
eing from it. After completely mastering the
system, he desired to retain the learned Bene-
dictine in his service ; but Guido, urging his
delicate health as an excuse, quitted Rome
under promise of returning again during the
following winter. In the meantime, he accepted
an invitation to the Monastery of Pomposo, in
the Duchy of Ferrara, and at the request of the
Abbot remained there for some considerable
time, for the purpose of teaching his method to
the Monks and the children of the Choir. Here
he seems to have written the greater part of
his works ; among them the Micrologus, which
he dedicated to Teobaldo, Bishop of Arezzo.
Finally, we hear of him as Abbot of the Monas-
tery of Santa Croce, at Avellano, near Arezzo ;
and there he is believed to have died, about the
year 1050.
Guido's works consist of : —
1. The Micrologus ; already described in vol. ii. pp. 326, 327.
2. The Antiphonarium ; quoted by P. Martini, i under tlie title of
Formulae Tonorum. In some early MSS. this is preceded, by way of
Prologue, by—
3. Epistola Guidonis ad Michaelem Monachum Pomposianum ; a
letter written by Guido. during his second visit to Borne, to hit
friend, Brother Michael, at Pomposo.
4. De artificio novi Cantus.2
5. De Divisione Monochordi secundum Boetlum.3
To which may be added the less clearly authen-
ticated works —
6. De sex motibus vocum k se invicem, et dimensione earum.
7. Quid est Musica.
8. Guidonis Aretini de Musica Dialogus. Quid est Musica.
9. De Constitutionibus in Musica.
10. De Tonis.
11. Quid est Musica. (Diflferent from Nos. 7 and 8).
Early MS. copies of the * Micrologus,' the
' Antiphonarium,' and the * Epistola ad Mi-
chaelem * are preserved at the Vatican, the
Paris Library, the British Museum, and in some
other large national Collections. These three
works were first printed by Gerbert von Hor-
nau,* in 1784 ; and the 'Micrologus' was re-
printed, at Treves, by Hermesdorff, in 1876.
The MSS. of Nos. 4, and 5, are in the Medicean
Library, at Florence. Nos. 6, 7, and 8, are in
the Paris Library. No. 7 is also in the Library
of Balliol College, Oxford, where it is bound up
with a copy of the * Micrologus.' No. 8, which
corresponds with the preceding, in every respect
except that of its more prolix title, is also in the
Vatican Library.* The Oxford copy of this
tract was once falsely attributed to S. Odo of
Cluny. Nos, 9 and 10 are in the British Mu-
seum,^ bound up with an incomplete copy (Cap.
i-xv) of the ' Micrologus.' No. ii, in the Vati-
can Library, is really a transcript of the * En-
chiridion ' of S. Odo.
The principal inventions, and discoveries, with
which Guido has been credited, are : the Gamut ;
the Hexachords, with their several Mutations ;
Solmisation; the Stave, including the use of
Lines, and Spaces; the Clefs; Diaphonia or
Discant, Organum, and Counterpoint ; the Har-
monic Hand ; the Monochord ; and even the
Spinet (Polyplectrum). Kircher gravely men-
tions not only this last-named invention, but,
also, Polyphonia, and the modern Stave of five
1 Bagglo di Contrappunto, Tom. I. p. 32.
a Ibid. Tom. I. p. 457.
« Ibid. Tom. i. p. 457 ; where it is called De Mensura
4 Scriptores ecclesiastici de Musica sacra. Tom ii.
5 No. 1191. * No. 3199.
660
GUIDO D'AREZZO.
Lines and four Spaces ; * and an Italian ^vrite^
of the 1 7th century tells us that S. Gregory (Ob.
604) ordained that no other Gamut than that of
Guido should be used in the Church !^
If, by the • invention of the Gamut,' we are
to understand the addition of the note, G, at the
bottom of the Scale, it is quite certain that this
note was sung ages before the time of Guido.
Aristides Quintilianus (Jlor. circa a.d, iio)
tells us that, whenever a note was wanted before
the irpoffXafiPavo/ievos, (A) of the Hypodorian
Mode, it was represented by the recumbent
omega ( d). S. Odo, writing in the loth cen-
tury, represents it, exactly as Guido did, by
the Greek gamma (r). And Guido himself
speaks of it as a modern addition — * In primis
ponitur T Grsecum a modemis ad j actum.'
The reconstruction of the Scale itself, on the
principle of the Hexachords, is another matter ;
and, the intimate connection of this, with the
process of Solmisation, renders it extremely
probable that the two methods were elaborated
by the same bold reformer. Now, in his Epistle
to Brother Michael, Guido distinctly calls at-
tention to the use of the initial syllables of the
Hymn, * Ut queant laxis,' as a convenient form
of memoria technica, and speaks of the method,
in terms which clearly lead to the inference that
he himself was its inventor : but, he does not
mention the Hexachords, in any of his known
works; and, when speaking of the substitution
of the B rotundum for the B durum, in his
* Micrologus,' he writes in the first and third
persons plural with an ambiguity which makes
it impossible to determine whether he is speak-
ing of his own inventions, or not ; using, in one
place, the expression, 'molle dicunt,^ and, in
another, 'nos ponimus.' Still, it is difficult to
read all that he has written on the subject
without arriving at the conclusion that he was
familiar with the principles of both systems ; in
which case, the first idea of both must neces-
sarily have originated with him, though it is
quite possible that the Mutations ^ by which they
were perfected were invented by a later teacher.
Guido's claim to the invention of the Lines
and Spaces of the Stave, and of the Clefs {Clares
signatai) associated with the foi-mer, is supported
by very strong evidence indeed. In his Epistle
to Brother Michael, he begins by claiming the
new system of teaching as his own : • Taliter
enim Deo auxiliante hoc Antiphonarium notare
disposui, ut post hac leviter aliquis sensatus et
studiosus cantum discat,* etc. etc.; and then, in
the clearest possible terms, explains the use of
the Lines and Spaces : ' Quanticumque ergo soni
in una linea, vel in uno spacio sunt, omnes
similiter sonant. Et in omni cantu quantse-
cumque linese vel spacia unam eandemque ha-
beant literam vel eundem colorem, ita ut omnia
similiter sonant, tanquam si omnes in una linea
fuiaaent.' These words set forth a distinct claim
to the invention of the red and yellow lines, and
the Claves signatse, or letters indicating the F
> Vusurglft, p. m.
2 Regole di Masica. (Rome, 1657.)
8 8e« vol. ii. p. 439.
GUIDO D'AREZZO.
and C Clefs, prefixed to them ; and, upon these,
the whole principle of the four-lined Stave de-
pends, even though it cannot be proved to have
been in use, in its complete form, until long after
Guido's time.*
It is impossible that Guido can have invented
either Discant, Organum, or Counterpoint, since
he himself proposed what he believed to be an
improvement upon the form of Diaphonia in
common use at the time he wrote,' and it was
not until a much later period that the Faux
Bourdon was supplanted by contrapuntal forms.
The Harmonic or Guidonian Hand, is a dia-
gram, intended to facilitate the teaching of the
Hexachords, by indicating the order of the
sounds, upon the finger-joints of the left hand.^
Guido himself makes no mention of this
diagram in any of his writings ; but tradition
has ascribed it to him from time immemorial
under the name of the Guidonian Hand; and
Sigebertus Gemblacensis {oh. 1 1 1 3), writing little
more than half a century after his death, tells us
that ' Guido affixed six letters, or syllables, to six
sounds,' and ' demonstrated these sounds by the
finger-joints of the left hand,'' thus confirming
the tradition which credits him with the triple
invention of the Harmonic Hand, Solmisation,
and the Hexachords. Moreover, Guido himself
writes to Brother Michael of * things, which,
though difficult to write about, are very easily
explained by word of mouth;' and, possibly,
these may have been among them.
The Monochord was well known in the time
of Pythagoras : but Guido insisted upon its con-
stant use ; and, as Dr. Bumey points out, the
instrument he employed must have been a
fretted one — like those sometimes used, under
the name of ' Intonators,' for our modern singing-
classes; since the moveable bridge could not
4 See vol. lil. pp. 691-693. » See vol. Iv. pp. 612. 613.
6 Dr. Hullah's use of the left hand for an analogou.1 purpose li
familiar to everyone. > Ohron. SIgeberti, ad ana. 1028.
GUIDO D'AREZZO.
have been shifted quickly enoutrh to answer the
required purpose. It was, probably, this circum-
stance that led to the absurd belief that Guide
invented the Spinet.
To sum up our argument. It appears certain
that Guido invented the principle upon which
the construction of the Stave is based, and the
F and C Clefs ; but, that he did not invent the
complete four-lined Stave itself.
There is strong reason to believe that he in-
vented the Hexachord, Solmisation, and the Har-
monic Hand ; or, at least, first set forth the prin-
ciples upon which these inventions were based.
Finally, it is certain that he was not the- first
to extend the Scale downwards to F ut ; that he
neither invented Diaphonia, Discant, Organum,
nor Counterpoint ; and, that to credit him with
the invention of the Monochord, and the Poly-
plectrum, is absurd. [W.S.R.]
GUGLIELMI,PiETKO. Line 2 of article, «/^er
|n add May. P. 638 &, 1. 3, for in read Nov.
19.
GUIGNON, Jean Pierre. Line 10 of article,
after and insert in 1741. Add date of death
Ji775> and refer to Eoi des Violons.
GUIRAUD, Ernest, has taken a more pro-
minent place in France since the notice of him
in vol. i. was written. In July 1878 he was
decorated with the Legion of Honour, and in
1880 he was appointed professor of advanced
composition at the Conservatoire, replacing
Victor Massd, elected honorary professor. In
1879 his 'Piccolino' was given by Carl Kosa at
Her Majesty's Theatre in London. A new
opera in three acts, entitled ' Galante Aventure,'
failed at the Opdra Comique (March 23, 1882);
but he has always retained an honourable posi-
tion in concerts, where he has produced selections
•from an unpublished opei-a, ' Le Feu ' (Concerts
du Chatelet, March 9, 1879, and Nov. 7, 1880),
an overture, • Arte veld ' (do. Jan. 15, 1882), a
caprice for violin and orchestra, played by
Sarasate (do. April 6, 1884), an orchestral suite
in four movements (do. Dec. 27, 1885), and
lastly a ' Chasse Fantastique,' suggested by a
passage in Victor Hugo's ' Beau Pecopin * (Con-
certs Lamoureux, Feb. 6, 1887). All these works
are worth hearing, and are cleverly written for a
composer who, though thoroughly familiar with
bis materials, yet lacks inventive genius, and who
as a professor shows an eclecticism and a judicious
moderation worthy of all commendation. In art
genius is not given to every one, and those who
GYE.
661
have only talent are to be praised for not prose-
cuting virulent attacks upon innovators more
richly gifted than themselves. [A.J.]
GUNG'L, Joseph. Line 4 from end of article,
for in read March 5.
GURA, Eugen, bom Nov. 8, 1 842, at Pressem,
near Saatz, Bohemia, was the son of a small
schoolmaster. He received a good technical
education at the Polytechnicum, Vienna, and
afterwards studied art at the Vienna Academy,
and at a School of Painting under Professor An-
schiitz (a pupil of Cornelius) at Munich. He was
finally advised to adopt a musical career, and for
that purpose studied singing at the Munich Con-
servatorium under Professor Joseph Herger, and
finally, in April, 1865, made his ddbut there at
the Opera as Count Liebenau in the * WafFen-
schmied* (Lortzing), with such success that he
obtained a two years' engagement. In 1867-70
he was engaged at Breslau, and in 1870-76 at
Leipzig, where he made his reputation, both in
opera and concerts, as one of the best German
baritone singers of the day. As such in 1876 he
played both Donner and Gunther in the ' Nibe-
lungen' at Bayreuth. From 1876 to 1883 he
was engaged at Hamburg. In 1882, as a mem-
ber of that company, he sang in German at
Drury Lane in all the operas then performed,
viz. The Minister (' Fidelio') ; Lysiart on revival
of 'Euryanthe,' June 13; 'The Flying Dutch-
man,' in which he made his debut May 20;
Wolfram ; Telramund ; as Hans Sachs and
King Marke on the respective productions of
* Meistersinger ' and * Tristan unci Isolde,' May
30 and June 2 respectively. He made a great
impression at the time, and his Hans Sachs will
not readily be forgotten by those who saw it.
From the autumn of 1883 till the present time
he has been engaged at Munich. [A.C.J
GUTMANN, Adolph. See vol. ii. p. 732 J,
and add date of death, Oct. 27, 1882.
GYE, Frederick, bom 1809, the son of a tea-
merchant in the city of London. He entered
upon his career as an operatic manager and
impresario on the secession of Costa from Covent
Garden in 1869, and remained in possession of the
same theatre until 1877, when the management
was handed over to his son Ernest Gye, the
husband of Mme. Albani. He died Dec. 4,
1878, while staying at Dytchley, the seat of
Viscount Dillon, from the effects of a gun acci-
dent, and was buried at Norwood on the 9th of
the month. [M.]
VOL. IV. PT. 6.
Xx
H.
HABENECK, F. A. Correct date of birth to
June I.
HAESSLER, Johann Wilhelm, bom
Mar. 29, 1 747, at Erfurt, received bis first musical
instruction from bis uncle, tbe organist Kittel,
wbo bad been a pupil of Sebastian Bacb's. At
the age of 14 be was appointed organist of tbe
Barfl^erkirche. His father, wbo was a cap-
maker, insisted on apprenticing him to bis own
trade, and on his commercial travels be became
acquainted with the great musicians of his time,
besides giving lessons and concerts. In 1 780 he
started winter concerts in Erfurt, and at the
same time gave up bis business. From 1 790 to
1794 he spent his time in concert tours, being
especially successful in London and St. Peters-
burg. In the former he played a concerto of
Mozart's, on May 30, 1792. In 1794 be took up
bis residence in Moscow, where he died, March
25, 1822. Many compositions for pianoforte
and organ, as well as songs, are mentioned by
Gerber in his Lexicon. (Mendel's Lexicon.)
HAGUE, C. Mus.D. Add day of birth,
May 4.
HAINL, Georges. For corrections of this
article see AhTks and Garcin in Appendix.
HALE, Adam de la {Le hossu or hoiteuz
d* Arras), one of the most prominent figures in
the long line of Trouv^res who contributed to
the formation of the French language in the
12th and 13th centuries, was bom at Arras
about 1240. Tradition asserts that he owed
bis surname, Le Bossu, to a personal deformity ;
but he himself writes, ' On m'appelle bochu, mais
je ne le suis mie.' His father, Maltre Henri, a
well-to-do burgher, sent him to the Abbey of
Vauxcelles, near Cambrai, to be educated for
Holy Orders ; but, falling desperately in love
with a * jeune demoiselle * named Marie, he
evaded the tonsure and made her his wife.
At first the lady seemed to him to unite ' all the
^gremens of her sex ' ; but he soon regarded her
with so great aversion that he effected a separa-
tion and retired, in 1263, to Douai,^ where be
appears to have resumed the ecclesiastical habit.
After this, we bear little more of him, until the
year 1282, when, by command of Philippe le
Hardi, Robert II. Comte d'Artois, a ccom-
panied the Due d'Alen9on to Naples, to aid the
Due d'Anjou in taking revenge for tbe Vepres
Siciliennes. Adam de la Hale, having entered
Count Robert's service, accompanied him on
this expedition, and wrote some of his most
important works for the entertainment of tbe
French Court in the Two Sicilies. Tbe story of
bis death, at Naples, in 1285, is told by his con-
temporary, Jean Bodel d' Arras, in ' Le Gieus du
» r6tl» says to Parli.
Pelerin ' : the statement in tbe Diet. Hist, of
Prudhomme, that be returned to France and
became a monk at Vauxcelles, is therefore in-
correct.
Adam de la Hale's most interesting work waa
a Dramatic Pastoral, entitled, <Le jeu de Robin
et de Marion,' written for the French Court at
Naples, and first performed in 1285. Eleven
personages appear in tbe piece, which is written
in dialogue, divided into scenes, and interspersed
— after the manner of an Opdra Comique^with
airs, couplets, and duos dialogues, or pieces in
which two voices sing alternately, but never
together. The work was first printed by the
S<^i^t^ des Bibliophiles de Paris, in 1822 (30
copies only), firom a MS. in the Paris Library ;
and one of the airs is given in Kiesewetter's
* Scbicksal und Beschaffenheit des weltlichen
G^sanges' (Leipzig, 1841).
Adam de la Hale was a distinguished master
of tbe Chanson, of which be usually wrote both
the words and tbe music. A MS. of the 14th
century, in the Paris Library, contains 16 of
his Chansons a 3, in Rondeau form ; and 6
Latin Motets, written on a Canto fermo, with
Florid Counterpoint in the other parts. F^tis, not
knowing that the Reading Rota was composed
twelve or fourteen years at least before Adam de
la Hale was born, erroneously describes these
Chansons as the oldest known secular com-
positions in more than two parts. Kiesewetter
has printed one of them, and also one of the
Motets a 3, in the work mentioned. [W.S.R.]
HALEVY, J. F. F. E. Add that • No^ * was
finished by Bizet.
HALLE, Charles. Line 14 of article, add
that he had visited England before 1848, the date
at which be took up his residence here. Add that
in July 1888 be received the honour of knighthood,
and that on July 26 of tbe same year he married
Mme. Neruda. (Died Oct. 25, 1895.)
HALLING. The most characteristic dance of
Norway, deriving its origin and name firom the
Hallingdal, between Christiania and Bergen. It
is thus described in Frederika Bremer's * Strid og
Frid ' (* Strife and Peace *) as translated by Mary
Howitt : ' Perhaps there is no dance which ex-
presses more than the Hailing the temper of the
people who originated it. It begins, as it were,
upon the ground, amid jogging little hops, accona-
panied by movements of the arms, in which, as it
were, a great strength plays negligently. It is
somewhat bear-like, indolent, clumsy, half-dream-
ing. But it wakes, it becomes earnest. Then
the dancers rise up and dance, and display them-
selves in expressions of power, in which strength
and dexterity seem to divert themselves by play-
ing with indolence and clumsiness, or to over-
HALLING.
come them. The same person who just before
seemed fettered to the earth, springs aloft, throws
himself around in the air as though he had
wings. Then, after many break-neck move-
ments and evolutions, before which the unaccus-
tomed spectator grows dizzy, the dance suddenly
assumes again its first quiet, careless, somewhat
heavy character, closes as it begun, sunk upon
the earth.'
The Hailing is generally danced by single
dancers, or at most by two or three dancing in
competition. It is accompanied on the Har-
danger fiddle ('Hardangerfelen '), a violin
strung with four stopped and four sympathetic
strings. The music is generally written in 2-4
time, in a major key, and is played allegretto or
allegro moderato, but a few examples are found
in triple time. Many of the most popular Hail-
ing tunes were composed by Maliser-Knud, a
celebrated performer on the Hardangerfelen
who flourished about 1840. The following is a
traditional and characteristic example : —
Allegro Moderato
=1?
HAMMERSCHMIDT.
^^^
[W.B.S.]
HAMMERSCHMIDT, Andreas, was bom
at Brix in Bohemia, in 161 1. His life was very
uneventful. Details as to the circumstances of
his early life and training are wanting. In
1635 he became organist at Freiberg in Saxony,
and in 1639 exchanged that post for a similar one
at Zittau in Oberlausitz, where he remained till
his death on Oct. 29, 1675. His epitaph de-
scribes him as * that noble swan who has ceased to
sing here below, but now increases the choir of
angels round God's throne : Germany's Amphion,
Zittau's Orpheus.' Though his outward life was
uneventful, his works made him renowned as a
musician over the whole of Northern Germany,
and he was on terms of intimacy with many of
the most important men of his day. Of musi-
cians he owed most to Heinrich Schiitz, but he
very early struck out a line of his own, which
makes him of considerable importance historically
in connection with the development of German
Protestant Church Music up to Sebastian Bach.
A general list of his works in chronological order,
with brief notes on the more important, will
serve to illustrate his position in musical history.
1. ' Musikalische Andachten ' (Musical devo-
tions). Part I, having the sub-title * Geistliche
Concerto' (which indicates their character as
written in the Italian concerted style with Basso
Continue). Contains 2 1 settings of German sacred
words, I a I, 15 a 2, 4 a 3, I a 4.
2. ' Musikalische Andachten.* Part II, with
the sub-title, ' Geistliche Madrigalieu ' (this sub-
title beiitig ' meant to imply that the pieces are
written in the motet-style, but with the added
intensity of expression usually associated with
the idea of the secular madrigal). Contains 1 2 ai
4, 8 a 5, 4 a 6.
3. ' Musikalische Andachten,* Part III, with
the sub -title * Geistliche Symphonieen (implying
the combination of voices and instruments).
Contains 31 pieces.
These three parts of 'Musikalische Andachten-
were published at Dresden in the years 1638, '41,
'42, respectively. In these works he takes Schtit«
for his model ; and Winterfeld says of them that if
he is inferior to Schiitz in grandeur of conception^
he surpasses him in a certain elegance and grace^
and in the smoothness of his part- writing. >
4. * Dialog! oder Gesprache zwischen Gott
und einer glaubigen Seele, aus den Biblischen
Texten zusammengezogen und componirt in 2, 3,
und 4 Stimmen, nebenst dem Basso Continuo.*
(Dialogues or Conversations between God and
the believing Soul, etc.) 2 parts, Dresden, 1645.
This work opened a new vein in sacred com-
position. First, Bible texts are so chosen as to
give occasion to not only successive but simul-
taneous contrast of musical expression, e.g. texts
of prayer for one voice with texts of promise for
the other, etc. Secondly, verses of chorales are
interwoven with settings of Bible texts. We are
familiar with the later use of these devices in the
Kirchen-Cantaten of Sebastian Bach. The
first part of these * Dialogues ' contains 2 2 pieces,
10 a 2, 10 a 3, 2 a 4. The second part consists
chiefly of settings of Spitz's versified translations
from the 'Song of Songs,* 12 pieces with ac-
companiment of two violins and bass, and three
so-called Arias, not Arias in our modern sense,
but in the sense in which Bach used the word, as
in his motet * Komm Jesu, Komm.*
5. 'Musikalische Andachten,' Part IV, with
the sub-title 'Geistliche Motetten und Concer-
ten ' (Freiberg, 1646), so called because instru-
ments may be used for the most part ad libitum.
Contains 40 pieces, 4 a 5, 8 a 6, 5 a 17, 15 a 8,
3 a 9, 2 a 10, 3 a 12.
6. 2 parts of 'Paduanen, Gaillarden, Ballet-
ten, etc., for instruments.' (Freiberg, 1648, '50.)
7. Latin Motets for two and three voices
with instrumental accompaniment. (Dresden,
1649.)
8. ' Musikalische Andachten, Part V, with
the sub-title *Chor-Musik.' (Leipzig, 1653.) Con-
tains 31 pieces a 5 and 6, * in Madrigal-manier.'
9. 'Musikalische Gesprache uber die (Sonn-
tags und Fest-), Evangelia.' (Dresden, 1655, '56.)
This work takes up again the form of the
'Dialogi' of 1645, and makes much use of the
interweaving of chorales with Biblical texts. It
is in two parts, containing altogether 59 pieces
(mostly with instrumental accompaniment).
10. *Fest- Buss- und Dank-lieder' (Festal,
Penitential and Thanksgiving Hymns), for five
voices and five instniments ad libitum. (Zittau,
1658.)
11. ' Kirchen- und Tafel-Musik ' ( Church and
Chamber Music), * darinnen i, 2, 3, Vocal- und.4,
X X 2
664
HAMMERSCHMIDT.
5,6 Instrumental-stimmen enthalten.' Contains
a a pieces. (Zittau, 1663.)
12. * xvii Missae sacrae 5 ad 12 usque voci-
bu8 et instrumentis.' (Dresden, 1663.)
13. *Fe8t- und Zeit-Andachten ' (Festal and
Ferial Devotions). Dresden, 1671. Contains 38
settings a 6, in motet style, but with compara-
tive simplicity of contrapuntal treatment. One
piece from this work, ' Schaflf in mir, Gott, ein
reines Herz ' (Make me a clean heart, O God),
has been reprinted in Schlesinger's 'Musica
Sacra/ No. 41. It may be added that some of
Haramerschmidt's melodies passed into later
Chorale books; among others, his melody to
^ Meitien Jesum lass ich nicht.' For interesting
remarks on Hammerschmidt's style and his in-
tluence on the development of the later Church
Cantata in Germany, see Spitta's *Bach'
(English edition), vol. i. pp. 49, 55, 58, 60, 69,
124, 303. [J.R.M.]
HANBO yS, John. The treatise by this au-
thor, mentioned in vol. i, appears to be a com-
mentary on the works of Franco, or rather the
two Francos, and is chiefly interesting as giving
an account of the musical notation of the time.
Hatiboys divides the notes into Larga, Duplex
Longa, Longa, Brevis, Semibrevis, Minor, Semi-
minor, Minima; each of which is in its turn
subdivided into perfect and imperfect notes, the
former being equal in value to three of the next
denomination below it, the latter to two. Con-
sidering the Larga as equivalent to the modem
breve, the minim would be equal in value to
our semi-demi-semiquaver. Hanboys abolishes
the name crotchets used by Franco. This MS.
cannot have been written much later than the
middle of the 15th century, though Holinshed
enumerates John Hanboys among the writers of
Edward I V.'s reign, describing him as 'an ex-
cellent musician, and for his notable cunning
therein made Doctor of Music' He also appears
to have written a book, 'Cantionum artificialium
diversi generis,* which has been lost. Hanboys
■was an ecclesiastic, if we may judge from the
epithet ' reverendus,' which is given to him at
the end of his treatise. [A. H.-H.]
HANDEL, G. F. P. 649 a, 1. 22, for fifth
read sixth. Line ^'j,for King's read Queen's.
P. 651 a, 1. 2*j,for 1740, read 1738. Line 16
from bottom, /or April 18 read April 13. Line
5 from bottom, /or 1749 read 1743. P. 656 J,
1- Z,for Rev. E. Ward read Rev. A. R. Ward.
Additions to the list of works will be found under
Handel Gesellschaft, below.
Among the Handel MSS. preserved in the
Boyal Library at Buckingham Palace is a
'Magnificat,* in the great Composer's own hand-
writing, for eight Voices, disposed in a Double
Choir, with accompaniments for two Violins,
Viola, Basso, two Hautboys, and Organ. The
work is divided into twelve Movements, dis-
posed in the following order : —
1. •Magnificat anima mea.' (Chorus.)
2. 'Et exultavit.' (Duet for two Trebles.)
3. ' Quia respexit.' (Chorus.)
. . 4. ' Quia fecit mihi magna.' (Duet for two Basses.)
HANDEL.
6. • Fecit pbtentiam.' (Chorus.)
6. 'Deposuit potentes.' (Alto Solo.)
7. ' Esurientea.' (Duet, Alto and Tenor.)
8. ♦ Suscepit Israel.' (Chorus.)
9. ' Sicut locutus est.' (C h ovus.)
10. • Gloria Patri.' (Tenor Solo.)
11. A Ritomello, for Stringed Instntments only.
12. ' Sicut erat' (Chorus.)
Unhappily, the MS. is imperfect, and ter-
minates with the Duet we have indicated as
No. 7. For the remaining movements, we are
indebted to another MS., preserved in the Royal
College of Music. The existence of this second
copy — a very incorrect one, evidently scored
from the separate parts by a copyist whose care-
lessness it would be diflBcult to exaggerate — has
given rise to grave doubts as to the authorship
of the work. It is headed 'Magnificat. Del
R*. Sig'. Erba' : and, on the strength of this
title, Chrysander attributes the work to a certain
Don Dionigi Erba, who flourished a»t Milan at
the close of the 17th century. M. Schcelcher,
on the other hand, repudiates the superscription ;
and considers that, in introducing some six or
seven Movements of the * Magnificat ' into the
Second Part of * Israel in .^gypt,' and one, the
* Sicut locutus est ' into * Susannah,' as * Yet his
bolt,' Handel was only making a perfectly justi-
fiable use of his own property ; and this opinion
was endorsed by the late Sir G. A. Macfarren.
The reader will find the arguments on both sides
of the question stated, in extenso, in the Ap-
pendix to M. Schoelcher's * Life of Handel,' and
in the first volume of that by Dr. Chrysander ;
and must form his own judgment as to their
validity. For ourselves, we do not hesitate to avow
our conviction that M. Schcelcher is in the
right, in so far as the authorship is concerned,
though he errs in ascribing it to the 'Italian
period ' on the ground that it is written on thick
Italian paper. The paper is of English manu-
facture, bearing a water-mark which, taken in
conjunction with the character of the hand- „
writing, proves the MS. to have been written in ■
England about 1735-40; and, as 'Israel' was "
written in 1736, nothing is more likely than that
Handel should have transferred passages from
one work to the other. After a careful exam-
ination of both the MSS., it seems to us, not
only that the external evidence, as far as it
goes, is in favour of this view; but, that the
style of the Composition points, throughout,
to Handel, as its undoubted author. Not-
withstanding a few passages to which exception
has been taken, it everywhere betrays such
evident traces of the Master's hand, that we
feel assured no critic would ever have dreamed
of questioning its authenticity, but for the
doubtful name on a MS. copy chiefly remark-
able for its inaccuracy. It is to be hoped, how-
ever, that the matter will not be allowed to rest
here. Some further evidence must, sooner or
later, be produced, on one side or the other.
If Erba really wrote the 'Magnificat,* some
trace of it ought to be found in Italy. Mean-
while, it is much to be wished that some enter-
prising publisher would facilitate the discussion,
by issuing a cheap edition of the work, no part
HANDEL.
of which has yet appeared in print. For further
information see vol. i. p. 491 and 654, and
the present writer's Life of Handel, chap.
xxvJi. [W.S.R.]
HANDEL AND HAYDN SOCIETY. For
continuations see Boston Musical Societies in
Appendix, vol. iv. p. 555.
HANDEL, COMMEMORATION OF.
P. 658 a, as to the question of the date of the
composer's death, see p. 651 J. Line 11, read
Royal Society of Musicians.
HANDEL FESTIVAL. P. 658 5, 1. 21
from end of article, /or six read ten, adding the
dates of the four latest festivals, 1880, 18S3,
1885 (the festival of 1886 being anticipated in
order that it might coincide with the bi-centenary
of the composer's birth) and 1888. Line 8 from
end, after all add down to 1880, and that after
this date the festivals were conducted by Mr.
Manns.
HANDEL-GESELLSCHAFT. The edition
of Handel's entire works in score, for which this
society was formed in 1856, is now approaching
completion, so that a full list of its contents can be
given, which is at the same time the most com-
plete list of the composer's works. Dr. Friedrich
Chrysander has been sole active editor from the
commencement, having for some few years at the
beginning had the little more than nominal co-
operation from Rietz, Hauptmann, and Gervinus.
The editor has paid frequent visits to England to
consult Handel's original manuscripts, upon
which the edition is based throughout ; and has
acquired the scores written for the purpose of
conducting by Handel's secretary J. C. Smith,
which previously belonged to M. Schoelcher.
Vols. I -1 8 of this edition were issued by Breit-
kopf & Hartel of Leipzig ; but in the year 1864
the editor terminated this arrangement, and en-
gaged engravers and printers to work under his
immediate control on his own premises at Berge-
dorf near Hamburg. All the volumes from
vol. 19 have been thus produced; and with vol.
ao an important improvement was made in the
use of zinc (as a harder metal) instead of pewter
for the engraved plates.
In the following list, vols. 45, 48-53, 84, 95,
96, and 98-100, are not yet published. An
asterisk is prefixed to those works which are
now published for the first time, at all events in
complete score. Vol. 97, in a difierent form
(the oblong shape of Handel's manuscript), con-
tains a facsimile of * Jephtha,' which is of espe-
cial interest as showing the composer's style of
writing when blindness was rapidly coming on,
and making evident the order in which he
wrote — the parts of the score first written ex-
hibiting his ordinary hand, while those which
were written in later, when he was struggling
with dimness of sight, can be readily distin-
guished by their blotched and blurred appear-
The English Oratorios, Anthems, and other
vocal works, are provided with a German version,
executed by Professor Gervinus, and after his
HANDEL-GESELLSCHAFT. 665
death by the editor ; and the few German vocal
works have an English translation added.
The Italian Operas and other vocal works, and
the Latin Church Music, have no translation.
The Oratorios, Odes, Te Deums, * Acis and Ga-
latea,' *Parnasso in festa,' Italian duets and
terzets, and Anthems, have a PF. accompani-
ment added to the original score ; but not the
Italian Operas, nor vols. 24, 38, 39. These ac-
companiments are partly by the editor, partly by
Im. Faisst, J. Rietz, E. F. Richter, M. A. von
Dommer and E. Prout.
Dr. Chrysander has also published the follow-
ing articles on certain works of Handel's, which
should be combined with the information con-
tained in the prefaces to make the edition com-
plete: on vol. 13 ('Saul'), in Jahrbiicher fiir'
musikalische Wissenschaft, vol. i ; on vol. 16
(* Israel in Egypt '), ibid. vol. 2 ; on vol. 47
(Instrumental Music), in Vierteljahrsschrift
fiir Musikwissenschaft for 1887. The promised
article on 'Belshazzar' has not yet been pub-
lished.
The account of this edition would not be com-
plete without mention of the munificence of the
late King of Hanover, who guaranteed its suc-
cess by promising to provide funds to meet any
deficiency in those received from subscribers ; as
well as of the liberality of the Prussian govern-
ment, which took the same liability after the
absorption of the territory of Hanover.
Oratorio : Susanna. 1748.
Pieces pour le clavecin. (1. Eight suites, 1720. 2. Nine suites,
first published 1733. 3. Twelve pieces, some hitherto unpub'
lished. 4. Six fugues, about 1720.)
Masque : Acis and Galatea, about 1720.
Oratorio : Hercules, 1744.
Do. Athalia, 1733.
Do. L'Allegro, 11 rensleroso, ed il Moderato, 1740.
Do. Semele, 1743.
Do. Theodora. 1749.
Do. Passion according to St. John (German), 1704.
Do. Samson, 1741.
Funeral Anthem for Queen Caroline, 1737.
Ode : Alexander's Feast, 1736.
Oratorio : Saul, 1758.
Coronation Anthems (Zadok the Priest ; The king shall rejolc«i
My heart is inditing ; Let thy hand be strengthened), 1727.
Oratorio : Passion, by Brockes (German), 1716.
Do. Israel in Egypt, 1738.
Do. Joshua, 1747.
Musical Interlude : Choice of Hercules, 1750.
Oratorio: Belshazzar, 1744.
Do. Triumph of Time and Truth, 1757.
Concertos (6 ' Hautbois Concertos ' ; Concerto grosso In 0, 1736 ;
4 Concertos, early works ; *Sonata In Bb, about 1710).
Oratorio : Judas Maccabeus, 1746.
Ode for St. Cecilia's Day, 1739.
Oratorio : 11 Trlonfo del Tempo e della Veriti (Italian). 1708,
1737.
Dettingen Te Deum, 1743.
Oratorio : Solomon, 1748.
Sonate da camera (15 solo sonatas, first published about 1724;
6 sonatas for 2 oboes and bass, earliest compositions. 1696 ;
9 sonatas for 2 violins etc. and bass ; 6 sonatas lor 2 violins etc.
and bass, 1738).
Twelve Organ Concertos, 1738, etc.
Oratorio : Deborah, 1733.
Twelve Grand Concertos, 1739.
Utrecht Te Deum and Jubilate, 1713.
DuettI e Terzettl (22 Italian vocal duets and 2 trios, 1707—8,
1741—5, six never before printed).
Oratorio : Alexander Balus, 1747.
Anthems, vol. 1. ('Chandos' with 3 voice-parts, with Bom«
now first published). 1716—18.
Do. vol. 2. (' Chandos ' with 4 voice-parts.)
Do. vol. 3. (' O praise the Lord ' ; »\Vedding Anthems, 1734 ;
•Wedding Anthem, 1736 ; •Dettingen Anthem, 1743 j
•Foundling Hospital Anthem, 1749.)
Three Te Deums (In D. about 1714 ; In Bb, about 1718-20 : la A.
perhaps 1727).
§66 HANDEL-GESELLSCHAFl*.
HARMONIOUS BLACKSMITH.
38. Latin Church Music, about 1702, 1707. 1718, 1735—45.
89. Oratorio: Besurrerione (Italian), 1708.
'40. Do. Esther, 1st version (' Uaman and Mordecal,' a masque),
about 1720.
41. Do. Esther. 2nd version. 1732.
■42. Do. Joseph, 1743.
-43. Do. Occasional. 1748.
44. Do. Jephtha. 1751.
45. Do. Messiah. 1741.
■46. Birthday Ode and Alceste.
47. Instrumental Music for full orchestra (»Concerto in F, about
1715 ; Water Music, 1715 ; •Concertos in F and D ; Fireworlc
Music. 1749; Double Concerto in Bb. 1740—50 (?); sDouble
Concerto In K, 1740— 50(?)).
48. Organ and miscellaneous instrumental music.
49. German, Italian, and English songs and airs.
50. Italian Cantatas, with bass, vol. 1.
61. Do. vol.2.
m. Italian Cantatas, with instruments, toL 1.
63. Do. vol.2.
64. Serenata : II Famasso In festa, 1734.
•55. Opera : Almlra (German), 1704.
•56. Do. Kodrlgo, 1707.
"37. Do. Agiipplna, 1709.
•58. Do. Kinaldo, 1711.
•59. Do. II Pastor Fldo. 1712.
flO. Do. Teseo;1712.
•61. Do. Sllla, 1714.
•62. Do. Amadlgl, 1715.
•63. Do. Kadamisto, 1720.
•64. Do. Muzio Scevola. Act 3. 1721.
•65. Do. Florldaute. 1721.
•66. Do. Ottone, 1722.
•67. Do. Flavio, 1723.
68. Do. Giulio Cesare, 1723.
•69. Do. Tamerlano, 1724.
•70. Do. Ilodelinda. 1725.
•71. Do. Sclplone, 1726.
•72. Do. Alessandro. 1726.
•73. Do. Adraeto, 1726.
•74. Do. Kiccardo, 1727.
•7.'5. Do. Siroe,1728.
•76. Do. Tolomeo, 1728.
•77. Do. Lotario, 1729.
•7S. Do. Partenope, 1730.
•70. Do. Poro, 1731.
•SO. Do. Ezio, n.'e.
>il. Do. Sosarme, 1732.
•,s2. Do. Orlando, 1732.
•es. Do. Arlanna. 1733.
m. Do. Terpsichore and second Pastor Fldo, 1734.
•85. Do. Arlodante. 1731.
•86. Do. Alclna,1735.
•87. Do. Atalanta, 1736.
•88. Do. Glustino, 1736.
•R9. Do. Arminlo, 1736.
•90. Do. Berenice, 1737.
•91. Do. Faramondo, 1737,
•92. Do. Serse, 1738.
•93. Do. Imeneo, 1738-40.
94. Do. Deidamia, 1740.
95. Acl e Galatea (Italian). 1708 and 1732.
96. Miscellaneous Vocal pieces.
97. Oratorio : Jephtha, facsimile of HandeV s MS. score.
98 and 99. Facsimiles of Handel's autographs. r-n -tur -i
100. Thematic Catalogue of Handel's works. LK.iVl. J
HANOVER. This spirited tune has been
frequently ascribed to Handel, but cannot be by
him, as it is found in • A Supplement to the
New Version of the Psalms,* 6th ed. 1708, two
years before Handel arrived in England. In
the Supplement it is given as follows : —
Psalm Lxvii.
A new Tune to the 149th Psalm of the New Version
and the 104th Psalm of the Old.
a 2 voc.
^
■^
&:
^^EE
'^hs:^:^j--^
?=:
The tune is anonymous, but is not improbably
by Dr. Croft, the reputed editor of the 6th edi^
tion of the Supplement. [G.A.C.]
HANOVER SQUARE ROOMS. P. 66i a,
L 9, for details of the concert see vol. ii. p. 396 a,
note I. Line 39,/or 1866 read 1869.
HARINGTON, Henbt, M.D. See vol. u
p. 691.
HARMONIC MINOR is the name applied
to that version of the minor scale which contains
the minor sixth together with the major seventh,
and in which no alteration is made in ascending
and descending. Its introduction as a substitute
for the old-fashioned or * Arbitrary * minor scal^
was strongly advocated by Dr. Day and others
[see Day, vol. i. p. 436 a], and of late years it
has been very generally adopted. It is true
that its use is calculated to impress the learner
with a sense of the real characteristics of the
minor mode, but its merits are counterbalanced
by the awkwardness arising from the augmented
second between the sixth and seventh notes,
while it is difiicult to regard it as a diatonic scale
at all, in spite of its theoretical correctness. [M.]
HARMONIOUS BLACKSMITH, THE.
Handel's variations on the air known in England
as ' The Harmonious Blacksmith ' were originally
printed in No. 5 of his first set of * Suites de Pifece^
pour le Clavecin,' in Nov. 1720. As no name is
there given to the air, and even down to the time
of the late Robert Birchall it was still published
only as 'Handel's Fifth favourite Lesson from
his first Suite de Pieces,' it has been generally
assumed to be Handel's composition as well as
the variations. Upon this point, however, doubts
have arisen since Handel's death, and various
claims have been put forth, of which at least one
still remains undecided. The first claim was in
* Anthologie Fran9aise, ou Chansons choisies
depuis le treizifeme sifecle jusqu' k present' (Paris,
3 vols. 8vo, 1765). The editor of that work was
J. Monnet, and, according to M. Fetis, ' ce recueil
est estim^.* In the first volume are the follow-
ing eight lines, printed to the air, and ascribed
to Clement Marot : —
Plus ne suis que j'ai ^t^,
Et plus ne saurais jamais PStre;
Mou beau printems et mon 6t6,
Out fait le saut par la fenetre :
Amour! tu as et6 mon maltre.
Je t'ai servi sur tous les dieux:
Ah I si je pouvais deux fois naltre,
Combien je te servirais mieuxt
HARMONIOUS BLACKSMITH.
Although these lines might pass for one of
the extravagant love-songs of Clement Marot in
his earlier years, if we allow for their being
presented in a modernized form, yet no trace of
them is to be found in his published works, nor
of any song like them. A thorough search has
been made through the long poems as well as the
short pieces, lest these lines Should prove to be
an extract. The name of Clement Marot is
therefore an assumed one. The air itself is not
at all like music of the 15th century. When there-
fore Professor J. Ella informed his readers in the
'Supplement to Programme of Musical Union,'
June 6, 1865, that this melody 'was first pub-
lished in a collection of French Chansons printed
by Ballard in 1565 to words of Clement Marot,
who died in 1545/ there was some misunder-
standing between his informant, M. Weckerlin,
and himself. On writing recently to Mr. Wecker-
lin to inquire whether there was such a book
in his custody, he being Librarian to the Con-
servatoire de Musique, in Paris, the writer was
informed that nothing was known of such a
work, and that the earliest French edition known
to him was in the above-named 'Anthologie
Fran9aise,' not of 1565, but of 1765. Professor
Ella thought also that he had seen the melody
in a French collection, a copy of which was sold
in the library of the late Wm. Ayrton, F.R.S.
On tracing it through the sale catalogue to its
present resting-place in the British Museum, it
proved to be * Lot 38. Ballard (J. B. Chr.)
La Clefdes Chansonniers, ou Becueil des Vaude-
villes depuis cent ans et plus, notez et recueillis
pour la premiere fois* (2 vols. Bvo, Paris, 171 7).
Here we find the name of Ballard, suggested by
Professor Ella, but not the melody in question.
The next claim is for G. C. Wagenseil, an
eminent clavecinist of Vienna, who was bora
three years after Handel. The late Dr. Wm.
Crotch, Professor of Music at the University of
Oxford, informed the present writer that he had
seen the air in a piece of music for the clavecin
composed by Wagenseil.
Dr. Crotch made a similar communication to
the late Richard Clark, adding that the volume
in which he saw it was one in the possession of
Dr. Hague, who was then Professor of Music at
the University of Cambridge. In 1836, Richard
Clark published a book in folio, entitled * Remi-
niscences of Handel,' and in it he referred to the
information he had received irom Dr. Crotch
and to the liberty given to him to use it (p. 65).
Clark then published a new edition of the piece,
giving to Wagenseil the credit of the air, and to
Handel that of the variations. The difficulty in
proving priority between the two contemporaries
arises from the fact that published music was,
and is, undated. We know the date of Handel's
publication only from an advertisement by his
publisher. In Vienna music was copied, not
printed, even so late as 1772 or 1773, when Dr.
Burney visited that capital.
' In his youth,' says M. Fe'tis, * Wagenseil was
the fashionable composer for the clavecin, and
his music was much sought for long afterwards.'
HARMONY,
667
Wagenseil's op. i, 2, 3 and 4 are all sets of six
pieces for that instrument, like Handel's two
sets. But the circulation of Wagenseil's music
was limited to manuscripts from the copyists of
Vienna until he was fifty- two years old. His
op. I was then first printed — not in Vienna, but
at Bamberg — in 1740, when the copyright had
probably expired. He wrote five other sets for
the clavecin, of which manuscript copies were ii^
the hands of Breitkopf & Hartel of Leipzig at thp
end of the last century. We know very little
of Wagenseil in England — for Handel eclipsed
all competitors — but he was highly esteemed on
the continent. ,
As to the question of priority it is far more
probable that Handel copied from Wagenseil
than vice versd, because Handel borrowed sys-
tematically from other authors, dead and living,
whenever he found anything to suit his purpose.
Dr. Crotch was an enthusiastic admirer of
Handel, and yet he published a list of twenty-
nine of the best composers from whom Handel
• quoted or copied,' with an et ceteris to indicate
that he had named only the principal sources
(Lectures on Music, 8vo, 1831, p. 122, in note).
The story of Handel's having heard the air
sung by a blacksmith at Edgware, while beating
time to it upon his anvil, and that Handel there-
fore entitled it ' The Harmonious Blacksmith,' is
refuted by the fact that it was never so named
during Handel's life. The late Richard Clark
was the propagator, if not also the inventor, of
this fable. In Clark's edition of the lesson he
has gone so far as to print an accompaniment for
the anvil, as he imagined Handel to have heard
the beats. He states that the blacksmith was
also the parish clerk at Whitchurch. A few
months after Clark's publication the writer saw
the late J. W. Winsor, Esq., of Bath, a great
admirer of Handel, and one who knew all
his published works. He told the writer that
the story of the Blacksmith at Edgware was
pure imagination, that the original publisher of
Handel's lesson under that name was a music-
seller at Bath, named Lintern, whom he knew
personally from buying music at his shop, that he
had asked Lintern the reason for this new name,
and he had told him that it was a nickname
ffiven to himself because he had been brought
up as a blacksmith, although he had afterwards
turned to music, and that this was the piece he
was constantly asked to play. He printed the
movement in a detached form, because he could
sell a sufficient number of copies to make a profit,
and the whole set was too expensive. It is
worth mentioning that Beethoven has taken the
theme, whether consciously or unconsciously, for
the subject of a two-part organ fugue published
in the supplementary volume of his works issued
in 1888. [W.C]
HARMONY. The inference suggested on
p. 681 a has been happily verified by Mr. H. E.
Wooldridge, who found the two forms of the
seventh on the subdominant in a succession
which strongly points to their common origin, in
I the following passage by Stradella :—
€68
HARMONY.
1 1 ^-1 1 ! 1 U
::^' J J. 1
— -j^t —
^=^-^-f^ — H— «
r ^. ^
w
(&)
in which the minor seventh, arrived at in the
manner usual at that time, is seen at (a) ; and
the modified seventh in which the bass is
sharpened so as to produce a diminished seventh
appears at (6). [C.H.H.P.]
HAROLD EN ITALIE. The last sentence
but one is to be corrected, as the first performance
of the work in England took place at Drury
Lane Theatre in the winter of 1847-48, when
Berlioz conducted and Hill played the viola part.
HARP. P. 686 a, 1.30-34. The Lament harp
carried 32 strings. The Queen Mary harp had
originally 29, and a later addition made 30 in all.
Add the following notice of an innovation in
harp manufacture : — The difl&culties attending
performance of the harp, the constant tuning
necessitated by the use of catgut strings, and the
absence of any means of damping the sounds,
have induced M. Dietz, of Brussels, to invent a
harp-like instrument with a chromatic keyboard,
which he has named the Claviharp. It has been
introduced into England through the advocacy
of Mr. W. H. Cummings, but the introduction
(1888) is too recent to admit of a just compari-
son being made between this instrument and
the ordinary double-action harp. It is suflBcient
to say that the action of the Claviharp is highly
ingenious, the strings being excited mechanically
much in the same way as the strings of the harp
are excited by the player's fingers. There are
two pedals— one being like the pianoforte damper
pedfd and the other producing the harmonics of
the octave. The Claviharp is of pleasing appear-
ance. [A.J.H.]
HARP-LUTE. See Dital Harp, vol. i.
HARPSICHORD. P. 688 a, 1. 6 from bottom,
for gpinetto read spinetta. P. 688 6, 1. 10, The
Correr upright spinet or clavicytherium that was
in the Music Loan Collection at Kensington, 1885,
now the property of Mr, G. Donaldson of London,
is perhaps the oldest instrument of the harpsi-
chord and spinet kind in existence. This instru-
ment preserves traces of brass plectra, not leather.
See Spinet vol. iii. p. 651a, footnote. P. 688 h,
J, 3 from bottom, add that hammered music wire
existed but could not have been extensively used,
p. 689a, 1. 27, Respecting upright harpsichords, see
Upright Grand Piano, voL iv. p. 208 6, 1. 1-19.
Line 26 from bottom, for 1555 rtad 1521.
HARTMANN.
Line 23 from bottom. For the oldest known harp-
sichord see Spinet vol. iii. p. 652 a, footnote. The
second harpsichord mentioned in the footnote, now
(1888) belonging to Mr. Hwfa Williams, is not
nearly so old as the South Kensington instrument,
the date of it being 1626 (not 1526). A restorer
has unfortunately altered the interesting long
measure keyboard which it lately retained, to
the modem chromatic arrangement of the lowest
octave. P. 6906, 1. 18 from bottom, coiTect
statement as to the Venetian swell being an
adaptation ■from the organ, by Shudi, vol. iii.
p. 489 b, 1. 37-45. P. 691 a, 1. 4, The number
of existing Ruckers harpsichords and spinets
catalogued by the present writer is (1888) 68.
Line 14, Both the Shudi harpsichords at Potsdam
are dated 1766. See Shudi, vol. iii. p. 4896,
1. 9-27. Line 35, for the number of Shudi and
Broadwood harpsichords existing, see Shudi, vol.
iii. p. 4896, 1. 46-7 ; and p. 490, list of Shudi and
Shudi & Broadwood harpsichords. The latest
instrument by these makers now (1888) known to
exist is numbered ii 37 and dated 1790. [A.J.H.]
HARRIS, Renatus. For reference at end of
first paragraph read [Smith, Father],
HARTMANN. A family of German origin
who have lived in Copenhagen for some four
generations. Johann Ernst (1726-1793) was
a violinist and composer, who after holding
several musical posts at Breslau and Rudolstadt
became capellmeister to the Duke of Ploen, and
went with him to Copenhagen. Here he wrote
much music, now completely forgotten, with the
exception of the song * Kong Christian,' which
first appeared in an opera *Der Fischer,' and
has since been adopted as the Danish National
Hymn. He died in 1791. His son,
August Wilhelm, born 1775, held the post
of organist to the Garrison Church in Copen-
hagen from 1800 to 1850, and was the father of
Johann Peter Emil, bom May 14, 1805,
who has for many years held a high place among
Danish composers. His opera ' Ravnen ' (The
Raven), to words by H. C. Andersen, was pro-
duced Oct. 29, 1832. It was followed by * Die
Corsaren* on April 23, 1835, ^^^ 'Liden Kir-
sten' ('Little Christie'), on May 12, 1846.
Besides these he has written much for the theatre
in the way of incidental music, etc., as well as
choral works, songs, a symphony in G minor,
dedicated to Spohr, and many piano pieces,
mentioned in vol. ii. p. 729 b. His son,
Emil, born Feb. 21, 1836, studied with his
father and with N. W. Gade, his brother-in-law,
held between i86i and 1873 various appoint-
ments as organist, but on account of weak health
has since that time devoted himself entirely to
composition. Among his works, which have
obtained great success both in Denmark and
Germany, may be mentioned the operas : — * Die
Erlenmadchen,' 'Die Nixe,* and 'Die Korsi-
kaner ' ; a ballet ' Fjeldstueii ' ; * Nordische
Volkstanze ' (op. 18), a symphony in Eb (op. 29),
an overture * Ein nordische Heerfahrt ' (op. 25),
a choral cantata ' Winter and Spring ' (op. 13),
concertos for violin and violoncello, a serenade
HARTMANN.
for piano, clarinet and violoncello (op. 24), and
many songs. His most recent compositions are
a, symphony in D, and an orchestral suite,
* Scandinavische Volksmusik.' [M.]
HARTMANN, Ludwio (no relation to the
above), born at Neuss in 1 836, studied the piano-
forte at the Leipzig Conservatorium under Mo-
scheles and Hauptmann, and subsequently with
Liszt at Weimar, He appeared at a concert given
by Schroder-Devrient at Dresden in 1859, ^^^ ^^^
resided in that city ever since. Latterly he has
been almost exclusively employed in musical
journalism: he is an ardent supporter of the
advanced school of German music. He has
published songs, etc. which have obtained con-
siderable success. (Mendel's and Kiemann's
Lexicons.) [M.]
HARTVIGSON, Frits, bora May 31, 1841,
at Grenaae, Jylland, Denmark, received in-
struction in music and on the piano from his
mother, and at Copenhagen from Gade, Gebauer,
and Anton R^e. At the age of fourteen he
played in concerts in Copenhagen, and made
a tour through Norway in 1858, at Christiania
being personally complimented by Kjerulf. By
assistance from the Danish Government he
studied at Berlin from 1859-61 under von Biilow,
with whom he played there at a concert Liszt's
A major Concerto and Hungarian Fantasia, ar-
ranged for two pianos. He next played Rubin-
stein's 3rd Concerto at the Gewandhaus Concerts
in '61, and Schumann's Concerto at Copenhagen
under Gade in '63. On the death of his father in
the Prusso-Danish war, he came to England and
played with great success Mendelssohn's * Serenade
and Allegro giojoso ' at the Philharmonic, June
27, '64. From that time until the present Mr.
Hartvigson has lived in England, with the excep-
tion of two years between 1873 and '75, when he
resided at St. Petersburg. He has played at the
Musical Union, and introduced there Schumann's
Trio in F, April 24, ^66. He introduced Liszt's
music at the Philharmonic, where he played that
composer's ist Concerto on June 10, '72. At the
Crystal Palace he introduced Schubert's Fan-
tasia, op. 15 (arranged by Liszt for piano and
orchestra), on Oct. 6, '66 : also Rubinstein's 4th
Concerto, Nov. 16, '72 ; and Bronsart's Concerto,
Sept. 30, '76. He was officially appointed Pianist
to the Princess of Wales in '73, Professor of
Music at the Normal College for the Blind at
Norwood in '75, and Professor at the Crystal
Palace in '87. From '79 until last year, Mr.
Hartvigson was prevented from appearing in
public, owing to an injury to his left arm. He
has, happily, recently recovered its use, and
has appeared at Mr. Bache's concert, Feb. 21,
'87, playing Liszt's 'Mazeppa' and 'Hungaria,'
arranged by the composer for two pianos. He
also played at the London Symphony Concerts
on Jan. 10, '88 (and subsequently at a Richter
concert) Liszt's 'Todtentanz,* which he had
introduced to the English public in '78 under
Billow's direction. Mr. Hartvigson has played
abroad, at Copenhagen in '72, at Munich (under
Bulow), in aid of the Bayreuth building fund,
HAUSER. 669
Aug. 24, *72, and in concerts at St. Petersburg,
Moscow and in Finland.
His brother, Anton, born Oct. 16, 1845, at
Aarhus, Jylland, received instruction in music
from his mother, Tausig, and Edmund Neupert.
He first played in concerts at Copenhagen,
and came to England in '73, where he finally
settled in '82, when he was appointed a Professor
at the Normal College. He played Beethoven's 0
minor Concerto at the Aquarium under Sullivan,
Feb. 24, '76. With the exception of his yearly
recitals he rarely plays in public, but confines his
attention to teaching. [A.C.]
HARVARD MUSICAL ASSOCIATION.
For continuations see Boston Musical Societies
in Appendix, vol. iv. p. 555.
HARWOOD, Edward, of Liverpool, was
bora at Hoddleson, near Blackburn, 1707. He
was author of many songs, among which may
be named * Absence,* * The chain of love,*
♦ Hapless Collin,' * To ease my heart,' — all
published at Liverpool. He also issued two sets
of original hymn-tunes. The first volume con-
tains the metrical anthem, * Vital spark of
heavenly flame,' formerly so popular in country
churches. The traditional account of its origin is
as follows: — Harwood had been staying in
London, in company with Alexander Reed, of
Liverpool ; but when the time for their return
arrived, they found themselves without the means
of discharging the reckoning at the inn. In this
emergency it was resolved to compose some piece
of music, and raise money upon it. What Reed
attempted in that direction is not told, but
Harwood, taking up a collection of poetry which
lay in the cofiee-room, came across Pope's Ode,
which he immediately set to music, and taking
it to a publisher, sold the copyright for forty
pounds. This relieved the friends from their
embarrassment, and brought them back to Liver-
pool. Some difficulties occur in connection with
the story which need not be specified. Harwood
died in 1787. [H.Pr.]
HASLINGER. P. 694 a, 1. 13, add date of
birth of Karl Haslinger, June 11, 18 16.
HASSE, Faustina. P. 696 b, end of second
paragraph, for 90 read 83, and for at nearly
the same age read in the same year. [J.M.]
HASSE, J. A. P. 695 a, 1. 31,/or 64 read
74. Line 34, /or 1774 read 1771. Line 43,
for at the age of 85 read in his 85th year,
P. 695 6, 1. II, for Rotavi read Rotari. Line 17
from bottom of the same column, for inured
read unused. The last sentence of the article
should run as follows : — Such men please all,
while they ofiend none ; but when the spirit and
the time, of which they are at once the em-
bodiment and the reflection, pass away, they
and their work must also pass away and be for-
gotten. [F.A.M.] .
HATTON. Correct names to John Liptrot,
and add date of death, Sept. 20, 1886.
HAUSER, MiSKA, a famous Hungarian
violinist, born 1822 in Pressburg, received his
«70
HAUSER.
jnuBical education in Vienna, under Bohm and
Mayseder. When only twelve years of age he
made a tour through the world. In 1840 he
travelled through Germany, Sweden, Norway,
and Russia; he visited London in 1850, and
California, South America, and Australia in
1853-8. In i860 he was feted by King Victor
Emanuel of Italy and the Sultan of Turkey.
Of his compositions, his little 'Lieder ohne
Worte ' for the violin will no doubt survive him
for many years. Hauser retired into private
life some ten or twelve years ago, and died,
practically forgotten, in Vienna on Dec. 9,
1887. [E. Pi.]
HAUSMANN, Robebt, a distinguished
violoncellist, was born Aug. 13, 1852, at
Eottleberode in the Harz, and at the age of 8
went to school at Brunswick, where for some
years he studied his instrument under Theodor
Miiller, the cellist of the well-known quartet of
the brothers Miiller. When the High School
for music was opened at Berlin in 1869, he
entered as a pupil, and worked under Herr
Joachim's guidance with Wilhelm Miiller. Being
anxious to profit by the instruction of Signer
Piatti, he was introduced by Joachim to that
celebrated artist, who treated him with great
kindness, and gave him lessons for some time
both in London and Italy. He then entered
upon his professional career, commencing as
cellist in the quartet of Graf Hochberg. This
post he retained for four years, and was then ap-
pointed second professor of his instrument at the
High School in Berlin. He succeeded to the
principal place upon the retirement of Muller,
and he also is violoncellist of Herr Joachim's
quartet. He is well known in London, where he
has introduced important new works by Brahms
and other composers. He has all the qualities
which combine to make an accomplished artist.
With great command over the technical diffi-
culties of the instrument, he possesses an unusually
powerful tone. He is a kinsman of the late
George Hausmann, the violoncellist, upon whose
fine Stradivarius he plays. [T.P.H.]
HAVERGAL, Rev. William Henbt, was
bom in 1793 in Buckinghamshire. He was edu-
cated at Merchant Taylors' School andSt. Edmund
Hall, Oxford, where he graduated B.A. in 18 15,
and M.A. in 18 19. He was ordained by Bishop
Ryder, and in 1829 was presented to the Rectory
of Ashley, near Bewdley. Having met with a
severe accident he was obliged to relinquish his
clerical duties for several years, during which
time he devoted himself to the study of music.
His first published composition was a setting of
Heber's hymn, * From Greenland's icy moun-
tains,* as an anthem, the profits of which, as of
many other of his compositions, he devoted to
charitable objects. In 1836 he published an
Evening Service in E, and 100 antiphonal chants
"(op. 35), in the same year obtaining the Gres-
ham Prize Medal for his Evening Service in A
(op. 37), a distinction which he also gained in the
following year for his anthem, * Give thanks '
(op. 40). Other anthems and services followed,
HECHT.
and in 1844 he commenced his labours towardi^
the improvement of Psalmody by the publication
of a reprint of Ravenscroft's Psalter. In 1845
he was presented to the Rectory of St. Nicholas,
Worcester, and to an Honorary Canonry in the
Cathedral. In 1847 he published 'The Old
Church Psalmody' (op. 43), and in 1854 an
excellent * History of the Old Hundredth 'Tune.'
In 1859 ^® brought out * A Hundred Psalm and
Hymn Tunes* (op. 48), of his own composition.
Besides the works enumerated above, Mr. Ha-
vergal wrote a number of songs and rounds for
the young, besides many hymns, sacred songs>
and carols for the periodical entitled ' Our Own
Fireside.' These were afterwards collected and
published as 'Fireside Music' As the pioneer
of a movement to improve the musical portions
of the Anglican Services, Mr. Havergal's labours
deserve more general recognition than they have
hitherto met with. At the time when church
music was at its lowest ebb, the publication of
his * Old Church Psalmody ' drew attention to
the classical school of English ecclesiastical
music, and paved the way for the numerous
excellent collections of hymns and chants which
the Anglican Church now possesses. Mr.
Havergal died on April 19, 1870. After his
death his works were edited by his youngest
daughter. Miss F. R. Havergal. [W.B.S.]
HAWES, William. P. 690 a, 1. 10, for
July 24 read July 23.
HAWKINS, James O'un.). P. 690 &, 1. a
firom end of article, /or 1759 read 1750.
HAYD^E. Last line but one of article,/or
Pyne and Harrison read Bunn.
HAYDN, Joseph. P. 705 6, 1. 5, omit the
reference to Werner. P. 7136, in the list of
works composed in London, after * The Spirit's
Song,' omit the words (Shakespeare's words).
P. 717 6, four lines from the bottom, /or Mae. et
oms. Sis. read Ma et oin Stis. P. 716 a, add
that the composer's skull has lately come into the
possession of the Austrian Museum at Vienna.
HAYDN IN LONDON. P. 722 6. 1. 2, for
one volume read two volumes. The third volume
of Herr C. F. Pohl's biography of Haydn, left un-^
finished at the author's death, is in process of
completion by Herr Mandyczewski.
HAYES, William. Line i of article, for
Gloucester read Hexham, and correct day of
death to July 27.
HEAP, C. SwiNNBRTON. See Swinnerton
Heap, vol. iv. p. 9.
HEBENSTREIT. See Dulcimeb, Panta-
leon. Pianoforte, vol. ii. p. 712, etc.
HECHT, Eduard, bom at Dtirkheim im
Haardt, Nov. 28, 1833. He was trained at
Frankfort by his father, a respected musician,
then by Jacob Rosenhain, Christian Hauff, and
Messer. In 1854 ^® c*'^® *® England and
settled in Manchester, where he remained until
his death. From a very early date in the his-
tory of Mr. Charles Hallo's Concerts, Hecht was
associated with him as his chorus-master and
HECHT.
sub-conductor. But in addition to this lie was
conductor of the Manchester Liedertafel from
1859 to 1878; from i860 conductor of the St.
Cecilia Choral Society ; and from 1879 conductor
of the Stretford Choral Society. In 1875 he was
«,ppointed Lecturer on Harmony and Composi-
tion at Owens College; and was also Examiner
in Music to the High Schools for Girls at Man-
chester and Leeds. In addition to these many
and varied posts Mr. Hecht had a large private
practice as teacher of the piano. These constant
labours, however, did not exhaust his eager
spirit, or deaden his power of original composition.
Besides a Symphony played at Mr. Hallo's Con-
certs; a chorus, 'The Charge ofthe Light Brigade,'
well known to amateurs; 'Eric the Dane,' a
cantata ; another chorus with orchestra, * 0, may
I join the choir invisible ' — all great favourites
with singing societies — Mr. Hecht's works ex-
tend through a long list of pianoforte pieces,
songs, part-songs, trios, two string quartets,
inarches for military band, etc.,closing with op. 28.
Mr. Hecht died very suddenly at his home on
March 7, 1887. He was beloved by all who
knew him for his enthusiasm and energy, his
pleasant disposition, and his sincere and single
mind. To his musical duties he brought a quick
artistic instinct, a scrupulous conscientiousness,
and a pure unselfish love of his art ; and it will
be difficult to fill his place in the neighbourhood
which he had for so long made his own. [G.]
HEINEFETTER, Sabina, born at Mainz,
Aug. 19, 1809 (Mendel gives her date as 1805,
but the above is probably correct), in early life
supported her younger sisters by singing and
playing the harp. In 1825 she appeared as a
public singer at Frankfort, and afterwards at
Cassel, where Spohr interested himself in her
artistic advancement. She subsequently studied
under Tadolini in Paris, where she appeared at
the Italiens with great success. Ei-om this time
until her retirement from the stage in 1842, she
appeared in all the most celebrated continental
opera-houses. In 1 853 she married M. Marquet
of Marseilles, and died Nov. 18, 1872. Her sister,
Claba, born Feb. 17, 1816, was for several
years engaged at Vienna, under the name of
Madame Stockl-Heinefetter. She made success-
ful appearances in Germany, and died Feb. 24,
1857. She and her elder sister died insane. A
third sister,
Kathinka, bom 1820, appeared with great
success in Paris and Brussels from 1840 onwards.
She died Dec. 20, 1858. (Mendel andEiemann's
Lexicons.) [M.]
HEINZE, GusTAV Adolph, bom at Leipzig,
Oct. I, 1820, the son of a clarinettist in the
Gewandhaus orchestra, into which he was himself
admitted, in the same capacity, in his i6th year.
In 1840 Mendelssohn gave him a year's leave
of absence in order that he might perfect himself
in the pianoforte and study composition. The
tour which he took to Cassel, Hanover, Ham-
burg, etc., induced him to give up his earlier
instrument altogether, and to devote himself to
HERV£.
671
composition. In 1844 ^® ^^^ appointed second
capellmeister at the theatre at Breslau, where in
1846 his opera *Loreley' was produced with
great success. This was followed by ' Die Ruine
von Tharand ' in 1848, which also obtained much
success. The books of both were by his wife. In
1850 he received the appointment of conductor of
the German opera in Amsterdam, and although
that institution was not of long duration, he has
since remained in that city. Many choral socie-
ties, some of a philanthropic nature, have been
directed by him, and thus opportunities were
given for the production of the two oratorios
'Die Auferstehung,'and 'Sancta Cecilia,' in 1863
and 1870 respectively. The list of his works
includes, besides the above, three masses, can-
tatas, three concert overtures, and many choral
compositions of shorter extent, as well as songs,
etc. (Mendel's Lexicon.) [M.]
HELLER, Stephen. Add that he came to
England in February, 1850, and appeared at a
concert at the Beethoven Rooms, on May 1 5 of
that year. He stayed until August. Add also
date of death, Jan, 14, 1888.
HELLMESBERGER, Joseph. The gene-
rally accepted date of birth, 1829, is possibly
right. Add that Joseph Hellmesberger, junior,
has recently brought out two operas in Vienna,
* Rikiki ' and * Die verwandelte Katze.'
HENSCHEL, Georg. Additions will be
found under Symphony Orchestra, vol. iv. 43,
and Boston Musical Societies, Appendix, vol.
iv. p. 555. In the winter of 18S5-6 Mr. Henschel
started a series of sixteen concerts, called the
London Symphony Concerts, at which he ap-
peared as conductor for the first time in England.
An interesting feature of the series was that each
programme contained a composition by a living
English composer, many of whom were introduced
to the public for the first time in this way.
From Easter 1886 to Easter 1888 he was Professor
of Singing (vice Mnie.Goldschmidt), at the Royal
College of Music, London. [M.]
HENSELT, Adolph. Last line of article,
for in 1867 read in 1852 and 1867.
HER MAJESTY'S THEATRE. See King's
Theatre.
H]£R0LD. p. 732 a, 1. 5 from bottom, /or the
Maison des Ternes read a house in Les Ternes.
HERV6, whose real name is Florimond
Ronger, was born June 30, 1825, at Houdain,
near Arras. He received his musical education at
the School of Saint Roch, and became an organist
at various Parisian churches. In '48 he produced
at the Opera National, * Don Quixote and Sancho
Pan9a,' appearing in it himself with Joseph Kelm
the chansonette singer. In '51 he became con-
ductor at the Palais Royal; in '54 or '55 he was
manager of the Folies-Concertantes, Boulevard
du Temple, a small theatre converted by him
from a music hall, in which he was composer,
librettist, conductor, singer, machinist, and scene
painter, as occasion required. Of his then compo-
sitions we must name ' Vade au Cabaret,' and 'Le
«72
HERVfi.
Compositeur toqu^ ' (played by him at the
Lyceum and Globe Theatres in 1870 and '71).
In '56 he retired from the management, but
continued to write for his theatre, afterwards
the * Folies Nouvelles.' He played successively
at the D^bareau, '58, at the D^lassements
C!omiques at Marseilles with Kelin ' in his own
repertory,' at Montpellier in small tenor parts
such as Cantarelli (*Pr^ aux Clercs'), Arthur
(* Lucia ') etc., and at Cairo. He reappeared at
the D^lassements, a,nd in '62 produced two new
operettas ' Le Hussard Persecute ' and * Le Fan-
fare de Saint Cloud * ; was for two or three years
composer and conductor at the Eldorado Music
Hall, and afterwards conductor at the Porte
Saint Martin; he wrote new music in 1865 for
the celebrated revival of the * Biche aux Bois,'
and composed an opera in 3 acts, * Les Cheva-
liers de la Table Ronde,* Bouffes, Nov. 17, '66.
During the next three years he composed some
of his most popular three-act operas, produced
at the Folies Dramatiques, viz. * L'CEil crevd,*
Oct. 12, '67 (Globe Theatre, by the Dramatiques
Company, June 15, '72; in English as 'Hit or
Miss,* in one act and five scenes, freely adapted
by Burnand, Olympic, April 13, '68 ; andanother
version, three acts, Op^ra Comique, Oct. 21, '72);
*Chilpdric,'librettobyhimself,andatfirstafailure,
Oct. 24, '68, of which he himself wrote a parody
* Chilmdric ' for the Eldorado (in French at the
•Globe by the above company, June 3, '72 ; in
English at the Lyceum for the debut of Herv^,
Jan. 2 2,'7o ; frequently revived at other theatres,
and last performed on the opening of the Empire
Theatre) ; * Le Petit Faust,' his most successful
work, April 23, '69 (in English at Lyceum,
April 18, '70, and revived at Holbom, Alhambra,
etc.) ; * Les Turcs,' a parody of 'Bajazet,'Dec. 23,
'69. None of his subsequent operas attained the
eame success ; many of them, on the contrary, were
disastrous failures, viz. * LeTrdne d'J&cosse,* * La
Veuve de Malabar,' ' Alice de Nevers,' * La
Belle Poule,' Folies Dramatiques Dec. 30, '76
(in English attheGaiety, March 29779), *La Mar-
quise des Rues' BoufFes, Feb.22, '79,* Panurge,'
Sept. 10, '79, etc. But he has been recently
very successful in his new songs, etc. written
for Mme Judic, Dupuis, and others, such as the
* Pi . . . Ouit,' the ' Chanson du Colonel,' the Pro-
ven9al song, * Qufes aco ? * * Babet et Cadet,'
the * sneezing duet,' the * Legende de Marfa,*
and other music, introduced into the musical
comedies performed at the Varidt^s, viz. the
* Femme k Papa,' Dec. 3, ' 79, ' La Roussotte,' with
Lecocq and Boulard, Jan. 28, '81, ' Lili,' Jan. 10,
'82, Gaiety, with Judic, June '83, * Maam'zelle
Nitouche,' Jan. 36, '83 (Gaiety June '84),
"La Cosaque,' Feb. i, '84 (Gaiety June '84),
in English at Royalty, April 12 of the same
year. M. Herv^ has in addition composed for
the English stage * Aladdin the Second,' played
with great success at the Gaiety, Dec. 24, '70,
but without success, as ' Le Nouvel Aladin,' at
the D^jazet, Dec. '71. He wrote some of the
music of 'Babil and Bijou,* Aug. 29, '72, and in
*74 was conductor at the Promenade Concerts,
HEY.
when he introduced a so-called Heroic Symphony
or Cantata, • The Ashantee War,' for solo voices
and orchestra. On June 29, '86, his 'Frivoli' was
brought out at Drury Lane, and on Dec. 32, '87,
the ballets * Dilara' and ' Sport,' were produced
at the Empire Theatre, of which he is conductor.
According to M. Pougin, M. Herv^ claims to
be the founder of that particular class of music
which Offenbach first rendered famous, [A.C.]
HERZ, Henbi. Add date of death, Jan. 5,
1888.
HERZ, MEINHERZ.WARUMSOTRAU-
RIG ? One of the most universally popular of
German Volkslieder, the words of which were
written about 181 2 by Joh. Rudolph Wyss, junr.,
in the dialect of Berne, and the music composed
by Joh. Ludwig Friedrich Gliick, a Gei-man
clergyman (i 793-1 840). The popular * In einem
kiihlen Grunde ' (Das zerbrochene Ringlein), is
a setting of Eichendorff's words by the same
composer. Both date from about 18 14. [M.]
HERZOGENBERG, Heinbich Von, bom
June 10, 1843, at Gratz in Styria, studied at the
Vienna Conservatorium from 1862-4, after which
his time was divided between Gratz and Vienna,
until 1872, when he went to Leipzig. From
1875 to 1885 he was conductor of the Bach-
verein in that town, and was subsequently ap-
pointed head of the department of theory and
composition at the Hochschule at Berlin. In
the spring of 1886 he succeeded Kiel as professor,
and at the same time became head of an aca-
demical ' Meisterschule ' for composition. His
works are for the most part remarkable for
breadth, vigour, and originality. That they bear
traces of the influence of Brahms is surely no
reproach, nor is that influence so marked as to
impeach their individuality of style. The list
includes: — 'Columbus,' a cantata; 'Odysseus,'
a symphony ; * Deutsches Liederspiel,' for soli,
chorus, and pianoforte ; variations for two pianos,
and a second set, op. 23, on a theme by Brahms ;
trio for piano and strings in C minor, op. 24;
two trios for strings alone, op. 27; choral songs
or volkslieder, op. 36, 28, 35 ; Psalm cxvi. for
chorus, op. 34 ; sonata for pianoforte and violin
in A, op. 32 (the only work by which, through
the agency of Joachim, the composer's name has
yet become known in England) ; trio in D minor
for pianoforte and strings, op. 36 ; a second
sonata for the same in E b , op. 54 ; a sonata for
pianoforteand violoncello, op. 52 ; organ fantasias
on chorales, op. 39 and 46 ; three string quartets,
op. 42 ; symphony in C minor, op. 50 ; piano
pieces and duets, op. 35, 33, 37, 49, and 53;
songs and vocal duets, op. 29-31, 38, 40, 41, 44,
45, 47, 48. His most recent works are * Der
Stem des Lied's,' for chorus and orchestra, op.
45 ; and 'Die Weihe der Nacht,' for the same
with alto solo, op. 56. (Information from Dr. A.
Dorffell, etc.) [M.]
HEXACHORD. P. 734 b, 1. la, for sol
read la.
HEY, or HAY. The name of a figure of a
dance frequently mentioned by Elizabethan
HEY.
writers. Its derivation is unknown ; the word
may come from the French haie, a hedge, the
dancers standing in two rows being compared to
hedges. Its first occurrence is Thoinot Arbeau's
description of the passages at arms in the Bouf-
fons, or Matassins [see vol. ii. p. 2366], one of
which is the Passage de la haye. This was only
danced by four men, in imitation of a combat.
Mr. Chappell (* Popular Music/ p. 629) remarks
that * dancing a reel is but one of the ways of
dancing the hay In the " Dancing Master" the
hey is one of the figures of most frequent occur-
rence. In one country-dance " the women stand
still, the men going the hey between them."
This is evidently winding in and out. In an-
other, two men and one woman dance the hey, —
like a reel. In a third, three men dance this
hey, and three women at the same time, — like a
double reel.' There is no special tune for the
hey, but in Playford's 'Musicks Hand-maid'
(1678) the following air, entitled * The Canaries
or the Hay,* occurs : —
HISTORIES OF MUSIC.
673
W
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FP^
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[W.B.S.]
HILDEBRAND, Zachabte (i68o-i743),and
his son JoHANN GOTTFEIED, were eminent organ-
builders in Gerniany. The latter, who was the
principal workman of the Dresden Silbermann,
built the noble organ of St. Michael's, Hamburg,
in 1763, which cost more than £4000. [V. de P.]
HILES, Henry, bom Dec. 3, 1826, at Shrews-
bury, received instruction from his brother John ;
he was organist successively at Shrewsbury, as his
brother's deputy ; at Bury in '46 ; at Bishop-
wearmouth in '47 ; St. Michael's, Wood Street,
in '59 ; at the Blind Asylum, Manchester, in '60 ;
at Bowdon in '61 ; at St. Paul's, Manchester,
1864-67. In 1852-9 he travelled round the
world on account of ill-health. He received the
degrees of Mus.B. Oxon, '62, and Mus.D. '67.
In the latter year he resigned his post of organ-
ist ; in '80 he became lecturer on harmony and
composition at Owens College, and at the
Victoria University ; he was one of the pro-
moters of the National Society of Professional
Musicians in 1882. He has been conductor of
several musical societies, and is now editor and
proprietor of the * Quarterly Musical Review,' a
modem namesake, established 1885, of the well-
known magazine of that name. His compo-
sitions include *The Patriarchs,' oratorio, '72 ;
* War in the Household/ operetta, '85, from the
German of Castelli (* Hausliche Krieg '), origin-
ally composed by Schubert ; * Fayre Pastorel '
and 'The Crusaders/ cantatas; settings of
Psalms xlvi. and xcvi ; several anthems, services
and part-songs ; Prelude and Fugue in A ; Do. in
D minor, a Sonata in G minor, 6 Impromptus,
3 Sets, • Festival March,* etc. for organ ; pianor
forte pieces and songs. He has written books
on music, • Grammar of Music,' 2 vols,, Forsyth
Bros. 1879; 'Harmony of Sounds,' 3 editions,
'71, '73, '79; First Lessons in Singing, Hime
& Addison, Manchester, '81; 'Part Writing
or Modern Counterpoint,' Novello '84.
His elder brother, John, born 18 10, at Shrews-
bury, was also an organist at Shrewsbury, Ports*
mouth, Brighton, and London. He wrote piano-
forte pieces, songs, and musical woriss, 'A
Catechism for the Pianoforte Student,' 'Catechism
for the Organ,' 1878, * Catechism for Harmony
and Thorough Bass,* 'Catechism for Part Singing,'
'Dictionary of 12,500 Musical Terms/ '71, etc.
He died in London, Feb. 4, '82. [A.C.]
HILL. See London Violin Makers, vol. ii.
HILLER, Ferdinand. P. 737 h, 1. 11 from
bottom, /or 1871 read 1870. Add that he con-
ducted the Philharmonic Concerts in 1852, and
that he died May 10, 1885.
HISTORIES OF MUSIC. It wiU be neces-
sary in this article to confine our attention almost
exclusively to Histories proper, except in cases
where there are none of the subject under treat-
ment; so that only occasional mention will be
made of Musical Biographies, Dictionaries, Manu-
scripts, and Periodicals, or works on the Theory
of Music. Most of the works enumerated, unless
marked with an asterisk, will be found in the
library of the British Museum. The dates of the
first and latest editions are usually given. For
convenience we shall have to adopt four principal
headings, namely : — General Histories of Music,
Histories of separate Countries, of Musical In-
struments, and of a few other special subjects
arranged alphabetically ; and most of these will
have to undergo further subdivision.
I. General Histories op Music.
fa) Ancient Music. The earliest writings bearing at
all upon the history of music are the 'A.Qii.ovi.Ky\<: iyxeu-
piStov of Nicomachus (see Meibom), and the nepi nov-
atJCTjs of Plutarch, edited by Eichard Volkmann in
1856, and by Rudolf Westphal in 1865. Pausanias" GrsB-
cisB Descriptio Accurata' also contains frequent allusions
to music and musicians. Other early works relating
partially to music are the ' Deipno-sophistse ' of Athe-
naeus and the 'Stromata' of Titus Flavins Clemens
(Clement of Alexandria), the latter dated A.D. 194.
From that period down to the Renaissance musical
writers appear to have been too deeply engrossed in the
development of the music of their own time to bestow
much thought upon that of the past ; and it is only by
the chronological juxtaposition and study of the works
of such authors as St. Augustine, Boethius, St. Isidore
of Seville, Bede, Hucbald, Guido d'Arezzo, Philip de
Vitry, Odington, Dunstable, Gafori, Glarean, etc., that
we can obtain an adequate history of music in the early
and middle ages. Johannes Tinctor wrote a treatise
' De Origine Musicse ' in the 15th century ; Eud.
Schlickius' ' • Exercitatio de musicse ori^ne,' published
at Spiers in 1588 was thought highly of in its day ; the
' De Musica ' of F. Salinas, 1592, is chiefly theoretic. In
1652 appeared M. Meibom's excellent work *Antiqu89
musicse Auctores Septem,' in 2 vols, which was not
surpassed till the publication in 1784 of Abh6 Martin
Gerbert's ' Scriptores Ecclesiastici de Musica,' in 3 vols.
674
HISTORIES OF MUSIC.
AbW P. J. Konssier also wrote a * M^moire Bur la Mu-
Bique des Anciens' in 1770, which is Bpoken highly of.
In the present century we have G. W. Fink's * Erste
"Wanderung durch die ftlteste Tonkunat,' 1831 ; C. von
Winterfelda 'Gabrieli und sein Zeitalter,' 1834; 0. E.
H. de Coussemaker's invaluable works ' Histoire de
THarmonie au Moyen Age,' 1852 ; ' Les Harmonistea des
12© et 13e Si^cleSj 1864 ; 'Scriptorum de Muaica Medii
JEvi Nova Sei-ies,* 4 vols. 1864-76 ; • L'Art Harraonique
au Moyen Age ' 1865 ; ' Trait^s in^dita sur la Musique
du Moyen Age,* 1865 ; Carl EngeVs ' Music of the most
Ancient Nations,' 1864; Rudolf Westphal's ' Geschichte
der Alten und Mittelalterlichen Muaik.' 1865; Albert
von Thimus' 'Die Harmonikale Symbolik des Alter-
thums,' 1868; F. J. Ftitis' 'Histoire g^n^rale de la Mu-
sique,'6 vols., 1869-76 (unfinished); "William Chappell's
'History of Music from the Earliest Records to the
Fall of the Roman Empire,' 1874; Fr. Auguate Gevaert'g
•Histoire et Th^oriede la Musique de I'Antiquit^,' 1875-
81; W. Brambach's ' Musikliteratur des Mittelalters,»
1883 ; F. X. Haberl's ' Bausteine fUr Muaikgeschichte ' (a
series of musical biographies, beginning with Willem
Dufay), 1885; J. F, Rowbotham's 'History of Music'
(down to the Troubadours), 3 vols. 1885-87.
(b) Modern Muiie. The best histories are Ahh6 G. J.
Vogler's 'Ein Beitrag zur Geschichte der Tonkunst im
19 Jahrhundert,' 1814; Gustav Schilling's 'Geschichte
der heutigen Mlusik,' 1841 ; A. L. Blondeau's ' Histoire
de la Musique Modeme,' 1847 ; A. B. Marx' ' Die Musik
des 19 Jahrhunderts,' 1855 ; John HuUah's ' Historjr of
Modern Music,' 1862-75, and 'Lectures on the Transition
Period of Musical History,' 1865-76.
(c) Oeneral Histories, of Ancient and Modem Music
combined. Sethus Calvisius' important work ' De initio
et progressu Musices' appeared in 1600, and a second
edition in 1611; this was followed shortly by Michael
Praetorius' still greater ' Sj;ntagina Musicum,' 1615.
Other useful works of this period bearing on the subject
are P^re M. Mersenne's ' Traits de I'Hannonie Univer-
selle,' with the Latin version ' Harmon icorum Libri
xii,' 1627-48; J. Albert Bannus' 'De Musices Natura,
etc., 1637; Pietro della Valle's 'Delia Musica dell' eta
nostra,' 1640, containing a good description of music in
the 15th, 16th, and early 17th centuries (see G. B.
Doni's works, vol. ii.) : Pater Athanasius Kircher's
'Musurgia Universalis,^ 1650; Wolfgang C. Printz's
• Historische Beschreibung der Fidelen Sing- und Kling
Kunst,' 1690— this little work is interesting as the first
real history of music by a German ; it is published in
the 1749 edition of Printz' Musical Lexicon.
The following is a list of the principal musical his-
tories of the 18th and 19th centuries :— Jacques Bonnet's
' Histoire de la Musique et de ses Effets,*^ 2 vols. 1715,
1716; Hon. Roger North's 'Memoirs of Musick,' 1728
(reprinted 1846) ; Bourdelot's 'Histoire de la Musique,'
3 vols. 1743 ; Olivier Legipont's ' De Musica ejusque . . .
Origine' (a well-written work, contained in his ' Disser-
tationes philologicse-bibliographicte,' 1747) ; F. W. Mar-
gurg's ' Historisch-kritische Beytrage zur Aufnahme der
[usik,' 6 vols. 1754-78, and ' Kritiscne Einleitung in die
Geschichte . . . der . . . Musik,' 1759 (unfinished) ; Padre
G. B. Martini's splendid 'Storia della Muaica,' 3 vols.
1757-81 ; Dr. Charles Bumey's ' General History of Music,'
4 vols. 1776-89 ; Sir John Hawkins' ' General History of the
Science and Practice of Music,' 5 vols. 1776, with reprints
in 1853 and 1875, in 2 vols. ; J. B. de la Borde's ' Essai sur
la Musique Ancienne et Modeme,' 4 vols. 1780; J. N.
Forkel's ' Allgemeine Geschichte der Musik,' 2 vols.
1788-1801; C. Kalkbrenner's 'Histoire de la Musique,'
2 vols. 1802; 'Musical Biography' (1500-1800), 2 vols.
1814; Dr. T. Busby's 'General History of Music,' 2 vols.
1819; W. C. Stafford's 'History of Music,' 1826-30 (vol,
62 of Constable's Miscellany); Dr. W. C. MUUer's 'JEs-
thetisch-historische Einleitungen in die Wissenschaft
der Tonkunst,' 2 vols. 1830; F. J. F^tis' 'La Musique
mise k la port^e de tout le monde,' 1830, with the English
version 'A History of Music, or How to understand and
enjoy its Performance,' 1846 ; Dr. W. Crotch's ' Lectures
on Music,' 1831; R. G. Kiesewetter's 'Geschichte der
Europaisch-Abendiandischen oder unsrer heutigen Mu-
sik,' 1834-46,' translated into English as 'A History of
Modem Music in "Western Europe' in 1848; George
Hogarth's 'Musical History,' 1835; C. Czerny's 'Umriss
der ganzen Musikgeschichte,' 1851 ; F. Brendel's ' Ge-
schichte der Musik in Italien, Deutschland und Frank-
reich,' 1852-76 ; Dr. Joseph SchlUter's 'Allgemeine Ge-
schichte der Musik ' 185.3-63 (of which an English
translation appeared in 1865) ; Robert Schumann's
' Gesammelte Schriften Uber Musik und Musiker,' 18:i4-53
(published as 'Music and Musicians' in 1881) ; W. Bauck's
'Musikens Hiatoria,' 1862, in Hwedish; August Reiss-
mann's' Allgemeine Geschichte der Musik,' 1863-4; E. 0.
HISTORIES OF MUSIC.
Lindner's * Abhandlungen zur Tonkun&t,' 1864 ; C. Abrf-
ham Mankell's 'Musikens Historia,' 1864; A, W. Ambroa
' Geschichte der Musik,' 4 vols. 1864-78; A. Galli's 'Ia
Muaica ed i Musicisti dal secolo X aino ai noatri ~" — ' '
1871; Dr. F. L. Ritter's 'Student's History of Muaic^'
xoou-cK/ ^uu(jiisii brausiuiiuu, euiieu oy oir x. a. vroro
Ouseley) ; O. Fouque's'Lea R6volutionnairea de la Mi\-
sique,' 1882 ; "W. Langhans' * Geschiedenis der Muziek,'
1882, etc. in Dutch; L. Nohl'a 'Allgemeine Musikge>-
schichte popular dargestellt,' 1882; F61ix Clement's
'Histoire de la Musique' (copiously illustrated i, 1886 ;)
Sir G. A. Macfarren'a 'Musical History,' 1885; "W. S.
Rockstro's ' General History of Music,' 1886 ; Otto WangOr
mann's * ' Grundriss der Musikgeschichte.'
IL HiSTOBiES OF Separate Countries.
(a^ AFRigA.-rM.Villoteau'8 'De I'fitat actuel de I'art
musical en Egypte,' 1812 : see also articles in Cont6 and
Jomard's ' La Description de I'Egypte,' 1809-26.
(b^ AMERICA.— G. Hood's (of Philadelphia) * History
of Music in New England,' 1846 : N. D. Gould's ' History
of Church Music in America,' 1853; F. L. Bitter'a 'Mu-
sic in America,' 1883.
(c) ASIA. ^
1. Music of the ARABS,— R. G. Kiesewetter's 'Did
Musik der Araber,' 1842; F. Salvator Daniel's 'La Mu-j
si^ue Arabe,' 1879 ; J. P, N, Land's* ' Recherches sur I'his-
toire de la Gamme Arabe' ; Alexander Christianowitsch's
'Esquisse historique de la Musique Arabe,' 1863,
2. Chinese.- P. Amyot's ' M^moires concemant
rhistoire . . . des Chinois,' vol. vi. 1781 ; J. A. van Aalst'f
'Chinese Music,' 1884.
3. Hebrews.— The first important work on -this
subject, Salomon van Til's ' Digt, Sang, en Speel konst
... der Hebreen,' is written in Dutch (1692-1728). Other
writings are August P. Pfeiffer's ' Ueber die Musik der
alten Hebrtler,' 1779, and Dr. J. Stainer's 'Music of tha
Bible,' 1879.
4. HlNDOOS.-"William Jones's 'On the Musical Modes
of the Hindus,' 1792; N. A. Willard's 'Treatise on the
Music of Hindostan,' 1834; S. M. Tagore'a 'Hindu
Music,' 1875-82.
5. Japanese.— A. Eraus' 'La Musique au Japon,*
1879.
6. Persians,— Sir "W. Ouseley's 'Persian Misoella*
nies,' 1791, and ' Oriental Collections,' 1797.
(d) EUROPE.
1. British Isles.
England.— We have had many writers on music, from
Thomas Morley downwards, and even historians of
music, such as Bumey, Hawkins, and in modern times
"William Chappell and others, but no historians of noto
have yet thought it worth while to write a history ot
English Music. The following are some of the best
works relating to it: — J. Pariy and C. Williams's 'An-
cient British Music/ 1742; Joseph Ritson's 'Collection
of English Songs, with an Historical Essay on National
Song,"3 vols. 1813; Richard Hooper's 'Music and Mu-
sicians, especially English, to the days of Purcell,' 1855:
William Chappell's 'Popular Music of the Olden Time,*
2 vols. 1835-9; E. F. Rimbault's 'Early English Organ
Builders and their Works,' 18&5-71: W. A. Barrett's
' English Glee and Madrigal Writers,' 1877, and ' English
Church Composers,' 1882 ; F. L. Ritter's ' Music in Eng-
laudj' 1883. Perhaps however the best History of English '
Music would be formed by collecting together Ouseley's
contributions to Naumann's ' History ot Music'
ireZand.— Joseph C. Walker's ' Historical Memoirs of
the Irish Bards,' 1786; M. W. Hartstonge's 'Minstrelsy'
of Erin,' 1812 ; Edward Bunting's ' Ancient Music of Ire-
land,' 1840 : M.Conran's work ' On the National Music .
of Ireland,* 1846-50.
iSco^and.— Joseph Ritson's ' Historical Essay on Scot- •
tish Song' (1794?): John Gunn's 'Historical Enquiry
respecting the Caledonian Harp,' 1807 : Macdonald's
' Ancient Music of Caledonia,' 1820 ; W. Dauney's ' An-
cient Scottish Melodies . . . with an introductory . . .
History of the Music of Scotland,' 1838; Sir J. G. Dal-
yell's 'Musical Memoirs of Scotland,' 1849.
lF«fe«.— There are some MSS. in the British Museum,
chiefly in Welsh, relating to Ancient British Music,
written at various periods since the time of Henry "VIII,
by William Penllyn, John Jones, Richard and Lewis
Morris, etc. (Additional MSS. 14905, 14.139, 15(«0, etc."*
Other works on Welsh Music are R. Eastcott's ' Sketches
of the Origin ... of Music, with an account of the Bards/
HISTORIES OF MUSIC.
etc., 1793-6 ; Edward Jones's ' Musical «,nd Poetical Relics
of the Welsh Bards . . . with a history of the Bards and
Druids,' 1794; John Thomas's 'Songs of Wales . . . with
an historical Bardic Introduction'; Ernest David's
♦ Etudes historiques sur la poesie et la musique dans
la Cambrie,' 1884.
2. France.
General Histories.— Dr. C. Bumey's • Present State of
Music in France, ♦ etc., 1771 (a French version of the
Musical Travels in France, Germany and Italy ap-
peared in 1809); '£tat actuel de la Musique du Eoi,'
1773; (3r. Desnoiresterres' 'La Musique frangaise au
XVlIIo Bifecle : Gluck et Piccinni,' 1872 ; C. E. Poisot's
' Histoire de la Musique en France,' 1860 ; H. M. Schlet-
terer's 'Studien zur Geschichte der franzosischen Musik,'
1884 ; C.Bellaigue's 'Un Si6cle de Musique ft^anQaise,' 1887.
Church Music.— J. L. F. Danjou'a 'De I'Etat du Chant
eccl^siastique en France,' 1844.
Chansons, etc. F. Marion-Dumersan's ' Chants et Chan-
sons populaires de la France,' 3 vols. 1843 ; Champfleury's
♦Chansons populaires des Provinces de France,' 1860;
V. Lespy's ' Notes pour I'Histoire de la Chanson,' 1861.
Opera and Musical Drama.— Histories of this branch
of Music have been very numerous in France during
the present century ; a list of the best is subjoined :— M.
Castil-Blaze's 'De I'Op^ra en France,' 1820; Gustavo
Chouquet's 'Histoire de la Musique Dramatique en
France,' 1873 ; Jacques Hermann's ' Le Drame Lyrique en
France,' 1878 ; E. G. J. Gr^goir's ' Les Gloires de I'Op^ra,'
etc., 3 vols. 1881; A. Pougin's 'Les vrais Cr^ateurs
de I'Op^ra francais,' 1881; M. Dietz' 'Geschichte des
Musikalischen Dramas in Frankreich,' 1885; H. M.
Schletterer's * Vorgeschichte und erste Versuche der
franzOsischen Oper,' 1885 ; 0. Nuitter and E. Thoinan's
' Les Origines de I'Op^ra francais,' 1886. See also under
JULLIEN in Appendix, vol. iv. p. 687,
Provinces, etc.— C. E. Poisot's ' Essai sur les Musiciens
Bourguignons,^ 1854; Mile. E. Chuppin de Germigny's
'De r:6tat de la Musique en Normandie,* 1837. For
Alsace and Lorraine see Gbbmant.
3. Germany, Austria, etc.
(General Histories.— In spite of all the musical historians
and writers whom the Fatherland has produced, from
Calvisius down to Forkel, there are scarcely any general
histories of German Music. The best works on the
subject are :— F. H. von der Hagen's ' Minnesinger,' etc.,
1838, 1850; C. E. P. Wackernagel's 'Das Deutsche Kir-
chenlied bis zum Anfange des 17ten Jahrhunderts,' 1841 ;
Johannes Merkel's • ' Betrachtungen liber die Deutsche
Tonkunst im 18ten Jahrhundert ' ; C. P. Becker's ' Die
Hausmusik in Deutschland im 16, 17, und 18 Jahrhun-
dert,' 1840 ; Emil Naumann's ' Die deutschen Ton-
dichter,' 1871 ; A, Keissmann's ' Illustrirte Geschichte
der Deutschen Musik,' 1881; F. Chorley's 'Modem Ger-
man Music,' 2 vols. 1854.
Volkslied, etc.— R. von Liliencron's *Die historische
Volkslieder der Deutschen vom 13ten bis 16ten Jahr-
hundert,' 1865-9; F. M. BChme's 'Altdeutsche Lie-
derbuch aus dem 12ten bis zum 17ten Jahrhundert,'
1876: E.O. Lindner's ' Geschichte des Deutschen Liedes
im XVni Jahrhundert ' 1871; E. Schur6's 'Histoire du
" Lied," ' 1868 ; ' Talvj's ' ' Geschichtliche Charakteristik
der Volkslieder Germanischer Nationen,' 1840 ; A. Reiss-
mann's ' Geschichte des Deutschen Liedes,' 1874 ; Aug.
Saran's ' Robert Franz und das Deutsche Volkslied,' 1875.
Opera, etc. — E. O. Lindner's ' Die erste stehende
Deutsche Oper,' 1855 ; H. M. Schletterer's ' Das Deutsche
Singspiel,' 1863.
Provinces, etc. — J. P. Lobstein's 'Beitrftge zur Ge-
schichte der Musik in Elsass.'' 1840; A. Jacquot's 'La
Musique en Lorraine,' 1882 ; Christian Ritter d'Elvert's
♦Geschichte der Musik in Mdhren und Oesterr-Schlesien,''
1873 ; D. Mettenleiter's ' Musikgeschichte der Oherpfalz,^
1867 ; G. Dfiring's ' Zur Geschichte der Musik in Preus-
een,' 1852 ; M. FUrstenau's ' Zur Geschichte der Musik
des Theaters am Hofe von Sachsen,' 1861 : Franz Hoff-
mann's 'Die TonkUnstler Bchlesiens,'' 1830 (see also
d'Elvert's work).
4. GREECE.
In the absence of Musical Histories of this country by
©arlv Greek writers, we may mention, as works useful
to the student, A. Boeckh's edition of Pindar, 3 vols.
1811-21, and Plutarch's work already alluded to, which
is interesting as the only surviving work of that time on
the history of Greek Music. Other works on this subject
are :— F. L. Perne's ' Exposition de la S6meiographie, ou
Notation Musicale des Grecs,' 1815 ; F. von Drieberg's
♦ Die Musik der Griechen,' 1819 ; Friedrich Bellermann's
'Die Tonleiten und Musiknoten der Griechen,' 1847:
Carl Fortlage's ' Das musikalische System der Griechen,'
1847; A. J. H. Vincent's 'De la Musique des Anciens
HISTORIES OF MUSIC.
'675
Grecs,' 1854 ; C. P. Weitzmann's ' Geschichte der Griech-
ischen Musik,' 1855: Oscar Paul's 'Die Absolute Har-
monik der Griechen,' 1866 ; Johannes Tzetzes' ' Ueber die
altgriechische Musik,' 1874 ; Rudolf Westphal's ' Die
Musik des Griechischen Alterthums,' 1883; R. G. Kiese-
wetter's ' Ueber die Musik der neueren Griechen,' eta,
182&-38.
6. HUNGABT.
F. Liszt's ' Die Zigeuner tind ihre Musik In TTngam,'
1883. See also appendix to K. Abrinyi's 'Altaianos
ZenetOrt^net,' 1886.
6. Italy.
General Histories.— The excellent writings of Pietro
della Valle and Padre Martini were not confined to the
music of their own country. Some of the principal
works on Italian Music are :— Peter J. Grosley's ' Nou-
veaux m^moires . . . sur I'ltalie,' 1764-74, which was
thought so highly of that a German edition appeared at
Leipzig in 1766 ; G. V. Orlov's ' Traits de Musique,— Essai
sur I'Histoire de la Musique en Italie,' 2 vols. 1822
(Italian and German versions in 1823-4) ; Emil Nau-
mann's'Die Italienischen Tondichter,' 1874-6 ; C. Bur-
ney's 'Present State of Music in Italy,' etc., 1771 ; G. A.
Perotti's 'SuUo stato attuale della Musica Italiana,'
1812; Chevalier X. van Elewyck's 'De I'Etat actuel de
la Musique en Italic,' 1875 ; Giov. Masutto's ' Maestri di
Musica Italiani del nostro secolo,' 1880 (2nd edition).
Opera, etc. — L. Riccoboni's 'Histoire du Theatre Ita-
lien,' etc., 2 vols. 1728-31 ; Stef. Arteaga's well- written
work 'La Rivoluzione del Teatro Musicale Italiano,'
3 vols, 1783-8 (French edition, 1802.)
Separate Towns, etc. — BOLOGNA. Gaet. Gaspari's 'La
Musica in Bologna ' (19th century). LuccA. There is
a work by an anonymous writer, ' Delia Musica in Lucca '
1871. NAPLES. Marchese di Villarosa's ' Memorie dei
Compositori di Musica di Napoli,' 1840; Cavaliere F.
Flonmo's ' La Scuola Musicale di Napoli,' etc., 4 vols.
1871-82: M. Scherillo's ' Storia letteraria dell' Opera
Buffa Napolitana,' 1883. Rome. ' Die Papstliche Sanger-
schule in Rom genannt die Sixtinische Kapelle,' by
Eduard Schelle, 1872. SlENA. R. Morrocchi's 'La
Musica in Siena,' 1881-6. VENICE. A. P. Doni's 'Dia-
loghi della Musica,' 1544 ; F. Cafi&'s ' Storia della Musica
sacra della Capella di San Marco,' 1854; Emil Nau-
mann's ' Das goldene Zeitalter der Tonkunst in Venedig,'
1866, Verona. Aless. Sala's 'I Musicisti Veronesi,'
1879.
7. Netherlands,
Besides being rich in native musical writers and his-
torians of General Music, such as Gr^try, Pdtis, Cousse-
maker, etc., the Netherlands can boast of more good
works devoted exclusively to its own musical history than
perhaps any other country. The best are :— J.P.N. Land's
' Musique et Musiciens au XVIIo Si^cle/ 1882 • E. vander
Straeten's ' Histoire de la Musique aux Pays Bas,' 5 vols.
1867-80, and ' Les Musiciens N6erlandais en Italie,' 1882 ;
E. G. J. Gr^goir's 'Essai historique sur la Musique et
les Musiciens dans les Pays Bas,' 1861 ; ' Biographic des
Artistes-Musiciens N^erlandais des 18e et 19e Si^cles,'
1864 ; ' Historique de la Pacture et des Facteurs d'Orgue,'
etc., 1865; and 'L'Art Musical en Belgique sous . . .
Leopold I et II,' 1879; A. Samuel's 'LTlistoire de la
Musique et des Musiciens Beiges depuis 1830,' 1881.
8. Portugal.
The only work we know on this subject is J. de Vas
concellos' ' Os Musicos Portuguezes,' 2 vols. 1870.
9. RUSSIA AND THE SLAVONIC NATIONS,
Prince N. Youssoupoifs 'Histoire de la Musique en
Russie,' 1862 1 D. Razumovsky's 'History of Russian
Church Music,' 1867-9 ; C^sar Cui's ' La Musique en
Russie,' 1880; W. R, S. Ralston's 'Songs of the Russian
People,' 1872 ; A. Chodzko's ' Les Chants historiques de
I'Ukrame,' 1879; V. Morkova's 'Historical Sketch of
the Russian Opera,' 1862 ; ' Volkslieder der Serhen histo-
risch eingeleilet von " Talvj," ' 1853 ; J. L. Haupt and J.
E. Schmaler's ' Volkslieder der IFewden,' in 2 parts, 1841,
1873 ; G. M. Dreves' • ' Cantiones Bohemicse,' in Part I of
♦ Analecta Hymnica,' Leipzig, 1886.
10. Scandinavia.
Very little has been written on this subject. In the
last century Abraham HUlphers wrote *'Historisk Ab-
handling om Musik,' Westeras, 1773. Bauck and Man-
kell, though writing in the Swedish language, do not
confine themselves to the music of their own country.
The best modern work is M. Cristal's 'L'Art Scandi-
nave,' 1874.
676
HISTORIES OF MUSIC.
11. Spaix.
For the Visigothic notation Don F. Fabian y Fuero's
'Missa Gothica,' 1770, and Don Geronimo Romero's
••Breviarium Gothicum,' Madrid, 1775, may be consulted
with advantage ; also P. Ewald and G. LSwe's * Exempla
Scriptiirae Visigothicse,' 1883. Francisque Michel has
written ' Le Pays Basque . • sa Musique? etc., 1857. M.
Soriano-Fuertes' ' Hiatoriade la Musica EspaSola,' 4 vols.
1855-9, is the best general history. Other works are :—
Don M. Menendez y Pelayo's 'Historia de las Ideas
est^ticas en Espafia,' 3 vols. 1883; J. F. Biano's 'Notes
on Early Spanish Music,' 1887. For the history of
the opera we have F. Asenio-Barbieri's 'Oronica de la
Opera Italiana en Madrid,"^ 1878; A. PeHa Goni's 'La
Opera Espaflola en el Siglo XIX,' 188L
12. SWITZEBLAND.
Pater Anselm Schubiger's 'Die Sangerschule St. Gal-
lens vom 8ten bis 12ten Jahrhundert,^1858 ; G. Becker's
• La Musique en Suisse,' 1874.
13. TURKEY.
J. A. Guer's ' Moeurs et Usages des Turcs ' contains a
good account of their music at that time (1746).
III. Musical Instruments.
(a) GENERAL HISTORIES.— A manuscript in the
British Museum (Tiberitis, c. vi) contains 'Descriptiones
et Delineationes Insti-umentorum Musicorum ' of the
11th century. Other works are :— Sebastian Virdung's
* Musica getutscht und auszgezogen durch S. ■V.'1511 ; J.
Gharlier de Gerson's *' Bescnreibung Musikalischer In-
strumente,' Basle 1518 (Amsterdam, 1706) ; J. W. von
Wasielewski's ' Geschichte der Instrumentalmusik in
XVI Jahrhundert' 1878; M. PrsDtorius' 'Syntagma
Musices.' 1614-18; (jirolamo Desideri's "'Discordo della
Musica,' Bologna, 1671 ; Fil. Bonanni's ' Gabinetto Ar-
monico,' 1722 — reprinted in 1806 as 'Descrizioni degl'
Istromenti armonici,' 2 vols ; F. Bianchini's (the Elder)
'De Instrumentis Musicae veterum,' 1742; H. W. von
Gontershausen's ' Magazin Musikalischer Tonwerk-
zeuge,' 1855; Carl Engel's 'Musical Instruments,' etc.,
1874; H. Lavoix' 'Histoire de I'lnstrumentation,'
1878; Dr. J. Stainer's 'Music of the Bible, with an
Account of the Development of Modern Musical Instru-
ments from Ancient Types,' 1879; L^on Pillaut's 'In-
struments et Musiciens,' 1880. A. J. Hipkins' ' Musical
Instruments, historic, rare, and unique,' 1883.
(b) KEYED INSTRUMENTS.
1. Organ.— The history of this instrument has been
written by musical historians of most of the northern
races. As instances we may cite :— J. G. Mittag's •' His-
torische Abhandlung von . . . Orcein,' LUneburg, 1756 ;
J. U. Sponsel's ' Orgelhistorie,' 1771 ; Joseph Antony's
•Die Orgel,' 1832 ; E. J. Hopkins's ' The Organ, its History
and Construction,' and E. F, Rimbault's 'History of
the Organ,' 1855-70 ; X. van Elewyck's ♦ ' Geschichte der
Orgel J; 0. L. Lindberg's 'Handbok om Orgverket,' 1861 ;
Otto Wangemann's 'Geschichte der Orgel und Orgel-
baukunst,' 1879-80; Dudley Buck's Lecture on 'The
Influence of the Organ in History,' 1882; M. Belter's
'Die Orgel Unserer Zeit,' 1880, and 'An Explanation of
the Organ Stops,' by Carl Locher (translated by Agnes
Schauenburg, 1888).
2. Pianoforte, etc.— J. Fischhof's 'Versuch einer
Geschichte des Clavierbaues,' 1853 ; H. W. von Gonters-
hausen's 'Der FlUgel,' 1856; E. F. Rimbault's 'The
Pianoforte, its Origin, Progress, and Constmction,'
1860 ; Chevalier L^on de Burbure's ' Recherches sur les
Facteurs de Clavecins,' etc., 1863; C. F. "Weitzmann's
•Geschichte des Claverspiels und der Clavierliteratur,'
1863; E. Brinsmead's 'History of the Pianoforte,' 1863-
77 ; Oscar Paul's ' Geschichte des Claviers,' 1868 ; Cesare
Ponsicchi's 'II Pianoforte,' 1876; Ridley Prentice's
•History of Pianoforte Music,' 1885.
3. Glas-Habmonica.— C. F. Pohl's ' Geschichte der
Glas-Harmonica,' 1862.
(c) INSTRUMENTS OF PERCUSSION.
1. BELLS.— X. van Elewyck's ' Matthias van den
Gheyn,' etc., 1862; Angelo Rocca's 'De Campanis Com-
mentarius,' 1612; Alexis VierstMt's •' Dissertatio His-
torica de Campanis,' etc.; J. B. Thiers' 'Traits des
Cloches,' 1702-21; Rev. A. Gatty's 'The BeU,' 1848:
T. EUacombe's ' Church Bells of Devon, Somerset, etc.,'
1872-81 ; B. Lomax's ' Bells and Bell-ringers,' 1879.
2. CYMBALS.— F. A. Lampe's 'De Cymbalis Vete-
rum,' 1703-4.
3. Tambourine.— F. Vidal's 'Lou Tambourln' (In
Proyensal), 1864.
HISTORIES OF MUSIC.
(d) STRINGED INSTRUMENTS.
1. CiTHARA.— J. G. Drechssler and C. Felmeritts' • De
Cithara Davidica,' 1670.
2. LYRE.— G. B. Doni's » Lyra Barberina,' with history
of the Lyre, etc. (reprinted in 1762).
3. GUITAR.— Egmont Schroen's 'Die Guitarre und
ihre Geschichte,' 1879.
4. HARP.— Aptommas's 'History of the Harp,' 1859.
5. Lute. — E. G. Baron's ' Untersuchung des Instra*
ments der Lauten,' NUrnberg, 1727.
6. VIOUNS, etc.— The violin has been a favourite
subject with musical writers of the 19th century, so
that we can give the titles of a considerable number
of writings on it and its congeners :— George Du-
bourg's ' The Violin . . . and its Composers,' 1831-51 ;
T. J.M. Forster's ' Epistolarium ' contain numerous his-
torical notices of tlie violin (2 vols. 1845) ; F. J. F^tis'
'A. Stradivari, preceded by historical and critical re-
researches into the history of stringed instruments,'
1856 ; W. Sandys and F. A. Forster's ' History of the
Violin/ 1864 ; H. Abele's ' Die Violine.' 1864-74 • J. W.
von Wasielewski's 'Die Violine una ihre Meister,'
1869-83, and 'Die Violine im XVII Jahrhundert,' 1874;
P. Davidson's 'The Violin, its Construction,' etc. (Illus-
trated), 1871, 1881 ; E. Folegati's ' Storia del Violino e
dell' Archetto,' 1873; Edmund Schebek's 'Der Geigen-
bau in Italien,' etc. 1874, and an English version 'Violin
Manufacture in Italy, and its German origin,' 1877; G.
Hart's ' The Violin,' etc. 1815-85 ; Ant. Vidal's 'Les In-
struments k Archet,' 3 vols. 1876-8; H. Bitter's 'Die
Geschichte der Viola Alta,' 1877; E. H. Allen's 'The
Ancestry of the Violin,' 1882; J. RUhlmann's 'Geschichte
der Bogeninstrumente,' 1882 ; Carl Engel's ' Researches
into the Early History of the Violin Family,' 1883:
James M. Fleming's ' Old Violins and their Makers,*
1883-4; G. de Piccofellis' ' Liutai antichi e moderni,' 1885.
(e) WIND INSTRUMENTS.
1. Flute.— C. B.Thom and Caspar Bartholinus" De
Tibiis Vetenim,' 1677-9 ; W. N. James' ' A word or two on
the Flute,' 1826 ; Cornelius Ward's ' The Flute explained,'
1844 ; Chr. Welch's ' History of the Boehm Flute,' 1883.
2. Trumpet.— H. Eichbom's 'Die Trompete,' 1881.
IV. Special Subjects.
(a) Cliurch Music— In the subjoined list it has not^
been thought necessary to include the innumerable
treatises on Plain-Song. The following works have
been selected as throwing most light on the subiect :—
Michael Prsetorius' ' Syntagma Musices ' (on Psalmody,
etc.) 1614-18 ; Cardinal Giov. Bona's ' De Divina Psal-
modia,' 1653-1747; G. G. Nivers' 'Dissertation sur le
Chant Gr^gorien,' 1683; G. E. Scheibel's 'Geschichte
der Kirchenmusik,' 1738 ; Abbd J. Lebceufs 'Traits his-
torique et practique sur le Chant Eccl^siastique,' etc
1741 ; Gius. Santarelli's * • Delia Musica del Santuario,'
Rome, 1764 : M. Gerbert's ' De Cantu et Musica Sacra,'
2 vols. 1774; J. A. Latrobe's 'Music of the Church,'
1831; J. E. Hauser's 'Geschichte der Kirchenmusik,'
1834 ; A. Mankell's ' Kyrkomusikens Historia,' 1841 ;
H. A. Daniel's 'Thesaunis Hymnologicus,' 1841-6; Fdlix
Clement's 'Histoire G6n6ra,\e de la Musique Religieuse,'
1861-77 ; R. Schlecht's ' Geschichte der Kirchenmusik,'
1871 ; J. Belcher's ' Lectures on the History of Eccle-
siastical Music,' 1872 ; A. Goovaerts' ' De kerkmuziek,'
with French version 'La Musique de I'figlise,' 1876; Y.
von Arnold's ' Die alten Kirchenmodi,' 1879 ; P6re
Joseph Pothier's ' Les Melodies Gr^goriennes.' 1880
(German edition 1881) ; Rev. E. Hicks's 'Church Music,'
with Illustrations, 1881 ; Thi^ry's ' Etude sur le chant
gr^gorien,' 1883.
(b) Dance Music— John Playford's ' English Dancing
Master,' 1650, is not a regular History. J. Weaver wrote
an 'Essay towards the History of Dancing,' 17ia The
best histories, however, of Dance Music are by French-
men. Of these we have L. de Cahusac's 'La Danse,'
3 vols. 1754; C. Compan's 'Histoire de la Danse,' 1787,
1802; C. Blasis' 'Manuel Complet de la Danse,' al. the
' Code of Terpsichore,' 1830 ; J. A. Lenoir de la Face's
•Histoire de la Musique et de la Danse,' 2 vols. 1844;
F. Fertiault's ' Histoire de la Danse,' 1854. Some of the
latest works on this subject have been written by Ger-
mans, F. L. Schubert and O. Umgewitter having been
the authors (in 1867 and 1868 respectively) of works
bearing the title ' Die Tanzmusik.'
(c) Oipsy Music.— The only work of importance on this
subject is Abb^ Liszt's, alluded to above under Hungary;
a French edition was published in 1859, and a Hungarian
in 1861.
HISTORIES OF MUSIC.
(d) Military Music has been treated of by very few
authors ; we need only instance J. G-. Kastner's ' Lea
Chants de I'Arm^e fran^aise, avec un Essai historique
BUT lea Chants Militaires des Frangais,' 1855, Albert
Perrin's 'Military Studies, Military Bands,' etc. 1863.
(e) National Music. — Works on this subject have been
mentioned under the countries to which they specially
relate; other general works are:— C. Engel's 'Intro-
duction to the Study of National Music,' 1866, and
* Literature of National Music,' 1879 j H. P. Chorley's
•National Music of the World,' published in 1880-2
after the author's death.
(f ) Notation.— A. J. H. Vincent's ' De la Notation Mu-
sicale attribute k Boece,' etc. 1855 ; Hucbald's ' Enchi-
ridion Musicse ' (see Gerbert's ' Scriptores,' vol. i.) ; G-.
Jacobsthal's ' Die Mensuralnotenscnrift des XII und
XIII Jahrhunderts,' 1871: J. Bellermann's 'Die Men-
suralnoten und Taktzeichen des XV and XVI Jahr-
hunderts,' 1858 : P6re L. Lambillotte's ' L'Unit^ dans les
Chants Liturgiques,' 1851 ; Abb6 F. Eaillard's ' Expli-
cation des Neumes,' 1855 (?); A. Baumgartner's 'Ge-
Bchichte der Musikalischen Notation,' 1856 ; Hugo
Kiemann's ' Studien z\ir Geschichte der Notenschrift,'
1878, and 'Die Entwickelung unserer Notenschrift,'
1879, etc.: E. David and M. Lussy's 'Histoire de la
Notation Musicale,' 1882 ; Abh6 Tardife's •' Plain Chant,'
Angers, 1883.
(g) Opera and Musical Drama.— Among the numerous
•writings on this branch of music we select the following ':
— G. B. Doni's ' Trattato della Musica Scenica ' (see the
1768 edition of his works) ; Claude F. Menestrier's ' Des
Eepr^sentations en Musique anciennes et modernes,'
1682; J. Mattheson's 'Die Neueste Untersuchung der
Singspiele,' 1744 ; Gabriel Gilbert's 'Histoire de I'Op^ra,'
in 2 parts, 1757; ♦'Lyric Music revived in Europe, a
critical display of Opera in all its Eevolutions,' London,
1768; Ant. Planelli's 'Dell' Opera in Musica,' 1772; A.
B. Marx's 'Gluck und die Oper,' 1862; G. W. Fink's
•Wesen und Geschichte der Oper.' 1838; Geo. Hogarth's
•Memoirs of the Musical Drama,^2 vols. 1838, and 'Me-
moirs of the Opera ' (in French, German, and English),
1851 ; H. Sutherland Edwards's ' History of the Opera,'
2 vols. 1862; F. Clement and P. Larousse^s ' Dictionnaire
Lyrique, ou Histoire des Operas,' 1869-80; E. Schur^'s
♦Le Drame Musical,' 2 vols. 1875; A. Keissmann's 'Die
Oper,' 1885 ; H. Sutherland Edwards's ' Lyrical Drama
. . . Essays on Modern Opera,' 1881 ; L. Nohl's ' Das
Moderne Musikdrama,' 1884 ; Hugo Kiemann's ' Opem-
Handbuch,' 1887.
(h) Oratorio.— Yerj few works on the Oratorio have
appeared. The following may be recommended :— C. H.
Bitter's ' Beitrage zur Geschichte des Oratoriums,' 1872 ;
Otto Wangemann's ' Geschichte des Oratoriums,' 1882.
(i) Part Music— P. Mortimer's 'Der Choral-Gesang
zur Zeit der Reformation,' 1821 ; Thomas Oliphant's ' La
Musa Madrigalesca ' (A Short Account of Madrigals),
1836: E. F. Eimbault's ' Bibliotheca Madrigaliana,' 1847;
H. Bellermann's 'Ueber die Entwicklung der Mehr-
stimmigen Musik,' 1867.
(j) Song.—'F. C. Diez's •Leben und Werke der Trou-
badours,' 1829 J A. B. Marx's ' Die Kunst des Gesanges,'
1826 ; R. G. Kiesewetter's ' Schicksal . . . des weltlicnen
Gesanges,' 1841 ; H. F. Mannstein's ' Geschichte . . . des
Gesanges,' 1846; K. E. Scheider's 'Das musikalische
Lied,' 3 vols. 1865 ; G. Fantoni's ' Storia universale del
Canto,' 2 vols. 1873; T. Lemaire and H. Lavoix's 'Le
Chant, sea Principes, et son Histoire,' 1881.
For further information see the articles on
Dictionaries, Opeea, Oratorio, Song, Violin,
etc. in this work, and similar articles in Mendel
and Reissmann's Musical Lexicon. J. N. Forkel's
* AUgemeine Literatur der Musik ' may also be
consulted with advantage for early works on
the history of music. [A.H.-H.]
HOBBS, J. W. Add that ' Phillis is my only
joy ' is by him.
HOCHSCHULE (Berlin). See Musik, k5nig-
LICHE HoCHSCHULE FUR, vol. ii. p. 437.
HODGES, Edward, Mus. D. The following
additions are to be made to the existing article : —
At the age of 15 he developed remarkable inven-
tive faculties, and some of his projects have since
I See also under separate countries.
VOL. IV. PT. 6.
HOFMANN.
677
been adopted in different branches of mechanical
science. Connected with music were improve-
ments in organ bellows, etc., and, more important
than all, the introduction of the C compass into
England is claimed for him. His appointments
to the churches of St. James and St. Nicholas,
Bristol, took place in 1819 and 182 1 respectively.
The new organ in the former church, remodelled
under his direction, and opened 1824, contained
the first CO manual, and CCC pedal made in
England. In 1838 he was appointed organist
of the cathedral of Toronto, and in the following
year became director of the music of Trinity
Parish, New Yorlc, taking the duty at St. John's
while the new Trinity Church was being built.
Illness obliged him to give up duty in 1 859, and
in 1863 he returned to England. Besides the
contributions to musical literature mentioned in
the article, he wrote many pamphlets, etc. on
musical and other subjects. He was an excellent
contrapuntist, and possessed a remarkable gift
of improvisation, and especially of extempore
fugue-playing. His church compositions are
numerous and elaborate. They comprise a
Morning and Evening Service in C, with two
anthems, a full service in F, and another in E,
Psalm cxxii, etc. (all published by Novello),
besides many MS. compositions, and occasional
anthems for various royal funerals, etc. [M.]
HOFMANN, Heineich Karl Johann, bom
Jan. 13, 1842, in Berlin, was a chorister in the
Domchor at nine years old, and at fifteen entered
KuUak's academy, studying the piano with that
master, and composition under Dehn and Wuerst.
For some years after leaving this institution he
played in public and gave lessons. His earliest
compositions were pianoforte pieces, but he first
came before the public as a composer with his
comic opera, 'Cartouche,' op. 7, produced 1869,
and performed successfully in several places. In
1873 the production of his 'Hungarian Suite,*
op. 16, for orchestra, obtained such renown that
he determined to devote himself thenceforth to
composition alone. In the next year his * Frithiof '
symphony, op. 22, was brought out with extra-
ordinary success at one of Bilse's concerts in
Berlin, and rapidly became known all over
Germany; in 1875 his cantata, 'Die schone
Melusine ' op. 30, gained a similar success, and
since then he has held a position equalled, in
respect of immediate popularity, by scarcely any
living composer. Whether his fame will ulti-
mately prove enduring, is not to be predicted ;
but it is certain that most of his productions
have in them a superficiality of style which
makes their duration exceedingly problematical.
In 1882 he was made a member of the Berlin
Academy. Beside the works we have mentioned,
the following are the most important of his pro-
ductions : — ' Nornengesang,' for solos, female
chorus, and orchestra, op. 21; two orchestral
suites, op. 16 and 68; string sextet, op. 25;
violoncello concerto, op. 31 ; trio, op. 18;
quartet, for piano and strings ; and lastly, the
operas 'Armin' (produced at Dresden 1877),
• Aennchen von Tharau,' * Wilhelm von OranieA '
Yy
678
HOFMANN.
(3 acts, op. 56), the words of the two first by
Felix Dahn, and * Donna Diana ' (op. 75, Ber-
lin, Nov. 13, 1886). Among his most recent
compositions are a Liederspiel (op. 84) for solo
quartet with PF. accompaniment, entitled ' Lenz
und Liebe,' a set of songs for baritone and
orchestra, *Die Lieder des Troubadours Kaoul'
(op. 89), and * Harald's Brautfahrt ' for baritone
Bolo, male chorus, and orchestra (op. 90). An
orchestral suite, 'Im Schlosshof,' was lately
given at Breslau. Many concerted vocal works,
songs, duets, and pianoforte pieces have also
been published. [M.]
HOGARTH, George, writer on musical and
other subjects, was born in 1783. He studied
law in Edinburgh, associating with the literary
characters of the day and taking part in the
musical life of the city as joint secretary to the
Edinburgh Musical Festival of 18 15, etc. He
came to London in 1830, when he contributed
articles to the ' Harmonicon,' and was engaged
on the staff of the * Morning Chronicle.' On the
establishment in 1846 of the 'Daily News,' under
the editorship of his son-in-law, Charles Dickens,
Hogarth was at once appointed musical critic,
an office which he held until his failing health
obliged him to resign in 1866. Besides filling a
similar post for the * Illustrated London News,'
editing for their short period of existence * The
Evening Chronicle ' and ' The Musical Herald,'
assisting Dickens in the compilation of ' The
Household Narrative,' and contributing articles,
to several periodicals, Hogarth found time to
write some volumes on musical subjects, in which
his judgment on contemporary art-life appears to
have been sound and his mind open to the new
influences at work ; for his artistic instinct was
sure even where his knowledge was limited.
These works are 'Musical History,' etc., 1835 ;
' Memoirs of the Musical Drama,' 1838 ; a re-
vised edition of the same, called ' Memoirs of the
Opera,' 1851 ; ' The Birmingham Festival,' 1855 ;
and * The Philharmonic Society, from its founda-
tion in 1 81 3 to its 50th year in 1862,' a history he
was well qualified to undertake, owing to his con-
nection with the Society as secretary from 1850 to
1 864. His musical compositions comprise ballads,
glees, and editions of standard English songs.
Hogarth died on Feb. 12, 1870, in his 87th
year. [L.M.M.]
HOLDEN, John, published an 'Essay
towards a Rational System of Music,' Glasgow,
1770 ; other editions appeared in Calcutta, 1799,
and Edinburgh 1 807. He published a ' Collection
of Church Music, consisting of New Setts of the
Common Psalm Tunes, with some other Pieces ;
adapted to the several Metres in the Version
authorised by the general assembly .... princi-
pally designed for the use of the University of
Glasgow,' 1 766. By Fdtis he is stated to be a
Professor in Glasgow University. This is an
error, arising not unnaturally from the ponder-
ous title quoted above. [W.He.]
HOLMES, Alfred. P. 744 a, for 1. 4 read
His last works were two Overtures, of which ' The
HOLMES.
Cid' was played at the Crystal Palace, Feb. 21,
1874, and ' The Muses' in London later.
HOLMES, Augusta Mary Anne, born in
Paris Dec. 16, 1847, of Irish parents, and natural-
ized in France in 1879, is, in fact, a composer of
French music, for, being a member of the ad-
vanced school of Franck, she only writes music
to French words. Her parents were strongly op-
posed to her musical propensities, and she began
her career as a prodigy, playing the piano at
concerts and in drawing-rooms, and singing airs
of her own composition signed with Sie nom
de 'plume of Hermann Zenta. She studied har-
mony and counterpoint with H. Lambert, organist
of the cathedral at Versailles, where she was
then living, and received excellent advice as to
instrumentation from Klosd, bandmaster of the
Artillerie de la Garde Impdriale, and professor
of the clarinet in the Conservatoire. In reality,
however, Mile. Holmes, whose character was one
of great independence, worked alone both at her
musical and literary studies, for since her d^ut
she has always written her own librettos; but
in 1875 she became aware of the necessity for
more serious studies under a master, and enrolled
herself as a pupil of Ce'sar Franck. With the
exception of an opera, * H^ro et Ldandre,' sub-
mitted to the directors of the Opera Populaire,
and of the Psalm ' In exitu,' performed by the
Soci^te Philharmonique in 1873, her composi-
tions nearly all date from this time. After two
years of serious study under Franck's direction,
she produced at the Concerts du Chatelet (Jan.
14, 1877) an Andante Pastorale from a sym-
phony on the subject of Orlando Furioso, and in
the following year she gained a second place
after Dubois and Godard (bracketed together) at
the musical competition instituted by the city of
Paris. Her prize composition, a symphony entitled
' Lutfece,' was afterwards played at the concerts at
Angers (Nov. 30, 1884). In 1880 Mile. Holmes
again entered the second competition opened by
the city of Paris, and though she only gained
an honourable mention she was fortunate enough
to attract the attention of Pasdeloup, who per-
formed the entire score of her work, *Les
Argonautes,' at the Concerts Populaires (April
24, 1881), and this unexpected test proved to be
entirely to her credit, and to the discomfiture of
Duvernoy, whose 'Temp6te' had been preferred
to Mile. Holmes's work by eleven judges against
nine. On March 2, 1882, Mile. Holmes produced
at the Concerts Popuhiires a Pofeme Symphonique
entitled ' Irlande ' ; another symphony, ' Pologne,*
after its production at Angers, was played at the
same concerts on Dec. 9, 1883 ; and a symphonic
ode for chorus and orchestra with recitative, en-
titled * Ludus pro patria,' was given on March 4,
1 888, at the Concerts of the Conservatoire. The
above, with a collection of songs called * Les Sept
Ivresses,'are the works by which Mile. Holmes's
vigorous and far from effeminate talent may be
judged. We see the influence of Wagner, but
only in the general conception ; we do not light
upon whole bars and passages copied literally
&om him, such as are found in the case of soma
HOLMES.
composers. Certain portions of Mile. Holmes's
work, as the opening of * Irlande,' her most com-
plete work, and the third part of *Les Argonautes,'
although they contain serious faults in prosody
and in the union between the words and the
music, are nevertheless creations of great worth,
evincing by turns a charming tenderness, ardent
passion, and masculine spirit. It is true that the
author does not always measure her effects ; she
gives rather too much prominence to the brass
instruments, and in seeking for originality and
grandeur she is sometimes affected and pompous ;
but this exuberance is at least a sign of an ar-
tistic temperament, and of a composer who has
something to say and tries to give it a fitting
expression. This virtue is rare enough amongst
men, but is exceptional in women, and is there-
fore worthy of the highest praise. [A. J.]
HOLMES, Henry. P. 744 a, add that for
some years he has given an interesting series of
chamber concerts, under the title of * Musical
Evenings,' and that he has held the post of
professor of the violin at the Royal College of
Music since its foundation. A symphony, entitled
'Boscastle,* was given at one of the London
Symphony Concerts in the spring of 1887.
HOLMES, W. H. Add date of death, April
23, 1885.
HOLSTEIN, Ebanz von, the son of an officer
of high position, bom at Brunswick Feb. 16,
1826. He was himself obliged to adopt the
military profession, but eagerly embraced every
opportunity of improving his musical knowledge.
He studied with such success under Griepenkerl
that in 1845, while he was working for an ex-
amination, he found time to finish an opera in
two acts, * Zwei Nachte in Venedig,' which was
privately performed. He went through the
Schleswig-Holstein campaign, and on his return
to Brunswick set to work upon an opera on the
fiubject of * Waverley.' This more ambitious
work in five acts was finished in 1852, and was
shewn to Hauptmann, who was so pleased with
it that he persuaded Holstein to leave the army
and devote himself to art. From 1853 to. 1856
therefore, with a considerable interval occasioned
by ill-health, he studied at Leipzig, and produced
several very promising works, among them a
concert overture, * Loreley.' He went to Rome
in the winter of 1856-7, and continued his stu-
dies there, and subsequently at Berlin and Paris.
In 1869 a new opera, * Die Haideschacht,' was
produced with success at Dresden, and was heard
on all the principal stages of Germany. A comic
opera, * Die Erbe von Morley,' was produced in
1872 at Leipzig, and in 1876 yet another, 'Die
Hochlander,' was given at Mannheim. In the
night of May 21-22, 1878, the composer died at
Leipzig. Besides the dramatic works we have
mentioned, the following are important : a post-
humous overture, * Frau Aventiure,' a solo from
Schiller's * Braut von Messina,' * Beatrice,' a
«cena for soprano with orchestra, and many
«ong8 and instrumental compositions. [M.]
HOLYOKE, Samuel. See vol. i. p. 753.
HOTHBY.
679
HOME, SWEET HOME. Add that the
fact of its introduction into * Anna Bolena ' has
given rise to an idea, among certain continental
authorities, that Donizetti wrote it; but that
opera was not written till 1831, while 'Clari'
was produced in 1823. Mr. Charles Mackay
stated in the * Daily Telegraph' of March 19,
1887, that Bishop, in an action for piracy and
breach of copyright, made oath to the fact of his
having composed the tune. The words are by
Howard Payne.
HOMILIUS, G. A. Line 26 of article, /or
homophone read homophonic.
HOMOPHONE. For this word read Homo-
phony. The reference in the last line of article
should be Polyphonia.
HOPKINS, J. L. H. Page 747 a, 1. 4, for
in 1820 read Nov. 25, 1819.
HOPKINSON. Line 7 of article, for 1842
read 1835. Line 10, add that in 1882 the busi-
ness was removed to 95 New Bond Street. At
end, add that Messrs. John and James Hopkin-
son, sons of the member of the firm last men-
tioned, are the present heads of the house.
HORN. Page 749 a, 1. 4, for raised read
lowered. Page 750 b, third paragraph, omit
the sentence beginning This solo, though pre-
served, etc.
HORNPIPE. The last four quavers in the
last bar of the second line of the first musical
illustration should be C, B, A, G, i. e. a third
higher than the notes given. On Miss Catley'a
hornpipe see vol. i. p. 3266, 763 b, and vol. ii.
161b.
HORSLEY, Charles Edward. Page 754 a.
Add day of birth, Dec. 16 (1822 is the correct
date), and in line 3 from end of article, fur
March 2 read Feb. 28.
HOSANNA. Page 754 5, line 2, for [Osanna]
read [Mass].
HOTHBY, John (see p. 754). It should be
mentioned that the treatise beginning * Quid est
Proportio,' of which there are copies at the
British Museum and Lambeth Palace, is not
identical with the ' Regulae super proportionem '
of the Paris, Venice, and Bologna libraries. In.
the national library at Florence is a MS. con-
taining several works by Hothby; namely,
(i) Ars musica ; (2) a dialogue on the same
subject, in which the author quotes, among
others, Dunstable, Dufay, and even Okeghem ;
(3) a letter in Italian, refuting the censures of
Osmense, a Spaniard ; (4) ' Calliopea legale,' a
musical treatise, of which there is another copy
at Venice. This last work is interesting as
giving an account of the transition from neumes
to square notes. Another important MS. of
Hothby's was formerly at Ferrara, but has been
lost: besides a *Kyrie,' a * Magnificat,' and other
musical compositions, it contained the following
short treatises, of which there are copies in the
Liceo Communale at Bologna: — (i) the above-
mentioned 'Regulae super proportionem'; (2)
• De Cantu figurato ' ; (3) ' Regulae super Contra-
Yy2
680
HOTHBY.
punctum * ; (4) • Manus per genus diatonicum
declarata ' ; (5) * Regulae de Monochordo ma-
nuali.' Among other minor works are a * Trac-
tatus quarundum regularum artis musices' at
Florence, and a second treatise on Counterpoint,
beginning * Consonantia interpretatur sonus cum
alio sonans,' in the Paris MS. Little is known
of the life of John Hothby, Ottobi or Octobi,
as he is still called in Italy. The' Paris MS.
styles him a Doctor of Music ; but whether he
took his degree at an English or foreign Univer-
sity does not appear. After leaving the monas-
tery at Ferrara he is supposed to have taken up
his residence at Florence, where he was held in
great honour in 1471. The British Museum
MS. of ' Quid est proportio' is dated 1500, and
it is probable that Hothby died soon after this at
an advanced age. [A.H.-H.]
HOWELL. Add dates of death of James,
Aug. 5, 1879, ^^^ of Arthur, April 16, 1885.
HUBER, Hans, bom June 28, 1852, at
Schonewerd in Switzerland, studied from 1870
to 1874 at the Leipzig Conservatorium, and
subsequently, after two years' experience as a
teacher in Alsace, took up his residence at Basle.
His compositions, most of which are for the
piano, either in combination with other instru-
ments or alone, show the strong influence of
Brahms, but not to the exclusion of the more
romantic style of Liszt. A fairy opera * Flores-
tan,' concertos for piano and for violin, a trio, a
pastoral sonata for piano and violoncello, * Car-
neval,' 'Landliche Symphonic,' and 'Romischer
Carneval,' for orchestra, as well as piano pieces
and songs, may be mentioned. [M.]
HUBERT. After Porporino add in Ap-
pendix.
HUCBALDUS DE S. AMANDO (Hubald
de S. Amand; Hugbald de S. Amand). Our
knowledge of the condition of Music during
the early Middle Ages is derived chiefly from
the information furnished by three learned
writers, of whom the earliest was a Monk,
named Hucbald, of S. Amand gur I'Elnon, in
Flanders, who is frequently mentioned under
the title of Monachus EInonensis. He was born
about the year 840, and flourished, therefore, a full
century before Guido d'Arezzo, and a century
and a half before Magister Franco — the only two
writers whose musical treatises possess an in-
terest comparable with his own. Of the details of
his life we know but very little more than that he
was a disciple of S. Remi of Auxerre, and the
intimate friend of S. Odo of Cluny ; that he was
a Poet, as well as a Musician ;^ and, that he died,
at a very advanced age, in the year 930. But
of his life-work we know all that need be desired.
Of Hucbald's * Enchiridion * or tract, • De
Harmonica Institutione' — the only work by
him that has been preserved to us — the two
most perfect copies known are those in the Paris
Library, and in that of S. Benet's (now Corpus
Christi) College, Cambridge. The title of the
1 He dedicated to the Emperor, Charles the Bald, a poem In praise
of baldness, beginning 'Carmina Clarlsonse, Calvis, Uautate Ca-
in which ererr word began with the letter 0. ]•
HUEFFER.
Paris MS. is * Enchiridion Musicae.' ' The Cam-
bridge MS. forms part of a volume' entitled
* Musica Hogerl, sive Excerptiones Hogeri Ab-
batis ex Autoribus Musicae Artis,* and contain-
ing, besides the 'Enchiridion' of Hucbald, a
less perfect copy of another 'Enchiridion' by
his friend, S. Odo of Cluny, which, though
written in Dialogue, resembles it, in many re-
spects, so closely, that copies of the one MS.
have sometimes been mistaken for the other.*
In this tract, Hucbald describes, under the
name of Symphonia, the primitive form of Part-
writing called, by Guido d'Arezzo, Diaphonia,
or Organ um, and, by Magister Franco, Discant.
Of this Symphonia he mentions three kinds,
which he calls Diatessaron Symphonia, Diapente
Symphonia, and Diapason Symphonia ; in other
words, Harmony in the Fourth, the Fifth, and
the Octave. Examples of these rude attempts
at Harmony have ab-eady been given, in vol. ii.
p. 469, and vol. iii. p. 427 b. But, in addition
to the rules for the construction of these, he tells
us, in his Eighteenth Chapter, that so long as
one voice continues to sing the same note, the
others may proceed at will ; of which method
he gives the following example : —
^ ^. ^ -^ t± :^
-<g-
-&■
:^ js.
Te ha • ml • les fa • ma
-<S>- -C2- -^ ^ ^
- 11
mo •
du - lU
Ten - er - an- dam pi - Is.
These examples are written in a peculiar form
of Notation, invented by himself, which has
already been described, and illustrated by his
own examples, in the articles above referred to.
He did not, however, confine himself entirely to
this ingenious device, but supplemented it by
the invention of fifteen arbitrary signs, for repre-
senting the notes of the Gamut, from r, to an,
together with four more signs, of like character,
for the four Authentic Modes—
/? Primus qui et gravissimus Greece Protos
dicitur vel Archos.
^ Secundus Deuteros tono distans a Proto.
^ Tertius Tritos semitono distans a Deutero:
y^ Quartus Tetardos tono distans a Trito.
The number of examples given in illustration
of these principles, and others deduced from
them, is very great; and the tract concludes
with an account of the descent of Orpheus into
Hades, in search of Eurydice. [W.S.R.]
HUEFFER, Feancis, Ph.D., author and
musical critic, was born in 1845. After studying
modern philology and music in London, Paris,
Berlin, and Leipzig, he fixed his residence in
London and devoted himself to literary work.
His first articles appeared in the late * North
British Review,' in the 'Fortnightly Review*
(when under Mr. John Morley's editorship), and
a No. 7202. » No. cclx.
4 Hucbald and S. Odo were both disciples of S. Bemi of Aazemw
S. Odo was bom A. D. 878, and died in 942.
HUEFFER.
in the 'Academy,* of which he became assistant
editor. At a time when England hesitated to
acknowledge the genius of Wagner, Mr. Hueffer
brought home to amateurs the meaning of the
modem developments of dramatic and lyrical
composition by the publication, in 1874, of his
* Richard Wagner and the Music of the Future.'
Mr. Hueffer was in 1878 appointed musical
critic of * The Times/ and consistently followed
up his advocacy of the modern in art by sup-
porting the claims of living English musicians.
He has also written librettos for several of our
rising composers. Thus * Colomba ' and * The
Troubadour,' were written for Mr. Mackenzie,
and 'The Sleeping Beauty ' for Mr. Co wen. He
has lately undertaken the English version of
Boito's 'Otello,' where his task has been to
translate the adaptation of Shakespeare's play
as made by the young Italian poet and com-
poser for Verdi's opera.
As early as 1869 Mr. Hueffer had published
a critical edition of the works of Guillem de
Cabestanh, which gained him the degree of
Ph. D. from the University of Gottingen, and
led to his election to the * Felibrige ' or Society
of modern Troubadours, of which Mistral (the
author of * Mireijo '), Theodore Aubanel, and
other distinguished poets are the leading spirits.
• The Troubadours,' a history of Proven9al life
and literature of the middle ages, appeared in
1878 ; and a series of lectures on the same sub-
ject was delivered at the Royal Institution in
1880. A collection of * Musical Studies ' from
the 'Times,' etc., was published in 1880, and
soon appeared in various translations ; 'The Life
of Wagner,' the first of the * Great Musicians '
series, in 1881 ; 'Italian and other Studies,' in
1883. The 'Correspondence of Wagner and
Liszt,' a translation, followed soon after the
publication of the ' Briefwechsel,' by Breitkopf
& Hartel in 1888. No more than a brief refer-
ence can be made to Mr. Hueffer's occasional
contiibutions to the Quarterly and other reviews,
and to some songs composed by him from time
to time. [L.M.M.]
HUNTEN, Fkanz. Line 3 from end of arti-
cle, fop date of death read Feb. 22.
HUTTENBRENNER, Heinrich. P. 755 J,
add that he wrote the words for at least two
of Schubert's pieces — * Der Jungling auf dem
Hugel,' op. 8, and the part-song * Wehmuth '
(op. 80, no. i).
HULLAH, John. Line 6 of article,/or 1832
read 1833. I*- 75^ a, 1. io,/or 1840 read 1839 ;
1. 20, for Feb. 20 read Feb. 10. Add date of
death, Feb. 21, 1884.
HUMFREY, Pelham. P. 757 a, line 3
from bottom, for produced read printed. (It
had been performed in 1667.)
HUMOROUS MUSIC. The element of
humour in jnusic is far from common, and
though easy to recognize when encountered, is
rather difficult to define. Nor is this difficulty
lessened by calling to mind a number of ex-
amples and endeavouring to generalize there-
HUMOROUS MUSIC.
681
from. Such a course shows us only that our
title is either too comprehensive or too limited
for the name of one particular kind of music,
embracing on the one hand all scherzos, all
comic-opera and dance-music, and on the other
hand including only serious music in which a
sudden and momentary change of mood appears.
It is evident, however, that the title is in-
applicable to merely light, gay or frolicsome
music. On the other hand, to pronounce Bee-
thoven the sole exponent of musical humour is
to do away with the necessity for making a
' class.' How then shall we limit our definition ?
Will it be of any use to remember that there are
various kinds of humour, such as high and low,
comedy and farce? We fear not. Schumann
indeed, writing on this subject, says : ^ — ' The
less educated minds are usually disposed to
perceive in music without words only the feel-
ings of sorrow or joy, but are not capable of
discerning the subtler shades of these sentiments,
such as anger or remorse on the one hand and
kindliness or contentment on the other ; a fact
which renders it diflBcult for them to compre-
hend such masters as Beethoven and Franz
Schubert, every condition of whose minds is to
be found in their music. I fancy that I can
perceive behind some of the Moments musicals
of Schubert certain tailors' bills which he was
not able to pay, such a Philistine annoyance do
they express.' The poetic temperament may be
permitted to indulge itself in fantasies like
these, for which there may or may not be any
actual foundation, but Schumann's words must
not be taken literally. The scientific musician
in his cahner moments is forced to admit that
the expression in music of any emotion or senti-
ment whatever — beyond the elementary sensa-
tions of gloom and gaiety — is purely a matter
of convention, depending for its effect upon the
auditor's previous musical experiences. A China-
man would not be thrilled by the strains of the
Marseillaise, and a European finds nothing
pleasing in the Javanese Gamelan. The National
Anthem of one country is seldom rated highly
by a foreigner, but let an Englishman hear
' Home, sweet home ! ' a Scotchman hear the
skirl of his native instrument, or a Swiss be
reminded of the Ram des Vaches, and each will
be moved to the very soul. Gaiety and gloom in
music are discernible by all human beings alike ;
for this reason — ^joy is usually accompanied by
an inclination to dance ; therefore, by a natural
association of ideas, music which has short brisk
dance-rhythms excites lively emotions, while slow
long drawn sounds connect themselves with tran-
quillity, repose and gravity of spirit. The Intro-
duction and Vivace of Beethoven's A major
Symphony afford an excellent illustration of our
meaning ; the broad slow phrases of the opening
would impress the veriest savage, while the
frisky rhythm of the main movement must
gladden every heart that hears it.
We have, however, wandered from our point,
which is not what kinds of humour can be
1 ScbumaDQ, Ge*. Scbrift. b. 1 : Dm Eomi$che in der Mutik,
«82 HUMOROUS MUSIC.
expressed in music, but, admitting that humor-
ous music does exist, in what does its humour
consist ? The answer is, that in music, as in
literature, humour is chiefly to be sought in (i)
sudden and unexpected contrasts of thought or
language, (2) grotesque exaggeration, and (3)
burlesque. To all three of these forms of
humour Beethoven was equally addicted, and
added besides a farcical fun all his own, some-
times exhibited in allotting a passage to an
instrument unsuited to it, and upon which it
sounds absurd. The bassoon is the usual victim
on such occasions. To class i belong such
passages as the middle of the ist movement of
the Symphony no. 8 —
the imitations of birds in the slow movement of
the • Pastoral,' and the tipsy bassoon in the
scherzo of the same, the wrong entry of the horn
in the Eroica and its indignant suppression by
the rest of the orchestra [quoted in vol. i. p. 73],
which may be compared with the somewhat simi-
lar joke at the opening of the Choral Symphony
scherzo, the charming effect of the long pedal
bass on the drums in the last movement of the
E b Piano Concerto, and many other passages too
numerous to mention. Under class 2 are to be
ranked those especially * Beethovenish ' passages
in which a phrase is insisted upon and repeated
with a daring boldness, yet perfect ai'tistic
propriety, entirely beyond the conception of less
gifted musicians, and indeed only imitated by
one other — Anton Dvorak. Two conspicuous ex-
amples may be given from Beethoven's Piano-
forte Sonatas ; one in the last movement of the
G major, op. 31. Here in the coda the simple
first phrase of the principal subject is tossed
about, fast, slow, in the treble, in the bass, until
it finally dies of exhaustion. The passage is
too long to quote, as is the
equally delightful instance in the <")
E minor Sonata op. 90 ( i st move-
ment), at the return to the ist
subject, where a mere transient
semiquaver passage (a) meta-
morphoses itself into the actual subject : —
This whimsical exaggeration of a trifling phrase
into momentary importance is a favourite device
of Beethoven's. The instance in the slow move-
of the C minor Symphony is familiar to every
one.
The long dominant passages with which he
returns to the subject in the 4th Symphony (ist
movement), in the *Waldstein' Sonata (ist
movement), in the 7th Symphony (last move-
HUMOROUS MUSIC.
ment), and many others, are all imbued with the
same kind of humour. In his most serious
moods, as in the passage from the C minor last
quoted, and again at the end of the same move-
ment, he does not fear, as a less consummate
artist might, to weaken the impression of his
most earnest and poetic thoughts by this moment-
ary intrusion of the grotesque ; he is conscious
of holding the reins of our emotions so firmly
that he can compel our smiles or tears at any
moment.
The third kind of humour in which Beethoven
indulges is the burlesque vein so conspicuous in
the finales of Symphonies No. 7 and 8 and the
concluding pages of the C minor. It is a sort of
scoff at musical commonplaces, and consists
indeed, like the previous class, in comical exag-
geration, but so evidently intended as a satire on
the inferior composers of the day as to justify
us in classing it apart. To this class belong
also such eminently droll passages as the hurry-
scurry of the double-basses in the Trio of the
C minor, and in the finale of No. 4, the snort-
ing low notes for horn in the Trio of No. 7,
etc. But after all, Beethoven's infinite variety of
moods cannot be summed up so shortly as this ;
the quaint suggestion of 'tuning-up' in the
following passage (A major Symphony, ist move-
ment)—
the comical introduction to the Finale of No. i —
Adagio.
so suggestive of an animal let out of a cage,
trying first cautiously one step, then another,
then bolting off at full speed — these and a
hundred other examples partake of the charac-
teristics of more than one of our suggested
•classes' and must be left to speak for them-
selves.
Turning away from Beethoven we must re-
mark, as we have done under Scherzo, that
humour in music is rarely to be found elsewhere.
Gaiety, liveliness, we find abundantly in Haydn
and Mozart, piquant gracefulness in Schubert,
Mendelssohn and composers of the French school,
a certain grotesqueness occasionally in Schumann,
Dvof^ and Rubinstein ; but in vain do we seek
for those sudden contrasts of mood and matter
which are the essence of humour. Not to be too
sweeping, let us admit that the Clowns' March,
and still more Pyramus's dead march in Men-
delssohn's 'Midsummer Night's Dream' music
HUMOROUS MUSIC.
are highly comic, that Schumann, in the * Fas-
chingsschwank aus Wien ' hit upon a decidedly
humorous idea when he made the rhythm of the
first movement suggest, first his favourite ' Gross-
vatertanz' and then the prohibited ' Marseillaise ';
let us also admit that Gounod's Funeral March
of a Marionette is comical music, even apart
from its * programme,' still our collection of
humorous specimens is not a large one. We
must fall back upon that extensive class of music
in which the humour is suggested — if not entirely
possessed — by the words or ideas allied thereto.
Many early examples of this kind will be found
in the article on Programme Music. Such
phrases as
do not appear particularly droll by themselves,
but when we know that they are intended to
represent the mewing of a cat and the clucking
of a hen we smile — perhaps. The humour of
comic opera consists either in the rapid articula-
tion of syllables on successive notes — known as
* patter ' — or in the deliberate setting of nonsense
to serious music. The so-called comic cantatas
of Bach might be sung to serious words without
any incongruity being apparent, although his
'Capriccio on the departure of a brother,' with its
picture of the lamentation of the friends who
tell the traveller of the dangers of his way, is
one of the best musical jokes, ancient or modern.
Mozart affords us in his operas many specimens
of music which is at least thoroughly in keeping
with the humour of the words, if not inherently
humorous. Decidedly his best efforts of this
kind are to be found in 'Die Zauberflote.' In
the operas-bouffes of Offenbach a decided feel-
ing for musical humour was sometimes exhi-
bited ; for instance when Barbe Bleue relates
the death of his wife to a pathetic-sounding air
which, as he quickly recovers from his grief, he
sings faster and faster till it becomes a merry
quadrille-tune. The snoring chorus in Orphee,
the toothache song in *La Princesse de Tre-
bizonde,' and many others, are singularly char-
acteristic. Of the same class of humour as
this might be mentioned an idea in Snietana's
light opera * The Two Widows,' which consists in
making one of the characters stammer all the
time he sings. This is funny enough, but unfor-
tunately, in real life, the most inveterate stam-
merer loses his aflBiction the moment he sings. In
the comic operas of Sir Arthur Sullivan, delightful
as they are, the humour is quite inseparable from
the words. Change these and all is lost. Almost
the only instance of musical humour in opera,
where the humour emanates from the music in-
dependently of the words, are to be found, where
they would scarcely be looked for, in two of the
later works of Wagner. In * Siegfried ' the whole
of Mime's music is eminently characteristic, but
in Act II, Sc. 3, when the dwarf comes
wheedlingly to Siegfried he has the following
expressive subject in the orchestra :
HURDY GURDY.
683
I ' n r r etc.
His murderous intentions having been revealed
by the forest-bird, the theme appropriated to the
latter is woven into Mime's music as if in
mockery :
Again, a little later, when Siegfried deals the
dwarf his merited fate, the brother Alberich,
watching from a cleft in the rock, utters a peal
of laughter to the ' smith-motive *
3 , 3 o
•#-• -j!- -f»- -P- k2 ♦ ^. • ^- -». #. 3 -•- «•-
Ha, ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - hal
as if to say • He will never wield the hammer
again!' In the * Meistersinger ' we find many
admirable specimens of musical drollery, such as
the illustrative accompaniment of David's absurd
catalogue of 'Tones,' the way in which the
orchestra pokes fun at Beckniesser both in his
serenade and in his version of Walther's song,
but most especially in that remarkable scene of
the 3rd Act (unfortunately reduced to a few bars
in performance) where Beckmesser enters alone
in silent perturbation and the orchestra inter-
prets the current of his thoughts. This is a piece
of musical humour absolutely without parallel.
Lest we should be deemed to have forgotten
them, we will mention in conclusion Haydn's
* Farewell Symphony,' the * Musical Joke ' or
* Peasants ' Symphony ' of Mozart, and the ' Wuth
uber einen verlornen Groschen ' of Beethoven, but
whatever humour there may be in either of these
compositions certainly does not reside in the
music. [F-C.]
HURDY GURDY. P. 759 a, 1. 20, When in
the key of C, the lowest drone is -tenor C. The
lowest drones are called Bourdons, the next
higher open string is the Mouche. The Trompette
which is again higher, a copper string next the
two melody-strings, may be tuned as indicated
and used at pleasure.
Chanterelles.
Trompette.
^^ $
One or other of the bourdons is omitted, ac-
cording as the key is C or G. [A.J.H.]
684
HUTCHINSON.
HUTCHINSON, Francis. Correct name
throughout to Hutcheson, and for last two sen-
tences of article read as follows : — He was the
only son of Professor Hutcheson of Glasgow, who
■was well known in connection with the study of
ethical philosophy; he had taken a Scottish
degree in medicine before 1762, when he took
the degree of M.D. at Trinity College, Dublin.
As early as 1750 he had published a medical
work at Glasgow. In the roll of Graduates the
following entry occurs :— * Francis Hutcheson (or
•Hutchisson), B.A. 1745, M.A. 1748, M.D. 1762.'
He adopted the pseudonym of Francis Ireland,
fearing to injure his professional prospects by
being known as a composer.
HUTSCHENRUIJTER, WiLHELM, born Dec.
25, 1796, at Rotterdam, at first studied the violin
and horn, but subsequently devoted himself to
composition and to the direction of various choral
INDY.
and other musical societies, the Eruditio Musica,
the Musis Sacrum, and the Euterpe. He was
also music-director at Schiedam, and was for
many years a member of the Academy of St.
Cecilia in Rome. He wrote more than 150 com-
positions of various kinds, of which the most
important were : — an opera, * The King of Bohe-
mia,' produced at Rotterdam, four symphonies,
two concert overtures, an overture for wind in-
struments, several masses, cantatas, songs, etc.
A fine sonata for piano and violoncello, op. 4,
may also be mentioned. He died at Rotterdam
Nov. 18, 1878. (Riemann's Lexicon.) [M.]
HYMN. P. 760 J, end of paragraph i,
omit Prosa from reference. At end of second pa-
ragraph,/or Plain Chaunt read Plain Song.
P. 762 b, 1. 22, for 1594 read 1592. P. 764a,
1. 9 of second column of list in small print, for
John Cooper read George Cooper.
I.
JLE ENCHANTEE, L*. Correct date of
production to May 16.
IMPERFECT. Line 30 of article, /or Large
read Long.
INDY, Paul Marie Theodore Vincent d',
born in Paris, March 27, 1851,^ studied for
three years under Diemer, attended Marmon-
tel's class, and learnt harmony and the elements
of composition with Lavignac. He then, with-
out having learnt counterpoint or fugue, under-
took to write a grand opera, 'Les Burgraves,'
which was not finished, and a quartet for piano
and strings, which was submitted to Cdsar Franck
in the hope of overcoming the objections to the
musical profession which were expressed by his
family. Franck, recognising much promise in
the work, recommended the presumptuous youth
to study composition seriously. In 1873 d'Indj',
who was now a first-rate pianist, entered Franck's
organ class at the Conservatoire, where he ob-
tained a second accessit in 1874, ^^^ ^ ^"^^ ^"
the following year. In 1875 ^® Isecame chorus-
master under Colonne, and in order to obtain
experience of orchestral detail, took the position
of second drummer, which he retained for three
years, at the end of which time he began to
devote himself entirely to composition. He has
since been extremely helpful in organizing La-
moureux's concerts and in directing the rehear-
sals, which have led to such fine results as the
performance of * Lohengrin.' Like many another
musician, d'Indy owes the first performance of
his works to Pasdeloup, and his overture • Pic-
colomini' (Concert Populaire, Jan. 25, 1874)
revealed a musician of lofty ideals, whose music
was full of melancholy sentiment and rich orches-
tral colouring. This overture, altered and joined
to the * Camp de Walleustein * (Soci^td Nationale,
> Date Teriflad by register of birth.
1880), and the *Mort de Wallenstein ' (Concert
Populaire, March 14, 1880), forms the trilogy of
' Wallenstein,*a work inspired directly by Schiller,
and one of the composer's most remarkable pro-
ductions. The entire trilogy was performed
for the first time at the Concerts-Lamoureux,
Feb. 26, 1888. After this he produced a sym-
phony, 'Jean Hunyade,' an overture to * Antony
and Cleopatra,' • La For^t enchant^e,* symphonic
ballad after Uhland; a quartet for piano and
strings in A ; 'La Chevauch^e du Cid,' scena
for baritone and chorus ; * Saugefleurie,' legend
for orchestra ; a suite in D for trumpet, two
flutes, and string quartet ; a * Symphony ' on an
Alpine air for piano and orchestra, all of which
have been performed at various Parisian concerts.
D'Indy has only once written for the stage ; a
small work, entitled ' Attendez-moi sous I'orme,'
was produced at the Op^ra Comique on Feb. 11,
1882, with but little success, but he has since
made up for its failure by the dramatic legend
* Le Chant de la Cloche,' which gained the
prize at the competition of the city of Paris in
1884, and was performed three times in 1886
under Lamoureux's direction. Besides these,
d'Indy has written several minor works, a * lied *
for violoncello and orchestra, piano pieces and
songs, sacred and secular. He is a serious and
thoughtful composer, who does not in the least
care to please the public ear. The melodic idea
may be sometimes poor and not very striking,
but the composer has such a command of the
resources of his art as to be able to make the
most ordinary phrases interesting. In order to
obtain this extraordinary knowledge of technical
combinations and of vivid musical colouring,
d'Indy, who was at first a follower of Schumann,
has borrowed largely from Berlioz's methods ; but
in conception and general style his ' Chant de la
Cloche ' approaches more nearly to Wagner. [A. J.]
INFLEXION.
INFLEXION. See Accent, vol. i. p. 16 a.
INSTRUMENT. Vol. ii. p. 6 a, note i,for
(see p. 794 a) read (see vol. i, p. 749 a). P. 6 h,
1. II from bottom, for 4 of the 29 strings read
5 of the 30. After 1. 5 from bottom add while
in the instruments of the Mandoline family a
plectrum of tortoiseshell is used.
INTERMEZZO. P. 9 a, 1. 2 2, for 1 734 read
1 731. Two lines from end of article omit the
word latest.
INTRODUCTION. P. 13 5, 1. 14 from
bottom, add opus number of the Nocturne re-
ferred to, op. 62, No. I. P. 146, 1. 29 from
bottom, /or D read D minor.
INVENTION. Only the first set of pieces
mentioned, viz. the 15 in 2 parts, are called by
this name ; the 3-part compositions are called
* Sinfonien.'
JONClfeRES.
685
INVERTED CADENCE. See Medial Ca-
DENCE, vol. ii. p. 244.
INVITATORIUM. A species of Antiphon,
appointed, in the Roman Breviary, to be sung,
at Matins, in connection with the Psalm 'Venite
exultemus Domino.' Anglican Ritualists some-
times apply the term, Invitatorium, or Invita-
tory, to the * Venite ' itself ; but this use of it
is incorrect. It consists of short sentences, sung
before, and between, the Verses of the Psalm ;
and sometimes gives rise to very elaborate com-
plications in the text and music. [W.S.R.]
IPHIG^NIE EN AULIDE. Concerning
Wagner's ending to the opera see vol. iv. p. 3546.
IRISH MUSIC. P. 2.1a, musical iUustra-
tion, for chos read Chor.
IVANOFF. Add that he died at Bologna,
July 8, 1880.
J.
JACK. P. 27 a, 1. I, 7. See Spinet, vol. iii.
p. 651 o, footnote.
JACKSON, William, • of Exeter.' Add day
of birth. May 28.
JACKSON, William, * of Masham.* Correct
date of birth to 181 5.
JADASSOHN, Salomon. Line 13 of article,
for D read D minor. Mention should be made
of two pianoforte trios, a string quartet, two
quintets for pianoforte and strings (op. 70 and
76), a pianoforte quartet (op. 77), a piano con-
certo (op. 89), and of a setting of Psalm c. for
alto solo, double chorus, and orchestra.
JADIN, Hyacinthe. P. 29 6, 1. 29, for in
1802 read in October 1800.
JAELL, Alfeed. Add date of death, Feb.
28, 1882.
JAHN, Otto. Add that his life of Mozart
was published in an English translation by Miss
Pauline Townshend, in three volumes, by No-
vello and Co. in 1882.
JAHRBUCHER, etc. For continuations see
Breitkopp & Hartel in Appendix, vol. iv. p. 562.
JANIEWICZ. Line 3 of article, for 1 783 or
4 read 1784 or 5. Add that an andante of
Mozart's for violin and orchestra, dated April i,
1785 (K. 470), is believed by Jahn (iii. 297) to
have been written for Janiewicz.
JANOTHA, Nathalie. Line 4 from end of
article,yor of the same year read 1878. Add
that in 1885 she was made pianist to the court
of Germany and Prussia by William I.
JANSA, Leopold. Correct date of birth to
1 794 ; add that he last appeared at Vienna in
1 871, when he was 77 years of age, and add day
of death, Jan. 25.
JARDINE & Co. a firm of organ-builders in
Manchester. The house was founded in 1823
by Renn. Between 1825 and 1830 the firm was
Eenn & Boston, and after that Renn alone, till
his death in or about 1848. In 1850 the busi-
ness was bought by Kirtland & Jardine. In
1865 Kirtland retired, and Frederic W. Jardine
remained alone until 1874. The business was
then bought by J. A. Thorold & C. W. Smith,
who are now trading under the name of Jardine
& Co. Examples of their work may be found
in St. Peter's Church and the Free Trade Hall,
both in Manchester, and also in Stockport Sunday
School. [V. de P.]
JENSEN, Adolph. Correct date of death
to Jan. 23, and add that the score of an opera
* Turandot ' was found after his death.
JEUNE, Le. See Le Jeune, vol. ii. 118.
JEWITT, Randolph. See vol. iv. p. 1706,
note 4.
JOACHIM. L. 9 of article read In 1841 he
became. (Corrected in later editions.) To list
of works add Variations for violin and orchestra,
in E minor.
JODEL. See Ttrolienne.
JOHNSON, John. See London Violin
Makers, vol. ii. p. 164 J.
JOMMELLI, NiccoLO. P. 366, 1. 13 from
bottom, ybr Sept. 11 read Sept. 10. P. 376,
1. 22 from bottom,/or 1771 readi'j'jo. P. 38a,
1. i,for Aug. 28 read Aug. 25.
JONAS, Emile. p. 39 a, add to list of
operettas, * Le Chignon d'or,' Brussels, 1874;
'La bonne Aventure,' 1882; *Le premier
Baiser,' 1883.
JONCIERES, ViCTORiN de, the adopted
name of Felix Ludger Rossignol, born in
Paris, April 12, 1839. The name by which he
is known was adopted by his father, a journalist
and advocate of the Cour d'Appel, who, under the
Empire, was one of the principal contributors to
the * Patrie ' and the * Constitutionnel.' Victorin
began Vjy studying painting ; but by way of
amusement he composed a little op^ra comique
686 JONClfeRES.
adapted by a friend from Molifere's 'Sicilien,*
which was performed by students of the Conser-
vatoire at the Salle Lyrique in 1859. A critic
who was present advised the composer to give
up painting for music, and accordingly Jonciferes
began to study harmony with El wart. He entered
Lebome's counterpoint class at the Conservatoire,
but left it suddenly on account of a disagreement
with his master concerning Wagner, who had just
given his first concert in Paris. From this time he
studied independently of the Conservatoire. At
the Concerts Musard he produced an overture,
a march, and various orchestral compositions ;
he also wrote music to * Hamlet,* produced by
Dumas and Paul Meurice. A performance of this
work was given as a concert at his own expense
in May, 1863, and a representation was given at
Nantes on Sept. 21, 1867, under his direction,
with Mme. Judith, of the Comedie rran9aise, in
the principal part. The play was produced in
Paris at the Galtd later in the following year, but
for the recent performance of 'Hamlet' at the
rran9ais, Jonciferes' music was rejected by M.
Perrin. On Feb. 8, 1867, Jonciferes made his
real d^but as a dramatic composer at the Theatre
Lyrique, with a grand opera, * Sardanapale,'
which was only partially successful. In spite of
this comparative failure, Carvalho was per-
suaded to produce a second grand opera, *Le
dernier jour de Pomp^i' (Sept. 21, 1869), which
was harshly received by the public. Shortly
afterwards a violin concerto was played by his
friend Danb^ at the Concerts of the Conservatoire
(Dec. 12, 1869). The Lyrique having come to
an end after the war, Jonciferes' dramatic career
ceased for a long time, as he would not write
for the Op^ra Comique, and could not gain ad-
mittance to the Grand Opera. He wrote a Sym-
phonic Romantique (Concert National, March 9,
1873), and various other pieces were produced at
the concerts conducted by Danb^ at the Grand
Hotel. At length, on May 5, 1876, he suc-
ceeded in producing his grand opera * Dimitri,'
for the opening of the new Theatre Lyrique at
the Galtd, under the direction of Vizentini ; and
the work, although it did not attract the public,
showed that the composer possessed a strong
dramatic instinct, inspiration of some power, if
little originality, and an effective style of or-
chestration. The opera was such a remarkable
advance upon his earlier productions that hopes
were formed which have not been realized either
by his 'Reine Berthe' (Dec. 27, 1878), given
four times at the Ope'ra, nor by his ' Chevalier
Jean' (Op^ra Comique, March 11, 1885), which
succeeded in Gei-many, though it had failed in
Paris. Besides these dramatic works Jonciferes
has written numerous compositions for the con-
cert-room : • S^r^nade Hongroise,' * La Mer,' a
symphonic ode for mezzo soprano, chorus, and
orchestra, * Les Nubiennes,' orchestral suite, a
Slavonic march, a Chinese chorus, etc. His
works, of which * Dimitri' is by far the best,
have the merit of being carefully orchestrated,
and his vocal writing is marked by a just sense
of the laws of proswiy. As a critic — for since
JULLTEN.
1871 he has been musical critic to *La Libert^,*
and contributes to it theatrical notices, etc.
under the pseudonym of * Jennius ' — his opinions,
like his music, are wanting in balance and unity,
and have considerably injured his musical stand-
ing. In Feb. 1877 M. Jonciferes received the
cross of the Legion d'honneur. [A.J.]
JONES, Henry & Sons, organ-builders in
London, established 1847; they made the organs
for Christ Church, Albany Street ; St. Matthias,
West Brompton ; and the Aquarium, Westmin-
ster. They invented an ingenious composition
pedal, under the influence of which any stops
may be brought on by a turn of the stop-handle
to the right ; so that any possible combination,
prepared but an instant before it is wanted, may
be brought on to, or taken off, the keys. [V. de P.]
JONES, John. P. 39 I, the last note but
one of the chant should be D not C. (Corrected
in later editions.)
JORDAN, Abraham, sen. and jun., be-
longed to an ancient family located in Maid-
stone in the 15th century. The elder, who was
a distiller, but had a mechanical turn, devoted
himself to organ-building, and removed to Lon-
don, where he made many fine instruments.
He instructed his son Abraham in the same
business. The Jordans deserve especial notice
as being the inventors of the swell, which was
in the form of a sliding shutter, and was first
applied to the organ which they built for St.
Magnus* Church, London Bridge, in 171 2. In
1720 they built the organ of the Duke of Chan-
dos at Cannons, on which Handel used to play.
This was sold by auction in 1747, after which they
repaired it and conveyed it to Trinity Church,
Gosport. See Byfield, Jordan, and Bridge,
vol. iv. p. 571 ; also vol. ii. pp. 595, 596. [V. de P.]
JOSQUIN. P. 42 6, 1. 20, for who creates a
genial impression, read who impresses us as being
a genius.
JULLIEN, Jean Lucien Adolphb, bom
June I, 1845, was the son and grandson of dis-
tinguished literary men, his grandfather, Bernard
JuUien (i 752-1826) having held various pro-
fessorships, and his father. Marcel Bernard
Jullien (i 798-1 881), having been for some year*
principal of the College at Dieppe, and subse-
quently editor of the * Revue de I'instruction
publique,* and having taken a prominent part in
the compilation of Littr^'s Dictionary. Adolphe
Jullien was educated at the Lyc^e Charlemagne
in Paris, and having taken the degree of licen-
tiate in law, he completed his musical studies
under Bienaim^, retired professor at the Conser-
vatoire. His first essay in musical criticism
was an article in * Le M^nestrel,' on Schu-
mann's * Paradise and the Peri,' which had just
been produced unsuccessfully in Paris (1869).
In that article his pronoimced opinions in favour
of the advanced school of music are expressed
as fearlessly as they are in his most recent
writings. He has ever since fought valiantly
for musical progress of every kind, and in the
Wagnerian controversy he has taken a position
JULLIEN.
which cannot be sufficiently admired. His re-
cently published life of that master is not only
a monument of accurate and erudite information,
but a complete and in most cases just review of
all his works, while the collection of caricatures
and the other illustrations make the book ex-
ceedingly amusing. He is now about to publish
a companion volume on Berlioz. But before en-
gaging in the great musical battle of our day, he
had proclaimed his convictions with regard to Ber-
lioz, Schumann, and other composers who were
too little appreciated in France, with great vigour
and exhaustive knowledge of his subject. He
has at various times contributed to the * Revue
et Gazette musicale,' the 'M^nestrel,' the
'Chronique musicale/ the * Renaissance musicale,'
the * Revue contemporaine,' the * Moniteur du
Bibliophile,' the * Revue de France,' the * Corre-
spondant,' the 'Revue Britannique,' 'L'Art,'
* Figaro,' and other periodicals. He was critic
to the 'Fran^ais' from May 1872 to Nov.
1887, when that paper was amalgamated with
the old * Moniteur universel ' ; since that time
M. JuUien has remained on the staff. Be-
sides exercising the ordinary avocations of a
musical critic, he has made an intimate study
of the history of the eighteenth century, es-
pecially in connection with the theatrical affairs
of the time ; and most of his earliest books, which
have become exceedingly difficult to procure,
treat of this subject. His first books, * L'Opera
en 1788' (1873), and ' La Musique et les Philo-
sophes au XVIIl® sifecle' (1873), were followed
by several which have no direct bearing on
music. A complete list of his works since 1876
is appended : — * Un Potentat musical,' etc. (1876);
II • L'figlise et I'Opera en 1735' (1877) ; 'Weber
i h, Paris' (1877) ; * Airs varies, histoire, critique,
I biographies musicales et dramatiques' (1877);
I *La Cour et I'Opera sous Louis XVI* (1878) ;
* La Comddie et la Galanterie au XVIII® sibcle '
(1879); 'Histoire du Costume au Theatre'
(1880); ' Goethe et la musique '(1880); 'L'Opdra
secret au XVIII« sifecle ' (1880) ; ' La Ville et la
Cour au X VHP sifecle ' (in which is embodied
the second of the earlier works, 1881) ; * Hector
Berlioz' (1882); 'La Comddie k la Cour'
(1883) ; ' Paris dilettante au commencement du
sifecle ' (1884) ; and ' Richard Wagner, sa vie et
868 ceuvres' (1886). [M.]
JULLIEN'S MILITARY JOURNAL.
Omit the reference to Military Jouknals.
JUNCK, Benedetto, born August 24, 1852,
at Turin, his mother being an Italian, and his
father a native of Alsace. After a mathematical
training at Turin, he was sent into a commercial
house at Paris. He would from the first have
preferred to make music his profession, but al-
though the Juncks were a wealthy family, his
father objected to the choice of so precarious
a career. His natural bias, however, proved too
strong ; and instead of applying himself closely
to business, Benedetto Junck devoted his time
chiefly to music. Such musical education as he
brought with him to Paris was slight, and almost
entirely confined to the pianoforte. Hence the
JUNCK.
687
orchestral works of the great masters which he
first heard in Paris keenly stirred his artistic
temperament ; and his ambition to dedicate him-
self to music became deeply rooted. In 1870 he
returned to Turin as required by law to perform
a year of military service, and about this time hi»
father died. He was now free to follow his ow»
inclinations, and at the age of 22 he went to
Milan, and put himself under Alberto Mazzucata
(then principal of the Milan Conservatorio) for
a course of study in harmony and counterpoint.
He also worked a short time under Bazzini.
In 1879 Junck married, and his home is now
in Milan, where during the winter season he
gives concerts in his own house, at which lead-
ing artists are wont to meet. Being a man of
independent means, he has no motive for writing
but the impulse of his own mind. His work*
are not numerous, but are all marked by earnest-
ness, refinement and culture.
The list of his published works is as follows: —
1. 'La SImona,' a set of twelve songs for Soprano and Tenor (word»
byFontana). 1878.
2. Otte Eomanze (words by Heine and Panzacchl;. 1881.
8. Two Songs (words by Heine). 1883.
4. Sonata for PF. and Violin in G. 1884.
5. Sonata for PF. and Violin in D. 1885.
6. String Quartet in E. 1886.
Although the earliest of Junck's works, * La
Simona ' still stands pre-eminent among them for
originality and power ; but some of the ' Otte
Romanze,' — especially nos. 2 and 4, entitled
Dolce sera and Flehil traversa Vanima mia, are
also compositions of a high order. The melodies
are graceful and flowing, and the accompani-
ments are worked out with care and taste.
It is, however, in chamber-music that Bene-
detto Junck may be said to have rendered the
most valuable service, because this kind of
music has been neglected in Italy, and is conse-
quently a scarce product there. Both the
sonatas and the quartet are well-written and
interesting works ; the form is clear, and the
ideas are fresh and melodious ; and the treat-
ment of the instruments shows a skilful hand.
Of the single movements^ we would especially
commend the Andante of the Sonata in G,.
which contains a warm and impassioned melody
of much beauty, and the graceful and delicate
Presto of the second sonata. Both are highly
effective without being difficult.
A special characteristic of Junck's is his skill
in combining distinct melodies. Throughout his
works it rarely happens that the principal
melody is merely supported by an accompani-
ment; it is far more common to find indepen-
dent melodies in the subordinate parts. As two
examples out of many we may mention the
Intermezzo of the second sonata, and the last
song of the ' Otte Romanze.'
With this wealth of melody, contrapuntal
knowledge and genuine musical feeling, Bene-
detto Junck may unquestionably be regarded as
one of the most distinguished of the younger
Italian composers of the present time. [A.H. W,]
1 The fact that the several movements of a Sonata are advertised
and sold separately in Italy is a sign of the Imperfect appreciation.
of chamber-music by the Italian public.
K.
KAHRER-RAPPOLDI, Mme. See vol. iii.
p. 76 J.
KALKBRENNER, F. W. Line 3 of
article, the date of birth should probably be cor-
rected to 1784.
KAMMERTON. See Chokton in Appendix.
KAPSBERGER, J. H. See vol. iv. p. 264 b,
note 3.
KASTNER, JoHANN Georg, bom at Strass-
burg March 9, 1810. He was destined to theo-
logy ; but music conquered, and the successful
performance of his opera, * Die Konigin der
Sarmaten,' induced the town council of Strass-
burg to grant him the means of going to Paris
in 1835, where he finished his studies under
Bebton and Reicha, and resided till his death
there Dec. 19, 1867. In 1837 ^^ published his
Treatise on Instrumentation, the first work of
the kind in France, and the beginning of a long
series of elementary treatises. He was not less
fruitful as a composer of operas : — * Beatrice '
(German), 1839; *^ Maschera,' at the Op^ra
Comique, 1841 ; 'Le dernier Roi de Juda, his
best work, given at the Conservatoire, 1844;
*Les Nonnes de Robert-le-Diable,' 1845, and a
number of vocal and instrumental compositions
large and small, including his ' Livres-Partitions,'
half music, half treatises. Besides the numerous
works enumerated below, Kastner was a volu-
minous contributor to the * Gazette Musicale,'
the * Menestrel,' and the * Revue dtrangfere,' as
weU as to the German periodicals, • Iris,' ' Allg.
musikalische Zeitung,' * Neue Zeitschrift,' • Ce-
cilia,' and many others. Every spare moment
was directed to the preparation of a vast * En-
cyclopaedia of Music,' which remained unfinished
at his death. Such learned industry obtained its
deserved reward, Kastner was made an Associate
of the French Academy, and was also decorated
by a very large number of institutions outside of
France.
For the details of his honourable and useful
life we must refer to the exhaustive biography
by Hermann Ludwig, Breitkopf & Hartel, 3 vols.
1886, with complete Lists, Indexes, etc., a monu-
ment raised to Kastner's memory by the devotion
of his widow. His library has been acquired by
his native city.
List of Kastner 8 Works.
Bteassbubo, 1826—1885, 6 Operas; 3 Symphonies; 6 Overtures;
TV. Concerto ; Marches ; Choruses ; Waltzes ; 10 Serenades for Wind
Instruments.
Pa BIS. Operas:— 'Beatrice' (1839); 'La Maschera' (1841); 'Le
<lernierEot de J uda ' (1844) ; 'Les Nonnes de Robert-le-Diable '(1840),
Hymns, Cantatas :— ' La Resurrection ' (1835) ; ' Sardanapale ' (1852) ;
Oantate Alsacienne (1858). Scenes for Voices and PF.. Sonjfs, etc. :—
• Les derniers moments d'un Artiste.' * Le T^t^ran,' ' Le nfegre,' ' Glen-
allau,' 'Judas Iscariote.' etc., 41 In all. Part-songs, chiefly for
men's voices :— ' Blbliotb6que chorale,' 72 nos. ; ' Heures d'amoup,'
« nos. ; ' Les chants de I'arm^e Fraugals,' 23 nos. ; ' Les chants de la
vie,' 28 nos. ; 'Les orpheons,' etc., etc., 26 more in all. Piano:—
* Valses et Galops de Strasbourg,' 3 sets ; Waltzes, Polkas, Marches,
«tc., 2i more In all. Orchestia:— 2 'Ouvertures de t'estival.' In Eb,
«utd C; ' Drame-symphoule ' 2 pieces for Saxophone and FF.
Treatises :—l. 'Traltd 96a. d'Instrumentatlon * 0836). 2. 'Coun
d'lnstr. consider^ sous les rapports po^tlques,' etc. (183(1). 3. 'Gram-
malre musicale' (1837). 4. 'Th^orle abr^g^e du contrepolnt et du
fugue' (1839). 5. 'M^thode il6mentalre d harmonic.' 6. Supple-
ments to nos. 1 and 2. The above were approved by the Instliut,
and nos. 1, 2, and 6 adopted by the Conservatoire. 7. ' M^thodes
element, de chant, piano, vlolon, flftte, flageolet, cornet k p.' (1837)'
8. ' De la composition,' etc., MS. (1841). 9. ' Cours d'harmonle
moderne.' MS. (1842). 10. ' M^thodes ^l^m. de vloloncelle. hautbols,
clarlnette, cor, ophicletde. trombone ' (1844). 11. 'M^thode . . . de
Saxophone ' (1845). 12. ' M^thode . . . de tlni bales ' (1845). 13. ' Manuel
. . . de muslque mllltalre ' (1847). 14. ' Traits de I'orthographle
musicale/ MS. (1849). 15. 'Les danses des morts' (1852). 16. 'La
harpe d'Eole et la muslque cosmlque' (1855). 17. 'Les Chants da
I'Arm^e, Fransalse, avec un Essal hlstorlque sur le Chants mllitalrs
des Frangals ' (1865). 18. • Les volx de Paris ' (1857). 19. * Les slrfenes.'
20. Par^mlologle mus. de la langue frangalse (1866). Nos. 15, 16, 18^
19, and 20 contain large compositions orchestral and vocaL
Kastner's son Georg Friedrich Eugen, bom
at Strassburg Aug. lo, 1852, devoted himself to
physical science, especially to the law of vibra-
tions. He was the inventor of tlie * Pyrophone,'
an instrument for the employment of 'singing
flames.' He brought the subject before the
Academic des Sciences, March 17, 1873; and
issued a book, * Le Pyrophone. Flammes chant-
antes,' which reached its 4th edition in 1876.
(See also 'Journal of Society of Arts,' Feb. 17,
1875.) Shortly after this he was seized with
serious illness, and expired April 6, 1882. His
memoir occupies the concluding chapters of his
father's life by H. Ludwig (B. & H. 1886.) [G.]
KEARNS, William Henry. A prominent
figure in London musical life in the middle part
of the century. He was born at Dublin in 1 794,
and came to London in 181 7, where he playecl
the violin at Co vent Garden Theatre. He soon
however became the musical adviser to Arnold
and Hawes, and 'Der Freischiitz,' 'Azor and
Zemira,' 'Robert the Devil,' and many other
foreign operas were brought out under his direc-
tion at Covent Garden. Mr. Kearns wrote the
additional wind accompaniments to the ' Mes-
siah * and * Israel in Egypt,' for the Festival at
Westminster Abbey in 1834, as well as for
Handel's choruses at provincial festivals. In
1845 he assisted Gauntlett in editing the ' Com-
prehensive Tune-book.' He died in Prince's
Place, Kennington, Dec. 28, 1846. [G.]
KEELEY, Mrs. (Mart Anne Goward), was
born at Ipswich Nov. 22, 1805. Being endowed
with a pure soprano voice of remarkable com-
pass, she was apprenticed for seven years to the
well-known teacher of music, Mrs. Smart (a
sister-in-law of Sir George Smart), under whom
she made her first appearance on the stage at
Dublin in 1824. On July 2, 1825, she appeared
in London at the Lyceum, then under the ma-
nagement of Mr. Arnold. The performance
consisted of ' The Beggar's Opera ' (with Thorne,
Miss Stephens, and Miss Kelly), Shield's * Ro-
sina,' and 'The Spoiled Child,' in which last two
pieces Miss Goward played. The event is thus
chronicled in the 'Times* (July 4): — 'Miss
Goward, the debutante, appeared as Rosina in
the opera of that title. She is young, of a sleu-
KEELEY.
der figure, and with intelligent features. Her
voice is pretty, and after she had overcome the
first embarrassments of her entrance, she went
through the part very successfully. She sang
the songs in a simple manner, which deserved the
applause she received. It is dangerous to pro-
phesy at first appearances, but we may, never-
theless, venture to say that this young lady
promises to make a very fine actress. . . . Miss
Goward played Little Pickle in the " Spoiled
Child " very well indeed.' In the same season
she sang Annetta in * Der Freischutz ' with Bra-
ham and Miss Paton. In 1826, on the produc-
tion of "Weber's * Oberon ' at Covent Garden, she
undertook the small but important part of the
Mermaid, the music of which had been pre-
viously tried by Miss Love and Miss Hammers-
ley, both of whom declined to sing it owing to
the difiiculty of hearing the delicate orchestral
accompaniments at the back of the vast stage
where the Mermaid has to appear. Miss Goward,
however, overcame this obstacle, as Mr. Planche
states (' Eecollections and Eeflections,' vol. i.) ;
' she was even then artist enough to be entrusted
with anything,' and her singing of the Mermaid's
music earned for her the personal thanks of the
composer. For the next few years Miss Goward
continued to sing in English opera, but after her
marriage with the well-known comedian, Mr.
Keeley (which took place on June 26, 1829),
she devoted her talents entirely to comedy, in
which she is one of the greatest artists of the
English stage. In the present work it would be
out of place to trace her dramatic career : it
must suffice to state that since breaking a small
blood-vessel, from the effects of which she suf-
fered for two or three years, she has not taken
an engagement at any theatre. Mrs. Keeley
has never formally left the stage, but still takes
great interest in theatrical affairs, and is justly
loved and respected as the doyenne of the pro-
fession. [W.B.S.]
KEISER, Eeinhakd. Add day of death,
Sept. 12.
KELER BELA. Add date of death, Nov.
20, 1882.
KEMBLE, Adelaide. Add date of death,
Aug. 4, 1879.
KENNEDY. See London Violin-makers,
Tol. ii. p. 165 a.
KENNEDY, David, Scottish vocalist, born
at Perth, April 15, 1825 ; died Oct. 13, 1886. He
received his first lessons in music from his father,
an enthusiastic musician, and at the age of
eighteen assisted him as precentor of the North
United Secession Church, Perth. At the age
of twenty he succeeded his uncle as precentor
of South Street Church in the same city. At an
early age he was apprenticed to a house painter
in Perth. During this time, while working at a
house ten or twelve miles distant, he resolved
to hear Templeton, who was singing at the Perth
Theatre. He started after leaving off work, run-
ning all the way, and clearing the distance in two
hours. Having no money to pay for admission,
KENNEDY.
689
he stood throughout the whole performance, in
the pelting rain, with ear to key-hole, and
then took to the road again to be ready for work
at six in the morning. He afterwards worked
as a journeyman in Edinburgh and London, but
returned to Perth to commence business on his
own account. He had, however, the never-
ceasing desire to become a public singer, and
made frequent visits to Edinburgh to receive
singing lessons from Mr. Edmund Edmunds.
Having secured an appointment as precentor in
Nicholson Street United Presbyterian Church,
Edinburgh, he struggled hard to support himself
and family by occasional concert giving, teaching,
etc. in Edinburgh and neighbourhood. In Jan.
'59 he received his first important engagement,
for the Bums centenary at St. George's Hall,
Liverpool. In the autumn he gave twelve con-
certs in Buccleuch Street Hall, Edinburgh. Every
programme being different, he tested about 1 50
songs. Professor Ayton and Robert and William
Chambers were in the habit of attending ; they
became his personal friends, and gave him many
friendly hints, and great encouragement at the
outset of his career. In i860 he made short
tours in Scotland, and in 1861 went as far as
the Orkneys. In the summer of 1862 he made
his first appearance in London, at the Hanover
Square Rooms. Four concerts were given, and
the programmes contained selections from 'The
Gentle Shepherd,' 'NoctesAmbrosianse,' etc., etc.
The veteran, John Templeton, was present upon
each occasion, and was one of the first to offer
his warm congratulations. In December of the
same year Kennedy commenced a series of con-
certs in the Egyptian Hall, which extended to
100 nights, ending in May 1863. After tours in
the south of England and in Scotland he returned
to London in the winter of 1864-65, to give a
series of concerts in Store Street Hall, with fresh
programmes, which included selections from
' Waverley,' and an entertainment called ' The
Farmer's Ingle.' His eldest daughter, Helen,
scarcely in her teens, had now become his ac-
companist. At one time or another his eleven
sons and daughters all assisted in the entertain-
ments. In the summer of 1866 he visited Canada
and the United States, and sang in every city
of importance North and South. For the next
twenty years he toured at home and abroad,
travelling through Australia, New Zealand, South
Africa, and India, and revisiting Canada several
times. One of his first acts, when at Quebec in
1867, was to visit the grave of Wilson, who
died there in 1849. He had photographs taken
of the tombstone, and arranged that the grave
should be tended and cared for in perpetuity.
Mr. Kennedy's last appearance in public was at
a • Bums Night,' in Sarnia, Oct. 4, 1886. The last
concert given by the * Kennedy Family' was at
Stratford, Ontario, on the following evening. Mr.
Kennedy being too ill to appear, his daughters
carried out the programme, the Mayor of Strat-
ford taking the chair. He probably hastened his-
end by resolving to revisit the grave of Wilson
with the shadow of death almost upon him. H&
«90
KENNEDY.
went out of his way to do so, and in a few days
breathed his last, at Stratford. The body was
embalmed and brought to his native land by his
widow ; a public funeral took place from his own
house in Edinburgli, to the Grange Cemetery.
An interesting sketch of his life by his daughter
Marjory, has recently been published. It contains
silso a condensation of three books, previously
Ijublished, entitled 'Kennedy's Colonial Tour,'
* Kennedy in India,' and * Kennedy at the Cape.'
Much sympathy was felt for him and his family
in 1 88 1 when one son and two daughters perished
at the burning of the Thd^tre des Italians at Nice.
His eldest son, David, died at Natal in 1884. Only
A few years before his death Kennedy was at
Milan receiving valuable hints from Lamperti ;
a true lover of his art, he ever felt the necessity
for constant application and study. Mr. Kennedy
leaves a successor in his son Kobert, who is now
successfully giving Scottish entertainments in
Australia. A movement is on foot to raise a
public monument in Edinburgh to Scotland's
three great vocalists, Wilson, Templeton, and
Kennedy. [W.H.]
KENT, James. Add that he was chorister of
the cathedral from 1711 to 171 4, and was ap-
pointed organist of the same on Jan. 13, 1737.
He died in October, not May, 1776, if his monu*
ment at Winchester may be trusted.
KETTERER, EugI:ne, born at Rouen in
1 83 1, entered the Paris Conservatoire, obtaining
a second prize for solflge in 1847, and o. premier
accessit in 1852, under Marmontel. From that
time until his death, which took place during the
siege of Paris, Dec. 18, 1870, he appeared con-
stantly as a pianist, and wrote multitudes of
brilliant fantasias and drawing-room pieces,
which obtained an immense and ephemeral po-
j)ularity. [M.]
KEY, KEYBOARD. P. 53 J, 1. 39, for the
oldest illustration of a chromatic keyboard see
Spinet, vol. iii. p. 653 a, footnote. Line 46,
for the oldest example of a keyboard to a harp-
sichord or spinet see Spinet, vol. iii. p. 652 a,
footnote; but Mr. Donaldson's upright spinet
from the Correr collection, although undated, is
probably, from its structure and decoration, still
older. There is a spinet in the loan collection of
the Bologna Exhibition (1888) made by Pasi, at
Modena, and said to be dated 1490. P. 54a, 1. ii,
omit the word ivory. P. 55 b, add at end of
article : — The last new keyboard (1887-8) is the
invention of Herr Paul von Jankd of Totis, Hun-
gary. In this keyboard each note has three finger-
keys, one lower than the other, attached to a key
lever. Six parallel rows of whole tone intervals
are thus produced. In the first row the octave is
arranged c, d, e, fjf, gJJ, aJJ,c; in the second row
cjf, dj, f, g, a, b, cj. The third row repeats the
first, the fourth the second, etc. The sharps are
distinguished by black bands intended as a con-
cession to those familiar with the old system. The
keys are rounded on both sides and the whole
keyboard slants. The advantage Herr von Jank<5
claims for his keyboard is a freer use of the fingers
KIRCHENCANTATEN.
than is possible with the accepted keyboard, as
the player has the choice of three double rows
of keys. The longer fingers touch the higher
and the shorter the lower keys, an arrangement
of special importance for the thumb, which, un-
like the latest practice in piano technique, takes
its natural position always. All scales, major
and minor, can be played with the same positions
of the fingers ; it is only necessary to raise or
lower the hand, in a manner analogous to the
violinist's * shifts.' The facilities with which the
key of Db major favours the pianist are thus
equally at command for D or C major, and
certain difficulties of transposition are also ob-
viated. But the octave being brought within
the stretch of the sixth of the ordinary key-
board, extensions become of easier grasp, and
the use of the arpeggio for wide chords is not
so often necessary. The imperfection of balance
in the key levers of the old keyboard, which the
player unconsciously dominates by scale prac-
tice, appears in the new keyboard to be increased
by the greater relative distances of finger attack.
On account of the contracted measure of the key-
board, the key levers are radiated, and present a
fanlike appearance. Herr von Jankd's invention
was introduced to the English public by Mr. J. C.
Ames at the Portman Rooms on June 20, 1888.
It has many adherents in Germany. His pam-
phlet ' Eine neue Claviatur,' Wetzler, Vienna,
1886, with numerous illustrations of fingering, is
worthy of the attention of all students in piano-
forte technique. [A.J.H.]
KEY-BUGLE. Line 4 of article, add vol. i.
to reference.
KEY-NOTE. After reference add in Ap-
pendix.
KEYS. P. 56 a, I. 8, for [Contbafagotto]
read [Double Bassoon].
KIEL, Fkiedkich. Add date of death, Sept.
14. 1885-
KINDERMANN. See Reicher-Kinder-
MANN in Appendix.
KING, M. P. Line 6 from end of article, add
date of * One o'clock, or the Wood Demon,* 1811.
KING'S THEATRE. P. 58 &, 1. 21, add
vol. i. to reference.
KINSKY, Prince. P. 59 a, 11. 15 and 45,
add vol. i. to references.
KIRCHEN-CANTATEN. P. 60 a, 1. 15
from bottom, add references to English edition of
Spitta's Bach, i. 40, 446, and ii. 348, etc. P. 606,
1. 38, add vol. i. before p. 120. For continuation
of the list of cantatas see Bach-Gesellschaft
in Appendix, vol. iv. p. 529. Since that article
was in type, the number of cantatas has been
increased to 170, by the publication in 1887 of
the 33rd volume (due 1883), which contains the
following : —
161. Komm du sOsse Todesstunde.
162. Ach. ich sehe.
163. Nur Jedem das Seine.
164. Ihr, die ihr eucb.
165. OtieirgeGeist-u.Wasserbad.
166. Wo gehest du hln.
167. Ihr Menschen, rabmet.
168. Thue Bechnung I
169. Gott loll allein.
170. Vernttg'te Bub'.
KIRCHNER.
KIECHNEK, Thkodob. Add day of birth,
Dec. lo.
KIRKMAN. P. 6 1 6, line 1 1 from bottom, add
that the piano was introduced in Kirkman's work-
shops in the time of Abraham Kirkman, as there
is record of a square piano inscribed Jacob and
Abraham Kirchmann, which was dated 1 775. The
grand piano dated 1780 was also theirs. [A.J.H.]
KIRTLAND. See Jardine in Appendix.
KISTNER. Line 11 of article, /or son read
brother.
KITTEL, J. C. Correct day of death to
May 18.
KJERULF, Halfdan, was born at Chris-
tiania in 1815,^ and became known as a com-
poser in Norway and the surrounding countries
during the time of Norway's struggle for free-
dom, and the consequent renascence of her intel-
lectual and artistic spirit.
In 1834 •be was a graduate of the Christiania
University, and he had as a matter of course
devoted himself to the study of jurisprudence,
for his father's high post under Government
would have ensured for him a good start in
official life. There ensued the heartaches and
the struggles of a born artist who cannot throw
himself into what he feels to be the * wrong
direction fot his energies.' His case was aggra-
vated by the condition of * the poor and cold
country of ^ Norway,* which possessed * no hot-
house to foster the arts.' Nevertheless, the
blossom of Kjerulf's art was destined to raise
its head in the chill desert. On the death
of his father in 1840, a decided step was at last
taken by Halfdan Kjerulf; and he began his
professional career at the age of 25. He settled
down as a teacher of music, and published some
simple songs even before he had been intro-
duced to the theory of music by some resident
foreigner. In 1850 or thereabouts Kjerulf had
begun to attract public attention, the Govern-
ment awarded to him a grant by which he was
enabled to study for a year at Leipzig under
Richter. On his return to Christiania he did his
best to establish classical subscription concerts
in that city, but with no lasting success. In
i860 he was in active co-operation with Bjorn-
son, who wrote for him many poems ; and it was
during these years— 1860 to 1865— that Kjerulf
did his best work, resigned to a contemplative
and lonely existence, and content to exercise
a quiet influence upon those who sought him
out. Grieg amongst others was very glad of the
older master's moral support.
The portraits of Kjerulf represent him with a
mild and pensive face, with traces of pain in the
expression. He had indeed suffered for long
from extreme delicacy in the chest, and death
overtook him when he had withdrawn to a re-
treat at Grefsen, near Christiania, in August
i868. A wave of deep emotion and sympathy,
1 Mendel and other German authorities give wrong dates.
« For a full account of Kjerulf as the representative of his
country, and for extracts Irom his letters and details of his private
life, the reader may be referred to the articles 'Halfdan Kjerulf,' by
Bearik Suudt, iu the ' Musical World ' of October 1, 8, and 16, 18b7.
KLEINMICHEL.
691
the fervour of which would have astonished the
composer himself, passed over the country he
had loved and served so well.
The value of Kjerulf's stirring quartets and
choruses for men's voices, as reflecting the na-
tional sentiment in the way most acceptable to
his countrymen, has already been commented on.
As absolute music they are of slight interest, but
by their vigour and their straightforward sim-
plicity they may be said to possess all the virtue
which belongs to complete appropriateness to
the^ subject. His few pianoforte pieces fully
maintain the highly artistic standard to which
Kjerulf was always faithful.
Consideration of the purely musical side of
Kjerulf's songs shows the perfect genuinenesa
of their inspiration, and also the limits of that
inspiration in intellectual depth and power. The
stream of melody, generally written with due
effect for the voice, and with a varied and some-
times elaborate pianoforte accompaniment, in
fact, with considerable instinct of just propor-
tions, is saved from actual commonplace by the
fresh fragrance and the refinement which make
his music distinguished though not important. Its
sadness never becomes morbid, but is stamped with
the resignation of a noble nature. Among the
Northern ballads and lyrics are to be found some
really characteristic and quaintly fascinating
ditties. Such are Bjornson's ' Synnove's Song,*
'Ingrid's Song,' 'Young Venevil,' 'Evening
Song,' and the Scotch ' Taylor's Song,' Munch's
'Night on the Fjord,' Theodor Kjerulf's 'Long-
ing.' Several songs that spring from Kjerulf's
sojourn at Leipzig most eloquently recall the
influence of Schumann, while his treatment of
some English poems is almost startling. The
polished verses of Moore are made the vehicle of
outpourings in which the gentle Kjerulf is seen
in his most impassioned mood — for instance,
• Love thee, dearest, love thee.' * My heart and
lute,' on the other hand, has inspired the com-
poser with an intensity of dreamy melancholy.
Unfortunately a certain amount of license has
been taken in the settings, and where the poem
as a whole gains by the suggestiveness of the
music, the lines and words now and then suffer
from false accentuation. This is especially the
case with some familiar verses by the late Lord
Houghton. It would be impossible to enumerate
all that is worthy of note in the collection of
more than one hundred songs by Kjerulf; but
notice must be taken of the successful colouring
of some Spanish subjects, and of the pleasing
settings of Victor Hugo's Romances. Many of
the songs are familiar to English amateurs through
the compilation by T. Marzials, published by
Messrs. Stanley Lucas, Weber & Co. Kjerulf's
name has been included in Mr. Carl Armbruster's
lectures on ' Modem Composers of Classical Song.*
Further testimony to the value of the Norwegian
composer's work can be read in the 'Musikal-
isches Wochenblatt' of Jan. 24, 1879, ^^ ^" article
fiom the pen of Edward Grieg. [L.M.M.]
KLEINMICHEL, Richard, born at Posen
Dec. 31, 1846, received his first instruction from
692
KLEINMICHEL.
his father, and at an early age appeared in
public as a pianist. He afterwards completed
his studies at the Leipzig Conservatorium, and
settled at Hamburg, where he published^ many
works of some importance, mostly for his own
instrument. His second orchestral symphony
was given at the Gewandhaus at Leipzig with
success. In that town he held for some time
the position of Capellmeister at the Stadt-
theater, and subsequently held similar posts at
Danzig and Magdeburg, where he now resides.
His first opera, ♦ Manon,' was successfully pro-
duced at the last two places as well as at
Hamburg, He has lately completed another
opera, * Der Pfeifer von Dusenbach.' He has also
made 'simplified' arrangements of the pianoforte
scores of Wagner's later works. [M.]
KLEMM. Add that C. B. Klemm died
Jan. 3, 1 888, leaving the business to his two sons.
KLENGEL, A. A. Correct date of birth to
Jan. a;, 1783.
KLINDWORTH. P. 64 6, 1. 3, «<^<^ tl^ey
were called the * Musical Art-union.'
KLINGEM ANN. Line 1 8 of article add for
Mendelssolm's opera *Die Hochzeit des Cama-
cho'; also,
KNECHT, J. H. P. 66 a, 1. 2, /or Dec. 11
read Dec. i.
KNELLER HALL. P,66&, 1. 22 from bottom,
after Forces add H. Schallehn was resident musi-
cal director till April 1859. Colonel Whitmore
was appointed Aug. 15, 1863. He was succeeded,
May I, 1880, by Colonel Robert T. Thompson,
who still (Jan. i, 1888) holds the post of Com-
mandant ; Charles Cousins (appointed Nov. i,
1874) being musical director. [G.]
KNIGHT, Rev. J. P. Add that his last
composition was a setting of Byron's * Jephthah's
Daughter,' and that he died at Yarmouth June
I, 1887.
KOCH, Heinrich Christoph, bom at Rudol-
Btadt Oct. 10, 1749, the son of a member of the
ducal orchestra there. In 1 768 he was admitted
into the band as a violinist, having received in-
struction from Gopfert of Weimar, and in 1777
obtained the title of ' Kammermusiker.' He
composed various pieces of small importance for
the court, but his fame rests upon his contri-
butions to musical literature. His *Versuch
einer Anleitung zur Composition' appeared in
three parts between the years 1782 and 1793;
and his ' Musikalisches Lexicon ' in 1802. This
was republished in a condensed form in 1807
and 1828, but its complete revision dates from
1865, and is the work of Arrey von Dommer.
[See Dommer in Appendix, vol. iv. p. 617.] He
wrote several other works of less importance on
harmony and other subjects connected with the
art, and died March 12, 1816. [M.]
KOHLER, Louis. See vol. ii. p. 733 a, and
add date of death, Feb. 16, 1886.
KOLLMANN, August Friedrich Karl.
Line 9 of article,/or about 1 782 reac? April 9,1 784.
Line 12,/or Nov. 1824 rtad Easter Day, 1829.
. KRAUSS.
KONTSKI, DE. Correct date of birth of
Charles to 1815, and add date of death, Aug.
27, 1867. Correct date of birth of Apollinairb
to 1826, and add date of death, June 29, 1879.
(Partially corrected in late editions.)
KOZELUCH. Leopold. As to the date of
death the authorities are at variance,the date 1814
being supported by Dlabacz and Wurzbach, as
well as by the less trustworthy evidence of F^tis
and Mendel. The testimony of the fii-st is espe-
cially weighty, since his dictionary was begun in
1 81 5, when the date of so important a musician's
death must have been well known. Almost all
the authorities give May 8 as the day : Dlabacz's
May 3 is probably a misprint for 8. It should
be added that he arranged some Scotch songs for
Thomson of Edinburgh, in allusion to which,
Beethoven, in a letter of Feb. 29, 18 12 (Thayer,
iii. 449), whether inspired with disgust at Koze-
luch's underselling him, or with a genuine con-
tempt for his music, says, *Moi je m'estime
encore une fois plus supdrieur en ce genre que
Monsieur Kozeluch (miserabilis).' He again
calls him * miserabilis ' (Thayer, iii. 200).
KRAUSS, Marie Gabrielle, bom March
23, 1842, at Vienna, received instruction at the
Conservatorium in pianoforte playing and har-
mony, and in singing from Mme. Marchesi. She
made her ddbut at the Opera there as Mathilda
('Tell'), July 20, i860, and played immediately
after, Anna ('Dame Blanche') and Valentine.
She became a favourite, and remained there for
some years, until about 1867. Her parts in-
cluded both Donna Anna and Elvira, Fidelio,
Euryanthe, Senta, Camille ('Zampa'), Amelia
Ankarstroem ('Gustavus III.'), Lalla Rookh,
and Maria (in Rubinstein's 'Kinder der
Haide '), Feb. 23, 1861, and H^lfene (* Hausliche
Krieg'), Oct. 6, i86i. She made her d^ut at
the Italiens, Paris, as Leonora (*Trovatore'),
April 6, 1867, and Lucrezia; became very suc-
cessful, and was engaged there every season until
the war of 1870. She gained great applause by
her performance of Donna Anna, Fidelio, Norma,
Lucia, Semiramide, Gilda, etc, and in a new
opera of Mme. de Grandval's, * Piccolino,' in Jan.
1 869. She sang with great success at Naples in
Petrella's 'Manfredo' (1871) and'BiancaOrsini'
(1874), also as Aida ; with less success at Milan
as Elsa on the production there of ' Lohengrin,*
and in Gomes's 'Fosca,' Feb. 16, 1873,^ She
returned to the Italiens for a short time in the
autumn of 1873, accepted the offer of an engage-
ment for the Academic, previous to which she
played at St. Petersburg in 1874. She made
her d^but at the Acaddtnie at the inauguration
of the new house as Rachel in * La Juive ' (first
two acts), Jan. 5, 1875, and in the same opera
in its entirety Jan, 8. She has played there
ever since until the present time, and has main-
tained her position as the principal dramatic
soprano of that company. She has played the
heroines of Meyerbeer, also Donna Anna and
Agatha, and in operas produced there for the
first time as the heroine (Mermet's 'Jeanne
KRAUSS.
KULLAK.
693
d'Arc'), April 5, 1876; Pauline (Gounod's
' Polyeucte '), Oct. 7, 1878; Aida, March 22,
1880 ; Hermosa (Gounod's 'Tribut de Zamora'),
April I, 1881 ; Katharine of Arragon (Saint-
Saens's 'Henry VIII.'), March 5, 1883; the
heroine on revival of Gounod's ' Sappho,' April
2, 1884; Gilda (• Rigoletto '), March 2, 1885,
and Dolores (Paladilhe's 'Patrie'), Dec. 20, 1886.
' The talent of Mile. Krauss is the more remark-
able, because the instrument at her disposal is
far from being perfect, and always in response to
her efforts. The voice, . . . although not want-
ing in brilliancy and power, is sometimes wanting
in tone and character; in certain parts of the
scale its resonance is dull, and it is only in the
high part that it acquires its best qualities. The
style is pure to perfection, her phrasing is mas-
terly, and her musical delivery, in recitative
especially, attains in the highest degree to gran-
deur and beauty. If one adds to these purely
musical qualities the wonderful fire, . . . the
pathetic feeling, the passionate expression, her
great intelligence, and the incontestable power of
her dramatic accent, one can understand the sway
such an artist exercises over the public, and one
can guess the secret of the success which has made
her career remarkable. Mile. Krauss is certainly
one of the greatest singers that contemporary
art can boast of.' (Pougin.) [A.C.]
KREBS. Add date of death of Karl August,
May 16, 1 880. Line 23 of article,/or Michaelsi
read Michalesi.
KREISLERIANA. Line 4 of article, for
musical papers read ' Fantasiestxicke in Callots
Manier.'
KRETSCHMER, Edmund. Add that ' Hein-
rich der Lowe ' was produced at Leipzig in 1877,
and another opera, * Der Fltichtling ' at Ulm in
i88t. His most recent production is 'Schon
Rohtraut,' an opera in 4 acts, produced at
Dresden Nov. 5, 1887. *Sieg im Gesang,' a
cantata, was lately performed at Dresden.
KREUTZER, Conbadin. Line 2 of article,
for 1782 read 1780. P. 72 a, 1. 6, for in 1843
conducted the 43rd festival, read in 1841 con-
ducted the 23rd festival.
KREUTZER, Rodolphe. P. 72 a, note, add
We need not complain of this, for in the adver-
tisements of Ernst's concert in the London papers
of 1884 it is given as 'Greitzer'! See *Mus.
World,' June 20, 1844, P- 209 c.
KROLL, Franz. Line 9 of article,/or Varia-
tions read various readings. Line 12, add refer-
ence to English edition of Spitta's Bach, ii. 166.
KROMMER, Franz. Add day of birth , Dec. 5 .
KRUMPHOLZ, Wenzel. Line 12 from end
of article, ybr seems to have intended writing a
sonata, read wrote a sonata in one movement,
given under Mandoline, vol. ii. p. 205.
KtJCKEN, F. W. Add date of death, April
3, 1882.
KUFFERATH, H. F. Add date of death,
March 2, 1882.
KUHE, WiLHELM, born Dec. 10, 1823, at
Prague, was taught music by Tomaschek, with
Schulhoff as a fellow student. He made a
concert tour with great success in 1844-45 ^*
Linz, Salzburg, Innsbruck, Augsburg, Munich,
and Stuttgart. He visited London with Pischek
in 1845, and played with success at the Musical
Union in Mayseder's trio, op. 52, May 13. He
has lived in England ever since, dividing his
time between London and Brighton since 1847,
at which last place he has attained popularity as
a teacher and performer, and as a promoter of
concerts. In the last capacity Mr. Kuhe showed
great enterprise by the annual festival held by
him from 1870 to 1882, wherein he encouraged
native talent by the new works composed at
his instance and produced by him, viz. Virginia
Gabriel's 'Evangeline' in 1873 ; Barnett's can-
tata, ' The Good Shepherd,' in 1876 ; Clay's
*Lalla Rookh' in 1877 ^^^ 1878; Cowen's
'Deluge,' and Colliers 'Suite Symphonique'
in 1878; Walter Macfarren's overture, 'Hero
and Leander,' Gadsby's 'Lord of the Isles,'
Wingham's Concert Overture in A, and Slo-
per's suite in 1879; Leslie's cantata, 'First
Christmas Morn,' A. H. Jackson's 'Ballet Suite'
and W. Macfarren's Symphony in Bb in 1880 ;
W. Macfarren's Concertstiick in B b, played
by Miss Kuhe, in 1881 ; Corder's orchestral
Nocturne in 1882, etc., in addition to ' The
Woman of Samaria,' 'The Martyr of Antioch,'
etc, under the respective direction of their
composers. He has occasionally appeared in
London, where he has given an annual concert
since 1846. He was appointed a Professor of
the Royal Academy of Music in 1886. His
numerous compositions include many drawing-
room pieces, fantasias, and studies, viz. * Lieder
ohne Worte,' op. 12; ' Le Carillon,' op, 13;
' Chanson d'Aniour ' ; ' Romance sans Paroles,'
op. 17 ; ' Le Feu Follet,' op. 38 ; ' Victoria Fan-
tasia on National Anthem ' ; * Fantasia on Aus-
trian Anthem ' ; operatic fantasias, etc. [A.C.]
KUHLAU, Friedrich. For day of birth
read Sept. 11, and for the place and day of
death read Copenhagen, March 12. It is curious
that the canon by Beethoven is on the name
' Bach,' whether by accident or design cannot of
course be asserted. The last two lines of the
article should run — Compositions, of which a few
for flute and a few for piano, are still much
esteemed. (Corrected in late editions.) Under
Flute, vol. i. p. 538, a list of his most prominent
compositions is given, to which may be added an
excellent trio for two flutes and piano, op. 119,
seven sonatas for flute and piano, and four
sonatas for violin and piano.
KUHNAU, JoHANN. Line 10 from bottom
of page, /or then read in 1701. Line 8 from
bottom, the date of death should probably be
June 25, as given by Riemann and Paloschi.
KULLAK, Theodor. Line 1 2 of article, for
1 85 1 read 1850, and add date of death, March
I. 1882.
VOL. IV. FT. 6.
z
L.
LABITZKY, JoSEP. Add date of death,
Aug. 19, 1881.
LACHNER. Add date of death of
Theodob, May 22, 1877. P. 81 &, 1. 3 from bot-
tom, ^or death read retirement.
LACHNITH, L. W. P. 82 b, 1. 6, for Aug.
20 read Aug. 23. Add date of death, Oct. 3,
1820.
LACOMBE, Louis. See vol. ii. p. 732 b, and
add date of death, 1884.
LAFONT, C. P. Add day of birth, Dec. i.
Line 15 from bottom of page, /or 181 2 read 18 16.
Line 9 from bottom, add day of death, Aug. 23.
LAGUERRE, Jean. Add that in 1737 he
sang in Capt. Breval's * Rape of Helen ' the part
of Mercury, and that his name was correctly
spelt in the cast.
LAHEE, Henry, born at Chelsea in April,
1826, held the post of organist at Holy Trinity
Church, Brompton, from 1847 to 1874, and
is well known also as a professor and composer.
His music is thoroughly English in character,
and is influenced by the traditions of our old
part-song writers. Mr. Lahee has been the
victor in various piize competitions for glees and
madrigals ; in 1869 with 'Hark, how the birds'
(Bristol); in 1878, with * Hence, loathed
Melancholy' (Manchester); in 1879, with
*Away to the hunt' (Glasgow); and in 1880
and 1884, with ' Love in my bosom' and • Ah !
woe is me ' (London Madrigal Society). Equally
good work can be seen in his other choral songs,
such as 'The Unfaithful Shepherdess,' 'Love
me little, love me long,' and the popular ' Bells,'
and in his anthems no less than in his various
songs and instrumental pieces.
Good taste is shown by this composer in the
choice of his words, and he has found Longfellow
congenial with his musical style. The cantata
' The Building of the Ship' was written in 1869
for the late Rev. John Curwen, who desired a
work of moderate diflBculty for the use of Tonic-
Sol-faists. It was performed on a large scale in
the Hanover Square Rooms, has since attained
considerable popularity in the provinces, and
has even made its way to Africa and America.
The subject of another cantata, Tennyson's
'The Sleeping Beauty,' afforded Mr. Lahee
scope for a greater variety of treatment, and
contains some graceful writing for female voices.
It has been heard on the continent and in
America. [L.M.M.]
LAHOUSSAYE, Pierbb. See vol. iv. p. 293 a.
LALANDE, Henbiette Clementine Merio.
Add that she died in Paris, Sept. 7, 1867.
LALANDE, Michel Richard de, Surinten-
dant de la Musique under Louis XIV. and XV.,
the cleverest composer of church music of his
day, was bom in Paris, Dec. 15, 1657, and died
in the same city, June 18, 1726, having spent 45
years in the service of the court. He was the
fifteenth child of a tailor, and was at first a cho-
rister of St. Germain I'Auxerrois, where he stu-
died music under Chaperon, and learnt, almost
entirely by himself, to play the violin, bass viol,
and harpsichord. When, on the breaking of his
voice at the age of 15, he was obliged to leave
the maltrise, he bethought himself of turning
his violin-playing to account, and applied for
admission into Lulli's orchestra. He was re-
fused, and swore out of pique never to touch the
violin again. He gave himself up to the organ,
and made such progress that he was soon ap-
pointed organist in four different churches in
Paris — St. Gervais, St. Jean, Petit St. Antoine,
and at the church of the Jesuits, who confided to
him the composition of symphonies and choruses
for several of the tragedies performed at their
college. He soon afterwards applied for the
post of organist to the King, but though LuUi
pronounced him to be the best of the competitors,
he was refused on account of his youth. He
was recommended by the Mai'^chal de No-
ailles, to whose daughters he taught music, to
Louis XIV., and the King chose him to super-
intend the musical education of the princesses,
afterwards the Duchesse d'Orleans and Madame
la Duchesse. Lalande was so successful in this
capacity that the King appointed him master of
his chamber music; and in 1683, ^^ the retire-
ment of Dumont and Robert from the superin-
tendence of the chapelle, he obtained one of the
appointments, for it was decided to appoint four
oflficers to serve for three months by turns.
Eventually the offices were united in the person
of Lalande, who had now received several pensions
and the cordon of the order of St. Michel. In
1684 the King had given him a wife, Anne Rebel,
said to be the best singer of the court, had paid
the expenses of the wedding, and given a dowry
to the bride. In 1722, having lost his wife, and
two gifted daughters, who died of smallpox in the
same year as the Dauphin ( 1 7 ii ), Lalande begged
the King to allow him to remit three-quarters
of his salary, thus returning to the original ar-
rangement. He presented as his substitutes and
assistants Campra, Bernier, and Gervais. As a
reward for his disinterested conduct the Regent
granted him a pension of 3000 livres. In the
following year he married again. Mile, de Cury,
daughter of one of the Princesse de Conti's sur-
geons, and died three years later at the age of
68. Lalande, though infinitely superior to the
LALANDE.
composers of church music of his time — Gou-
pillet, Minoret, etc. — cannot of course be com-
pared to Handel and Bach, who were almost his
contemporaries. The cause of his superiority
over his immediate rivals was that he knew how
to adapt to French tastes the forms of concerted
church music hitherto confined to the ItaUan
school, and his compositions, besides possessing
real imagination, show that, like the musicians of
LuUi's school, he gave special attention to de-
clamation and to the proper agreement between
words and music. He wrote no less than 60
motets for chorus and orchestra for the chapel at
Versailles, which were published most luxuri-
ously at the King's expense. They are contained
in 20 books, and are usually found bound in 10
volumes. He did not contribute so much as
is generally supposed to the the ballet of * Les
]&lements,' by Destouches (Tuileries, Dec. 31,
1721; Academic de Musique, May 29, 1725),
his portion being confined to a few pieces in
the prologue. He wrote music for the heroic
pastoral * Mdlicerte, ' begun by Molifere and
altered by Gudrin. He composed various works
for the court theatres :— the * Ballet de la
Jeunesse' (Versailles, 1686), 'L' Amour flechi
par la Constance' (Fontainebleau, 1697), *Les
Folies de Cardenio ' (Tuileries, 1720). F^tis is of
opinion that Lalande worked at several operas
without allowing anythingto be represented under
his own name, and gives as his authority Titon
du Tillet, to whom we owe the biographical de-
tails of Lalande ; but du Tillet does not mention
it in his article on Lalande in the ' Parnasse
Franjais.* [A.J.]
LALLA ROOKH. P. 86 a, add 2. ' Lalla
Rukh,' a dramatic piece by Spontini, produced
Jan. 27, 1 82 1, at the Royal Palace, Berlin. [See
vol. iii. p. 673.] Change 2, 3, 4, 5, to 3, 4, 5, 6.
Add 7. ' Paradise and tlie Peri,' Cantata, John
F. Barnett, Birmingham, 1870. For other musical
compositions based on the poem see Clay, vol. i.
369 h ; Pabadise and the Peki, vol. ii. 648 6 ;
and Stanford, vol. iii. 689.
LALO, Edouard Victor Antoine, bom at
Lille, Jan. 27, 1823,^ studied the violin at the
Conservatoire of that town under an excellent
German professor named Baumann. When he
came to Paris he played the viola in the Armin-
gaud-Jacquard quartet, and began to compose
with activity. He competed at the concours at
the Th^&tre Lyrique in 1867 with an opera,
'Fiesque,' which took a third place, and has
since been printed and partly performed at
the Concert National, 1873. The ballet music
from this work, under the title of a Divertisse-
ment, was given with great success at the Con-
cert Populaire, Dec. 8, 1872. Lalo next com-
posed a violin concerto in F, played by Sarasate
at the Concert National, Jan. 18, 1874, and a
Symphonic Espagnole, for violin and orchestra,
played by the same artist at the Concert Popu-
laire, Feb. 7, 1875. It was produced in England
at the Crystal Palace, March 30, 1878. After
I Date yerifled by the register of birth.
LAMBETH.
696
these two great successes, which gave Lalo a
first-class position as a composer for the con-
cert-room, he produced an Allegro Symphon-
ique, the overture to his opera, 'Lo Roi d'Ys,*
a violoncello concerto, played by Fischer, a
scherzo for orchestra (all performed in Paris),
a Serenade and a Fantaisie Norv^gienne for
violin and orchestra, first given in Berlin.
His * Rhapsodie Norvdgienne ' and his ' Con-
certo Russe,' played by Marsick, were the last
important works for the concert-room written
before his grand ballet, * Namouna,' performed
at the Opera, March 6, 1882. This work has
something of a symphonic style, and is orches-
trated in a manner far superior to that of many
more popular ballets, but it was coldly received
by the public. 'Namouna' was only given 15
times, but when transferred to the concert-room
in the form of a grand Orchestral Suite in five
movements, it achieved the success it deserved.
An andantino, and two other movements from the
same, arranged for violin and orchestra, were also
received with favour at the Concerts Modernes,
and a serenade, arranged for four stringed instru-
ments, was also successful. After this repara-
tion for his former failure, Lalo again set to
work and orchestrated the whole of his * Roi
d'Ys,' of which the general plan had been
sketched some five or six years before, and wrote
a Symphony in G minor, performed at the Con-
cert Lamoureux, Feb. 13, 1887, which was much
praised by musicians. The opera was produced
at the Opdra Comique, May 7, 1888, with
well deserved success. Thus far we have only
spoken of Lalo's orchestral compositions. An
allegro for piano and violoncello, a sonata for
the same, a serenade and chanson villageoise
for violin and piano, a sonata in three move-
ments for the same, a trio in A minor for piano
and strings (given at Halle's recital, June 15,
1888), a string quartet in Eb, a 'Fantaisie
Ballet ' for violin and orchestra (unpublished),
and more than 20 songs, complete the list of
works by one who has gained a reputation both
in Germany and France, though his dramatic
work has received but tardy recognition. His
talent is of an extremely individual kind, and
has been formed, not by the discipline of the
Conservatoire, nor by the influence of professors,
but by the direct study of such masters as
Beethoven, Schubert, and Schumann, for whom
he has a special predilection. His chief charac-
teristics are the expressive grace of certain ideas,
the piquancy of some of his themes, and, above
all, the richness and skill of his orchestration.
Lalo is one of the most distinguished of French
composers, and has fully deserved the decoration
of the Legion d'Honneur conferred upon him in
July 1880. (Died Apr. 23, 1892.) [A.J.]
LAMBERT, G. J. Correct date of birth to Nov.
16, 1794, and add date of death, Jan. 24, 1880.
LAMBETH, Henry Albert, bom at Hard-
way, near Gosport, Jan. 16, 1822, studied for
some time under Thomas Adams, came to Glas-
gow about 1853 as city organist, on the recom-
Zz a
696
LAMBETH.
mendation of Henry Smart, and in 1859 ^^^
appointed conductor of the Glasgow Choral
Union. This post he held till 1880. About
1872 he formed a choir of from twenty to thirty
selected voices, and in the department of Scotch
music their concerts met with a very creditable
degree of success. Mr. Lambeth has harmonized
several of the best Scottish melodies in a most
eflfective manner. He is the composer of several
songs and pianoforte pieces, also of settings of
Psalms 86 and 137, both of which were per-
formed by the Glasgow Choral Union. He has
acted fvs organist and choirmaster in Park (Es-
tablished) Church since about 1870. [W.He,]
LAMOUREUX, Charles, bom at Bordeaux,
Sept. 21, 1834, began his violin studies under
Beaudoin, and was then sent to the Paris Con-
servatoire, where he was in Girard's class. He
obtained in 1852 a second accessit for the violin,
the second prize in the following year, and the
first in 1854. He also studied harmony under
Tolbecque, and attended the counterpoint course
of Leborne at the Conservatoire, where he
finished his theoretical studies under the famous
organist Alexis Chauvet. He was solo violinist
in the Gymnase orchestra (1850), and afterwards
joined that of the Op^ra, where he played for
many years. He was admitted a member of the
Soci6t6 des Concerts du Conservatoire, and, like
all the members of these orchestras, gave private
lessons. But these insignificant posts were not
sufficient for the activity of Lamoureux, who
dreamt of great undertakings in the musical art
of France. Together with Colonne, Adam, and
A. Pilet, he founded in i860 a society for
chamber music of a severe character, in which
he showed a taste for new works by pro-
ducing compositions hitherto unnoticed. He had
also the honour of first performing in France
Brahms's sextets. He was not content with
this, for having travelled in Germany and Eng-
land, he was anxious to organize performances
on a large scale, such as he had heard under
Hiller and Costa, of the masterpieces of Handel,
Bach, and Mendelssohn. After several pre-
liminary trials at the Salle Pleyel, where he per-
formed among other things the * Streit zwischen
Phobus und Pan' of Bach, he succeeded by his
own energy and resources in founding the * Soci^t^
de I'Harmonie sacrde ' on the model of the Sacred
Harmonic Society of London. The first festival
was given at the Cirque des Champs Elysdes,
Dec. 19, 1873. The success of an admirable
performance of *The Messiah* was such that
amateurs came in crowds to the following per-
formances. Lamoureux then produced Bach's
Matthew Passion, March 31, 1874, and * Judas
Maccabaeus,' Nov. 19, 1874. Not content with
confining himself to well-known n)asterpieces,
he produced Massenet's ' Eve,' then unpublished,
March iS, 1875. These great performances
showed that Lamoureux was a conductor of great
merit, who succeeded in obtaining from his or-
chestra a matchless precision of attack and regard
to expression. When Carvalho became director of
the Op^ra Comique in 1876, he offered Lamoureux
LANG.
the post of conductor, but in less than a year the
latter resigned, owing to some difficulties arising
out of the rehearsal of Chaumet's ' Bathyle
in May, 1877. In December of the same year
Lamoureux was appointed conductor of the
Op^ra by Vaucorbeil, and gave up the sub-
conductorship of the Concerts du Conservatoire,
which he had held since 1872. In 1878 he was
decorated with the Legion d'Honneur, and in
the following year he resigned his post at the
Opera on account of a dispute with Vaucorbeil
as to the tempo of one of the movements in
* Don Juan.' From that time he determined to
be self-dependent, and after having carefully
prepared the undertaking, he founded on Oct.
23, 1 88 1, the Nouveaux Concerts, called the
Concerts Lamoureux, which were held for some
years in the theatre of the Chateau d'Eau, and
afterwards at the Eden Theatre (1885) and the
Cirque des Champs Elys^es (1887), where their
success is constantly on the increase. Not only
has Lamoureux developed as a conductor a pre-
cision and firmness, a care for the perfection of
the smallest details, without excluding passion
and warmth of expression ; he has also given a
welcome to the works of French composers of
the new school, such as Reyer, Lalo, d'Indy, and
Chabrier, and has succeeded in placing himself at
the head of the Wagnerian movement in France.
He gave excellent renderings of selections from
Wagner's operas to a public that had been too
long deprived of these fine compositions. The
first Act of * Lohengrin,' Acts i and 2 of * Tris-
tan,' and Act i of ' Die Walkure ' have been
given in their entirety, and excerpts from the
other works have been heard. Encouraged by
the warmth of the applause and the moral sup-
port of his audience, Lamoureux decided to give
a performance in a Paris theatre of * Lohengrin,*
a work unknown in France, less by reason of
patriotic susceptibilities than of commercial in-
trigues. A fter a whole year of preparation a per-
fect performance was given at the Eden Th^litre
(May 3, 1887), which was not repeated. It is
true that it took place at a time of unfortunate
political relations ; but if Lamoureux had to give
in, it was because he received no support from
the ministry with which he believed himself to
be in perfect agreement. Those who protested
against Wagner used the word patriotism as a
pretext. The violent manifestations were, how-
ever, directed by unseen agents, and governed
by far meaner motives, among which the love of
money was supreme. [A.J.]
L AMPERTI, F. Add day of birth. March 1 1 .
* LANG, Benjamin Johnson, a well-known
pianist, organist, teacher, and conductor at Bos-
ton, U.S., was born at Salem, Massachusetts, in
1840. His father was his first teacher, and
Lang's advancement was so rapid that when but
1 1 years of age he was appointed organist at a
church in his native city. Among his teachers
were Alfred Jaell and Gustav Satter. Lang
became a resident of Boston while a young man,
and his home has ever since been in that city.
He has been organist to the Handel and Haydn
• Copyright 1889 by F. H. JENK3.
LANG.
Society since 1859, with the exception of a season
when he was abroad, he has conducted the Apollo
and Cecilia Clubs since their formation, and he
was organist at the South Congregational Church
(Unitarian) for many j^ears until Jan. 1888, when
be was appointed organist at the King's Chapel.
His pupils on the pianoforte and organ have been
many, and several of them have become distin-
guished as teachers and players. Lang has brought
out for the first time in Boston many cantatas, etc.,
as Mendelssohn's * Walpurgisnacht,' 'Loreley,'
and * Hymn of Praise,' Haydn's * Seasons,' Schu-
mann's * Paradise and the Peri,' and Berlioz's
* Faust.' The concerts were his own ventures,
as were also several series of orchestral and
chamber-music concerts given by him, at which
important novelties were presented. The same
earnestness to make his hearers acquainted with
unfamiliar works, in old as well as new schools,
has also been exhibited on his appearances as a
pianist or organist in concerts. Lang was an
influential member of the concert committee of
the Harvard Musical Association so long as
that organization gave symphony concerts. His
compositions are not many. The best known
are songs for single voices and part-songs,
performed at concerts of the Apollo Club. None
have been published. Lang has on several occa-
sions played in Germany, generally at concerts
on his own account. [F.H.J.]
LANG, Josephine. P. 90a, 1. 9, add She died,
as Frau Kostlin, at Tiibingen, in Dec. 1880.
LANGE. P. 90 a, correct statement as to
Mozart having written certain songs for Aloysia
Weber by a reference to vol. iv. p. 429 h.
LANIERE, Nicholas. Recent investiga-
tions have brought to light several important
facts concerning this musician and his family,
which was of English, not Italian, origin. The
two following entries from the registers of Holy
Trinity, Minories, establish the approximate
date of his birth, and the fact that his father
and maternal grandfather were court musicians :
— * 1585. Oct. 12. John Lannyer of East Green-
wich, Musician to the Queen's Maj*>®, & Frances
Galliardello, dau"". of the late dec^. Mr. Mark
Anthony Galliardello, also an ancient Musician
to sundrie Most Noble Princes as King Henry
the 8, Edward the 6, Queen Mary, and now to
our Noble Queen Eliz : — were married.' ' 1588.
Sept. 10. Nicholas son of John Lannyer Musi-
cian to Her Majesty, bapt.' In the Visitation
of Kent, 1663, his name, spelt Lanier, with
those of several of his descendants, appears as
* of Greenwich,' and in the Greenwich registers,
under date Feb. 24, 1665-6, the entry is found :
' Mr. Nicholas Laniere buried away ' (i. e. else-
where). (Information from A. S. Gatty, Esq.,
York Herald.)
LANZETTI, Salvatore. See vol. iv. p. 299 h.
LARGO. Line 13 of article, after expression
read Mendelssohn uses the term for broad in the
andante of his Quartet in Eb, op. 12.
LASSALLE, Jean, was taught singing at the
Paris Conservatoire. He made his d^but at
LAUDA SION.
697
Brussels as De Nevers, Sept. 5, 1871, and during
the season also played Ashton (* Lucia'), Nelusko,
Telramund, Count of Moravia in Julius Beer's
* Elizabeth of Hungary,' etc. He made a suc-
cessful ddbut at the French Opera as Tell, June 7,
1872. With the exception of visits to London,
Vienna, etc., M. Lassalle has been engaged there
ever since, where he is now the principal baritone
singer. His parts include Don Juan, played by
him at the centenary performance Oct. 26, 1887,
Pietro (' Masaniello '), Lusignan (* Reine de
Chypre '), Rigoletto, Hamlet, and in new operas
Vasile (Membr^e's 'Esclave'), July 17, 1874;
Scindia (*Roi de Lahore*), April 27, 1877; S^vfere
(' Polyeucte '), Oct. 7, 1878; Ben Said ('Tribut
de Zamora' ), April i, 1881 ; Lanciotto Malatesta
(*Fran9oise de Rimini'), April 14, 1882 ; Henry
VIII., March 5, 18S3; Gunther (' Sigurd'), June
12, 1885 ; De Rysoor ('Patrie'), Dec. 20, 1886.
On leave of absence he played at the Lyrique
as the Count de Lusace in Jonciferes' * Dimitri,'
May 5, 1876. He made his ddbut in Italian at
Covent Garden as Nelusko, June 14, 1879, on the
occasion of Patti's first performance of Selika. He
played there for three seasons with the greatest
success. His other parts new to the Italian stage
were Scindia (*Roi de Lahore'), June 28, 1879,
and the Demon in Rubinstein's opera, June 21,
1881. He visited England again in 1888, ap-
pearing at Covent Garden in several of his best
parts. [A.C.]
LASSEN, Eduakd. Add that he still leads
an active life at Weimar, as Hofcapellmeister at
the Opera, where his influence tends to the en-
couragement of modern musicians ; as composer ;
and also occasionally as a pianist at the Chamber
Music Concerts. His popularity is evident from
the warm demonstrations accorded to him by
the public when in 1883 he celebrated the 25th
year of his service at Weimar, and again, in
1885, on his return to the conductor's desk after
a serious illness. The degree of Ph.D. has been
conferred upon Lassen by the University of Jena,
and the King of the Belgians decorated him
(1881) with the Order of Leopold.
Lassen's * Faust ' still keeps the stage, and he
has lately contributed the music to Devrient's
version of Calderon's * Circe ' — ' Ueber alien
Zaubern Liebe,' op. 73; and to Goethe's 'Pan-
dora,' op. 86, produced at Weimar in 1886. His
second symphony in C, op. 78, was preceded and
followed by a host of songs, including 'Aus der
Friihlingszeit,' op. 82, and several sets of 6 up to
op. 85. A Violin Concerto is the latest work
from Lassen's pen. [L.M.M.]
LASSUS. P. 98 a, 1. 21 from bottom, /on 871
read 1571. P 100 a, last line, after August add
1576. P. 1006, 1. 2, for 13 read 10. Line 2 of
third paragraph in same column, /or 1598 read
1589-
LATROBE. Correct date of birth of Rev.
J. A. Latrobe to 1 799.
LAUDA SION. Line 6 of article, /or 1261
read 1264. P. 104 a, 1. 14, for Prose read Sb-
quentia.
698 LAURENT DE RILLfi.
LAURENT DE RILLlfc, FBAN901S Ana-
rOLE, the composer of an enormous number of
part-songs and other small choral works, born at
Orleans in 1828. He was at first intended to be
a painter, but altered his purpose and studied
music under an Italian named Comoghio, and
subsequently under Elwart. His compositions,
of which a Hst of the most important is given in
the supplement to F^tis, have enjoyed a last-
ing popularity with * orph^oniste ' societies, and
although they contain few if any characteristics
which would recommend them to the attention
of earnest musicians, they have that kind of
vigorous efiectiveness which is exactly suited to
their purpose. A large number of operettas of
very slight construction have from time to time
been produced in Paris, and the composer has
made various more or less successful essays in
the department of church music. [M.]
LAWROWSKA, Mlle. See Zeretelew,
Princess, vol. iv. p. 506 a.
LAZARUS, Henry. Add date of birth, 181 5.
(Died March, 1895.)
LEACH, James. Line i of article, for Roch-
dale, Yorkshire, read Wardle, near Rochdale,
Lancashire; and for last sentence read Leach
died from a stage coach accident, Feb. 8, 1798.
LfiCLAIR, J. M. Line 4 of article, for
Lyons in 1697 read Paris, Nov, 23, 1687.
LECOCQ. Line i of article, /or Charles read
Alexandre Charles. (Corrected in late editions).
P. Ilia, 1. 4, add that ' Les Ondines au Cham-
pagne' was produced at the Folly Theatre,
London, in Sept. 1877. Line 6, add that ' Fleur
de Th^ ' was given by the Varietes company at
the Lyceum, on June 12, 187 1, and in English
at the Criterion, Oct. 9, 1875. Line 10, add that
* Le Rajah de Mysore ' was given in English at
the Park Theatre, Feb. 15, 1875. Line 11, add
that * Le beau Dunois' was given at the
Lyceum by the French company. May 25, 1871.
Line 15, add that versions of *Les cent Vierges'
were given at the Britannia Theatre, May 25,
1874, ^^^ ** *^® Gaiety, Sept. 14 of the same
year. Line 16, add that * La Fille de Mme.
Angot ' was produced in another English version,
at the Gaiety, Nov. 10, 1873. The date of the
original production of this work is Dec. 4, 1872.
This, the * Cent Vierges,' and * Girofl^-Girofla '
were all produced first in Brussels, where the
composer resided from 1870 to 1873. Line 20,
add that *La petite Marine' was given in French
at the Opera Comique, London, May 7, 1876,
and (line below) that * La Marjolaine ' was pro-
duced at the Royalty in English, Oct. ii, 1877.
A version of * Le petit Due ' was given at the
Philharmonic Theatre on April 27, 1878. *La
petite Mademoiselle' was produced at the Alham-
bra, Oct. 6, 1879. "^^^ following works, written
since the publication of the article in vol. ii., are to
be added : — * La jolie Persane,* 1879 ; * Le Grand
Casimir,' 1879 i^^ English at the Gaiety^ Sept. 27
of that year) ; * Le Jour et la Nuit,' 1881 (in
English at the Strand, as * Manola,' Feb. 11, i
1882) ; * Le Cceur et la Main,' 1882 ; * La Prin- 1
LEIDESDORF.
cesse aux Canaries,' 188.^ (in English as * Pepita*,
Liverpool. Dec. 30, 1886, and at Toole's Theatre,
London, Aug. 30, 1888). A recent attempt at a
higher class of music, ' Plutus,' produced at the
Op^ra Comique, Paris, March 31, 1886, failed
and was withdrawn after eight representations,
but another essay in the same direction, ' Ali
Baba,' produced at the Alhatnbra, Brussels,
Nov. II, 1887, was more successful. [A.C.]
LEE, George Alexander, Line 1 2 of article,
add that he became conductor of the Haymarket
in 1827. His secession from the lesseeship of the
Tottenham Street Theatre was on account of the
heavy penalties incurred by the management
through their infringement of the * patent thea-
tres' ' rights. Line 3 from end of article, correct
date of Mrs, Lee's death to April 26, 1851. [A,C.]
LEEDS MUSICAL FESTIVAL. Add that
from 1880 till the present time the festivals have
been conducted by Sir Arthur Sullivan, whose
* Martyr of Antioch ' was, together with Bar-
nett's * Building of the Ship,' the chief attraction
of that year's festival (Oct. 13-17). In 1883
(Oct. 10-13) the novelties were Raft''8 * End of the
World,' Macfarren's ' David,' Cellier's * Gray's
Elegy,' and Barnby's *The Lord is King.' In
1886 (Oct. 13-17), Dvorak's * St. Ludmila,' SuUi-
van's * Golden Legend,' Stanford's * Revenge,*
and Mackenzie's ' Story of Sayid ' were the new
works, and a splendid performance was given of
Bach's B minor Mass. [M.]
LEGRENZI, Giovanni. P. 113 J, last line
but one, /or in July read May 26.
LEHMANN, Lilli, born 1848 at Wurzburg,
was taught singing by her mother, Marie Leh-
mann (born 1807), fonnerly a harp-player and
prima donna at Cassel under Spohr, and the
original heroine of some of the operas of that
master. The daughter made her d^but at
Prague as the First Boy (* Zauberflote'), and
was engaged successively at Dantzig in 1868
and at Leipzig in 1870. She made her d«^but
at Berlin as Vielka (Meyerbeer's * Feldlager in
Schlesien'), Aug. 19, 1870, with such success
that she was engaged there as a light soprano.
She obtained a life engagement there in 1876,
and was appointed Imperial chamber singer. The
same year she played Woglinde and Helmwige,
and sang the * Bird ' music in Wagner's trilogy
at Bayreuth. She made a successful ddbut at
Her Majesty's as Violetta June 3, as Philine
('Mignon') June 15, 1880, and sang there for
two seasons. She appeared at Covent Garden in
German with great success as Isolde, July 2, 1 884.
In passing through England to America, where
she has been engaged for the winter in German
opera for the last three seasons, she gave a concert
with Franz Rummel at the Steinway Hall Oct. 22,
1 885 . She reappeared at Her Majesty's as Fiilelio
in Italian June 1887. [A.C.]
LEIDESDORF, Max Josef. Correct date
of death to 1840. In reference at end of article
add vol. i., and also that he was one of Schubert's
early publishers. (Corrected in late editions.)
LEIPZIG.
LEIPZIG. In the list of cantors given on
p. 115, omit the name of Joh. RosenmuUer, and
between those of Weinlig and Hauptmann,
insert that of Christoph August Pohlenz, who
held the post only from March to September
1842. At end of list add the name of Wilhelm
Rust, who has been Cantor since 1879. Other
additions to the article will be found under
TflOMASSCHULE, Vol. iv. p. 1 98.
LEITMOTIF. Among other instances of
the use of what is practically a * leading motive '
apart from the advanced school of composers,
should be mentioned * La Clochette' of Herold, in
which the melody * Me voil^ ' allotted to Lucifer,
appears at every entrance of the character. See
Rev. et Gazette Mua., for 1880, p. 227.
LEMMENS, N. J. Add date of death, Jan.
30, 1881. The work referred to on p. 120 a, 1.
1 8 from bottom, was edited by J. Duclos, after
the author's death, and published at Ghent in
1 886. Four volumes of * (Euvres inedites ' have
lately been published by Breitkopf & Hartel.
P. 120 a, last line, correct date of Mme. Sher-
rington's first appearance on the English stage
to i860, and that of her d^but on the Italian
stage to 1866.
LENEPVEU, Charles Ferdinand, born at
Rouen, Oct. 4, 1840. After finishing his classical
studies at his native place, he came to Paris by
his father's desire to study law, and at the same
time he learnt solfeggio from Savard, a professor
at the Conservatoire. His first essay as a com-
poser was a cantata composed for the centenary
of the Socidtd d' Agriculture et de Commerce of
Caen, which was crowned and performed July
29, 1862. After this success he resolved to fol-
low the musical profession, and through the
intervention of Savard he entered the Conserva-
toire and joined Ambroise Thomas's class. He
carried off the Prix de Rome in 1865 as the first
competitor, and his cantata, ' Renaud dans les
jardins d'Armide,' was performed at the opening
of the restored Salle du Conservatoire, Jan. 3,
1866. It was thought at the time that this
work showed promise of a great future, but
opinions have since undergone modification, for
Lenepveu has never risen above the crowd of
estimable musicians. When he was at Rome he
took part in the competition instituted by the
Minister of Fine Arts in 1867, and his score of
* Le Florentin,' written on a poem by St. Georges,
was accepted from among 62 compositions, with-
out hesitation on the part of the judges, or
murmurs on the part of th«> rival competitors.
The prize work was to have been given at the
Op^ra Comique, but political events and the w^ar
delayed the fulfilment of the promise, and Lenep-
veu, instead of composing for the Concerts Popu-
laires, which were always ready to receive new
works, made the mistake of holding aloof, resting
on his laurels, while his companions, Massenet,
Dubois, Guiraud, Bizet, etc., all of whom were
waiting for admittance into the theatres, devoted
themselves to symplionic music, and thereby ac-
quired skill in orchestration, as well as the recog-
LfiONARD.
699
nition of the public. Lenepveu, who on his return
from Rome had resumed his contrapuntal studies
with the celebrated organist Chauvet (born June
7, 1837, <ii6d JftD" 28, 1871), while waiting for
the production of * Le Florentin,' brought forward
nothing except a funeral march for Henri Re-
gnault, played under Pasdeloup, Jan. 21, 1872.
In the preceding year he had produced a Re-
quiem at Bordeaux for the benefit of the widows
and orphans of those killed in the war. May 20,
1871 ; fragments of these works given at the
Concerts du Conservatoire, March 29, 1872, and
at the Concerts Populaires, April 11, 1873,
showed an unfortunate tendency in the composer
to obtain as much noise as possible. At length,
after long delays and repeated applications,
* Le Florentin ' was given at the Opera Comique,
Feb. 26, 1874, and was wholly unsuccessful.
Since then Lenepveu has never been able to get
any work represented in France. Having com-
pleted a grand opera, ' Vell(^da ' (on the subject
of Chateaubriand's * Martyrs '), he determined
to produce it in London, where it was performed
in Italian, with Mme. Patti in the principal
part (Co vent Garden, July 4, 1882). The only
portion of the work known in Paris is the scene
of the conspiracy, which has been heard at va-
rious concerts. Besides a number of songs and
pieces for the piano, Lenepveu has only pro-
duced one important work, a 'drame lyrique,'
'Jeanne d'Arc,' performed in the Cathedral at
Rouen (June i, 1886). His music, which is natur-
ally noisy, is also wanting in originality, and his
style is influenced by composers of the most op-
posite schools. He cannot be too much blamed
for having avoided concerts in the attempt to
prove that a man of his temperament ought at
once to succeed on the stage. The artist is now
entirely sunk in the professor. Since Nov. 1 8S0 he
has taken a harmony class for women at the
Conservatoire in the place of Guii'aud, now pro-
fessor of advanced composition. In this capa-
city Lenepveu was decorated with the Legion
d'Honneur on Aug. 4, 1887. [A.J.]
LENZ, Wilhelm von. Add date of death,
Feb. 1883.
L]feONARD, Hubert, famous violinist, born
in 18 1 9 at Bellaire in Belgium, entered the Paris
Conservatoire in 1 836, and studied under Hube-
neck. He established his reputation as a bril-
liant player by a tour through Germany in
1844, and was the first to play Mendelssohn's
Violin Concerto in Berlin, under the immediate
direction of the composer. In 1847 he succeeded
de Bdriot as first professor of the violin at the
Brussels Conservatoire. Since 1870 he has lived
in Paris. He is an eminently successful teacher,
and counts among his pupils many of the best
modern Belgian, German, and French violinists.
Leonard is a brilliant virtuoso, excelling es-
pecially in arpeggios and staccatos.
Madame Leonard, one of the Garcia family,
gained much distinction in concert singing,
and is now a successful teacher of singing in
Paris.
700
LEONORA.
LEONORA. Mr. Nottebohm's researches in
the sketch-books have made it clear that for the
revival of the opera in 1814, Beethoven's first
intention was to recast the Prague Overture
No. 3 (op. 138), changing the key to E. Of
this various drafts exist, and some are given in
* Beethoveniana,' p. 74. Had this intention been
carried out the overture would have borne the
same relation to op. 138 that 'Leonora No. 3 '
does to 'Leonora No. 2,' and we might then
have possessed five overtures to the opera ! [G.]
LEONORE PROHASKA. The four pieces,
as given in the article, have been published by
Breitkopfs in the supplemental volume to their
comf)lete edition of Beethoven. The march from
op. 26 is transposed into B minor, and scored for
Flutes, Clarinets in A, Bassoons, 2 Horns in D
and 2 in E, Drums, Violins 1 and 2, Viola, Cello
and Bass. [G.]
LESCHETITZKY,Theodob. At endof article
add that in 1880 he married his pupil, Mme.
Essipoff. Also that an opera by him, ' Die erste
Falte ' was given at Prague in 1867.
LESLIE,- Henry David. Add that in 1880
his choir was broken up; it was subsequently
reorganized under Signor Randegger, and in
1 885-1887 Mr. Leslie resumed its management.
P. 123 J, 1. 18, for 1853 read 1854. (Died Feb.
4, 1896.)
LESUEUR, J. F. Correct date of birth to
Feb. 15, 1760.
LEVASSEUR, Nicholas Prosper, was born
March 9, 1791, at Bresles, Oise, the son of a
labourer. He entered the Paris Conservatoire
in 1807, and became a member of Garat's singing
class Feb. 5, 1811. He made his debuts at the
Acad^mie as Osman Pacha (Gr^try's 'Cara-
vane') Oct. 5, 1813, and as (Edipus (Sacchini's
'CEdipe a Colonos') Oct. 15, and was engaged
there. According to F^tis he was successful
only as the Pacha ; the repertory was either too
high for his voice, or unfavourable to the Italian
method which he had acquired. He made his
d^ut at the King's Theatre in Simon Mayer's
* Adelasia ed Alderano,' Jan. 10, 1815, and played
there two seasons with success in * l4a Clemenzit
di Tito,' in ' Gli Orazi,' as Pluto (Winter's
* Ratto di Proserpina ') at Mme. Vestris's d^but
July 20, 18 15; in Paer's 'Griselda,' Farinelli's
'Rite d'Efeso,' Ferrari's 'Heroine di Raab,' and
Portogallo's ' Regina di Lidia.' He reappeared
there with some success in 1829, and again in
French as Bertram on production of * Robert,'
June II, 1832. He reappeared at the Acaddmie
about 1816, and remained there as an under-study,
but obtained much reputation in concerts with
his friend Ponchard. He made his d<^but at the
Italians as Figaro, Oct.5, 1 8 19, and remained there
until about 1827, where he sang in new operas,
Rossini's, Meyerbeer's 'Crociato,' and Vaccaj's
♦Romeo.' He sang at Milan on the production
of Meyerbeer's 'Margherita d'Anjou,' Nov. 14,
1820. He reappeared at the Academic as Moses
on the production of Rossini's opera there, March
26, 1827, a part which he had previously played |
LEWIS.
at the Italiens Oct. 20, 182a; returned there per-
manently the next year, and remained until his
retirement Oct. 29, 1853. He created the part
of Zacharie in the ' Prophfete ' at the request of
Meyerbeer, who admired his talent as much as
his noble character. He was appointed head of
a lyric class at the Conservatoire Jime 1, 1841,
and on his retirement in 1869 was appointed
a Chevalier of the Legion of Honour. He died
at Paris Dec. 5, 1871, having become blind
a short time before his death. *It was in the
production of " Robert " that Levasseur created
a class of characters ... in which he has had in-
numerable imitators, but not one single artist
with his peculiar physiognomy, his exceptionally
toned voice, his imposing presence and intel-
lectual grasp. His Bertram was a veritable crea-
tion. . . . Next to Bertram must rank his delinea-
tion of Marcel and Zachaiiah.' ^ [A.C.]
LEVERIDGE, Richard. Add that about
1708 he wrote new music for Act. ii. of Macbeth.
In the last sentence of article, for engraved por-
trait read mezzotint, and ^or Fryer read Frye.
LEVEY, William Charles, born April 25,
1837, a* Dublin, was taught music by his father,
Richard Michael Levey, leader of the Dublin
theatre orchestra. He afterwards studied at
Paris under Auber, Thalberg, and Prudent, and
was elected a member of the Soci^td des Auteurs
et Compositeurs. He was conductor at Drury
Lane from 1868 to 1874, ^-nd has held the same
post at Covent Garden, Adelphi, Princess's,
Avenue, and Grecian Theatres, etc. His com-
positions include two operettas, *Fanchette,'
Covent Garden, Jan. 2, 1864; 'Punchinello,'
Her Majesty's, Dec. 28, 1864 ; ' The Girls of the
Period,' musical burletta, libretto by Bumand,
March, 1869 ; incidental music to 'Antony and
Cleopatra,' 1873 ; music to the dramas ' King o'
Scots,' 'Amy Robsart,' 'Lady of the Lake,'
' Rebecca,* and 'Esmeralda,' and to several panto-
mimes ; * Robin Hood,' cantata for boys' voices ;
Saraband for piano on a motif written by Henry
VIII. ; several drawing-room pieces and many
songs, one of which, 'Esmeralda,' originally
sung by the late Miss Furtado at the Adelphi in
the drama of that name, and in the concert-room
by Mme. Bodda-Pyne, obtained considerable
l.upularity. [A.C.]
LEVI, Hermann, born Nov. 7, 1839, at Gies-
sen, studied with Vincenz Lachner from 1852 to
1855, and for three years from that time at the
Leipzig Conservatorium. His first engagement
as a conductor was at Saarbrticken in 1859; ^^
1 86 1 he became director of the German Opera at
Rotterdam, in 1864 Hof kapellmeister at Carls-
ruhe, and finally in 1872 was appointed to his
present post at the Court Theatre of Munich. He
attained to a prominent place among Wagnerian
conductors, and to him fell the honour of direct-
ing the first performance of Parsifal at Bayreuth,
on July 28, 1882. [M.]
LEWIS, Thomas C, originally an architect,
commenced business as an organ-builder in Lon-
> Athenwum, Deo. 16, 1871.
LEWIS.
don about the year 1861. He built the organs
of the Protestant and Catholic Cathedrals, New-
castle-on-Tyne, and in London those of St.
Peter's, Eaton Square, and Holy Trinity, Pad-
dington. But his largest work is the organ of
' St. Andrew's Hall, Glasgow. The firm is now
Lewis & Co., Limited. [V. de P.]
LICENZA. Used by Mozart for the first
movement of a vocal piece (no. 70), and last
movement of another ditto (no. 36). (B. & H.'s
List of new editions.) [G.]
LICHNOWSKY. P. 132 1, 1. 7 from end of
article, for Stammer read Stummer. (Corrected
in late editions.)
LIFE LET US CHEKISH. A favourite
i German song, commencing 'Freut euch des
Lebens,' the author of which is Martin Usteri of
Zurich ; first published in the ' Gottinger Musen-
almanach ' for 1 796 without the author's name.
I The music was written in 1793 by Hans Georg
I Nageli. It is used as subject for the elaborate
I variations which form the last movement of
' Woelfl's celebrated sonata called ' Non plus
i ultra.' [R.M.]
; LIMPUS, R. In reference at end of article,
|5 add in Appendix.
LINCKE, Joseph. In the musical example,
the sign '8- should be over the third bar of the
canon.
LINCOLN, Henby Cephas, born 1789 and
died 1864, was an organ-builder in London. He
built the organ in the Pavilion, Brighton, which
is now in Buckingham Palace. [V. de P.]
LIND, Jenny. P. 140 h, 1. 25, for she
obtained a hearing read she was to have appeared.
Line 16 from bottom, for Dec. 6 read Dec. 4.
P. 1416, after the cadences, add See a cadence
of hers in the Musical Union Record, 1849, p. 8.
Add that from Easter 1883 to Easter 1886 she
was professor of singing at the Royal College of
Music, and that she died at Wynd's Point, Mal-
vern, on No v. 2, 1887.
LINDBLAD, A. F. Line 7 of article, /or in
August read Aug. 23.
LINDPAINTNER, P. J. von. Add that in
1854 ^® conducted several of the New Philhar-
monic Concerts.
LINLEY, Francis. Add date of purchase
of Bland's business, 1 796 ; and for day of death,
read Sept. 15.
LINLEY, George, born 1798, wrote a large
number o£ songs, ballads, and other pieces, very
popular in their day. He also wrote and com-
posed music for an operetta, ' The Toymaker,' pro-
duced at Covent Garden, Nov. 20, 1861. He died
at Kensington, Sept. 10, 1865. [W.H.H.]
LINLEY, Thomas. The correct date of birth
is probably 1 732, since he was said at the time
of his death to be 63 years old.
LISZT, Feanz or Ferencz. P. 146 a, to his
appearances at the Philharmonic add June 14,
1841 (Hummel's Septet). Add the following
supplementary notice : —
LISZT.
701
The last concert given by Franz Liszt for his
own benefit was that atElisabethgrad towards the
end of 1847,^ since when his artistic activity was
exclusively devoted to the benefit of others. No
more striking evidence of the nobility of Liszt's
purpose and of the gracious manner in which he
fulfilled it could be wished for than that con-
tained in the recently published correspondence
between Liszt and Wagner.^ The two volumes
cover the Weimar period, but by no means re-
present the extent of the friendship between
these two great men, which was only interrupted
by death. Liszt's character as here revealed
calls for nothing less than reverence. His soli-
citude is so tender, so fatherly, so untainted
with selfishness, and, above all, so wise ! The
letters tell the story of a struggle and of a vic-
tory for his friend, but they are silent upon
the incidents of his own life. On being asked
one day the reason of his abstention from crea-
tive work, Liszt replied by another question,
* Can you not guess ? ' To Wagner himself, who
urged him to compose a German opera on his
(Wagner's) tragedy of 'Wieland der Schmidt,'
Liszt answered that he felt no vocation for such
a task ; he thought it more likely that he might
give his first dramatic work a trial in Paris or in
London. So he continued a life of self-abnega-
tion, and died faithful to the last to the claims of
friendship and of genius, many young composers
besides the titanic Wagner owing their first suc-
cesses in life to his generous sympathy and pene •
trating judgment. He made Weimar, during the
twelve years of his residence, the centre of musical
life in Germany. *I had dreamed for Weimar
a new Art period,' wrote Liszt in i860, * similar
to that of Karl August, in which AVagner and I
would have been the leaders as formerly Goethe
and Schiller, but unfavourable circumstances
brought these dreams to nothing.' Though Liszt
did not accomplish all he wished for "Weimar,
the little city still ranks high among German
art-centres, and in some degree carries on the
work of advancement so firmly established be-
tween the years 1844 and 1 861.
The resignation of the Weimar Kapellmeister-
ship in 1 86 1 was followed by what Liszt called
his vie trifarqude, divided between Budapest,
Weimar, and Rome. The Hungarian Govern-
ment, in order to ensure Liszt's presence in
Budapest during part of the year, invented for
him (1870) the post of president of an institution
which at the moment did not exist, but which
soon afterwards rose as the Academy of Music.
Impressive scenes occurred when the Magyars
publicly feted their compatriot,^ and hero-worship
was at its height on such occasions as the jubilee
of the master's career in 1873, when *Christus'
was performed at the Hungarian capital.
The aspect of Liszt's every-day life at Weimar
has become known through the accounts of some
of the host of aspiring pianists and music lovers
who gathered around him there. Liszt's teaching
1 Ramann's ' F. Liszt als KQnstler und Mensch,' vol. 11. Breitkopt
* Hfirtel.
2 • Briefwechsel zwischen Wagner und Liszt." Breltkopf ft Hfirtel.
> Janka Wohl's ' Frausois Liszt.'
702
LISZT.
had already borne fruit in the wonderful achieve-
ments of his most distinguished pupils — Von
Biilow, Geza Zichy, D' Albert, the lamented
Tausig, and others, and no wonder that the music
room which the generous artist had thrown open
to all comers was thronged by a number of more
or less gifted young people in search of inspira-
tion— no other word so well describes the ideal
character of the instruction they were privileged
to receive.
Liszt held his classes in the afternoon, during
which several of the pupils would play their
piece in the presence of the rest — some dozen or
more, perhaps — all being expected to attend the
stance. At times the master would seat himself
at the piano and play, but this supreme pleasure
could never be counted upon. It was noticeable
that this most unselfish of geniuses was never
more strict or more terrible than when a Bee-
thoven sonata was brought to him, whereas he
would listen to the execution of his own com-
positions with indulgent patience — a charac-
teristic trait. Yet Liszt's thoughts often dwelt
upon his great choral works, and he was heard
to declare that sacred music had become to him
the only thing worth living for.
A lively description of Liszt's professorial life
has been given by an American lady who visited
Weimar in 1873.^ Again, the unique qualities
of Liszt's genius and his regal position among all
sorts and conditions of men were recognized
as unimpaired ten years later by Mr. Francis
HuefFer,^ who had the opportunity of forming
a judgment upon these things when visiting
Bayreuth in 1884, thus affording another link
in the chain of historical criticism.
In Rome again Liszt found himself the
centre of an artistic circle of which Herr von Keu-
dell and Sgambati were the moving spirits. The
significance, however, of his residence in the
Eternal City lies rather in the view he took of
it as his annies de recueillemenf, which ulti-
mately led to his binding himself as closely as he
could to the Church of Rome. He who in his
youth, with the thirst for knowledge upon him,
had enjoyed the writings of freethinkers and
atheists (without being convinced by them), was
now content with his breviary and book of
hours; the impetuous artist who had felt the
fascination of St. Simonianism^ before he had
thoroughly understood its raison d'etre, who had
been carried away by the currents of the revolu-
tion, and had even in 1 841 joined the Freemasons,*
became in 1856 or 58 a tertiary of St. Francis
of Assisi. In 1879 he was permitted to receive
the tonsure and the four minor orders (door-
keeper, reader, exorcist, and acolyth), and an
honorary canonry. The Abb^ Liszt, who as a
boy had wished to enter the priesthood, but was
dissuaded therefrom by his parents and his confes-
sor, now rejoiced in the public avowal of his creed
1 'Huslc Study In Germany,' Amy Fay.
» In the Fortnightly Review for September 1886.
» * I neither officially nor unofficially belonged to the 8t. Slmo-
nians.' See Bamann, vol. i. Heine U inaccurate on this and
gome other points.
* At Frankfort-oii-the-Malne, during the period of his sojourn at
Konnenwertb with the Countess d'Agoult.
LISZT.
as conveyed by his priestly garb, although he
was indeed no priest, could neither say mass nor
hear a confession, and was at liberty to discard
his cassock, and even to marry if he chose, with-
out causing scandal. Thus, in the struggle with
the world which the youth of sixteen had so
much dreaded, his religious fervour was destined
to carry the day. Extracts from Liszt's private
papers throwing further light on his inmost
thoughts have been published,' but can be only
referred to in this place.
Liszt's former triumphs in England were des-
tined to be eclipsed by the enthusiasm of the
reception which awaited him when he was pre-
vailed upon to return in 1886. In 1824 George
IV. had given the sign to the aristocracy of
homage to the child-prodigy; and his visits in
the following year and in i8a7 were successful
enough. In 1840-41 ® the Queen's favour was
accorded to him, and he shared with Thalberg
a reputation as a skilful pianist in fashionable
circles. But it was not until 1886 that the vast
popularity which had hitherto been withheld
from him, owing to the conditions of musical
life in our country, was meted out to him in full
measure. 'There is no doubt,' says a musical
critic,'' ' that much of this enthusiasm proceeded
from genuine admiration of his music, mixed
with a feeling that that music, for a number of
years, had been shamefully neglected in this
country, and that now, at last, the time had
come to make amends to a great and famous
man, fortunately still living. It is equally cer-
tain that a great many people who were carried
away by the current of enthusiasm — including
the very cabmen in the streets, who gave three
cheers for the **Habby Liszt" — had never heard
a note of his music, or would have appreciated it
much if they had. The spell to which they sub-
mitted was a purely personal one ; it was the
same fascination which Liszt exercised over
almost every man and woman who came into
contact with him,'
Liszt paused awhile in Paris on his way, and
received much attention, his musical friends and
followers gathering to meet him at the concerts
of Colonne, Lamoureux, and Pasdeloup. At
length on April 3, the Abbd Liszt reached our
shores, and on the same evening three or four
hundred people met at Mr. Littleton's house
at Sydenham to do honour to the great artist,
and a programme consisting entirely of his com-
positions was gone through by Mr. Walter Bache
and others. The gracious and venerable ap-
pearance of the distinguished guest, and his
kindly interest in all that went forward, won the
hearts of those who witnessed the scene ; all
recognized the presence in their midst of a mar-
vellous personality such as is rarely met with.
On the following day Liszt played part of his
E b Concerto before a few friends. On the Mon-
day he attended the rehearsal of his oratorio
•St. Elisabeth' in St. James's Hall; and in the
s Allgemeine Musilc-Zeltung, May 13. 1887.
6 His project of conducting German opera in London in 1842 cam*
to nothing.
1 Fortnightly Beview, September 1886.
LISZT.
evening of the same day he astonished his host and
a circle of friends by an improvisation on some
of the themes. The 6th April was the date of
the concert, and when the composer walked into
the hall he received such ovations as had probably
never been oflFered to an artist in England before.
Even before he entered his arrival was announced
by the shouts of the crowd outside, who hailed
him as if he were a king returning to his king-
dom. During the afternoon Liszt had been en-
tertained at the Royal Academy of Music, where
the Liszt Scholarship, raised with so much zeal
by Mr. Walter Bache, was presented by him to
the master. A short programme was performed,
Messrs. Shakespeare and Mackenzie conducting,
and when Liszt rose from his seat and moved
towards the piano, the excitement of the students
and of the rest of the audience knew no bounds.
A visit to Windsor, where he played to Her
Majesty a reminiscence of the Rose Miracle
scene from * St. Elisabeth,' filled up most of the
following day (April 8), on the evening of which
Mr. Walter Bache's Grosvenor Gallery Recep-
tion took place. The brilliant scene of Saturday
was here repeated, with the very important addi-
tional feature of a solo from Liszt himself. [See
Bache, vol. iv. p. 529.] The events which fol-
lowed in the course of the great man's visit in-
cluded a performance of * St. Elisabeth' at the
Crystal Palace on the 17th. On the 22nd, a week
later than he intended, Liszt left England, pleased
with his reception, and promising to repeat his
visit. No wonder that his death was felt by
English people as the loss of a personal friend.
The last music he wrote was a bar or two of
Mackenzie's ' Troubadour,' upon which he had
intended to write a fantasia.
The remaining incidents in the life of Liszt may
only be briefly touched upon. Paris gave him a
performance of * St. Elisabeth ' at the Trocade'ro.
The master left Paris in May, and visited in turn
Antwerp, Jena, and Sondershausen. He attended
the summer festival here while suffering from
weakness and cold. * On m'a mis les bottes pour
le grand voyage,' he said, excusing himself to a
friend for remaining seated. His last appear-
ance upon a concert platform was on July 19,
when, accompanied by M. and Mme. Munk^csy,
he attended a concert of the Musical Society of
Luxemburg. At the end of the concert he was
prevailed upon to seat himself at the piano. He
played a fantasia, and a ' Soirde de Vienne.' It
need not be said that the audience, touched and
delighted by the unlooked-for favour, applauded
the master with frenzy. In the pages of Janka
Wohl's * Franfois Liszt * there is an account of
a scene during Liszt's stay at the Munk^csys'
house, according to the writer a record of the last
time the greatest master of the pianoforte touched
his instrument. A flying visit had been paid to
Bayreuth on the marriage of Daniela von Biilow
— Liszt's granddaughter — with Herr von Thode
on July 4. Liszt returned again for the perform-
ance of * Parsifal * on the 23rd. He was suffering
from a bronchial attack, but the cough for a day
or two became less troublesome, and he ven-
LISZT.
70S
tured to attend another play, an exceptionally
fine performance of * Tristan,' during which the
face of Liszt shone full of life and happiness,
though his weakness was so great that he had
been almost carried to and from the carriage
and Mme. Wagner's box. This memorable per-
formance of * Tristan,' in which the singers-
(Sucher, Vogl, etc.) and players surpassed them-
selves, lingered in Liszt's mind until his death.
When he returned home he was prostrate, and
those surrounding him feared the worst. The
patient was confined to his bed and kept per-
fectly quiet. The case was from the first hope-
less, the immediate cause of death being general
weakness rather than the severe cold and inflam-
mation of the lungs which supervened on July 31.
His death that night was absolutely painless.
Since the funeral in the Bayreuth cemetery on
Aug. 3, Liszt's ashes have not been disturbed,
although Weimar and Budapest each asserted a
claim to the body of the illustrious dead. Car-
dinal Haynauld and the Princess Wittgenstein
(heiress and executrix under his will) gave way
before the wishes of Liszt's sole surviving daugh-
ter, Cosima Wagner, supported as they were by
public opinion and the known views of Liszt
himself, who had not looked with favour on the
removal of the remains of Beethoven and Schu-
bert, and had expressed a hope that it might not
also be his fate to * herumfahren.* These towns,
as well as others, have therefore raised a monu-
ment to the genius who was associated with
them. The memory of Liszt has been honoured
in a practical way in many places. Liszt socie-
ties existed during the master's lifetime, and
they have now been multiplied. Immediately
after the funeral a meeting of the leading musi-
cians was held at Bayreuth, at which Richter
made a speech and urged that all the living
forces of the artistic world should unite to pre-
serve the memory of the master by perfect ren-
derings of his own and other modern works.
The Grand Duke of Weimar, Liszt's friend and
protector, sent the intendant of the theatre to
Bayreuth to confer with Richter upon the best
means of perpetuating Liszt's intentions. He pro-
posed a Liszt foundation after the manner of the
Mozarteum at Salzburg. A Liszt museum was
to be established in the house where he lived at
Weimar, and scholarships were to be offered to
promising young musicians, and on similar lines
scholarships have been instituted elsewhere. ^
An outcome of this project is the Fondation-
Liszt, instituted by his firm friend the Duke of
Weimar after his death, to continue instruc-
tion on the basis he had laid.
The first competition for the Liszt Royal
Academy scholarship took place in April 1887.^
The scholarship is open for competition by
male and female candidates, natives of any
country, between 14 and 20 years of age, and may
be awarded to the one who may be judged to
evince the greatest merit in pianoforte playing
or in composition. All candidates have to pass
1 For this England is Indebted to the exertions of the lat« Mr^
Walter Bache (who raised upwards of 11001. for the purpose).
704
LISZT.
an examination in general education before enter-
in<» the musical contest. The holder is entitled to
three years' free instruction in the Academy, and
after that to a yearly sum for continental study.
Among portraits of the master, the bust ex-
ecuted by Boehm, and exhiljited at the Grosvenor
Gallery in 1886, will have great interest for
English people, as Liszt sat for it during his
visit to Sydenham in the same year. Plaster
casts of this bust have since been issued by No-
vellos. The head of Liszt upon his death-bed has
been successfully represented in a plaster cast
by Messrs. Weissbrod & Schnappauf of Bay-
reuth. On pp. 149 and 219 of Janka Wohl's
volume a detailed account and list of portraits
and paintings may be found.
The task of collecting Liszt's posthumous
■works has not been an easy one, the composer
having distributed his MSS. amongst his friends
and pupils. There have already been published
during the last ten years, by Tilborszky & Parsch,
Budapest : —
' Ungarisches KOntgslIed,' for ma'.e voices or mixed chorus with
orchestral accompaniment ; the same lit TF. score, and in arrange-
ments for baritone solo, and lor 4 hands and 2 iiands on tlie FF.
• Ungarn's Gott," for baritone solo and ad lib. chorus of male
voices. Also for PK., 2 hands ; also lor Th\, left hand ; also for
organ or harmonium; also fur cjmbal.
Osirdis for l'h\, 2 hands.
Cs&rdas obstin^. Do.
Dem Andenken retOfl's for PP., 2 and 4 hands.
16th Hungarian Khapsody (MunkAcsy), 2 hands; also 4 hands.
17th do. (Aus dam Figaro Album). iHth do. (Fttr das Album der
Budapester Ausstelluug). 19th do. (nach C. Abrdnyi's 'Cs4rd4s
nobles ').
Published by Kahnfs Nachfolger :—
' Christus,' I'F. arrangements, 2 and 4 hands.
Antiphon for St. Cecilia's Day, contralto solo and 5-part mixed
choir, and orchestral accompaniment. Also PF. or vocal score.
'Le Crucifix,' for contralto solo, with liarmonium or PF. accom-
paniment.
Missa pro Organo.
Sacred Choruiies. No. X, Anima Christi ; No. XI, Tu es Petrus;
No. Xtl, Dominus conservet eum.
• Salve Regina ' (liregorian). for harmonium or organ.
Bongs : ' Verlassen,' ' Ich verlor die Kratt.'
Duet : ' O Meer im Abendstrahl.'
• Sonnenhyrnnus.' Baritone solo, male voice chorus, organ and
orchestra. Also vocal score.
' Stanislaus,' oratorio. Full score. Vocal score. Single numbers.
'Salve Polouia,' Interludium. Full score. Also arrangement
for PF.
•De Profundls,' Ps. cxxix. bass or alto solo, vrlth PF. or organ.
' Le barde aveugle,' ballade for I'F.
Collected Songs.
By Various Publishers:—
• Von der Wiege bis zum Grabe,' symphonic poem, after a drawing
by Michael Zichy.
Varianten und Zusatze to 'FestklSnge.'
• Le triomphe funfebre de Tasse.' epilogue to ' Tasso.'
Two new Mephisto-Walzer, orch. and PF., 2 or 4 hands (Fftrstner).
' Crux,' Uymne des Marlns, chorus and accompaniment ad lib.
' Pax Vobiscum,' motet, 4 male voices.
•Natus est Christus,' 4 male voices.
' Qui Mariam absolvistt,' baritone solo and chorus.
' O beilige Nacht.' tenor solo and 3-part female chorus (FOrstner).
' Nun danket Alle Gott,' chorus, organ, trumpets, trombones, and
drums.
Antiphon for St. Cecilia's Day, contralto solo and 5-part female
chorus.
Original, for Pianoforte :—
Annies de F^I^rlnage. TroIsi6me Ann^e: No. 1. Angelus(also for
string quartet). No. 2. Aux Cyprus de la Villa d'Bste. No. 8. Do.
No. 4, Les Jeux d'Eaux it la Villa d'Este. No. 51 ' Sunt lacrymae
rerum' en mode hongrols. No. 6. Marche f un^bre. No. 7. 'Sursum
corda ' (also for solo voices. Schott), ' Abschied,' russisches Volks-
lled. 'Die Trauer-Gondel ' (Fritzsch). SValses oubli^es; Valse
Kleglaque (Bote i Bock) ; Etude in C ; Andante maestoso (Bosa-
vOlgy). ' Weihnachtsbaum,' 12 pieces, 2 or 4 hands (Fttrstner).
Grosses Concert-Fantasia fiber Spanlsche Weisen (Licht). Twelve
books of Technical Studies, with more to follow (Schuberth). I
Transcriptions :—
Processional March from 'Parsifal' (Schott). Other Wagner
transcriptions (Schott, and B. & H.) Berlioz's ' Harold ' Symphony I
LLOYD.
(Leuckart). Verdi's 'Alda' and 'Bequlem,' Lassen's 'Hagen und
Kriemhilde,' 'Faust,' and Intermezzo from 'Ueber alien Zaubern
Liebe ' (Bote A Bock). Liebesscene and Fortuna's Kugel from Gold-
schmldt's 'Die sleben Todsilnden.' Rubinstein's 'Gelb roUt' and
'Der Asra' (Kistner). Schumann's ' Provenfallsches Minnelied'
(Fttrstner). Forty-two Lleder by Beethoven, Franz, Schumann, and
Mendelssohn (B. A H.). Paraphrase of themes from Handel's
'Almira.' Paraphrase of themes from modern Russian works.
Wllhorsky's 'Romance.' Arrangements of Fest-Cantata for 4
hands ; nocturne, 4 hands. Schubert's Marches, 4 hands. Bee-
thoven's Concertos, 2 PFs.
Liszt had completed, or is said to have partly
written: — New symphonic poem for organ, on
lines by Herder, * The Organ ' ; * Lo sposalizio '
(org.) ; Romance oubliee (violin) ; Mephisto
Polka ; new edition * Soirees de Vienne ' ;
score of Zarembski's duets; 'Die Macht der
Musik,' song; Fantasia for orch. and PF. on
Schubert's 'Der Wanderer'; 'Die Nebenson-
nen' and 'Aufenthalt' (Schubert) for PF. ;
'Weihelied' to Leo XIII; 'Der ewige Jude,'
for PF. with declaimed poem (Schubart).
The discovery of a concerto entitled 'Male-
diction/ and of a choral work, ' The Creation,'
has been reported.^ [L.M.M.]
LITOLFF, H. C. Add that his opera ' Les
Templiers ' was produced at Brussels in January,
1886.
LIVERPOOL MUSICAL FESTIVALS. No
festival has been held since 1874. -^^^ *^* Sir
Julius Benedict was succeeded as conductor of
the Liverpool Philharmonic Society in 1880 by
Herr Max Bruch, since whose retirement in 1882
the post has been filled by Mr. Charles Hall^.
LLOYD, Charles Harford, born Oct. i6,
1849, ^* Thombury, Gloucestershire, son of
Edmund Lloyd, a solicitor, was educated at
Thornbury Grammar School and Rossall School.
From the latter he went to Magdalen Hall (now
Hertford College), Oxford, in Oct. 1868 as the
holder of an open classical scholarship. He gra-
duated Mus.B. 1 87 1 , B.A. 18 72 , M. A. 1 875, taking
a second class in the Final Theological School,
While an undergraduate he was instrumental in
establishing the Oxford University Musical Club,
and was elected its first president. This society
(see vol. iv. p. 206) has done a great deal for the
advancement of classical music in the Univer-
sity. It still flourishes, and up to June 1887
over 380 performances of chamber music had
been given. Mr. Lloyd was appointed organist
of Gloucester Cathedral in June 1876 as suc-
cessor to Dr. S. S. Wesley. In this capacity he
conducted the Festivals of the Three Choirs in
1877 and 1880. In Sept. 1882 he succeeded
Dr. C. W. Corfe as organist of Christ Church
Cathedral, Oxford, and in the same year became
conductor of the Choral Society in succession to
Mr. Parratt. His works, though few in num-
ber, have obtained well-deserved success. His
themes are original and beautiful, and their
treatment shows much experience and know-
ledge of effect. His part-writing is excellent,
and in the structure of his compositions he
displays a moderation and self-restraint which
1 All posthumous MSS. were handed over to the Allg. Deutsciia
Musikverein by the Princess Hohenlohe. the daughter of Liszt's
faithful friend and testatrix, the Princess Wittgenstein, who died In
lbb7.
LLOYD.
LORTZING.
705
cannot be too highly commended. His pub-
lished works are as follows : —
Cantatas.—' Hero and Leander," for soli, chorus and orchestra (Wor-
cester Festival, 1884) : ' Song of Balder, ' for soprano solo and chorus
(Hereford Festival, 1885) : ' Andromeda,' for soli, chorus and orchestra
(Gloucester Festival, 1886) : ' The Longbeards' Saga,' male chorus and
PP. acct., 1887.
Choruses and Incidental music to Alcestis (see Greek Plats in
Appendix), for male chorus, flutes, clarinets and harp, 1887. ' The
Gleaner's Harvest ' for female chorus.
Services in E b (full Cathedral), In F and 6 (Parochial). Magnificat
and Nunc Dimittis in F, soli, chorus and orchestra (Gloucester
Festival, 1880).
Anthems.— ' Art thou weary?' 8 voices unaccompanied. 'Blessed
Js he,' with full orchestral accompaniment (Gloucester Festival.
1883). ' Fear not, 0 land,' and ' Give the Lord the honour.'
Duo concertante for clarinet and piano.
Organ.— Sonata in D minor, and two other pieces.
Madrigal. 5 parts, ' When at Corinna's eyes.' Part-songs, among
which 'AUen-a-dale' and 'The Rosy Dawn' (8 parts) are accom-
panied, and several songs. [M.]
LLOYD, Edwakd. Line lo of article, for
Trinity read King's.
LOBE, JoHANN Christian. Add date of
death, July 27, 1881.
LOBGESANG. L. 8 of article, /or third read
second. Add Mendelssohn was engaged during
1838 and '39 on a symphony in Bb, which he
often mentions in his letters, and at last speaks
of as nearly complete. No trace of it has how-
ever been found. Is it possible that he can have
converted it into the orchestral movements of
the Lobgesang, the first of which is also in Bb ?
Last line but one of article, /or 2nd read 8th.
LOBKOWITZ. P. 1 55 a note 2, for Fitz read
Fitzli. (Corrected in late editions.)
LOCK, Matthew. Line 1 7 of article, add that
he married Alice, daughter of Edmund Smyth,
Esq., of Armables, Herts, on March 8, 1663-4,
and that he is stated in the register to be thirty
years old at the time. The date of his birth is
there approximately ascertained as 1632 or 3.
P. 157 a, 1. 19 from bottom, add that there is a
copy of ' Modern Church Music,' etc., in the
Fitzwilliam Museum at Cambridge. Some of
Lock's autographs are in the library of King's
College, Cambridge. Line 8 from bottom of same
column,/or 1670 read 1667. P. 157 1, 1. 2, for
1706 read 1708.
LOCO, *in (the usual) place.' A term of
which the use is explained under All' Ottava,
vol. i. p. 56; where, however, the word is stated
to be Italian, instead of Latin. [M.]
LODER, E. J. P. 159 a, 1. 25, /or 1851 read
1852.
LOESCHHORN, Albert, was bom June 27,
1819, in Berlin, where he still resides. He was
ft pupil of Ludwig Berger, and subsequently
studied at the Royal Institute for Church Music
in Berlin, where since 1851 he has been teacher
of the pianoforte. The title of Royal Professor
was conferred upon him in 1868. For many
years he carried on concerts of chamber music
at Berlin with eminent success. He has done
great service for the advancement of classical
music, and by his conscientious and thorough
discipline as a teacher many of his pupils have
also distinguished themselves. He is most widely
known through hia numerous studies for the
pianoforte, although he has published a long list
of other worthy compositions. [C.E.]
LOEWE, Johanna Sophie. Correct date of
birth to March 24, 181 6.
LOGROSCINO, NicoLO. See vol. ii. p. 514 a.
LOHENGRIN. Line 4 of article, for Sept.
read Aug. 28..
LONDON. For additions to article on vol.
ii. p. 163 a, see Degrees in Appendix.
LONDON MUSICAL SOCIETY, THE.
This society was formed in 1878 by Mr. Heath-
cote Long and other prominent amateurs. Its
objects are stated in its second rule — a canon un-
impeachable in spirit, if not in grammar — to be
'the practice and performance of the works of
composers which are not generally known to the
musical public* Mr. Barnby was appointed
musical director, and Mr. Long and Mr. A.
Littleton honorary secretaries. An efficient
choir was formed, and the first concert was given
on June 27, 1879, in St. James's Hall, although,
strictly speaking, the occasion was a private
one. Goetz's Psalm cxxxvii. was introduced to
London at that concert, the solos being sung, as on
many subsequent occasions, by efficient ama-
teurs. From 1884 until the last season of the
society's existence, Mr. Heathcote Long was
alone in the honorary secretaryship. After the
season of 1886, Mr. Barnby was succeeded as
conductor by Mr. A. C. Mackenzie, who con-
ducted the final concert on May 24, 1887. In
the course of that year the society was dis-
banded, and a sum of £100 was handed over
from its funds to the Royal College of Music.
During the nine years of its existence the insti-
tution performed the following works for the
first time in England, besides others which had
been heard before, though not frequently. Mr.
Stanford's * Three Holy Children,' for instance,
was given for the first time in London, though
not for the first time in England, by the London
Musical Society : —
CHORAL WORKS.
Beethoven. Cantata on the death of the Emperor Joseph ths
Second.
Brahms. Vier GesSnge, op. 17.
Dvor&k. ' Stabat Mater.'
Goetz. Psalm cxxxvii, and 'Ifoenia.'
Gounod. Troisieme Messe (selections).
Grieg. ' Klosterthor.'
Hiller. ' O weep for those.'
Hofmann, Heinrich. 'Cinderella.'
Jensen. 'Feast of Adonis.'
Rheinberger. ' Christoforus.'
Silas, E. Magnificat.
Schumann. 'The King's Son,' * The Minstrel's Curse,' and 'Spanlsche
Liebeslieder.'
ORCHESTRAL AVORKS.
Bach. Toccata in F, arranged.
David, Ferd. Violin Concerto in E minor (Miss Sliinner).
DvoMk. Legenden.
Schubert. Overture, ' Des Teufel's Lustschloss.' fM.!
LOOSEMORE, Henry. Line 6 of article ,/or
anthems read an anthem. Line lo, for in 1667
read after Michaelmas 1670. Concerning the
Exeter organ, built by his son, see vol. ii.
p. 592.
LORTZING, G. A. P. 167 a, 1. 11, /or 1845
read 1846. Correct date of death to 185 1. Line
15 from end of article, /or April 17 read April 15.
706
LOVER.
LOVER, Samuel, born at Dublin in 1797,
began his career as an artist and miniature
painter, was elected a member of the Koyal
Hibernian Society of Arts in 1828, and after-
wards became its secretary. He wrote a num-
ber of successful novels, dramas, and poems, and
composed both words and music of many songs
and ballads. He also appeared as a singer in a
musical entertainment, 'The Irishman's Carpet
Bag.' His compositions include the music and
songs to his dramas and burlettas produced at
the London theatres and rendered popular by
Mme. Vestris, Tyrone Power, and others, viz.
'Rory O'More,' Adelphi, Sept. 29, 1837;
* White Horse of the Peppers,* Hay market,
1838; 'Happy Man,' Haymarket, May 20,
1839; 'Greek Boy,* Covent Garden, Sept. 26,
1840; *I1 Paddy Whack in Italia,' English
Opera House (Lyceum), April, 1841 ; * Mac-
Carthy More,* Lyceum, April i, 1 861, and many
detached songs, principally Irish, both humor-
ous and pathetic. Many of these were very
effective, as, for instance, his * What will you do,
love ? ' * Angel's Whisper,' * Molly Bawn,' and
' The low-backed Car.' An evening entertain-
ment which he attempted met with some success
in England and America. He died July 6,
1868. [A.C.]
LUCAS, Charles. Add that in 1840-3 he
occasionally conducted at the Ancient Concerts.
LUCCA, Pauline. Add date of birth, April
26, 1841, and that her parents were Italian.
P. 171 a, 1. 22, for In July read On July 22.
Add that in the Italian seasons of 1882-4, at
Covent Garden, Mme, Lucca appeared in the
parts of Selica, Cherubino, Carmen, etc., and was
announced to appear in 'Colomba,' but that
opera was not produced. In the last line of the
MA AS.
article, for Rahder read Rahden. (Corrected in
late editions.)
LUISA MILLER. Line 4 of article, for
December read Dec. 8.
LUMBYE, H. C. Correct date of birth to
May 2, iSio.
LUSTIGE WEIBERVON WINDSOR. Line
4 of article, /or in May read March 9. (Corrected
in late editions.)
LUTE. P. 176 a, 1. 8 from bottom, omit the
clause between the commas, as the lute is not
furnished with a soundpost. P. 176 J, 1. 13,
the single-necked lute had, about a.d. 1600,
open strings or diapasons as well as the theor-
bo, but always in pairs of strings. For *luth
t^orbd,' or * liuto attiorbato ' see Theoebo, vol. iv,
p. 100 &. P. 177 a, U. 40, 54, 59, for the modern-
izing of the Laux Maler lute figured on p. 1 76,
the use made of old lutes to repair other in
struments, the attribution of the surname
Luther, the true date for Maler, and the anec-
dote told by Mace concerning King Charles
and Goothiere (Gaultier), see Theorbo, vol. iv.
p. 100 5. [A.J.H.]
LUTENIST. The date given on p. 178 a, 1. 4,
is corrected in the article Shore, vol. iii. 488 J,
where the death of Shore is given as 1 750. 1752
is probably the correct date.
LUTHERAN CHAPEL. The last sentence
of the article should run: — The organists since
1 784 have been Augustus Friedrich Karl KoU-
mann, died Easter Day, 1829, etc.
LWOFF, Alexis. Add date of birth. May 25.
LYCEUM THEATRE. P. 181 a, 1. 20, /or
July 22 read July 23. Line il from end of
article, /or 71 read 41.
M.
MA AS, Joseph, bom Jan. 30, 1847, at
Dartford; began his career as a chor-
ister at Rochester Cathedral, and was
taught singing by J. L. Hopkins, the organist,
and later by Mme. Bodda-Pyne. He was for
some time a clerk in Chatham dockyard, but
went to Milan in 1869, and studied under San
Giovanni. He made his ddbut at one of Leslie's
concerts, Feb. 26, 1871, and sang ' Annabell
Lee' in the place of Sims Reeves, with great
success, ' inasmuch as he was not only compelled
by unanimous desire to repeat it, but there was a
strong attempt to induce him to sing it a third
time, which, however, he had the good sense to
resist.' He played the hero in * Babil and
Bijou' at Covent Garden, Aug. 29, 1872; he
then went to America, and played in Miss Kel-
logg's English Opera Company. He reappeared
in England at the Adelphi under Carl Rosa, as
Gontrau on the production of Briill's ' Golden
Cross,' March 2, 1878, and was engaged by
Rosa for three years as his principal tenor both
at Her Majesty's and in the provinces. His
principal parts were Rienzi on its production
at Her Majesty's, Jan. 27, 1879; Raoul, Feb.
12, 1879; Wilhelm Meister on the production
in English of * Mignon,' Jan. 12, 1880 ; Radames
on the production in English of * Aida,' Feb. 19,
1880; also Faust, Thaddeus, Don C^sar, etc.,
He played at Her Majesty's in Italian in 1880,
and at Covent Garden (as Lohengrin) in 1883. He
played under Rosa at Drury Lane in 1883-85,
his new parts being Edgar of Ravenswood,
April 19, 1884, and the Chevalier des Grieux
on production in London of 'Manon,' May 7,
1885. He was very popular on the stage, more
on account of his very fine voice, which was said
to resemble Giuglini's in character, rather than
for his dramatic gift, since he was a very
indifferent actor. He was equally popular in
the concert-room, where he appeared first at the
Sacred Harmonic, in the * Messiah' April 4, i879>
MAAS.
and at the Philharmonic, May a i, 1 879. He sang
at all the principal concerts, and at the various
Handel and provincial festivals. He sang also
in Paris at Pasdeloup's concerts, April 6, 1884,
and at Brussels at the Bach and Handel Festival
of 1885. His last important engagement was at
the Birmingham Festival of 1885, where he sang
in Dvorak's 'Spectre's Bride, 'Aug. 27, and
Stanford's ' Three Holy Children,* Aug. 28, on
the production of those works. At the Norwich
Festival of the previous year he had introduced
* Apollo's Invocation,' a scena written for him
by Massenet. He died Jan. 16, 1886, from a
complication of disorders, rheumatic fever, bron-
chitis, congestion of the lungs, brought on from
a cold taken while fishing. Maas's * greatest
triumphs were gained in the concert room rather
than on the stage. For several years he has
stood in the very first rank of tenor singers,
not only by reason of his magnificent voice, but
of his thoroughly finished and artistic style. . . .
By his amiable personal character the deceased
artist won the esteem and affection of all who
had the privilege of his friendship.' ^ [A.C.]
MAATSCHAPPIJ TOT BEVORDERING
DER TOONKUNST. See vol. iv. p. 255.
MACBETH. Line 7 of article, read March 1 7.
MACBETH, Allan, born in Greenock, March
13, 1856, and received his musical education
chiefly in Germany. In i88o he was appointed
conductor to the Glasgow Choral Union, but
resigned the post in 1887. He is organist of
St. George's-in-the-Fields Established Church.
Mr. Macbeth, in spite of much occupation of his
time in teaching (pianoforte and singing), has
found leisure for composition, for which he has
a decided gift. He has written a number of
pleasing pianoforte pieces, besides two or three
orchestral movements played at the Choral
Union Concerts, and since transcribed for piano.
As a song writer Mr. Macbeth has generally
been very successful, and he has besides ably
arranged for voices several Scotch melodies, as
well as written some original part-songs. He has
an operetta in MS., 'The Duke's Doctor.' [W.He.]
MACFARREN, Sir G. A. Add that his
oratorio 'King David' was produced at the
Leeds Festival, 1883, and that in the same year
he received the honour of knighthood. He died
Oct. 31, 1887, his last published work being an
Andante and Rondo in E for violin and organ,
contained in the * Organist's Quarterly Journal '
for Oct. 1887. A cantata for female voices
* Around the Hearth,' was published posthu-
mously. As Principal of the Royal Academy of
Music, Sir G. A. Macfarren was succeeded in
1888 by Dr. A. C. Mackenzie, and as Professor
of Music at Cambridge, by Dr. C. Villiers Stan-
ford. [M.]
McGUCKIN, Barton, born July 28, 1852,
at Dublin, began his career as a chorister at
Armagh Cathedral. He received instruction
from the late R. Turle, then organist there, in
singing, organ, violin, and pianoforte. He be-
> AthenKum. Jan. Vi, 1881.
MADRIGAL SOCIETY.
707
came first tenor at St. Patrick's Cathedral, Dublin,
in 1 87 1, and was for a time a pupil of Joseph
Robinson. He sang at one of the Philharmonic
concerts in Dublin in 1874, ^^^ ^'^ *^® following
year made his d^but at the Crystal Palace Con-
certs July 5, 1875, after which he went to Milan
and studied under Trevulsi. He reappeared with
success at the same concerts Oct. 28, 1876, where
he also made his ddbut as an oratorio singer in
the * Lobgesang,* Nov. 3, 1877. He made his
debut on the stage as Thaddeus under Carl Rosa
at Birmingham Sept. 10, 1880; at Dublin as
Wilhelm Meister May 9, 1881 ; in the same
part at Her Majesty's Jan. 20, 1882, and as
Moro on the production in England of * The
Painter of Antwerp,' an English version of
Balfe's Italian opera ' Pittore e Duca,' Jan. 28,
1882. He remained in Rosa's company both in
London and the provinces until the summer of
1887, and has become a great favourite both
as a singer and actor. His most important parts
are Lohengrin, Faust, and Don Jos^ ; in new
operas he has created at Drury Lane the parts of
Phoebus (' Esmeralda'), March 26, 1883; Orso
('Colomba'), April 9, 1883; Waldemar ('Na-
deshda'), April 16, 1885 ; Guillem de Cabestanh
('Troubadour'), June 8, 1886 ; Oscar ('Nordisa'),
May 4, 1887 ; at Edinburgh, Renzo on the pro-
duction in English of Ponchielli's 'Promessi
Sposi,' and at Liverpool, Des Grieux ('Manon'),
Jan. 17, 1885. Mr. McGuckin is extremely
popular in the concert-room, and has sung at the
Philharmonic, the Popular and Oratorio Concerts,
and at the Handel and provincial festivals. His
last important engagement was at the Norwich
Festival of 1887, where he sang the tenor music
in Mancinelli's * Isaias.' He went to America
as the principal tenor of the National Opera Com-
pany, and has lately returned. [A.C.]
MACKENZIE, A. 0. To li^t of works add
the following: — Operas. 'Colomba,' op. 28
(Drury Lane, April 5, 1883); 'The Trouba-
dour' (ibid. June 8, 1886), the words of both by
Francis Hueffer. Oratorio: 'The Rose of Sha-
ron' (Norwich Festival, 1884), words by Joseph
Bennett. Cantatas : ' Jason * (Bristol Festival,
1882), and 'The Bride'; 'The Story of Sayid'
(Leeds Festival, 1886). Orchestral: *La Belle
Dame sans Merci,' op. 29 ; two Scotch Rhapso-
dies, op. 21 and 24 ; overture, 'Twelfth Night,*
op. 40 ; concerto for violin and orchestra, op. 32,
played by Senor Sarasate at the Birmingham
Festival, 1885. Piano, ops. 15, 20, and 23, six
pieces for violin and piano, op. 37, besides songs,
part-songs, and three organ pieces. His most
important recent compositions are his 'Jubilee
Ode,' words by Joseph Bennett (Crystal Palace,
June22,i887,andNorwichFestivalofsameyear),
and an ode, 'The New Covenant,' composed for
the opening of theGlasgowExhibition of 1 888. The
composer received the honorary degree of Mus.D.
from the University of St. Andrew's in 1886.
He was elected principal of the Royal Academy of
Music in Feb. 1888. Knighted, 1895. [M.]
MADRIGAL SOCIETY. P. 193 I. I. 30,
add that since 1882 the meetings have been held
708
MADRIGAL SOCIETY".
in Willis's Rooms. Line 12 from bottom, for
1752 read 1757. P. 194 a, 1. 25, fw it is now
vacant read in 1878 the Right Hon. Earl Beau-
champ W5VS appointed. Line 33, add that in
1887 Dr. Stainer was succeeded as director of
the music by Dr. J. F. Bi-idge and Mr. Eaton
Faning. Since 1881 two prizes of £10 and £5
respectively, have been awarded annually for the
two best madrigals. From the list of present
members all names except those of Drs, Stainer
and Bridge, and Mr. Otto Goldschmidt, are to
be omitted.
MANNERGESANGVEREIN, Add that
the Cologne Choral Union gave a set of ten
concerts in St. James's Hall in June, 1883.
MAGNIFICAT. Add to references at end
of article, Israel in Egypt, vol. ii. p. 25,
Oratobio, vol. ii. p. 546, and Handel, vol. iv.
p. 664.
MAHILLON, Charles & Co., wind-instru-
ment makers. This firm was founded at Brus-
sels by C. Mahillon (bom 1813, died 1887), in
1836. Three of his sons are now in the business,
Victor (see below), Joseph, who conducts the
Brussels business, and Fernand who manages
the London branch established in 1884, in
Leicester Square, and removed in 1887 to Oxford
Street.
Mahillon, Victor, of the firm of wind-instru-
ment makers, above mentioned, a writer of
important works on acoustics and musical in-
struments, and the honorary and zealous custo-
dian of the Museum of the Brussels Conserva-
toire, was bom in that city, March 10, 1841.
After studying music under some of the best
professors there, he applied himself to the prac-
tical study of wind-instrument manufacture and
was taken into his fatlier's business in 1865. He
started a musical journal ' L'j&cho Musical ' in
1869 and continued it until 1886, when his
time became too much occupied to attend to
its direction. In 1876 he became the honor-
ary curator of the museum of the Conserva-
toire, which, begun with F^tis's collection of
78 instruments, has been, through his special
knowledge and untiring energy increased (1888)
to upwards of 1 500 I An important contribu-
tion to it, of Indian instruments, has been a
division of the fine collection of the Rajah Sir
Sourindro Mohun Tagore, between the Brussels
Conservatoire and the Royal College of Music,
London. Mr. Victor Mahillon has published
two very important works, besides three synop-
tical tables of harmony, voices and instru-
ments. The first is *Les filaments d'Acoustique
musicale et instrumentale,' an octavo volume
published in 1874, which gained for him at
Paris in 1878 the distinction of a silver medal.
The other is the catalogue of the Conservatoire,
which has appeared in volumes annually from
1877, ^J^d is of the highest interest. As well as
these noteworthy works he has contributed to
the 9th edition of the Encyclopaedia Britannica
several historical and technical articles of great
value upon wind instruments, both wood and
MALTEN.
brass. As soon as Mr. Victor Mahillon could intro-
duce a workshop into the Conservatoire he did so,
and he has there had reproductions made of many
rare instruments which, through their antiquity,
or the neglect of former owners, had become too
much deteriorated for purposes of study. Among
these reproductions the Roman Lituus and
Buccina in the Music Loan Collection at Ken-
sington, in 1885, will beremembered as prominent
objects of interest in the fine selection contributed
under Mr. Mahillon 's auspices by the Brussels
Conservatoire. He intends to reproduce from
authentic sources, if he has not already fulfilled
that intention, the complete families of wind-
instruments that were in use in the i6th and
17th centuries. *
Mr. Victor Mahillon's services to the Inven-
tions Exhibition of 1885, in the above-named
contribution of instruments to the Loan Collec-
tion, and the historical concerts under his direc-
tion performed by professors and students of the
Brussels Conservatoire, at which several rare
instruments were actually played upon in con-
temporary compositions, were so highly appre-
ciated by the Executive Council of that Exhibition
that a gold medal was awarded to him. [A. J.H.]
MALBROUGH. Last line but one of arti-
cle, ybr Dec. 15 read Dec. 13.
MALLINGER, Mathilde, bom Feb. 17,
1847, at Agram, Croatia, was first taught sing-
ing there by her father, a professor of music, and
Professor Lichtenegger, later by Gordigiani and
Vogl at the Prague Conservatorium from 1863-
66, and finally by Richard Lewy at Vienna.
On the recommendation of Franz Lachner
she was engaged at Munich, where she made
her d^but as Norma, Oct. 4, 1866. She was the
original Eva in the ' Meistersinger,' June 21,
1868. She made her debuts at Berlin as Elsa,
April 6, and Norma, April 9, 1869. She was
an excellent actress and a great favourite, mar-
ried the Baron Schimmelpfennig von der Oye at
Berlin, and remained there during her whole
musical, career. On leave of absence she played
with success at Vienna, Munich, etc., and in
Italian opera at St. Petersburg and Moscow, but
with indifferent success. Her parts included
Donna Anna, Fidelio, Jessonda, Valentine,
Leonora (' Trovatore'), Iphigenia, Euryanthe,
Susanna, Zerlina, Mrs. Ford, etc. About 1871
a certain section of the Berlin public tried to
establish her claim as leading singer as against
Pauline Lucca, the then reigning favourite.
Endless quarrels ensued on their account, which
culminated at a performance of the * Nozze,' Jan.
27, 1872, where they were both playing. On
Lucca's entry as Cherubino she was hissed — in
consequence of which she broke her contract in
the following autumn and left for America. It
is rumoured that Mme. Mallinger having lost
her voice has become a * dramatic ' actress, and
will appear shortly at the Konigstadter Theatre,
Berlin. [A.C.]
MALTEN, Th:^rI!SE, bom at Insterbui^,
Eastem Prussia, was taught singing by Gustav
MALTEN.
Engel of Berlin. She made her d^ut as Pamina
and Agatha at Dresden in 1873, where she has
been engaged ever since. Her parts also include
Armida, Iphigenia, Fidelio, Jessonda, Genoveva,
Leonora ('Trovatore*), Margaret; the heroines of
Wagner; the Queen of Sheba in Goldmark*s
opera of that name; the Princess Marie in
Kretschmer*s 'Folkunger' on its production in
1874; Eulvia on the production of Hofmann*8
*Arminius* in 1877, etc. On leave of absence
she has played in London, Berlin, Vienna, etc.
In August 1 88a she appeared at Bayreuth as
Kundry, at the instance of Wagner, who had a
very high opinion of ker ability, again in 1884,
and at Munich, where she played the same part
in private before the late King, from whom she
received the gold medal of Arts and Science.
She made a great impression on her ddbut at
Drury Lane under Richter as Fidelio, May 24,
1882, and during the season as Elsa, May 27 ;
Elizabeth, June 3, and Eva, June 7. She re-
appeared in England at the Albert Hall on the
production of * Parsifal,* Nov. 10 and 15, 1884.
She possesses a voice of extraordinary com-
pass, with deep and powerful notes in the lower
register. She is an admirable actress, being
especially successful in Wagner's operas. She
was appointed chamber singer to the King of
Saxony in 1880, and was also chosen by Wagner
to play Isolde at Bayreuth in 1883, though the
performance did not take place owing to the
death of the composer. [A.O.]
MANCINELLI, Luioi, bom at Orvieto,
Feb. 5, 1848. He was six years old when he
began to study the piano under the direction
of his father, a distinguished amateur. At the
age of 12 he went to Florence to be a pupil of
Professor Sbolci, one of the most talented Italian
violoncellists. The boy showed great aptitude
for the cello, and his progress was very rapid.
While studying with Sbolci, he had a short
course on harmony and counterpoint from Ma-
bellini. These were the only lessons he ever had ;
he has acquired his knowledge of composition
from the study of the works of the great masters
without any guide.
Mancinelli's professional career began in Flo-
rence, where he was for a time one of the first
cello players in the orchestra of La Pergola.
He was engaged in the same capacity at the
Apollo in Rome in 1874, when this theatre, by
imexpected circumstances, was left without a
conductor. The impresario Jacovacci, a popular
and energetic manager, in order not to stop the
performances, thought of trying the ability of
his first cello player, of whom he had heard
favourable reports ; and so Mancinelli was sud-
denly raised from the ranks to appear as a con-
ductor. *Aida' was the first opera conducted
by him, and, as everything went oflF satisfac-
torily, from that performance there was a new
conductor in Italy.
Thanks to his first successful attempt, in the
following year Mancinelli was engaged to be the
musical director at Jesi during the fStes of
Spontini's centenary. On this occasion he r&*
VOL. IV. FT. 6.
MANERIA.
roa
vived the opera ' La Vestale,' and the admirable
execution of this grand work reflected on the
conductor, who was re-engaged for the direction
of the orchestra of the Apollo. In 1876 Manci-
nelli had his first success as a composer with his
'Intermezzi' to 'Messalina,' a drama by Pietro
Cossa. The following year he wrote * Inter*
mezzi ' to the * Cleopatra ' of the same author.
Mancinelli left Bome in 1881 for Bologna,
where he was engaged to be the Principal of the
Liceo Musicale, and at the same time the con-
ductor of the Teatro Comunale, and the Maestro
di Cappella of San Petronio, the old basilica of the
famous university town. During his stay there
he composed two Masses and many other sacred
pieces, introduced several improvements in the
Liceo, organized a symphony and quartet so-
ciety, and was the first to acquaint the Bolog-
nese with vocal and instrumental music by
foreign composers. In 1884 he gave the first
performance of his opera * Isora di Provenza,*
which was received with great applause.
After five years he left Bologna, attracted
perhaps to other countries by the prospect of
pecuniary improvement in his position. During
the season of 1886 he visited London, and gave
a concert, in which he conducted classical works
and some of his own compositions. The suc-
cess of this concert brought him an invitation
to write an oratorio for the next Norwich Festi-
val, and the engagement to conduct the Italian
Opera during the Jubilee season at Drury Lane.
His powers as a conductor received full recog-
nition; and his oratorio 'Isaias,* executed at
Norwich in October, 1887, was unanimously
praised. He was re-engaged by Mr. Augustus
Harris as conductor for the season of 1888 at
Covent Garden.
For the last two years Mancinelli has held the
place of musical director and conductor at the
Theatre Royal of Madrid. He is now at work
on a Requiem Mass which will very probably be
performed in London, and he has already been
asked to compose a second oratorio. [F.Rz.]
MANDOLINE. P. 206, add the Sonatine,
also an Adagio in Eb for the Mandoline and
Cembalo are given in the supplemental volume
for Beethoven's works (B. & H. 1887).
MANERIA. A term, applied, in the early
middle ages, to certain systematic arrangements
of the Scale, analogous to the Mixed Modes of
a somewhat later period. The roots of the
several systems comprised in the series corre-
sponded with the Finals of the Modes; each
system comprehending one Authentic, aud one
Plagal Mode : consequently, the number of the
Maneria was only half that of the Modes them-
selves. They were named and numbered in a
barbarous mixture of Greek and Latin, thus :—
Modes I and II were called Authentus et
Plaga, Proti ; III and IV, Authentus et Plaga,
Deuteri; Vand VI, Authentus et Plaga, Triti;
and VII and VIII, Authentus et Plaga, Te-
tarti: i.e. the Authentic and Plagal, of the
First, Second, Third, and Fourth Maneria.
When the number of Modes was increased, the
3A
710
MANERIA.
pedantic faction affected to regard the Maneria of
A and C as duplicates of the First and Second, at
a different pitch ; and hence originated the confu-
sion mentioned in Dodecachokdon. Afterwards,
the necessary existence of six Maneria for the
Twelve Modes was freely acknowledged. [W.S.R.]
MANNS, August. Add that at the Handel
Festival of 1883 he undertook the duties of con-
ductor at very short notice, in place of Sir
Michael Costa, who had just been taken ill.
The Festivals of 1885 and 1888 were also con-
ducted by Mr. Manns.
MARA. P. aio a, L 10, for 1766 read 1786.
MARBECK. See Mebbbokb.
MARC HAND, Marguebitb. See Danzi.
MARCHISIO, The Sisters, both bom at
Turin — Barbara Dec. 12, 1834, Carlotta Dec. 6,
1836 — were taught singing there by Luigi Fab-
brica, and both made their debuts as Adal-
gisa, the elder (who afterwards became a
contralto) at Vienna in 1856, the younger at
Madrid. They played at Turin in 1857-58, and
made great success there as Arsace and Semi-
ramide ; also on a tour through Italy, and at the
Paris Opera on the production of * Semiramis *
July 9, i860. They first appeared in England
with great success at Mr. Land*s concerts, St.
James's Hall, Jan. a and 4, 1862, in duets of
Bossini and Gabussi, and made a concert tour
through the provinces with Mr. Willert Beale.
They also made a success in * Semiramide ' at
Her Majesty's, May i, i860, on account of their
excellent duet singing, though separately their
voices were coarse and harsh, their appearance
insignificant, and they were indifferent actresses.
Carlotta played the same season Isabella in
'Robert,' June 14, and Donna Anna July 9. They
eang also at the Crystal Palace, twice at the
New Philharmonic, at the Monday Popular, etc.
They sang together for some time abroad. Car-
lotta married a Viennese singer, Evigen Kuh
(1835-75), who sang with her in concerts, and
at Her Majesty's in 1862 under the name of
Coselli, and who afterwards became a pianoforte
manufacturer at Venice. She died at Turin
June 28, 1872. Barbara, we believe, retired from
public life on her marriage. [A.C.]
MARIANI, Angelo, bom at Ravenna, Oct.
II, 1822, began to study the violin when quite
young, under Pietro Casolini ; later on he had
instruction in harmony and composition from
a monk named Levrini, of Rimini, who was a
celebrated contrapuntist. He was still in his
teens when he left home to see the world, and for
a certain time he continued to appear as a soloist
in concerts and as a first violin player in orches-
tras. It was in T844, at Messina, that he as-
sumed the hdton, — which after all was only the
bow of his violin, for at that time the conductor
of an Italian orchestra was named Frimo Violino,
direttore delV orchestra.
After several engagements in different theatres
in Italy, Mariani was appointed, in 1847, con-
ductor of the Court Theatre at Copenhagen.
MARIANI.
While there he wrote a Requiem Mass for the
funeral of Christian VIII. At the beginning of
1848 he left Denmark and went to Italy to fight
in the ranks of the volunteers for the freedom of
his country. At the end of the war he was
called to Constantinople, where his ability won
him the admiration of the Sultan, who made
him many valuable presents ; and Mariani, as a
mark of gratitude, composed a hynm which he
dedicated to him. In Constantinople also he
wrote two grand cantatas, * La Fidanzata del
guerriero * and * Gli Esuli,' both works reflect-
ing the aspirations and attempts of the Italian
movement. He returned to Italy in 1852, land-
ing at Genoa, where he was at once invited to
be the conductor of the Carlo Felice. In a
short time he reorganized that orchestra bo as
to make it the first in Italy. His fame soon
filled the country and spread abroad; he had
offers of engagements from London, St. Peters-
burg and Paris, but he would never accept
them ; he had fixed his headquarters in Genoa,
and only absented himself for short periods at a
time, to conduct at Bologna, at Venice, and
other important Italian towns. Mariani exer-
cised an extraordinary personal fascination on
all those who were under his direction. ^ He was
esteemed and loved by all who knew him. For
him, no matter the name of the composer, the
music he conducted at the moment was always
the most beautiful, and he threw himself into
it with all his soul. Great masters as well as
young composers were happy to receive hi«
advice, and he gave it in the interest of art and
for the improvement of the work. At rehearsal
nothing escaped him in the orchestra or on
the stage.
In 1864 Mariani was the director of the grand
fdtes celebrated at Pesaro in honour of Rossini,
and was himself greeted enthusiastically by
the public, which was in great part composed
of the most eminent musicians of the world.
Throughout Italy are still heard the praises of
the interpretation given by him to the master-
pieces of the Italian and foreign schools. The
writer has often heard celebrated singers say
that music which they had sung under other
directors showed new beauties when conducted
by Mariani. On Nov. i, 1871, he introduced
* Lohengrin ' at the Comunale of Bologna, and,
thanks to his efforts, the opera was such a
success that it was performed through the season
several times a week — and he had only nine
orchestral rehearsals for it ! On this occasion
Richard Wagner sent him a large photograph of
himself, under which he wrote Evviva Mariani.
A cruel illness terminated the life of this
gTeat musician on Oct. 13, 1873, at Genoa, the
town which he loved so much, and which had
seen the first dawn of his world-wide celebrity.
The day of Mariani's funeral was a day of
mourning for the whole of Genoa. His body
was transported to Ravenna at the request of
the latter city. The Genoese municipality or-
dered a bust of him to be placed in the vestibule
of the Carlo Felice; all the letters written to
MARIANI.
him by the leading composers and literary men
of the day to be preserved in the town library ;
the portrait sent by Wagner hung in one of the
rooms of the Palazzo Civico ; and his last bdton
placed by the side of Paganini's violin in the
civic museum.
Besides the works already named, and other
orchestral pieces, he published several collections
of songs, all of which are charmingly melodious :
— ' Rimembranze del Bosforo,' * II Trovatore
nella Liguria,' * Liete e tristi rimembranze,' * Otto
pezzi vocali,' * Nuovo Album vocale.'
Mariani was the prince of Italian conductors ;
out of Italy he might have found his equal, but
not his superior. [F.Rz.]
MARIMON, Marie, bom in 1839 at Lifege,
was taught singing by Duprez, and made her
ddbut at the Lyrique as H^lfene on the pro-
duction of Semet's * Demoiselle d'Honneur,' Dec.
30, 1857 ; as Zora in *La Perle du Brdsil,' and
Fatima in 'Abu Hassan,' May 11, 1859. She
next played at the Op^ra Comique Maima in
Offenbach's unsuccessful * Barkouf,' Dec. 24,
i860 ; Zerline in * La Sirbne * with Roger, Nov.
4, 1 86 1, and Giralda in 1862. She returned to
the Ljrrique, and afterwards played at Brussels.
On her return to Paris in 1869 she made a very
great success at the Athdn^e in French versions
of Ricci's * FoUia a Roma ' and * Crispino,' and
Verdi's * Masnadieri,' Feb. 3, 1870. She played,
at Drury Lane in Italian in 1871-72, and at
Covent Garden in the autumn of the first year,
Amina, wherein she made her debut May 4,
1 87 1, Maria (* La Figlia'), Rosina, Norina,and
Astrifiammante. She made at first a great
success solely on account of her beautiful rich
round voice, her brilliant execution and cer-
tainty of intonation. She did not maintain the
hopes excited at her d^but, since it was dis-
covered that she was a very mechanical actress
and totally devoid of charm. The only part she
really played well was Maria, Nevertheless she
became a very useful singer at Covent Gar-
den 1874-77 in all the above parts. Donna
Elvira, Margaret of Valois, etc. ; at Her Majes-
ty's in 1878 and 1880, in Dinorah, etc.; at the
Lyceum in 1881. She sang with success in the
English provinces, Holland, Russia, America,
and elsewhere. She reappeared in Paris at the
Lyrique as Giralda, Oct. 21, 1876; as Suzanne
inGautier's unsuccessful * La Cl<^ d'Or,' Sept. 14,
1877, and Martha, and at the Italian Opera in
the last part Jan. 3, 1884. [A.C.]
MARIO. Line i,for Conte read Cavaliere.
Line 3, /or Genoa read Cagliari. Add date of
death, Dec. 11, 1883.
MARPURG. F. W. Add day of birth, Oct.
1. Line 19 from end of article, jTor 1744-62
read 1754-78.
MARSCHNER, H. Correct date of birth to
1795. P. 219 a, 1. 12, add date of production
of 'Heinrich IV.' in Dresden, July 19, 1820.
'Line 13, add that in 1824 he was appointed
Musikdirector. Line 23, for March 29 read
March 28. Line 37 add date of production of
MARTIN Y SOLAR.
711
*Templer und Jiidin,' Dec. 1829. P. 219 b, 1. 1,
add date of production of *Der Holzdieb,' 1825
at Dresden.
MARSEILLAISE, LA. Page 219 5, last
stave of musical example, the quaver in the
second bar should be C, not B. Second line of
musical example on next page, the last note
should be a quaver, not a crotchet. In sentence
at end of article, add that another instance of
Schumann's use of the tune, though in a dis-
guised form, occurs in the * Faschingsschwank
aus Wien.'
MARSHALL, William, Mus. D. Line 6 of
article, jTor 1823 read 1825.
MARTIN, George Clement, born Sept. 1 1,
1844, at Lambourne, Berks, received instruc-
tion in organ-playing from Mr. J. Pearson and
Dr. Stainer, also in composition from the latter
during the time he was organist there at the parish
church. He was appointed private organist to
the Duke of Buccleuch, at Dalkeith, in 1871;
Master of the Charities, St. Paul's Cathedral, in
1874, deputy organist at the same on the death
of Mr. George Cooper in 1876, and organist on
the resignation of Dr. Stainer in 1888. He re-
ceived the degrees of Mus. Bac, Oxon, in 1869,
Fellow of the College of Organists in 1875, and
Mus. Doc. (degree conferred by the Archbishop of
Canterbury) in 1883, and was appointed the same
year teacher of the organ at the Royal College of
Music, which post he has since resigned. His
compositions include Morning and Evening Com-
munion and Evening Service in C for voices and
orchestra ; Magnificat and Nunc Dimittis in A,
for the same ; the same in Bb for voices, organ,
and military band ; the same in G for voices and
orchestra ; 7 anthems ; also a variety of com-
positions for parochial use ; songs, part songs,
etc. Knighted, Easter, 1898. [A.C.]
MARTIN, G. W. Correct date of birth to
1828, and add that he died in great poverty,
April 16, 1 88 1, at Bolingbroke House Hospital,
Wandsworth. [W.H.H.]
MARTIN Y SOLAR, Vicente, born at
Valencia in 1754 (whence he was known in
Italy as *Lo Spagnuolo'), was a choir-boy in
the cathedral of his native town, and afterwards
organist at Alicante. On the advice of an
Italian singer, named Giuglietti, he went to Flo-
rence, where he was commissioned to write an
opera for the next Carnival. His ' Iphigenia in
Aulide' was accordingly brought out in 1781.
Soon after this he produced a new opera,
*Astartea,' in Lucca, as well as a ballet, 'La
Regina di Golconda.' In 1783 ' La Donna fes-
teggiata ' and ' L'accorta cameriera' were brought
out at Turin, and in the following year 'Iperm-
nestra' at Rome. In 1785 he went to Vienna,
where he became acquainted with Da Ponte,
who wrote for him the libretto of * II burbero di
buon cuore,' produced Jan. 4, 1786. Here as else-
where he speedily became the fashion, his operas,
* La capricciosa corretta,' 'L'arbore di Diana,' and
* La cosa rara ' following one another in quick suc-
cession. This last work, produced Nov. 1 1 , 1 786,
3 A 2
Tli
MARTIN Y SOLAR.
for a time threw * Figaro ' (produced six months
before) into the shade. [See vol. ii. p. 391 a.
Mozart's opinion of his rival's powers is given on
p. 396 of the same volume.] In the autumn of
the following year * Don Juan ' appeared, and
Martin unwittingly obtained immortality at
the hands of his rival, since a theme from * La
Cosa rara ' makes its appearance in the second
finale of Mozart's mastei-piece. (See also Kochel's
Catalogue, 582, 583.) In 1788 Martin was ap-
pointed director of the Italian Opera at St.
Petersburg, where he brought out ' Gli sposi in
contrasto,* and a cantata *I1 sogno.' In 1801
the fashion for Italian opera passed away for a
time, and a French opera took its place. Mar-
tin, thus deprived of his post, employed the rest
of his life in teaching. He died in May
1810.1 [M.]
MARTINI IL TEDESCO (*the Gei-man'),
the name by which the musicians of his time knew
JoHANN Paul Aeqidius Schwartzendorf, born
Sept. 1, 1 741, at Freistadt, in theUpper Palatinate,
who was organist of the Jesuit seminary at Neu-
Btadt, on the Danube, when he was lo years old.
From 1758 he studied at Freiburg, and played the
organ at the Franciscan convent there. When
he returned to his native place, he found a step-
mother installed at home, and set forth to seek
his fortune in France, notwithstanding his com-
plete ignorance of the language. At Nancy he
was befriended, when in a penniless condition,
by the organ-builder Dupont, on whose advice
he adopted the name by which he is known.
From 1761 to 1764 he was in the household of
King Stanislaus, who was then living at Nancy.
After his patron's death Martini went to Paris,
and immediately obtained a certain amount of
fame by successfully competing for a prize
offered for the best march for the Swiss Guard.
At this time he wrote much military music, as
well as symphonies and other instrumental
works. In 1 771 his first opera, * L'amoureux de
quinze ans,* was performed with very great
success, find after holding various appoint-
ments as musical director to noblemen, he was
appointed conductor at the Theatre Feydeau,
when that establishment was opened under the
name of Theatre de Monsieur for the perform-
ance of light French and Italian operas. Having
lost all his emoluments by the decree of Aug. 10,
1792, he went to live at Lyons, where he pub-
lished his 'Melop^e modeme,' a treatise on
singing. In 1 794 he returned to Paris for the
production of his opera 'Sappho,* and in 1798
was made inspector of the Conservatoire. Fi-om
this post he was ejected in 1803, by the agency,
as be suspected, of Mdhul and Catel. At the
restoration of 18 14 he received the appointment
of superintendent of the Court music, and wrote
a Requiem for Louis XVI. which was performed
t The article in Mendel's Lexicon, ttom which many of the above
focts are taken, contalni several gross mistakes, such as the
statement that * Don Juan' was brought out before ' La cosa rara'
(in which case it would have been dif&cuit for Mozart to have used
one of the themes from the latter opera iu the former !), and the
inclusion amon;; works by him. of the book of canons with piano-
forte accompaniment, published by Birchall in London, and edited
1>7 Clanchettlhi. These are by Padre Martini.
MASON.
at St. Denis, Jan. 21, 1816. Very shortly after-
wards, on Feb. 10 of the same year, he died.
Besides the operas mentioned above he wrote
* Le fermier cru sourd ' (1732) ; • Le rendez-vous
nocturne' (1773); * Henri IV.* (1774); * Le
droit du Seigneur' (1783); 'L'amant sylphe'
(1795); 'Annette et Lubin * and 'Zimdo*
(1800). In the department of church music he
wrote several masses, psalms, requiems, etc. A
cantata written for the marriage of Napoleon
with Marie Louise exists, besides much chamber
music, but Martini's best-knovm composition is
probably the charming song 'Plaisir d' amour.'
(Mendel's Lexicon, etc.) [^0
MARTUCCI, Giuseppe, bom Jan. 6, 1856,
at Capua, was first taught music by his father,
a military bandmaster, and later received in-
struction at the Conservatorio, Naples (1867-
73), in pianoforte playing from Cesi ; in harmony
from Carlo Costa, in counterpoint and composi-
tion from Paolo Serrao and Lauro Rossi. He
became a pianoforte teacher at Naples, but soon
after played with great success at concerts in
Rome and Milan. He visited London and Dub-
lin in 1875, playing at Arditi's concert in St.
George's Hall, June 14, and elsewhere. He
visited Paris in May, 1878, and introduced there
with great success a quintet for piano and strings
which had gained the prize of the Societk del
Quartetto at Milan earlier in the year, besides
other compositions of his own. Rubinstein, ac-
cording to a contemporary,-* expressed himself in
the highest terms of Martucci, especially as a
composer. He was appointed a professor of the
piano at the above Conservatorio in 1880, also
director there of the Societk del Quartetto, and
conductor of the orchestral concerts instituted
by the Prince of Ardore, introducing there for
the first time in Naples the works of Beetho-
ven, Mozart, Mendelssohn, Schumann, Berlioz,
Brahms, and Wagner, in addition to works of
the old Italian school. He gave similar orches-
tral concerts with great success at the Turin
Exhibition in 1884, was for a short time director
cf the Society del Quartetto, Bologna, and became
director of the Liceo Musicale there in 1886,
which post he still holds. His compositions in-
clude an oratorio, orchestral works, two con-
certos (one of which he has played at Naples,
Rome, Bologna, and Milan, 1887), quintets for
piano and strings, sonatas and smaller pieces for
violin or cello with piano, trios for the same
instruments, sonatas for organ, a lyric poem
for voice and piano, and about 150 works for
piano solo, inclusive of sonatas, fugues, capric-
cios, scherzos, tarantellas, barcaroles, airs with
variations, * Moto Perpetuo,* op. 63, etc. [A.C.]
MARXSEN, Eduabd. Add date of death,
Nov. 18, 1887.
MASNADIERI, I. Line 3 from end of arti-
cle,/or the Huguenots read Die Rauber.
MASON, Rev. W. Correct date of birth to
1724, and that of death to April 7, 1794.
s L' Art Musical. M«y 23. U7&
MASQUE.'
MASQUE. Line 1 3 of article, for 161 3 read
1612-13.
MASS. P. 2320, 1. 13 and 13 from bottom,
ufler Tract add in Appendix, and for Sequence
read Sequbntia.
Since the article on Byrd was written for this
Appendix, the British Museum has acquired a
«et of four part- books (Superius, Medius, Tenor,
Bassus) of the second edition (16 10) of Byrd's
Oradualia. This copy is interleaved with the
corresponding parts of all three of Byrd's Masses,
viz. those for five, four, and three voices. It is
possible that they were published in this form.
The part-books are in admirably fresh condition,
and have every appearance of being in the same
state as when they were first published, but on
the other hand the paper on which the masses
are printed is different from that of the rest of the
work, and the register signatures show that they
are not originally intended to form part of the
Oradualia.
The account of the Mass for five voices in \ol.
ii. p. 230 should be corrected by the article on
Byrd in this volume, p. 573 h. In Father Mor-
ris's * Life of Father William Weston ' (* The
Troubles of our Catholic Forefathers,* second
series, 1875, pp. 142-5) will be found some fresh
information about Byrd, though Dr. Rimbault'a
old mistakes are again repeated there. Father
Morris has found several allusions to Byrd as a
recusant in various lists preserved in the State
Papers (Domestic Series, Elizabeth, cxlvi. 137,
cli. II, clxvii. 47, cxcii. 48), and in the follow-
ing interesting passage in Father Weston's
Autobiography, describing his reception at a
house which is identified as being that of a cer-
tain Mr. Bold : * We met there also Mr. Byrd,
the most celebrated musician and organist of the
English nation, who had been formerly in the
Queen's Chapel, and held in the highest estima-
tion; but for his religion he sacrificed every-
thing, both his office and the Court and all those
hopes which are nurtured by such persons as
pretend to similar places in the dwellings of
princes, as steps towards the increasing of their
fortunes.' This was written in the summer of
1586. The recently published Sessions Rolls of
the County of Middlesex show that true bills
* for not going to church, chapel, or any usual
place of common prayer' were found against
* Juliana Birde wife of William Byrde * of Har-
lington on June 28, 1581 ; Jan. 19, April 2,
1582 ; Jan. 18, April 15, Dec. 4, 1583 ; March
37, May 4, Oct. 5, 1584; March 31, July 2,
1585 ; and Oct. 7, 1586. A servant of Byrd's,
one John Keason, was included in all these in-
dictments, and Byrd himself was included in
that of Oct. 7, 1586, and without his wife or his
servant a true bill was found against him on
April 7, 1592, at which date he is still described
as of Harlington. It is very curious that if, as
Father Weston was informed, he had sacrificed
his place at Court, there sliould be no mention of
it in the Chapel Koyal Cheque Book; but his
subsequent dealings at Stondon with Mrs. Shelley
show that he must have been protected by some
MASSENET.
713
powerful influence. To this he seems to allude
in the dedication of the Gradualia to the Earl of
Northampton. [W.B.S.]
MASSART, L. J. Add day of birth, July 19.
MASSlfe, F^Lix Marie, known under the
name of Victor. Add that he died in Paris,
July 5, 1884, after a long and painful illness,
which had confined him to the house and ren*
dered him totally incapable of active work. In
1876 he was obliged to give up his professorship
of advanced composition at the Conservatoire, and
was succeeded by Guiraud. During seven years
of suffering his only consolation lay in composi-
tion, and in this way his opera, *La Mort de
Cl^opatre,* intended for the Opera, was written.
After his death a representation of the work took
place at the Opdra Comique in the composer's
honour (April 25, 1885), though the reception
of 'Paul et Virginie* did not hold out much
hope of success for a work evidently written in
the same style and aiming too high. Although
the composer's death was sufficiently recent to
secure a favourable reception for this misnamed
* grand opera,' yet the composition was an evi-
dent failure, consisting as it did of misplaced
pretension, and an ambitious imitation ot Gou-
nod's methods, in which Massd had lost what
little remained to him of his original grace and
charm. In spite of this change in his style,
and though he must rank as a musician of the
second order, there is at times in some of his
songs a personal charm, a sober gaiety, and a
gentle emotion. It was when he composed a
song without having in view any particular in-
terpretation, and when nothing more was re-
quired of him, that he could write most freely
and could give the exact relation between the
music and the words, a quality in which he
originally excelled, and in which he resembled
the school of Gr^try. His ideal, which was on
the whole a just one, did not exceed the limits
of an exact feeling for prosody, and it is by those
compositions of his in which the laws of metre are
most faithfully observed that he is most likely
to be for a short time remembered. [A.J.]
MASSENET, Jules Fb^d^ric £milb. Add
that the composer, though now in the prime of
life, has produced nothing, during the last ten
years, but works which are practically repeti-
tions of his former productions — 'Marie Mag-
deleine,' * Les Erinnyes,' * Le Roi de Lahore '—
all of which are far superior to anything he has
since composed. On May 22, 1880, he conducted
his oratorio, *La Vierge,' at the first historical
concert at the Optira, an unsuccessful scheme of
Vaucorbeil's. He produced at Brussels his reli-
gious opera *H6rodiade,* Dec. 19, 1881, which
succeeded for one season only in that city, and
failed in Paris, where it was represented at the
Opera Italien (Jan. 30, 1884), after being partly
rewritten by the composer. On Jan. 19, 1884,
the opera * Manon * was produced at the Op^ra
Comique, and on Nov. 30, 1885, *Le Cid* at
the Op^ra, neither of which have left a very
permanent mark behind them. In the former
til
MASSENET.
the composer tried the experiment of comiecting
the nmnbers of an op^ra comique by a slightly
brchestrated accompaniment to the dialogue,
which was not sung, as in the case of recitativo
secco, but spoken as usual. The idea was very
ingenious, and deserves to be matured. In * Le
Cid' the heroic element has been ignored en-
tirely, and the result is a work of somewhat
effeminate character, wholly destitute of any
connection with CorneiUe's tragedy. To the
taumber of his works are to be added three new
Orchestral Suites, nos. 5-7, Scenes Napoli-
taines, Scbnes Alsaciennes, and Scenes de
Faerie (Concerts du Chatelet, 1880, 1882,
1883) ; incidental music to Sardou's *Th(5odora'
and * Le Crocodile * (Porte St. Martin, 1884 and
1886) ; a short work for voice and orchestra,
* Biblis * ; various ' Pobmes ' for voice and piano,
and an opera, ' Pertinax,' intended for the Op^ra
Comique. In Oct. 1878, Massenet replaced Bazin
as professor of advanced composition at the Con-
servatoire. In 1876 he was decorated with the
Legion d'Honneur, and in 1878 was elected a
member of the Academie des Beaux-Arts in
place of Bazin, and to the exclusion of Saint-
Saens, who was generally expected to be the new
member, as he was introduced in the first rank
by the musical section. This was one of the
rare occasions on which the entire Academic has
•not observed the order of presentation established
by the section to which the new member is to
belong. Massenet was only 36 at the time, and
was the youngest member ever elected to the
Acaddmie des Beaux-Arts, for Hal^vy, who
was the most remarkable previous example of
what may be called 'Academic precocity,' was
37 when he entered the Institut in 1836. Mas-
senet, who has recently (Jan. '88) been made an
ofl&cer of the Legion d'Honneur, has been through-
out a spoiled child of fortune; but the only
music that can endure is that in which are dis-
played strong convictions and a firm resolution
not to yield to publio caprice ; while Massenet's
works, especially his later compositions, which are
written without any fixed ideal, and in view of im-
mediate success, scarcely survive the day of their
birth, nor do they deserve to survive it. [A.J.]
MASSOL, Jean IStiennb Auoustb, bom
1802 at Lod^ve, H^rault, was taught singing at
the Paris Conservatoire from 1823-25, and gained
a first prize there. He made his d^but at the
Opera as Licinius (* Vestale*), Nov. 17, 1825,
and remained there until Oct. 8, 1845. He first
played second tenor parts in several new operas —
Rodolphe (* Tell *) ; Herald (' Robert *) ; Kalaf
(in Cherubini's * Ali Baba ') ; Tavannes (* Hugue-
nots *) ; Quasimodo (in Louise Bertin's * Esme-
ralda *) ; Forte Braccio (in Hal^vy's * Guide et
Ginevra *) ; Mocenigo (• Reine de Chypre *) ;
and the baritone parts of Tell and Jolicceur
(* Philtre '), etc. He played for a time in Brus-
sels, London, etc., and returned as principal
baritone to the Opera in 1850, where he re-
mained until his farewell benefit Jan. 14, 1858.
The Emperor was present on that occasion, im-
mediately after the attempt made on his life
• MASSON.
by Orsirii on his arrival at the theatre. His
best new parts were Eeuben (Auber's * En-
fant Prodigue*), Dec. 6, 1850, and Ahasue-
rus (Haldvy's 'Juif Errant'), April 23, 1852.
He was a good singer, admirably suited for heroic
drama, having the proper figure and height, and
a splendid voice. *In secondary characters no
one was Massol's superior, aad when he played
the principal parts he did so with the happiest
results. Thus he made the success of the Juif
Errant. . . . His Quasimodo did him the greatest
honour. . . .' (Jules Janin in the ' D^bats.') He
became for a time Director of the Royal Theatres
at Brussels ; he subsequently went into business,
and, retiring, resided at Versailles, and finally in
Paris, where he died Oct. 30, 1887.
While a member of the Brussels Company he
made his d^but at Drury Lane in 1846, as De
Nevers July 17, as Jolicceur Aug. 10, etc. He
sang at concerts in 1848, and appeared once at
Covent Garden as Alphonso XI. July 4. Roger,
in his * Carnet d'un t«^nor,* has recorded that
Massol did not understand Italian, and uttered
the most horrible jargon. He sang his first air
too low, but otherwise obtained a success, which
was partly due to the way in which he had paid
court to the journalists and other influential per-
sons, and to his knowledge of artistic cookery.
He played there in 1849-50 Pietro (* Masa-
niello *), De Nevers, Kilian (^Freischiitz*), etc. ;
at Her Majesty's in 1851, Reuben, on the pro-
duction of * L'Enfant Prodigue,* June 12; the
Baron de Beaumanoir (Balfe's * Quatre Fila
d'Aymon'), Aug. 11, etc. According to the
* Athenaeum,' June 14, his Reuben had a patri-
archal dignity and pathos, and he sang better in
that opera than in any other. [A.C.]
MASSON, Elizabeth, bom 1806, was taught
singing by Mrs. Henry Smart, sen,, and in Italy
by Mme. Pasta. She made her first appearance in
public at Ella's second subscription concert, in the
Argyll Rooms, March ii, 1831, and sang after-
wards at the Antient Concerts, March 16, 1831,
and at the Philharmonic, March 11, 1833; she
sang frequently at those Societies' concerts during
a public career of about twelve years, and revived
there forgotten airs of Handel, Purcell, Pergolesi,
Gluck, Mozart, etc. She was in great request at
private concerts, since she possessed, apart from
her musical attainments, great talents and accom-
plishments, and was an excellent linguist. She
sang occasionally in oratorio, viz. at the festival
in Westminster Abbey, 1834, ^^^ ** ^^^ Sacred
Harmonic, where she took the parts of Solomon,
Nov. 22, 1839, and Storge on the revival of Jeph-
tha, April 7, 1841. She afterwards devoted her-
self to teaching and composition. She wrote many
songs to the words of Scott, Byron, Adelaide
Procter, etc., and edited a series of 'Original
Jacobite songs' (Lonsdale, 1839), *°^ 'Songs
for the Classical Vocalist' (Leader & Cock,
1st series of twelve songs, 1845; a 2nd series
i860), which enjoyed a well-deserved popularity.
She founded the Royal Society of Female Mu-
sicians in 1839, *^^ ^*^ ^^^ ^"^* treasurer until
her death, Jan. 9, 1865. On its amalgamation
MASSON.
with the Royal Society of Musicians in 1866,
the late Mr. F. J. Masson, her brother, gave a
donation of 200 guineas to the latter society in
remembrance of her. *As a singer this lady was
never rated as high as she deserved to be, be-
cause her voice, which was a mezzo-soprano, had
no remarkable power nor charm. But it had
been thoroughly trained under the example and
influence of Madame Pasta, and its owner's
reading of music, intelligence, expression, and
finish, were thoroughly appreciated by all those
select connoisseurs who valued style and under-
standing beyond greater natural powers than
hers turned to poor account. As a professor
Miss Masson was widely and deservedly in re-
quest. Apart from her profession, she was at
once conscientious, energetic, and refined, and
had withal that racy originality of character
which will make her long remembered and
missed. In brief, she was a good artist, in part
because she was a good woman and a gentle-
woman.' ^ [A.C.]
. MATERNA, Amalie. Add date of birth,
1847, and that she sang the part of Kundry at
the first performance of * Parsifal,' July 28, 1882.
• MATHESON, Johann. The name should
be spelt Mattheson throughout, and the day of
death added, April 17. In list of works add
*Critica Musica' (1722).
MATHILDE DI SHABRAN. For the date
of the production of the work in Paris, read
1857, and for that of the first performance in
London, read July 3, 1823. It took place at
the King's Theatre.
MATINS. P. 238 &, L 19, after Invitato-
BIUM add in Appendix, vol. iv. p. 685 b.
MATTEI, Abbatb. P. 239 a, 1. 9,/or May 17
read May 12.
MAUREL, ViCTOK, bom at Marseilles, re-
ceived instruction at the Paris Conservatoire in
singing from Vauthrot, and in opera from Du-
vemoy, and gained the first prizes in both sub-
jects, co-equal with Gailhard, in 1867. He
made his d^but at the Op^ra as De Nevers
and Conte di Luna in or about 1869. He was
next in Italy, where he played the Cacique on
the production of Gomes's * Guarany ' at Milan,
March 19, 1870. He made his ddbut at the
Royal Italian Opera as Renato, April 21, 1873,
made a great success, and was engaged there
every year until 1879 inclusive. His parts com-
prised Don Giovanni, Tell, Almaviva, Hoel, Peter
the Great, Valentine, Hamlet, the Cacique ; in
operas new to England, Telramund, May 8,
1 875 ; Wolfram, May 6, 1876 ; the Flying Dutch-
man, June 16, 1877, and Domingo in Mass^'s
'Paul and Virginia,* June i, 1878. He re-
appeared at the French Op^ra as Hamlet, Nov.
28, 1879, and also played Amonasro on the pro-
duction there of *Aida,' March 22, 1880. He
undertook the management with Corti of the
Italian Opera at the Thd^tre des Nations with
j^sasteous financial results, in spite of a company
1 Atbeaieam, Jan. 14,1865.
MEFISTOFELE.
715
including Mesdames Marimon, Adler-D^vries,
Nevada, and Tremelli, Gayarrd, the brothers De
Reszke, and himself, and the successful produc-
tion of Massenet's 'H^rodiade,' Feb. i, 1884. He
played at the Op^ra Comique, Peter, Oct. 6,
1885, and Zarapa, Jan. 19, 1886, with great
success. He played again at Covent Garden in
1886, and at Drury Lane for the first time in
1887 in favourite parts. Between these engage-
ments he created, with the greatest success, lago
in Verdi's 'Otello,' Feb. 5, 1887, and showed
himself the best acting baritone on the Italian
stage since Faure. [A.C.]
MAURER, L. W. Line 2 of article, for
Aug. read Feb.
MAY, Edward Collett. Add date of death,
Jan. 2, 1887.
MAY QUEEN. Add that it was first per-
fonned June 24, 1845, at Bennett's own concert.
MAYER, Charles. Add that a Mazurka
by him in F J major was for some time consi-
dered to be by Chopin, and as such was included
in the first issue of Klindworth's edition. It has
been removed from later issues.
MAYER, Johann Simon. Line 1 1 of article,
for Graubiindten read the Grisons. (Corrected
in late editions.) P. 241 a, 1. lo from end of
article, ybr 1795 read 1800; and a line below,
for 1813 read 1813.
MAZAS, J. F. Addday ofbfrth, Sept. 23.
MAZZINGHI, Joseph (vol. ii. p. 242 a). To
have made clear the incongruity in the manner
of the original performance of the duet * When
a little farm we keep,' it should have been men-
tioned that the duet was accompanied on the
pianoforte by one of the singers of it, upon the
STAGE. [W.H.H.]
MEARS, Richard, son of Richard Meares, a
maker of lutes, viols, etc., who in 1677 and for
many years afterwards carried on business in
Bishopsgate Street, * near to Sir Paul Finder's,*
was bred to his father's business, but abandoned
it for that of a publisher of music. He esta-
blished himself in St. Paul's Churchyard, and
published, among other things, two collections
of Harpsichord Lessons by Mattheson, Handel's
first of * Suites de Pieces pour le Clavecin,' and
his opera, * Radamisto ' ; Ariosti's opera ' Coriola-
nus,' and Corelli's Sonatas and Concertos. The
greater part of his publications were engraved on
copper, but some of the later ones were stamped
on pewter. He was unable to make head against
Walsh, and his business gradually declined.
He removed first to Birchin Lane and thence
to London House Yard, where he died about
1743. [W.H.H.]
MEDIATION. P. 245 a. 1, 11, for Tones,
the Gregorian, read Gregorian Tones in
Appendix, vol. iv. p. 655, etc.
MEFISTOFELE. Grand opera in a pro-
logue and five acts, words (after Goethe) and
music by Arrigo Boito. Produced at Milan,
March 5, 1868. Remodelled and brought out
again, in a condensed form (prologue and four
716
MEFISTOFELE.
acta), at Bologna, Oct. 4, 1875 ; at Her Majesty^s
Theatre, July 6, 1880. [M.]
MEHLIG, Anna. Line a of article, for 3 une
read July.
M£HUL. Line i,/or Henbi read Nicolas,
and correct date of birth to June a a. P. a 47 a,
1. 20, for fiddlestring read E-string (chanterelle).
(Corrected in late editions.)
MEINARDUS, Ludwig Siegfried, bom
Sept. 17, 1827, at Hooksiel (Oldenburg), was at
first educated at the Gymnasium at Jever, where
his father held an official post. He was intended
to study theology, but his musical inclinations
could not be resisted, and he was at length
allowed to devote himself to the art, his
parents imposing the curious condition that he
was to become a public performer on some in-
strument. To this end he took up the violon-
cello, learning what he could from the Stadt-
musikus of the place, who was a violinist. After
making himself ill with excessive practice, he
returned to school, and it was not till he had
finished his studies there that he finally deter-
mined, on the advice of Schumann, who had seen
some of his compositions, to embrace the profes-
sion of a composer. At Christmas, 1846, he en-
tered the Leipzig Conservatorium, but after half
a year, finding that private instruction from
Riccius would be more to his advantage, he ac-
cordingly remained with him for two years. In
1 850 he went to Berlin in order to study with A. B.
Marx, but for some reason or other he fell under
the suspicions of the police, and was not allowed
to remain. He betook himself to Liszt at Wei-
mar, where he stayed some months, after which
he went to Erfurt as conductor of a small
theatrical company, and subsequently in a simi-
lar capacity to Nordhausen. At last he was
provided with better credentials, and succeeded
in remaining in Berlin. In 1853, having finished
his education with Marx, he was appointed con-
ductor of the Singakademie at Glogau, where he
remained until, in obedience to a call from
Julius Bietz, he went to the Dresden Conserva-
torium as a teacher in 1865. In 1874 he set-
tled in Hamburg, where he has since been
continuously active as a composer and critic.
His most prominent compositions are the orato-
rios * Simon Petrus,* * Gideon,' ' Konig Salomo,'
* Luther in Worms,' * Ordrun * ; an opera, • Bah-
nesa' (three acts, finished 1881); 4 ballads for
chorus, * Roland's Schwanenlied,* * Frau Hitt,'
* Die Nonne,* * Jung Baldurs Sieg ' ; two sym-
phonies, and many chamber compositions. A
memoir of Mattheson, an autobiographical sketch,
and collected criticisms, are his most important
contributions to literature. [M.]
MEISTERSINGER VON Nt^RNBERG,
DIE. Add that it was first given in England,
under Richter, at Drury Lane, May 30, i88a.
MEL, R. DEL. Correct the last sentence
by a reference to the Catalogue of the Motett
Society's publications [see additions below, under
MoTETT Society], where an anthem adapted by
Dr. Aldiich to the words ' 0 praise the Lord,'
MENDELSSOHN.
from a work of Mel's, is found in vol. iii.
p. 1 28.
MELLON, Alfred. Line 1 of article, for
Birmingham read London.
MELODRAMA. See also Ballad in Ap-
pendix, vol. iv. p. 530 a.
MELODY. P. 251a, musical example. The
last three notes in bar 2 should be a group of
quavers, not two quavers and a crotchet. P. a 5 1 6,
1. 9, for first subject read second subject of the
first movement.
MENDEL, Hermann. Last line but one of
article, ybr 8 read 11. (Corrected in late edi-
tions.) Add that in 1883 the supplementary
volume appeared, edited by Dr. Reissmann.
MENDELSSOHN. P. 353 a, 1. 7 from bottom
of text,/or ten read eleven ; the battle lasted from
the 1 6th to the 19th. P. 253 6, 1. 5 from bottom,
afler villa add on Monte Pincio. In note 3, 1. 8,
for four read five. P. 354 a, 1. 54. Her practical
sense of the value of money comes out in her
letters to F. David. (See Eckardt's * David, ' 1 888,
pp. 4a, 45.) P. 355 a, 1. 39, read Ich J. Men-
delssohn. Line 35, read L. v. g. G. Line 45, read
wandemden (corrected in late editions). P. 358 a,
!• 35» for wn read une. P. 261 a, 1. 16 from
bottom, /or Hans read Hanoverian. P. 361 6,
1. 6, for cantata read lyric poem — 'lyrische
Dichtung.' P. 363, note 10, for four read five.
P. 3646, note 6, add the MS. is headed 'Am
Bach,' and the tradition of the Taylors is that it
depicts the actual stream, its waterfalls, broad
shallows, and other features. P. 365 a. Add to
note 3 : The quartet was dedicated to * B[etty]
P[istor] ' ; but after her engagement to Rudorf,
Mendelssohn requested David to alter the initials
(* durch einen kleinen Federschwanz *) to ' B. R.'
(See Eckardt's 'David,' p. 35.) In the same
letter he calls it * Quartet aus S.' P. 370 a, I. 7,
for Meeresstille read Fingal's Cave. Line 37,
for Feb. 6 read Feb. 8. P. 370 J, 1. 36, for
complaint in read accident to. P. 371 6, note I3
should run The ' vocal piece * of his contract
with the society. It was first sung at the Phil-
harmonic Concert by Mme. Caradori, May 19,
1834, with violin obbligato by Henry Blagrove.
The MS. is in the Philharmonic Library. (See
below, addition to p. 381 6.) P. 373 a, 1. 16,
for spring read opening. Line 49, add His first
introduction to Schumann is said to have taken
place at Wieck's house on Oct. 3, the day before
the Gewandhaus Concert at which Clara played
Beethoven's Bb trio. (Moscheles, Life, i. 301.)
P. 372 6, 1. 35, add He had played in Bach's
Concerto in D minor for three pianos with
Clara Wieck and Rakemann at the Gewandhaus
on Nov. 9. P. 374 6, at bottom, add On Oct. I3,
1837, he writes to thank the Gesellschaft der
Muaikfreunde of Vienna for diploma of mem-
bership. Theletter is in their archives. P. 3756,
1. a6,/or 33 read 21. P. 281 h, 1. 37, add At
this time he rewrote ' Infelice,' the second pub-
lished version of which is dated Leipzig, Jan. 15,
1843. P. 287 a, 1. 4 from bottom, read He re-
turned to Leipzig on Dec. 3, bringing Miss Lind
MENDELSSOHN.
METAMORPHOSIS.
717
with him (Mr. Rockstro's information) ; and two
lines lower, for Miss Lind read her. P. 288 a.
Add as a foot-note : On this occasion he dis-
covered the two redundant bars in the Trio of
Beethoven's Symphony, which had remained un-
corrected, notwithstanding Beethoven's protest
to the publishers in 1810. P. 2886, 1. 40, add
As a reminiscence it may be mentioned that the
holding C's for the oboe in the recitative of the
Youth, in no. 19, were put in at the end of the
first rehearsal, on Mr. Grattan Cooke's complain-
ing that Mendelssohn had given him no solos.
To note 19 add Mr, Bennett's Examination
was reprinted and completed in the 'Musical
Times ' from Oct. 1882 to April 1883 inclusive.
P. 2946, 1.5, add After a breakfast with him
at B. Hawes's, Thackeray told Richard Doyle
(who told the writer), 'His face is the most
beautiful face I ever saw, like what I imagine
our Saviour's to have been.' Sir F. Pollock
(Reminisc. i. 215) ' was much struck by his fine
face and figure, and the excellence of his conver-
sation.' Line 24, ad^ They could also sparkle
with rage like a tiger's (Moscheles, Life, i.
324). P. 295 a, 1. 34. After Schramm, add
Vemet's was painted in return for an extempore
fantasia on ' Don Juan.' Vernet sent it to the
Mendelssohns at Berlin. (See Rebecka's letter
in Eckardt's 'David,' p. 39.) P. 3006, after the
canon, add A somewhat similar canon, written
in the album of Mr. Parry in 1846, is printed
in the 'Musical World' for Aug. 19, 1848.
Another for two violas, ' Viola i, Sir G. Smart ;
"Viola 2, F. M. B. July 183 1,' is given by Dr.
J. F. Bridge in his * Primer of Double Counter-
point and Canon.' P. 308. The dates given in
the list are those attached by Mendelssohn to
the autograph of the existing form of each work.
P. 309 a. Op. 94, after ist version add with
violin obbligato. P. 3096, paragraph 4. After
Chorley's 'Life,' add Eckardt's 'David,' F.
Moscheles, 'Briefe'. P. 3106. Add (17). Ec-
kardt, ' Ferdinand David und die Familie Men-
delssohn-Bartholdy . . . von Julius Eckardt'
(Leipzig, 1888), contains 30 letters by F. M. B.
(18). Felix Moscheles, 'Briefe von F. M. B. an
Ignaz und Charlotte Moscheles . . . von Felix
Moscheles,' Leipzig, 1888, contains many fresh
letters by F. M. B. [G.]
* MENDELSSOHN QUINTETTE CLUB,
THE, was formed at Boston, Massachusetts, in
1849, for the purpose of giving concerts of
chamber-music, and made its first public appear-
ance in Chickering Hall Dec. 14 of that year.
For a number of years the Club gave a series of
concerts at Boston in each season, classical pro-
grammes alternating with those of a popular
character. The reputation of the Club extend-
ing beyond the city, concert tours were ventured
on, these being at first confined to towns in New
England. By degrees its sphere of action in-
cluded remote Western and Southern cities. No
similar organization in the United States has had
60 long a life, or has introduced to its patrons
more novelties of every school of chamber-music.
As occasion has demanded the Club has been
• Copyright 18^ by F. U. Jemu.
augmented to six or even nine players. Its
programmes have been varied by performances of
distinguished pianists and singers. [F.H.J.]
MENDELSSOHN SCHOLARSHIP. P. 31 la,
1. 27, omit the words the present scholar. Add
that Eugene d' Albert held the scholarship in
1 88 1-2, and that the late scholar, Miss Marie
Wurm, was elected in Jan. 1884. The following
is a list of the committee, as at present consti-
tuted (1887): Mr. Otto Goldschmidt, Mr. J.
Barnby, Mr. J. Bennett, Dr. J. F. Bridge, Mr.
A. D. Coleridge, Mr. W. G. Cusins, Sir George
Grove, Mr. A. G. Kurtz, Mr. Henry Leslie,
Rev. Sir F. A. G. Ouseley, Mr. K. J. Pye, Mr.
R. R. Pym, Dr. Stainer, Sir Arthur Sullivan,
and Mr. Julian Marshall (Hon. Sec.)
MENTER, Sophie. See vol. iii. p. 16 a.
MERBECKE, John. Add that in 1550 he
took the degree of Mus. D. at Oxford.
MERCADANTE, Savebio. Correct the date
of birth, as the certificate of his baptism bears
the date Sept. 17, 1795 (Paloschi). P. 3126,
1. 10, for 1822 read 1821. Line 21, add date of
*I due illustri rivali,' 1838. Last line, /or Dec.
13 read Dec. 17.
MERCATOR, Michael. See vol. iv. p. 304
note.
MEREAUX, Jean Nicolas le Froid de,
born in Paris 1745, was organist of the Church
of St. Jacques du Haut Pas. His oratorios
* Samson ' and * Esther ' were given at the Con-
cert Spirituel in 1774 and 1775 respectively.
These, and an Ode on the birth of the Dauphin,
performed at the same concerts in Dec. 1781,
are his only works of importance besides his
operas, of which the following complete list is
given in the supplement to F^tis : — ' La Res-
source comique,' 1772; ' Le Retour de Tendresse,*
1774; ' Le Duel comique' (partly arranged
from Paisiello), 1776 ; * Laurette,' 1777 ; * Alex-
andre aux Indes,' 1783 ; Oedipe et Jocaste, 1791 ;
* Fabids,' 1793. He died in Paris in 1797. His
grandson,
Jean Amed:^e le Froid de Mere aux, bom
in Paris 1803, became a remarkable pianist and
a most successful teacher. He studied under
Reicha from the age of ten, and appeared with
great success in Paris and London before 1835,
when he settled in Rouen as a teacher, where he
died April 25, 1874. Of his original composi-
tions his studies are the most important, but his
fame rests chiefly upon his excellent collection
published in 1867 under the title of * Les Clave-
cinistes de 1637 k ^79°'' ^^ ^^^ '^^^^ ^^ great
repute as a musical journalist. [M.]
MERK, Joseph. Add days of birth and
death, Jan. 18 and June 16 respectively.
MERKEL, GusTAV. Add date of death,
Oct. 30, 1885.
MERKLIN, SCHUTZE, & CO. See Dau-
BLAINE ET CaLLINET, vol. i. p. 43 1.
METAMORPHOSIS is the modification of
a musical figure or idea, made with the view
71B
METAMORPHOSIS.
of putting it in a new light, or adapting it to
changed conditions. In the later stages of the
development of abstract music, composers have
concentrated a great deal of energy on devising
new ways of enhancing the intellectual interest
of their works — as by making the continuity
of the component sections more close, and giving
a new aspect to the relationship of various
movements, or distinct portions of single move-
ments ; and most of these are based upon some
variation or modification of a well-defined melodic
or rhythmic figure. Such devices can be found
occasionally in the early stages of modem in-
strumental music, as in J. S. Bach ; and an
example from Mozart, in which he welds together
a Minuet and Trio, is quoted in the article
FoKM, vol. i. p. 555. Beethoven was the first
to make any very conspicuous use of them, and
they are frequently met with in the ' working
out ' portion of the movements of his sonatas and
symphonies. A very striking example is quoted
in the article WoEKiNG OUT, vol. iv. p. 489.
The device is to be met with also in other
situations, as in the first movement of the
C minor Symphony, where the well-known
figure
at the outset be-
in the
contrasting key. Berlioz makes ingenious and
characteristic use of the device in his Symphonie
Fantastique, in his treatment of what he calls
the ' idee fixe.' Liszt also makes it a conspicuous
feature in his experiments in programme music.
Wagner makes more elaborate use of it than
any one else in his great music dramas, and
constantly transforms the character of his Leit-
motiven in conformity with the varying nature of
the situations. See also Leitmotif and Work-
ing OUT. [C.H.H.P.]
METASTASIO. The following additions are
to be made to the ChronologicalList on p. 3 1 6 a : —
* Didone abbandonata,* For Sarro read Sarri,
and correct the date of Jommelli's composition
to 1745. Add to the names of composers who
set the libretto those of Galuppi ; Scarlatti, about
1724; Porpora, 1742; Piccinni, 1767; Kozeluch,
1795; Paisiello, 1 797 ; Paer, 1810; Mercadante,
1823 ; Reissiger, 1823.
* Siroe.' Add the setting by Piccinni, 1 759.
* Catone in Utica.' Add Leo and Hasse, 1 732 ;
Grauu, 1744; Piccinni, 1770.
* Ezio.' Add Handel, 1731 ; Mercadante, 1826,
* Alessandro nell' Indie.' Correct date of
Vinci's work to 1730. Add Leo, 1727; Gluck,
1745 ; Piccinni, 1758 and 1774.
* Artaserse.' Add Leo, 1 740.
'Demetrio.* Add Hasse, 1732.
*Issipile.' Add Porpora, 1723.
* Olimpiade.' Add Pergolesi, 1 735 ; Leo, 1 740 ;
Jommelli, 1765 ; Piccinni, 1761 and 1771. [See
Olimpiade.]
* Demofoonte.' Add Leo, 1741 ; Piccinni,
1762 ; Paisiello, 1773.
METZLER.
* Clemenza di Tito.' Add Leo, 1735.
* Achille in Scire* Correct date of jommelli's
work to 1745.
* Ciro riconosciuto.' Scarlatti, 1 7 1 3 ; Leo,
1727 ; Jommelli, 1744.
* Temistocle.' Omit Caldara, as his work is
not composed to Metastasio's libretto. Add
Porpora, 1742; Pacini, 1838.
* Zenobia.* Add Hasse, 1763.
'Antigono.' Add Gluck, 1754.
' Ipermestra.' Add Jommelli, 1752; Gluck,
1742 ; Hasse, 1751.
* Attilio Regolo.' Add Jommelli, 1752.
* L'Isola disabitata.' Correct date of Scar-
latti's work to 1757.
METHFESSEL, Albert Gottlieb, bom Oct.
6, 1 785, at Stadt Ilm, in Thuringia, became Kam-
mermusikus at Rudolstadt, 1810, and Hofkapell-
meister in Brunswick in 1832. He published a
large nvunber of songs of a popular type, and
part-songs for male voices ; some of his produc-
tions, as for instance, ' Krieger's Abschied,*
* Rheinweinlied ' and * Deutscher Ehrenpreis,*
are still popular to a certain extent, and are
included in most of the collections. Methfessel
died March 23, 1869. [M.]
METRONOME. P. 320 a, 1. 37,/or 108 read
208.
METZLER. The founder of this well-known
business was Valentine Metzler, a native of Bin-
gen on the Rhine, who opened a shop in Wardour
Street for the sale of flutes and other instruments
about the year 1790. He married an English-
woman, and his only child was George Richard
Metzler (i 797-1867), so well and kindly remem-
bered by many of the musical profession and trade
in this country. The firm is said to have entered
upon music publishing in 181 6, and removed in
course of time to 37 Great Marlborough Street,
where, on the site of the original shop, but in-
cluding neighbouring houses, the present ware-
house stands. The only surviving child of George
Richard was George Thomas Metzler (1835-
1879). He gained a practical knowledge of the
pianoforte in Germany, and had a distinct literary
bias, which he followed as far as opportunity per-
mitted. He became known as a writer of words
for songs, Mrs. George March (Virginia Gabriel),
Mme. Sainton-Dolby, Henry Smart, and J. L.
Hatton, having set his graceful lyrics to music. In
1867 Frank Chappell, who had acquired his know-
ledge of business in the Bond Street firm of that
name, joined the late G. T. Metzler in partnership,
and from his suggestion the important agency of
Messrs. Mason & Hamlin, which practically in-
troduced the American organ into this country,
became a specialty of the Metzler business.
Frank Chappell died in 1886, and since that
date the business has been carried on by the
tmstees of the estate (1888). The new premises
referred to were completed and opened in 1878,
So comprehensive is their plan that there may
be said to be no musical instrument in present
use, or even part of a musical instrument, unre-
presented in the stock, while the valuable copy-
METZLER.
rights of the publishing department include all
manner of works, from full scores of modern
operas to popular instruction books. [A.J.H.]
MEYERBEER, G. P. 334 i, 1. 26, for 1861
read 1862.
MICROLOGUS. For corrections see Orni-
THOPABCus in Appendix.
MIGNON. Opdra Comique in three acts,
words by MM. Carr^ and Barbier, founded on
* Wilhelm Meister'; music by Ambroiae Thomas.
Produced at the Op^ra Comique, Paris, Nov. 17,
1866, and in London, at Drury Lane, July 5,
1870. [M.]
MIKADO, THE. Comic opera in two acts ;
words by W. S. Gilbert, music by Sir Arthur
Sullivan. Produced at the Savoy Theatre, March
I4» 1885. [M.]
MILAN. For corrections to lines 1 8-2 1 of ar-
ticle see Gafoei, in Appendix, vol. iv. p. 643.
_ MILANOLLO, The Sisters. Add date of
birth of Teresa, Aug. 28, and of Maria, June 19.
The day of the latter's death is Oct. 21.
MINOR. See also Day, vol. i. p. 436 a, and
Helmholtz, vol. i. p. 725.
MISERERE. P. 3366, 1. 18 from bottom,
add after the word Geminiani {{. e. Alfieri), and
see vol. iii. 523 a, note i.
MISSA DE ANGELIS. The name generally
given to a very beautiful Plain-Chaunt Mass, in
Mode XIII, prescribed in the Ratisbon Gradual,
for use 'In Festis Solemnibus,' and appended
to the Mechlin Gradual, as a ' Missa ad libitum.'
Judging from the internal evidence afforded by
the freedom of its phrasing, and the Mode in
which it is written, the Missa de Angelis would
seem to be by no means the oldest Mass of this
class now in use : its antiquity is, however,
great enough to have obliterated all trace of its
history, and even of the origin of the name by
which it is now generally designated, and under
which it is perhaps more frequently sung than
any other Mass of its kind, both in its original
form, and in the English translation used at
S. Alban's, Holbom, S. Mary's, Paddington, and
other London Churches in which Gregorian
Services are encouraged.
The number of the older Masses to which
allusion has been made is very small. The
Ordinarium Missse in the Ratisbon Gradual,
published under the authority of the Congre-
gation of Rites, contains : the * Missa in Tempore
Paschali * in Modes VII and VIII ; a very fine
* Missa in Duplicibus,' beginning in Mode I,
and another in Mode VIII; a * Missa Beatse
Mariae* beginning in Mode I, and another in
Mode VIII ; the ' Missa in Dominicis,' in Mode
I and II; the 'Missse in Festis Semiduplici-
bus ' and * In Festis Simplicibus,' both begin-
ing in Mode VllI ; the well-known * Missa
pro Defunctis,' beginning in Mode I, and in-
cluding the famous *Dies irse* in Modes I
and II ; and some smaller Masses, sung in
Advent, and Lent, during Octaves, and on
Ferial Days. Tlie Mechlin Gradual also gives
MORLACCHI.
71^
[W.S.R.]
Line 3 of
another ' Missa ad libitum ' in Mode XIIT, and
yet another in Modes VII and VIII.
Some editions of the Paris Gradual add to
these a spurious 'Missa Regia,' professedly in
Mode I, but really in the modem key of D minor,
composed by Dumont, Maitre de Chapelle to
Louis XIV, in acknowledged imitation of the
older unisonous Masses, but in utter ignorance
of the principles upon which they are con-
structed, and without a trace of appreciation of
their true style or sentiment. Tliis Mass was
once very popular in France, and much sung in
the Pai-is Churches; but since the revival of the
taste for pure Ecclesiastical Music, it has wisely
been discarded in favour of the older ""'
which it was intended to displace.
MISSA PAPAE MARCELLI.
article, /or 1567 read 1569.
MIZLER, L. C. At end of article add a
reference to the English edition of Spitta's
'Bach,' vol. iii. 22-25.
MODES, ECCLESIASTICAL. P. 343 rr,
1. 26, for Plain Chaunt reac?' Plain Song.
P. 343 b, end of second paragraph, for Poly-
phonic Music read Polyphonia.
MOLINARA, LA. Add that the air 'Nel
cor piti non mi sento ' is known in England as
' Hope told a flattering tale.'
MOLIQUE, B. P. 351 b, bottom line, for
1849 read 1840. P. 352 a, 1. 10 from end of
article, add day of death, May 10. Line 7 fi'om end,
for a Pianoforte Trio read two Pianoforte Trios.
MONDAY, Joseph. See Vowles, in Ap-
pendix.
MONDAY POPULAR CONCERTS. For
additions see Saturday Popular Concerts, and
add that the 1 000th concert took place on Mon-
day, April 4, 1887.
MONIUSZKO, Stanislaus. Correct date of
birth to 1820. P. 353 b, 1. 2, for 1858 read 1846,
and add date of production of * Der Paria,' 1869,
and that he wrote numerous operettas, etc. Last
line, for in read June 4.
MORALT. Add date of birth of Johana
Baptist, Jan. 10.
MORDENT. Example 4. It should be men-
tioned that many excellent authorities consider
it right to play this passage without the acci-
dental, i.e. using A, not A J, as the auxiliary
note of the mordent. See Spitta's * Bach,' English
edition, i. 403, note 89. Example 7, the last
note but one should be D, not B. The sentence
between examples 8 and 9 should be compared
with the article Treatment of the Organ.
MORIANI, Napoleone. Line 2 of article,
for about 1806 read March 10, 1808. Add day
of death, March 4.
MORLACCHI, Francesco. P. 3666, 1. 28
from bottom, add date of 'Raoul de Crequi,'
1 811, of 'La Capricciosa pentita,' 1813, and the
' Passion,' 1812. P. 367 a, 1. 19, add date of ' II
Sacrifizio d'Abramo,' 181 7. Line 39, add 'Lao-
720
MORLACCHI.
dicea* (Naples, 1817), 'LaMorte d'Abel] (Dres-
den), and 'Donna Aurora' (Milan), both in 182 1.
MO RLE Y, Thomas. The date of birth is
established as 1557 by the title of a ' Domine,
non est/ in the Bodleian Library. It runs,
* Thomae Morley, aetatis suae 19. Anno Domini
1576.'
MORNINGTON, Lobd. Add date of his
election to the professorsliip, 1764, and that he
held it till 1774.
MORRIS DANCE. P. 369 J, for the sentence
between the two musical examples, read In
Yorkshire the following tune, founded on that
of * The Literary Dustman,* is generally used.
MORTIER DE FONTAINE. P. 369 h,for
1818 read May 13, 1S16. Add date of death,
May 10, 1883.
MOSCHELES, Ionaz. P. 370 a, 1. 17,/or
early in 1822 read in 1821. Line 32, for May 29,
1826, read June 11, 1821. Add that the
* Life of Moscheles,' referred to in the last para-
graph, was translated by Mr. A. D. Coleridge
(Hurst & Blackett). His correspondence with
Mendelssohn was published in 1888.
MOSlfc IN EGITTO. Line 3 of article, add
date of the Naples production, March 5, and of
that in Paris, Oct. 22.
MOSEL. P. 3 70 6, add that he was one of the
three chief mourners at Beethoven's funeral.
MOSZKOWSKI, MoBiTZ. Line 2 of article,
for Berlin read Breslau, and add day of birth,
Aug. 23. Add the following to the list of his
works : — 'Aus alien Herren Lander,' PF. duet ;
* Johanna d'Arc,' symphony in four movements,
op. 19 ; 2 Concertstticke for violin and PF. ; 3
Concert studies for PF., op. 24 ; 3 pieces for cello
and PF.,op. 29; Violin Concerto, op. 30; Suite
for orchestra, op. 39; Scherzo for violin and
PF. op. 40 ; besides many PF. solos and duets,
and four books of songs.
MOTET. P. 374 a, 1. 7 from bottom, /or
* Motetti c. C read • Motetti C,' and add that
the British Museum possesses a single part-book
of this work. P. 375 a, in the musical example,
for deviderat read desiderat. (Corrected in late
editions.)
MOTETT SOCIETY. In the Ust of con-
tents, the title of the fifth number of Division i
is ' Almighty and ever-living.' Six lines from end
of the same division, for Nannino read Nanini.
Line 3 of Division 2, omit the • Do.' implying
that a Nunc Dimittis of Gabrieli's is included.
At end of Division 3, add the following : —
Croce. O praise the Lord, 4 V.
Do. O give thanks 4 V.
Do. Teach me Thy war, 4 ▼.
Do. 0\ve ear. Lord, 4 v.
Do, Behold, I bring you, 4 T.
Lasso, Save me, O God, 4 v,
Vlttoria. 0 God, wherefore, 4 r.
Hooper, Teach me Thy way, 4 t.
[M.]
MOTTL, Felix, a celebrated and highly
gifted conductor, was bom at Vienna in 1856.
As a boy he possessed a fine soprano voice, and
Lasso, Hear my prayer, 4 voices.
Byrd, Save me O God, 4 t.
Tye, From the depth, 4 y.
Lasso, I will love thee, 4 v.
Vlttoria. Save me. O God, 4 T.
Mel. O praise the Lord, 4 v.
Tallls, Blessed are those, 6 v.
Shepherd, Haste thee, O God, 4 T.
Croce, Behold now, praise, 4 t.
MOZART.
obtained admission to the Lowenburgische Con*
vict, the preparatory school of the Imperial
Court Chapel. Later on he entered the Vienna
Conservatory, where Josef Hellmesberger soon
recognized the eminent gifts of young Mottl,
who in due course obtained all the prizes the
college could award. The Academical Richard
Wagner Verein of Vienna elected him to the
post of conductor of the society's concerts, and it
was there that his eminent ability as a chef
d'orchestre attracted general notice. In 1876
Mottl took part in the Bayreuth Festival per-
formances of Wagner's * Ring of the Niblung *
as stage conductor, and he became one of the
most active members of the so-called ' Niblungen-
kanzlei.' Upon the recommendation of Dessoff
he obtained the post of conductor at the Grand
Ducal Opera House at Karlsruhe, which post he
holds to the present day. It is due to Mottl's
energetic activity that the performances at this
opera honse are now amongst the finest to be
heard in Germany. A sworn enemy of all rou-
tine work, he produced at Karlsruhe many im-
portant stage works of modern times, including
Berlioz's 'Benvenuto Cellini,' and all the mu-
sical dramas of Richard Wagner. Mottl has
also obtained brilliant successes as a conductor
of concerts, and was in 1 886 appointed by the
Bayreuth authorities to conduct the festival per-
formances of ' Tristan and Isolde,' a task which
he accomplished to perfection. He has com-
posed an opera, * Agnes Bemauer' (successfully
produced at Weimar in 1880), and a considerable
number of songs for one voice and pianoforte
accompaniment. He has lately orchestrated
Liszt's pianoforte solo 'St. Francis of Assisi
preaching to the birds.' It was played at the
Richter Concert of June 4, 1888. [C.A.]
MOUTON, Jban. p. 3 78 J, at end of note 6,
correct reference to K. i , d. 7. P. 379 a, 1. 16,
for 8 h, read a 8.
MOZART. P. 381 a, 1. 15 from bottom,/or
pianoforte read harpsichord. P. 384a, 1. 25, for
1872 read 1772. P. 387 b, 1. 14, /or 1871 read
1 781. P. 388 b, 1. 33,/or Aug. 16 read Aug. 4.
P. 400 h, 1. 19 from bottom, /or 1778 read 1788.
P. 401 a, 1. 26, for PF read violin. P. 405 b,
1. 21, for considerably advanced read completed.
P. 40605, 1. 8 from bottom,/or 1859 *'^^ 1858.
The notice of Mozart can scarcely be considered
complete without some mention of works, un-
doubtedly spurious, which have been attributed
to him, and of those which the best authorities con-
sider at least doubtful , especially as some important
works are included in these categories. Of the
former class Kochel's Catalogue enumerates 63,
of the latter 47. The most important are va-
rious masses, published, together with Mozart's
genuine ones, by Novello in his arrangement for
organ and voices. Those in E b (Novello's nos.
13 and 16), and in C (his no. 17), Kochel re-
gards as of doubtful authorship (Appendix nos.
185, 186). Novello's no. 7 in B b, of which the
score and parts were published by C. F. Peters
at Leipzig as by Mozart, is believed by a writer
MOZART.
in the • Allgemeine musikalische Zeitung * (xiv.
p. 829) to be spurious, which opinion is shared
by O. Jahn (ed. i, i. 673), who states that there
were no clarinets in the Salzburg orchestra
when Mozart was there ; to which Kochel adds
that we know enough of Mozart's subsequent
life at Mannheim, Munich, and Vienna before
1784, from his own letters, to be sure that he
then wrote no Mass except that in C minor. To
which must be added that Mozart's widow stated
that this Mass was composed by F. X. Siiss-
mayer. Two short Masses (Novello's nos, 8 and
9) in C and G were published by M. Falter at
Munich as Mozart's, but are said to be by
Gleissner of Munich. A short .Requiem in D
minor was published by Simrock at Bonn (No-
vello's no. 18) as Mozart's; but Kochel says it
IS certain that Mozart never wrote any Requiem
except his celebrated last composition.
The most important of these spurious Masses
is that which was published in score by N. Sim-
rock at Bonn in 1821, and by Novello for organ
and voices as no. 12. This Mass commences in
G, but is chiefly in C and its related keys, and
ends in C. The reviewer in the 'Allgemeine
musikalische Zeitung' xxiii. p. 648, for Oct.
1821 declares that he had possessed it for thirty
years, and argues for its genuineness (notwith-
standing that the style is rather showy, more
calculated to please the Archbishop of Salzburg
than to satisfy Mozart himself). But in July
1826 Ritter Ign. von Seyfried opened a contro-
versy on the subject in the * Csecilia ' (vol. v.
Heft 17, p. 77) with 'Scruples concerning the
Mass in G published by Simrock in the name of
Mozart,' in which he enumerated especially
weaknesses in part-writing and tonality, and
other faults, and pronounced it spurious. In
Heft 22 of the same journal the publisher of the
Mass declared that he had received it from Carl
Zulehner, who would doubtless explain how he
had come into possession of the MS., the hand-
writing of which was similar to Mozart's, but
probably not his. But Zulehner made no an-
swer to the challenge. Jahn (i. 672) agrees with
Seyfried, and adds that * the treatment of the
instruments, especially the bassoons, is quite
different from Mozart's manner in his Salzburg
masses.' And Kochel adds, * This Mass is declared
by all connoisseurs to be decidedly spurious.' To
this another testimony can now be added. The
▼iolinist Leopold Jansa recognised it as a Mass
in which he used to sing as a boy in a musical
school in his native country of Bohemia, where it
was known as * Miiller's Mass.* This would take
us back to about 181 2, long before its first pub-
lication by Simrock in 182 1. If Miiller was
really the composer's name, it ought to be pos-
sible to discover him. As regards his age, he
might be August Eberhardt Muller. And he is
named in Kochel's Catalogue (App. no. 286) on
the authority of a Catalogue of Bieitkopf s, as
the real composer of some variations published as
Mozart's own ; besides which, two songs, also
published as Mozart's, are attributed to * Miil-
ler* by Kochel (nos. 248, 249) on the authority
MOZART.
721
of a writer in the 'Allgemeine musikalische
Zeitung' (i. 745). But as a musician of North
Germany he was perhaps hardly likely to be
known in manuscript copies in Bohemia. Wen-
zel Muller, music composer at the various
theatres in Vienna from 1786 is more likely in
the latter respect, but his serious music is ex-
tremely unimportant. If the name Miiller be
discarded, it might be asked whether Zuleh-
ner may not have palmed off a work of his
own on Simrock as Mozart's. Zulehner was
well acquainted with Mozart, and worked for
Simrock, who published two choruses from
' Thames,' arranged for four voices with pianoforte
accompaniment by Zulehner, which are quite
different from those in Mozart's ' Thames * to
the same words, and are therefore placed by
Kochel in the list of spurious works (no. 243).
This seems a parallel case to that of the Mass,
of which Simrock published both the score and
an arrangement for four voices and pianoforte by
Zulehner. The same publisher published also an
arrangement for Mozart's (genuine) symphonies
as trios for PF., violin and violoncello, by
Zulehner. Moreover Zulehner was the possessor
of a Mass in C bearing Mozart's name, and called
the * Coronation Mass.' This was a mere pas-
ticcio of pieces taken from * Cosi fan tutte,'
transposed, altered, and joined together by in-
tervening chords. Zulehner is said to have
maintained that the mass was the original work,
and that Mozart ' plundered ' his own work (as
Jahn says) to produce the opera. This is
perhaps the most damaging fact yet ascertained
to Zulehner's reputation. Jahn says : * That
the mass is pieced together from the opera by
some church-musician is proved by the existence
of passages not belonging to the opera, and by the
mode in which the borrowed treasure is em-
ployed ; and no musician to whom I have shown
the mass doubted this' (Jahn, iv. Beilage 5).
Two other remarks may be made. It rather
seems as if the mass were put together from two
distinct sources. The Kyrie is in G, the Gloria
is in C ; the Mass ends in C, and the middle move-
ments are in keys related to C, but not for the
most part to G : F, A minor, G, and C minor. It
seems, therefore, as if we had a mass in C minus
the Kyrie, and as if a Kyrie from some other
source had been prefixed to complete it. It is
finally interesting to note that the only really
strong movement in the Mass, the great fugue
*Cum sancto spiritu,' which is well worthy of
Mozart, is expressly stated by Simrock in his
answer to Seyfried to have been performed, long
btjfor'j the publication of this Mass, in the cliape:
of the Elector of Cologne in a Mass of Mozart's ;
and he gives no such testimony of any other part of
this Mass. It may therefore be possible to cling
to the belief that this single movement is genuine.
The other spurious works are less important.
Most have never been published, or published
only once or twice by obscure publishers in Ger-
many. There are, however, 39 spurious songs
in vogue, published chiefly by Rellstab at Ber-
lin and Andr^ at Offenbach, of some of which
722
MOZART.
the true composers are known. One is the beau-
tiful bass air ' lo ti lascio, cara, addio * (published
in Suppl. to * Allg. musik. Zeitung,' i.), which is
by G. von Jacquin (Kochel, App. nos. 245-283).
Among the doubtful pieces are reckoned three
Pivertimenti for wind instruments, a sonata in
C minor, and a romance for pianoforte in A b
(ib. 226-228, 204, 205). [R.M.]
MtJLLER, Add date of birth of Aegidius
Chbistoph, July 2, 1766.
MULLER, A. E. Add day of death, Dec. 3.
MULLER, Christian, of Amsterdam, be-
tween 1720 and 1770 built the finest organs in
Holland, and especially the celebrated instru-
ment at Haarlem in 1738. See also vol. ii.
p. 602. [V. de P.]
MULLER, IWAN, a renowned clarinettist,
born at Reval, Dec. 3, 1786, appeared first in
Paris in 1809, where he brought out many of
his structural improvements in the instrument,
and where, after a residence of some years, and
a successful concert tour through all the principal
European cities, undertaken in 1820-1826, he
was appointed professor in the Conservatoire.
In later life he returned to Germany, and died
at Biickeburg Feb. 4. 1854. His compositions
have an educational value for players of his
instrument, but beyond that they are of no
importance. His best production is a * Gamme
pour la nouvelle Clarinette,' published at Berlin
in 1825. (Mendel's Lexicon.) [M.]
MULLER, Wenzel, bom Sept. 26, 1767, at
Tiimau in Moravia, was for some time a pupil
of Dittersdorf, and became conductor in the
Brunn Theatre in 1783, and three years after-
wards, when only nineteen, obtained a similar
post at Marinelli's theatre in Vienna. The rest
of his life was spent in the capital, with the
exception of the years 1808-13, during which
he was director of the opera at Prague, where his
daughter Therese, afterwards known as Madame
Griinbaura, was engaged as a singer. On his
return to Vienna, he become conducter at the
Leopoldstadt Theatre, and retained the post
until within a short time of his death, which
took place at Baden near Vienna, on Aug. 3,
1835. As a composer of light operas, he en-
joyed enormous popularity for many years, and
his productions in this kind are said to num-
ber over 200. His more ambitious works, as
symphonies, masses, etc., were less successful.
Among his dramatic works may be mentioned :
— * Das Sonnenfest der Braminen ' (1790); * Das
neue Sontagskind ' (i 793) ; * Die Schwestern von
Prag' (1794); 'Die Teufelsmiihle auf dem
Wienerberge ' (1799). A peculiar interest at-
taches to his * Zauberzither' or 'Kasper der
Fagottist,' produced June 8, 1791, since Schika-
neder took several suggestions from it for the
plot of • Die Zauberflote.' In 181 8 Miiller pro-
duced his * travestierte Zauberflote.' (Mendel's
Lexicon ; Riemann's Opemhandbuch.) [M.J
MUFF AT, August Gottlieb. For date of
birth read April 17, 1683, and add date of death,
Dec. 10, 1770.
MUSICAL INSTRUMENTS.
M USICA FICTA. P. 414 a, 1. 7, etc., for in
some new mode to which the composer must be
supposed to have modulated, read upon one of
the Regular or Conceded Modulations of the
Mode in question.
MUSICAL ASSOCIATION. The list of
Vice-Presidents for the present season (1888-9),
is as follows :— Prof. W. G. Adams; R. H. M.
Bosanquet ; J. F. Bridge, Mus.D. ; W. Chappell ;
G. F. Cobb ; F. E. Gladstone, Mus. D. ; Otto
Goldschmidt ; Sir George Grove ; J. Higgs ;
Mus. B. ; W. H. Monk, Mus. D. ; G. A. Osborne ;
W. Pole, Mus.D.; C. K. Salaman; J. Stainer,
Mus. D. The ordinary members of council are as
follows : — H. C. Banister ; C. A. Barry ; Major
G.A.Crawford; W.H.Cummings; F.W.Daven-
port (Hon. Sec.) ; F.Praeger; A. H. D. Prender-
gast; E. Prout; W. de M. Sergison; T. L. South-
gate ; C. E. Stephens. The auditors are Messrs.
D. J. Blaikley and W. S. CoUard.
MUSICAL INSTRUMENTS, COLLEC-
TIONS OF. Modern collections of musical in-
struments are of the nature of museums, but
those of the i6th, 17th and i8th centuries were
intended for use. The fine&t and most complete
at the present time are those provided with im-
portant catalogues, viz. —
London. South Kensington Museum, cata-
logued by Carl Engel.
Paris. Conservatoire de Musique et de
Declamation, catal. by Gustave Chouquet.
Brussels. Conservatoire Royal, catal. by
Victor Mahillon.
Florence. Kraus Collection, catal. by Ales-
sandro Kraus figlio.
Manchester. Boddington Collection, acquired
and catalogued by J. Kendrick Pyne, Esq., or-
ganist of Manchester Cathedral.
Milan. Arrigoni Collection, catal. by L. Arri-
goni.
After these may be named more or less im-
portant collections to be found at
Antwerp. The Italian instruments of Mr.
Wilmotte ; Museum of Mr. Steen. The Plantin
Museum contains a curious harpsichord.
Basle. Museum of Antiquities.
Berlin. Hochschule fiir Musik (a collection
recently acquired from Herr Paul de Wit,
Leipzig) ; Hohenzollern Museum (so far as
various instruments are preserved that have
belonged to members of that family); Kunst
und Gewerbe Museum.
Bologna. Museo Civico.
Bruges. Le Musee archeologique.
BuDA Pesth. National Hungarian Museum.
Cairo. Sig. F. Amici (Egyptian instruments).
Clatdon, Buckinghamshire. Sir Harry Ver-
ney, Bart., M.P. (Javanese instruments formerly
belonging to Sir Stamford Raffles).
Darmstadt. Museum of Antiquities.
Delft. Mr. T. C. Boers.
Dublin. Trinity College (under care of Pro-
fessor Sir Robert Stewart, Mus. Doc.)
Edinburgh. Music Class Room of the Uni-
versity (under care of Professor Sir Herbert
Oakeley).
MUSICAL INSTRUMENTS.
Genoa. Museum contains the famous Guar-
nerius that belonged to Paganini.
Glasgow. Anderson's College.
The Hague. Mr. Scheurleer.
Helsingfors. Mus^e ethnographique.
HoBSTEAD, Norfolk. C. R. Day, Esq., 43rd
Light Infantry (Indian instruments).
Lbyden. Musde ethnographique.
London. H.R.H. The Duke of Edinburgh
(violins) ; John Broadwood & Sons (keyboard
instruments) ; Mile. Marie Decca; George
Donaldson, Esq. ; Messrs. Arthur and Alfred
Hill; A. J. Hipkins, Esq., F.S.A. ; India
Museum ; G. T. Lock, Esq. ; London Mission-
ary Society ; Otto Peiniger, Esq. (Harrow) ;
Royal College of Music (chiefly Indian instru-
ments, the ^vision of a collection between the
Royal College and the Brussels Conservatoire,
presented by the Rajah Sir Sourindro Mohun
Tagore) ; Rudall Carte & Co. (wind instruments).
Madeid. Archaeological Museum.
MiDDLEBUBG (Zealand). Museum.
Milan. Museo Musicale (Extra-European) ;
Museum of the Conservatorio.
MoDENA. Count L. F. Valdrighi.
Moscow. Mus^e Dachkoflf.
Munich. National Museum.
Naples. Museo Nazionale.
Nuremberg. Gerraanisches Museum.
Oxford. Mr. T. W. Taphouse ; Pitt-Rivers
Museum (ethnological).
Paris. Mr. E. Gand (violins) ; Messrs. Pleyel
Wolff & Cie. (keyboard instruments) ; H6tel
Cluny.
Renaix, Belgium. Mr. Abel Regibo; Mr.
Cesar Snoeck.
Rome. The Vatican.
^ Ross, Hereford. H. C Moffatt, Esq., Good-
rich Court (Keyboard Instruments).
Salzbubg. The Mozarteum ; Stadtisches
Museum Carolino-Augusteum ; Dr. Peter, Di-
Irector, Communal Museum.
Savigliano. Cavaliere Maurizio Villa (Vio-
Uns).
Southampton. Mr. W. Dale (Keyboard In-
struments.
St. Peteesbubg. Museums of the Conserva-
tory, the Academy of Science, the Geographical
Society.
Stuttgaet. Herr C. Klinckerfuss.
Veeona. Municipality.
Vienna. Ambroser Sammlung ; Museum der
Musikfreunde ; Dr. Hans Richter (Chinese in-
struments) ; Baron Nathaniel de Rothschild.
ViLNA. Musee ethnographique. [A..T.H.]
MUSICAL LIBRARIES. P. 4206, 1 17,
for Canonicus de Silvestris a Barbarano read
Has alteras Sacras Cantiones. Line 32, for for
read after.
The following additions and corrections are to
be made to the article. The information with
regard to the German libraries is mainly de-
rived from various numbers of the 'Monats-
hefte fur Musik-Geschichte,' where further in-
formation as to the contents of these libraries
is to be obtained. For the account of the recent
MUSICAL LIBRARIES.
nz
discoveries at Durham, the writer is indebted
to Dr. Armes.^
Great Britain and Ireland.
Cambeidge. a. The catalogue of the musio
in the Fitzwilliam Museum is now (1888) in the
d, Ti-inity College Library contains a vellum
roll of Early English carols, dating from the
iSth century. Amongst these is a copy of the
Agincourt song.
e. The Catalogue of the Peterhouse MSS. by
Dr. Jebb has been printed.
Dueham. The old MSS. in Durham Cathe-
dral have been recently carefully collated and
indexed by the present organist. They consist
of four sets of books, all unfortunately imperfect.
The old set contains about 40 full and 50 verse
anthems by Tallis, White, Parsons, Hooper,
Morley, Weelkes, Byrd, Batten, Giles, Tomkins,
East, Gibbons, etc. The second set is rich in
anthems and services for men's voices only. The
third consists of eight out of ten magnificent
folio volumes containing Preces and Psalms for
special days by Byrd, Gibbons, William and
Edward Smith ; and services by Shepherd, Par-
sons, Batten, and others. The fourth set con-
sists of organ parts of practically all the anthems
and services used in the Cathedral from Tallis
to Purcell.
London, a. British Museum. The statement
at vol. ii. p. 419 that the collection is not strong in
early printed music is no longer the case. The col-
lection of madrigals is extremely fine, and there
are no fewer than 12 works printed by Petrucci,
of which only two are incomplete. The collection
was increased in 1886 by the acquisition, from
M. Kockx of Antwerp, of a large number of
works printed at the press of Phal^se at Louvain
and Antwerp. Many of these volumes were
exhibited at the Brussels Exhibition of 1880,
and described in Section D of the catalogue.
The suggestion on p. 420 for the publication of
a catalogue of the music printed before 1800 will
be shortly adopted, and a new catalogue of the
MS. music, which is much needed, is also in
contemplation.
c. Sacred Harmonic Society. This library has
passed into the possession of the Royal College
of Music.
RiPON. In the Minster Library is preserved
an interesting volume of theological tracts by
Gerson and others, on blank leaves of which are
written two i6th century ballads for three
voices. The first is entitled 'A ballet of y® deth
of y8 Cardinall ' {i. e. Wolsey), and the second,
* A lytyll ballet mayde of y® yong dukes g'^ce,'
(i. e. Henry Fitzroy, Duke of Richmond and
Somerset, a natural son of Henry VIII, who
died in 1536.) The words of these ballads are
printed in the Yorkshire Archaeological and
1 Aemes, Philip, bom at Norwich In 1836, was educated In the
Cathedral choir of his native town from 1846-8, and In that of
Rochester from 1848 to 1851. He was appointed organist of St. An-
drew's, Wells Street, In 1857, of Chichester Cathedral in 1861, and of
Durham Cathedral In 1862. He graduated Mus. B. at Oxford In 1858.
and Mus. D. in 1864. His chief compositions are ' Hezekiah,' written for
the Worcester Festival in 1878 ; ' St. John the Evangelist,' written for
York in Itai ; and several services, anthems, and other Church music.
724
MUSICAL LIBRARIES.
Topographical Journal, ii. 396. The library
also contains some rare liturgical printed books,
particularly a York Manuale (W. de Worde)
of 1509, and a York Missal (Rouen) of 151 7.
Pbivatb Collections, c. The greater portion
of Mr. Julian Marshall's library was sold in 1884.
A large part of the more valuable MSS. had
been previously acquired by the British Museum.
k. Mr. J. E. Matthew has a very fine and
extensive collection of early treatises and other
music, including a copy of Yirdung's rare 'Musica
getutscht.*
Belgivm,
Ghent. The University Library contains an
extremely valuable collection of MS. Treatises
on Music, besides many liturgical MSS.
France,
Cambbai. The Public Library contains a
precious collection of MS. church music by early
Flemish and Burgundian musicians, besides
songs for two, three, and four parts, dating from
the 14th century. The collection was described
in M. de Coussemaker's * Notice sur les Collec-
tions Musicales de la Biblioth^que de Cambrai.*
(1843.)
DOUAI, DUNKERQUB, LiLLE, VALENCIENNES.
The few books and MSS. of interest in these
libraries are described in an appendix to Cousse-
maker's work on the Cambrai collection.
Pabis. a. An excellent catalogue of the rare
musical works in the Conservatoire library, with
illustrations and facsimiles, was published by
the librarian, Mr. J. B. Weckerlin, in 1885,
Oermany.
Abnstadt. The Church library possesses six
folio volumes of vocal music of the i6th cen-
tury.
AuGSBUBG. The Stadtbibliothek, the Archives,
and the Historical Society possess valuable col-
lections of early printed and MS. music, chiefly
collected from the suppressed monasteries of the
city. An excellent catalogue of these collections
was published in 1878 by Herr Schletterer.
Berlin, a. The catalogue of the Joachimsthal
collections was published by Herr Eitner in 1884.
Less important collections are in the Kgl. Kir-
chenmusik-Institut, the Nikolaikirche, and the
Berliner Tonkunstler-Verein.
Bonn. The University library contains about
600 vols, of music, chiefly of the present century.
Amongst the few early works is a copy of the
1517 edition of the 'Micrologus* of Ornitho-
parcus.
Bremen. About 74 musical works belonging
to the Stadtbibliothek are in the care of the
Bremen Tonskiinstler-Verein.
Bbeslau. The musical works (printed before
1700) in a. the Royal Academic Institute, h. the
Town library, and c. the University library have
been admirably catalogued by Herr Emil Bohn
(Berlin, Colne, 1883.) These three collections
are some of the richest in Germany in early
printed music.
d. The Cathedral library contains about
MUSICAL LIBRARIES.
1000 musical works, of which 60 are in manu-
script. The collection chiefly consists of church
music of the past and present century.
e. The Domstifts-Bibliothek contains a small
collection of MSS.
f. The church of St. Elisabeth contains about
4300 musical works, chiefly church music of the
i8th and 19th centuries.
Brieg. The Gymnasium contains a small but
valuable collection, chiefly of printed works of
the 1 6th century.
Cassel. The Landesbibliothek contains about
340 musical works, printed and MS. Amongst
the former are copies of Morley and Weelkes*
madrigals. Most of the works date between
1560 and 1620. The catalogue was published
by Carl Israel in 188 1.
Cologne. The Jesuitenbibliothek has a small
collection of printed i6th century music, in-
cluding copies of the • Silium Musice Plane ' of
1506, and WoUick's 'Enchiridion' (Paris, 151a).
Danzig, a. The Town library contains a
valuable collection, principally of works of the
second half of the i6th century.
h. The AUerheiligen-Bibliothek possesses a
small collection of the same period.
c. The Town Archives contain six MS. volumes
of music, dating from 161 1 to 1692.
Donaubschingen. The library of Prince
Furstenberg contains 13 MS. antiphoners (14th-
i8th century) and a fragment of a MS. treatise
on music of the 15th cent.
Dresden. &. For 400 read 4000. The same
collection contains a clavichord of the 17th cen-
tury, and a harpsichord and clavyorganum, both
of which are said to be by Silbermann.
e. The Royal Public Library contained (in
1872) II 77 volumes on musical theory, and 1468
voliunes of practical music. There are many
early printed books of rarity, including a copy
of the Mainz Psalter of 1457.
f. The Dreikonigskirche possesses a few rare
printed works, including the discant and tenor
parts of Walther's Wittenberg hymnbook (1524).
Eichstatt. The Royal library is rich in rare
printed liturgical works containing music.
Elbling. a. The Marienkirche library con-
tains 76 works of the i6th century and 85 of the
17th; 13 Polish cantionales (1571-1792) and
many MS. church compositions of the i8th and
19th centuries.
h. The Town library possesses a few rare
books, including a copy of the Syntagma of Prae-
torius.
Erpdrt. The Royal library has many litur-
gical MSS. and printed books, chiefly derived
from suppressed convents.
Frankfort on the Main. The library of
St. Peter's Church is said (Monatsh. 1872, p. 22)
to be the same as that now preserved in the
Gymnasium.
GOttingen. The University Library contains
145 musical works, mostly of the 15th and i6th
centuries, mitny of which are of great rarity.
An excellent catalogue has been published by
Herr Albeit Quantz.
I
MUSICAL LIBRARIES.
GoTHA. The Ducal library contains a small
but interesting collection, comprising several
rare early works.
Gbimma. The Landesschule has about 131
works of the i6th and 17th centuries. A cata-
logue was published by N. M. Petersen in the
yearly school report for 1861.
GiJSTBOW. The Domschule library contains
a small but valuable collection of rare early
printed musical works, chiefly of the 1 6th century.
They are described in the school prospectus for
1853-
Hannover, There are a few rare early works
on music (including a copy of Burtius' *De
Musica,' 1487) in the Royal Public Library.
Heilbeonn. The Gymnasium library possesses
i6th and 17th century part-books, apparently
of considerable value.
Jena. The University library contains about
60 vols, of music, chiefly consisting of rare early
treatises.
LiEGNiTZ. The Bibliotheca Rudolfina of the
Ritter-Akademie contains an extremely valuable
collection of i6th and 17th century music. The
catalogue of the printed books was published in
the ofl&cial programme of the academy (1876-8)
by Dr. Ernst Pfudel. That of the MSS. ap-
peared as a supplement to the Monatshefte fiir
Musik-Geschichte in 1886.
LtJBECK. The Stadtbibliothek is said to
contain valuable early German and Italian
printed music. An account of a few interesting
volumes appeared in the Monatshefte fiir Musik-
Geschichte for 1884, No. II.
LtJNEBUBG. The Stadtbibliothek is rich in
musical works of the i6th and 17th century,
both MS. and printed.
Matbingen. The Oettingen-Wallerstein
library contains much MS. music : 390 sym-
phonies, 214 cantatas and oratorios, 114 masses
and III works for stringed instruments — chiefly
by composers of the late i8th century. There
are also 120 works on theory.
Munich. The University library has a small
but valuable collection of i6th and 17th century
music.
Neissb. The Kreuzheiliges Stift has a few
printed works of the i6th century and also MS.
liturgical works.
NtJBNBEBG. The Stadtbibliothek possesses 13
MSS. and 47 printed volumes of i6th and 17th
century church music. It also contains a MS.
Antiphoner in eight folio volumes.
PiBNA. The Stadtkirche library contains 8
1 6th century MSS. and 63 printed musical works
of the 1 6th and 17 th centuries.
Pbague. The University library possesses
a few valuable early MS. treatises, besides printed
works of the i6th and 17th centuries.
Sondeeshausen. The Schlosskirche library
contains much MS. music, chiefly sacred cantatas
of the first half of the i8th century.
Stbassbueg. The University library possesses
a small collection of early printed musical works,
the rarest of which are the ' Harmonic ' of Tri-
tonius (Augsburg, 1507) and the *Novus partus
VOL. IV. PT. 6.
MUSICAL LIBRARIES.
725
sive concertationes musicae' of Besardus (Augs-
burg, 1 61 7).
Ulm. The Stadtbibliothek has about 141
volumes of printed music, chiefly dating from the
early 1 7th century.
Vienna, c. Dr. Gehring's library was sold in
1880.
Wolpfenbuttel. The Grand Ducal libraiy
and Bibliotheca Augusta are rich in music, esJ
pecially in hymns and liturgical works of the
17th century.
WUbzbueg. The University library possesses
liturgical and choir books of the 14th, 15th and
1 6th centuries, besides other musical works of
interest.
ZiTTAU. The Stadtbibliothek has a few eariy
printed works, and several MSS., among which
are 7 missals, dating from 1435, decorated with
illuminations of great beauty.
Zwickau. The Rathsschulbibliothek is rich
in early printed music, particularly in Psalters
and coUections of Hymns. There are also a few
MSS. The library is described in the ' Monats-
hefte fiir Musik-Geschichte' for 1875, No. 11,
and 1876, No. 2.
For many less important collections, see the
'Monatshefte fiir Musik-Geschichte' for 1872,
Nos. I and 2, and 1873, No. 12.
Italy.
Bologna. The library described in vol. ii. p
425 belongs to the Liceo Comunale di Musica,
not to the Liceo Filarmonico. The mistake has
arisen owing to the Accademia Filarmonica
being located in the same building. A catalogue
has been compiled by Prof. Gaetano Gaspare, and
is announced for publication (June, 1888).
Cbespano. The musical library formed by
Professor P. Canal is very extensive, and rich in
musical literature. There are several early
printed treatises here, and also a number of
madrigal part-books. A catalogue of the col-
lection was published at Bassano in 1885.
Florence, a. Add and also some interest-
ing MSS., particularly a volume (Cod. MS. No.
58) containing compositions by the Netherlands
School, described in the ' Monatshefte fiir Musik-
Geschichte,' 1877, No. 2.
Rome, The archives of the Papal Choir have
been at length examined with the greatest care
by F. X. Haberl. The results of his labours
have been published in an admirable biblio-
graphical and thematic catalogue which appeared
first as an Appendix to the 'Monatshefte fur
Musik-Geschichte,' and has since been published
separately by Breitkopf & Hartel. See SiSTiNB
Chapel in Appendix.
Venice, a. The library of St. Mark's contains
much interesting music. Amongst the theo^
retical books are copies of the works of Galilei,
Aron, Artusi, L. Folianus, Zacconi, Zarlino,
J. lYoschius, Gafori, Omithoparcus, Burtius
(* Opusculum,' 1487), and many others. The
collection of practical music is rich in part-books
of madrigals, chiefly in Venetian editions. The
following is a list of composers whose works
3B
726
MUSICAL LIBRARIES.
are contained in this section of the library: —
Agostini, Anerio, Antegnati, Archadelt, Asola,
Baccusi, Balbi, Berchem, Bertani, Bianco, Caccini,
Cambio Perissone, Corvus, Croce, Donate, Doni,
Dorati, La Faya, Ferretti, Fiesco, Freddi, A.
Gabrieli, Giovanelli, Gero, Gombert, della Gos-
tena, Sigismondo d'India, Ingegneri, Orlando
Lasso, G. de Macque, Manara, Marenzio, Marian
d'Artois, Masotti, Mazzone, Merulo, F. di
Monte, Monteverde, Nasco, Peri, Petrino,
Phinor, G. da Ponte, Pordenone, Porta, Porti-
naro, Primavera, Renaldi, Romano, de Rore,
Rossi, Rosso, Rubini, Ruflfo, Sabino, Spontini,
Stabile, Stivori, Striggio, Tarditi, Tigrini, G. da
TJdine, Vecchi, Verdelot, dalla Viola, G. de
Wert, Zacchino, Zappasorgo, Zuccarini, G. A.
Bontempi, Crescentini, Crivelli, Frescobaldi,
Grossi, Hartmann-Stunz, T. Merula, Miniscalchi,
Moretti, Morlacchi, and Rinuccini. The MSS.
include works by Marcello (2 Intermezzi and a
Serenata, autograph, a treatise (1707) two can-
tatas, an aria and two operas) ; S. Albero ; D.
Scarlatti (a Serenata a 4, and 13 vols, of Sonatas,
1752-1757); Perez (8 operas, I752-I755);
Cafara ; T. Traetta ; L. Vinci ; Sarti ; Graun ;
Perotti ; Haydn ; Mysliweczek (* Demofoonte,'
played at Venice in 1769) ; Bonno; Galuppi ;
Guglielmi ('11 Re Pastore,' 1767) ; Naumann;
Leardini ; C. Grossi ; Venier (Procurator of St.
Mark's, 1732-45) ; Stradella; Mattheis; Brusa;
Giaii (Theatre Airs, 1738); G. Porta; Porpora
(Theatre Airs, 1727); D. Terradellas; Hasse
(five operas, 1730-58), and two oratorios; A.
Scarlatti (opera, 'L'Eurillo,' and the following
twenty-seven operas by Cavalli: — Gli Amori
d'ApoUo e di Dafne, Alcibiade, L' Artemisia, La
Calisto, II Giro, La Didone, La Doriclea, L'Egista
Elena, L'Eliogabalo, Ercole arnante, L'Erismena
(two settings), L'Eritrea, II Giasone, L'Hiper-
mestra, Muzio Scevola, Le Nozze di Teti e Peleo,
L'Orimonte, L'Orione, L'Oristeo, L'Ormindo,
Pompeo Magno, La Rosinda, Scipione Africano,
La Statira, La Virtti degli Strali d'Amore, Xerse.
There are also many detached cantatas and
Bongs. The Contarini collection, which is ex-
tremely rich in operas (some autograph) of the
early Venetian school, has recently been admirably
catalogued byDr.T.Wiel.whohas identified many
works previously considered as anonymous.
b. The Museo Correr has a considerable col-
lection of music, chiefly MS. compositions of the
later Venetian schools. There are many auto-
graphs of B, Furlanetto, and church music,
operas, intermezzos, etc., by Morlacchi, Ber-
nasconi, Perotti, Salari, Pergolese, Jommelli,
Mayer, Lotti, Burzolla, Bertoni, and many others.
In 1881 the collection of Count Leopardo Martin-
engo, consisting chiefly of detached vocal and in-
strumental pieces, was added to the collection.
Sweden.
Upsala. The Royal library of the Academy
contains 191 printed musical works of the i6th
century, 198 of the 17th, and 120 of the i8th
century. Among the earlier books are many of
great rarity. [W.B.S.]
MUSICAL PERIODICALS.
MUSICAL PERIODICALS. At end of first
paragraph, ybr 1828 read 1829. Add to notice
of The Musical World that in 1886 it was pub-
lished by Messrs. Mallett, of Wardour Street,
Mr. F. Hueffer becoming editor. In 1888 its
locale was changed to 1 2 Catherine Street, and
in August of that year it was bought by ]Mr.
E. F. Jacques. P. 427 6, 1. 30 from bottom,
for 1843 read 1842. Line 25 from bottom, add
date of beginning of The Musical Examiner,
Nov. 1 842. P. 428 a, par. i , add that on the retire-
ment in 1887 of Mr. Lunn, the editorship of The
Musical Times was assumed by Mr. W. A. Barrett.
P. 428 a, par. 2, add that The Tonic Sol-fa
Reporter has a department of 'Musical questions
and their answers.' P. 428 6, par. i , add that the
proprietorship was transferred to Mr. Harry La-
vender. Mr.Turpin edited The Musical Standard
from 1880 to 1886, Mr. Broadhouse succeeding
him for two years ; finally Mr. Ernest Bergholt,
B.A., became editor in 1888. P. 4286, par. 2,
add that in 1882 The Orchestra appeared again
in a folio size. Par. 3, add that The Choir came to
an end in 1878. P. 428 6, par. 4, add that in 1887
Mr. W. A. Barrett left the editorial chair. Among
recent contributions to The Monthly Musical 22c-
cor^i, Mr. Pauer's 'Chronological Tables and their
materials,' and articles by Dr. Carl Reinecke, Mr,
S. Stratton, and Mr. Verey may be mentioned.
At end of article add as follows : —
The Musical Review, a weekly musical jour-
nal (Novello & Co.), lasted for a few months
from the beginning of 1883.
The Magazine of Music (Coates), a monthly,
was established in 1884. It is profusely illus-
trated, and contains a musical supplement.
Musical Opinion and Music Trade Review
(Fitzsimmons, monthly), has flourished since
1877. ^^ ^^^ illustrations, musical examples,
original articles, etc.
The Academic Gazette of Trinity College is
owned by a company, but worked as the official
organ of the College, and published monthly by
Hammond & Co. Dr. Bonavia Hunt was editor
of Musical Education, as it was then called,
from 1880 to 1884. From 1884 Mr. Turpin has
edited the Academic Gazette.
The Lute (Patey & Willis) has been pub-
lished as a monthly journal since 1883, and was
edited for some time by Mr. Joseph Bennett.
It is now altered in style and has six pages of
musical matter to four of letterpress, with Mr.
Lewis Thomas as editor.
The Quarterly Musical Review (Heywood),
edited by Dr. Hiles, dates from February 1885.
Musical Society (Morley), first appeared
(monthly) in March 1886. It contains articles
by Mr. Hamilton Clarke and others, and a musi-
cal supplement.
The British Bandsman and Orchestral Times,
circulates among bandmasters and members of
military, orchestral, and brass bands. It was
established in September 1887, under the joint
editorship of Mr. Waterson and Mr. Cope, the
latter of whom is also proprietor and publisher.
It appears monthly, with a musical supplement.
MUSICAL PERIODICALS.
The Meister, the organ of the Wagner Society,
made its first appearance on Feb. 13, 1888. It is
issued quarterly by Redway, under the honorary
editorship of Mr. Ashton Ellis and Mr. E. F. Jac-
ques, Messrs. Dowdeswell, Shedlock, Glasenapp
and Barry are among the contributors. [L.M.M.]
MUSICAL UNION. Add that the associ-
ation ceased to exist in 1880, and that its founder,
Mr. John Ella, died Oct. 2, 1888.
MUSIC-PRINTING. P. 433, note i, for
now read a copy of which is. The book re-
ferred to was one of the most interesting ex-
hibits in the Loan Collection of the Inventions
Exhibition of 1 885. P. 435 6, 1. 28 from bottom,
correct statement as to 'The Musical Miscellany,'
as that was printed not from types, but from
engraved blocks.
Henry Fougt's Patent, mentioned in vol. ii. p.
435 &> of which the specification may be read in
the Patent Office (No. 888, year 1767) states that
the old * choral ' type consisted of the whole figure
of the note with its tail and the five lines ; but
that in his system every note with its five lines
is divided into five separate types. The modern
eystem is therefore very similar to this.
A new process for printing music is that
called * Gravure Chimique,' examples of which
have been occasionally seen in the French
* Figaro.' The music is first punched on a pewter
plate in the ordinary way, from which a paper
proof i^ taken and transferred to a zinc plate.
NAPOLEON.
727
Nitric acid is then applied, which dissolves the
zinc where it is not protected by the ink, and
leaves the notes in relief. This stereotype plate
is then used to print from in the ordinary typo-
graphic press. Mr. Lefman, 57 Rue d'Haute-
ville, Paris, who kindly explained the process to
the writer, also informed him that these cliches, of
the ordinary music size, can be made for 50 francs
(£2)each. [See also Schedrmann, vol. iii.p. 248.]
Mr. Augener, of Newgate Street, London, has
produced some beautiful specimens of music-
printing. The music is first punched on pewter
plates in the usual way, and is then transferred
to a stone, from which it is printed. The orna-
mental title-pages are equal to the finest copper-
plate engravings. [V. de P.]
MUSIC SCHOOL, OXFORD. Add that the
portraits, of which a list is given, have been
lately moved to the New Schools. They were
exhibited at the Inventions Exhibition in 1885,
when Salomon's portrait was identified. See Add.
MS. 23071, fol. 65, for a list of them in 1733-4.
MUSIKALISCHES OFFER. To end of
article add references to English edition of
Spitta's Bach, iii. 191-7, 233, 292, 294.
MUTE. Omit reference to Dolce Campana.
MYSLIWECZEK, Josef. Line 15, for Nov.
1772, read Oct. 1770.
MYST^RES D'ISIS. Line 4 of article, for
Aug. 26 read Aug. 23.
N.
NABUCCO. Line 3 of article, for in Lent
read March 9.
NACHBAUR, Fkanz. Add that in
1882 he was a member of the German Opera
Company at Drury Lane, and on June 3 sang the
part of Walther in * Die Meistersinger,' origin-
ally sung by him on the production of the work
at Munich in 1868. He also appeared as Adolar
in * Euryanthe' on June 13. [A.C.]
NACHRUF. The German word expresses
the idea, not merely of farewell, but of fame
after death ; thus * Elegy ' would be a more ac-
curate translation.
NADESCHDA. Romantic opera in four
acts ; words by Julian Sturgis ; music by A.
Goring Thomas. Produced by the Carl Rosa
Company at Drury Lane, April 16, 1885. [M.]
NXGELI, J. G. Mention should be made
of the 'Lied vom Rhein,' given on p. 16 of
Scherer's collection.
NAENIA. Add that a setting of the same
words for chorus and orchestra is op. 82 of the
published works of Brahms.
NAPLES. P. 446 a, 1. 1, for towards the
end of 1584 read in the year 1583. See also
Musical Libraries, vol. ii. p. 425 &.
NAPOLEON, Arthur, son of Alexandre
Napoleon, an Italian, and Dona Joaquina dos
Santos, a Portuguese lady, was born at Oporto,
March 6, 1843. He began to learn the piano at
four years of age under the direction of his father,
who was a professor of music in that city. At
six years of age he played at the Philharmonic of
Oporto. His extraordinary precocity at once
excited attention in Portuguese musical circles.
In 1850, 1851, and 1852 he gave successful con-
certs at Lisbon and Oporto, and was invited to
the Court, where he played several times before
the Queen, Dona Maria II. In 1852 he went
to London, and, under the patronage of the
Duchess of Somerset, gained the favourable
notice of the English aristocracy. In 1853 he
gave concerts in the Salle Herz, Paris, and
played before the Emperor and Empress. Re-
turning to London he played at the Musical
Union. In Jan. 1854 he was engaged for 12
concerts at the KroU Theatre, Berlin, and hav-
ing been presented by Meyerbeer, played at the
palace of Charlottenburg before the King of
Prussia. He studied with Mr. Halld at Man-
chester in the same year, and undertook tours in
the United Kingdom and Ireland (where the
Lord Mayor of Dublin presented him, in public,
with a testimonial of silver plate worth £100).
3B2
728
NAPOLEON.
In 1 856 he played in Germany and Poland, and
made a tour in England in 1857 with Sivori and
Piatti. In that year Arthur Napoleon went to
the Brazils and was enthusiastically received by
his countrymen. In the first four concerts he
gave in Rio Janeiro he made a profit of over
£3000. Having travelled through South Ame-
rica he returned to Portugal in 1858. From
thence he went to the United States, making
several long tours, and to the West Indies in
i860, where he played with Gottschalk in Ha-
vana, and resided for some time during i860 and
1 86 1 at Porto Rico. At this time the constant
travelling and excitement of continued public
playing proved prejudicial to that musical pro-
gress which was expected of one so gifted. His
re-appearance in London at St. James's Hall in
1863, when he gave a concert with the sisters
Marchisio, was not entirely satisfactory. He
now perceived that serious study of the classical
composers was essential to his artistic develop-
ment and to the ultimate attainment of the posi-
tion for which his natural talents fitted him. He,
however, while not neglecting this discipline, con-
tinued his tours, going again to the Brazils and
Portugal, where he was charged with the direction
of the opening fete at the Exhibition at Oporto in
1865. His last tour was made in Portugal and
Spain in 1866, when he played before Queen Isa-
bella. Owing to circumstances entirely indepen-
dent of art, Arthur Napoleon left off playing in
public at a time when he might really have begun
a distinguished career as one of the first pianists
in Europe, for which he had all the requisites.
In 1868 he established at Rio Janeiro a business
in music and pianofortes that has become the first
in South America, the present style of the firm be-
ing Arthur Napoleao & Miguez. He married a
lady of Rio ini 8 7 1 . He has not altogether aban-
doned music as an art, having written several
successful pieces for piano and for orchestra. At
the request of the Emperor of the Brazils he
directed in 1876 the performance of Verdi's Re-
quiem, and ini88o undertook the direction of the
Camoens tercentenary festival. [A.J.H.]
NARDINI. Add day of death, May 7.
NARES. Add that he was bom shortly before
April 19, 1715, on which day he was baptized.
NATIONAL TRAINING SCHOOL. Ad-
ditions and coiTCctions will be found under
Training School, vol. iv. p. 158. The date of
the incubation of the scheme is 1854, as in vol.
ii. ; not 1866, as in vol. iv.
NAUMANN. Add that Dr. Emil Nau-
mann's exhaustive * History of Music ' has been
translated by Ferdinand Praeger, edited and
furnished with very necessary additional chap-
ters on English music by Sir F. A. G. Ouseley,
and published by Cassell & Co. (1886). The
author died June 23, 1888.
NAVA, Gaetano. Add days of birth and
death, May 16 and March 31 respectively.
NAYLOR, John, one of our best cathedral
organists, was born at Stanningley, near Leeds,
on June 8, 1838. As a boy he was a chorister
NEGRO MUSIC.
at the Leeds parish church, and also received
instruction on the pianoforte from the well-known
musician and organist Mr. R. S. Burton. With
this exception he is a self-taught man. At the
age of 18 he was appointed organist of the parish
church, Scarborough, where he soon began, in
spite of his youth, to promote a taste for good
music in the town. He graduated at Oxford in
1863 as Mus.B. and proceeded to the degree of
Mus.D. in 1872. In 1873 he became organist
of All Saints' Church, Scarborough, where in
collaboration with the vicar, the Rev. R. Brown-
Borthwick, he raised the musical services to a
pitch of great excellence. He was here able to
make experiments in connection with the chant-
ing of the Psalms which were not without their
influence in bringing about the publication of
Dr. Westcott's Paragraph Psalter. Dr. Naylor
is now organist and choir-master of York Minster,
for which post he was selected out of numerous
candidates in 1 883. He is a musician of catholic
tastes, and a composer of no mean merit. His
works include, besides various anthems and ser-
vices, the cantatas * Jeremiah ' and ' The Brazen
Serpent,' written with organ accompaniment,
which were performed with great success by a
large body of voices in York Minster in 1884 and
1887 respectively. [T.P.H.]
* NEGRO MUSIC OF THE UNITED
STATES. The nearest approach to * folk music'
in the United Stat'es is that played or sung by
the negroes in the Southern States. Before the
Civil War (1861-65) brought freedom to the
slaves, the ability to read was very rare among
those held in bondage. Indeed, in many of the
States which authorized slavery, education of the
slave was a misdemeanour. The tunes to which
they danced or to which they sang their songs
and hymns were, therefore, traditional. The
origin of some of the tunes is held to be Afiican
on these grounds : — they can be reduced to a
pentatonic scale, which is the scale of musical
instruments said to be still in use in Abyssinia,
Nubia, and other countries in Africa ; they have
the same * catch ' that appears in songs still sung
in Africa, according to the observations of several
travellers. Both ' catch ' and scale are also
common in the traditional music of the Scotch,
Irish, Welsh, and Magyars, the 'catch' being
the rhythmic device known as the * Scotch snap.*
There are, however, many tunes in common use
among the American negroes which have neither
peculiarity. The negroes have the imitativ^e
faculties very highly developed, and most of
their tunes which do not resemble those of the
old races were probably caught fi:om Methodist
preachers, whose system of conducting * revivals,*
with its appeals to the imagination of the hearer,
was such as readily to capture these impression-
able people. Many of the negro hymns have
lines and phrases that show a Wesleyan origin.
Traces of Catholic teachings are visible also, but
these are infrequent. Resemblances between
various sections as to the tunes and the words
used are noted by close observers, the differences
being such as would naturally be produced in
» Coprrlght 1889 by F. H. Jskks.
NEGRO MUSIC.
the flight of time or by lapse of memory, as they
were handed down from father to son or carried
across the country. The tunes are sometimes
minor (generally without a sharp seventh) and
sometimes major; occasionally a mixed mode is
employed, beginning in a major key, and ending
in either the relative or tonic minor ; or the
contrary course may be followed. And there
are tunes which end on the subdominant or
anywhere but on the tonic or the dominant.
The negroes are very sensitive to rhythm. As
one dances a jig, his companions gather about
him and furnish a percussive accompaniment
with bones (played after the manner of casta-
nets) or roughly made tambourines, or, wanting
instruments, by alternately slapping their hands
together and on their knees, keeping excellent
time. ' They have songs for all occasions where
they move in concert, such as loading or unload-
ing ships, or working at the pumps of a fire
engine. Their rhythmic sympathies are most
etrongly active on these occasions. Often one
of a gang acts as a precentor, giving a line or
two by himself, and the chorus coming in with
the refrain. This leader, when his supply of
lines gives out or his memory fails, resorts to
improvisation. A similar practice obtains with
them at their religious and social gatherings.
Sometimes the improvised lines will be given in
turn by different ones in the company who have
the faculty of inventing them. The women's voices
have a peculiarly pathetic timbre within their
natural range, which is narrow, rarely reaching
farther than from A below the treble stave to D
(fourth line). When forced they are harsh and
Btrident. As a rule the tenor voices are dry, but
the basses are generally rich and sonorous. A
quick ear is more common than tunefulness
among the race, but the effect produced by the
singing of a great number, always in unison, so
quickens the hearer's pulse or moves him to
tears that defects are forgotten. Their time is
sure to be accurate. Of instruments in use
among them the variety is small. Bones and
tambourines are common, but the banjo is not so
generally used by them as has been thought, and
fiddlers are very rare. Some of the slave songs,
especially those that may be classed as hymns,
were made known in the Northern States for
the first time by small bands of singers of both
sexes who gave concerts in the principal cities in
1 871 and subsequently. One troupe (the 'Jubilee
Bingers ') came from the Fisk University, Nash-
ville, Tennessee, and in the course of its tours,
which included two trips to Europe, raised over
1 50,000 dollars for the University, which was es-
tablished especially to educate those who had been
bom in slavery. Another came from a similar
institution at Hampton, Virginia. One eflfect of
their tours was the introduction of some of the
songs into the religious services of the Northern
negroes. It is observed, however, that the songs
are everywhere gradually disappearing from use
as the negroes become better educated. Their
imitative faculties lead them to prefer music
exactly like that which is performed in churches
NEGRO MUSIC.
■29
where the worshippers are white. Some of the
secular songs of the negroes have acquired
peculiar distinction. *Jim Crow' — the name
both of the song and of the negro whose per-
formance of it had a local reputation in Louis-
ville, Kentucky, in 1830 — was, indirectly, the
origin of the negro minstrel show, the most
familiar example of which in England was
that long known as Christy's. Many of the
plantation songs were introduced into these
shows, * Coal-black Rose,' * Zip Coon,' and ' Ole
Virginny nebber tire' being the most familiar
among them. A plantation song, ' Way down in
Raccoon Hollow,' enjoyed a wide popularity set
to words beginning * Near the lake where droops
the willow.'
A few examples of the negro melodies and
verses are appended. They are taken from the
collection * Slave Songs of the United States.*
The reader must understand that all of these
are sung much faster than either the tunes or
the words would seem to warrant, the rapid pace
being a result of the negroes' strong rhythmic
instincts. The first example shows a pentatonic
scale, and the use of the * Scotch snap.'
In de morn-ln' when I rise.
Tell my Je - sus
• •
hud-dy, oh;
wash my hands In de morn-ln' glo-ry.
s3?eP^_3SE
Tell my Je-sus hud-dy, obt
The following is an illustration of the use of
an unconventional ending : —
^
Turn, sinner, turn to-day, Turn, sinner, turn O !
i^q:
:ti=ti:
r^
Turn, sinner, turn to-day. Turn sinner, turn 01
A very popular tune, and full of pathos when
sung by a large company, is the following : —
saw aome ber-rlei a - hang-In* down.
yes. Lord.
730
NEGRO MUSIC.
Dr. W. Howard Russell, of the 'Times/
describes in chapter xviii. of * My Diary North
and South,' a song which made a remarkable
impression on him, and which, from his descrip-
tion, appears to be the following : —
^^^
:a=P=
^
S=3:
graveyard.
graveyard. I'm
^^S^E^^
:¥=S:
^^
mlk • in' troo' de graveyard. Lay dis bo-dy down.
The following is a popular sonjx among the
Louisiana Creoles, and the words give an idea of
the dialect : —
Chorus. '
Belle Layotte.
i^
IV. K S
■^
S
q5cz3t=5:
Ho de-ja rou-U tout UcOta, Pancorouar par-ell
Fine. Rolo,-^ , ^ *
col-o-nie; Mo pancor ouar griff-one la Qua ma gout comme la
B.C.
belle La-yotte.
The subject has so many ramifications that
full treatment is impossible in this article.
Those interested will find it discussed in the
following treatises by writers who have lived at
the South, and made special studies of the sub-
ject:—
Dwight's Journal of Music, Nov, 8, 1862. Letter, Miss
McKim, Philadelphia ; probably the first occasion when
public attention was called to the Slave songs.
Continental Monthly, Philadelphia, August, 1863.
Article, ' Under the Palmettos,' Mr. H. G. Spaulding,
with specimens of the music.
Atlantic Monthly, June, 1867. Article, ' Negro Spirit-
Tials,' T. "W. Higginson, with the words of many of the
most popular hymns.
' Slave Songs of the United States,' New York, 1871.
Words and tunes, the largest collection published.
The Centurv, New York, Feb. 1886 ; Article, ' Creole
Slave Dances.*^ April. 1886 : article, ' Creole Slave Songs.'
Both by Mr. G. "W. Cable. Especially interesting because
of the descriptions of negro customs in Louisiana, some
of which are of remote African origin, and because of
the explanation of the peculiar dialect of the Louisiana
negroes— a mixture of French and English, sometimes a
little Spanish, but each greatly modified by the negro's
own method of speech. Gottschalk, who was a native of
New Orleans, used some of the Creole music as subjects
for free treatment on the pianoforte. Mr. J. A. Brock-
hoven, of Cincinnati, has written a suite for orchestra,
based on creole tunes, which has been performed at con-
certs in the United States. [F.H. J.]
NERUDA, Mmb. Add that on July 26, 1888,
she married Sir Charles Hall^.
NESSLER, ViCTOB, bom Jan. a8, 1841, at
Baldenheim in Alsace, at first studied theology
at Strasburg, but the success of his essay at
operatic composition, a work entitled * Fleur-
ette/ and produced there in i86i(, induced him
NICODfi.
to devote himself to music.'' He then went to
Leipzig, and obtained various posts as conductor
of male choral societies, for the use of which he
wrote a set of part-songs, etc. In 1870 he be-
came choral director at the Stadt Theater, and
in 1879 conductor at the Carolatheater in the
same town. Meanwhile various operas had
been brought out with varying success. The
list is as follows : — * Die Hochzeitsreise ' (1867) ;
* Dornroschen's Brautfahrt' (1868); • Nacht-
wachter und Student' (1868); 'Am Alexan-
dertag* (1869); 'Irraingard,' a more ambitious
work than the previous productions, in five acts
(1876) ; * Der Rattenf anger von Hameln' (1879),
an opera which rapidly spread his fame through-
out Germany, and which has attained an enorm-
ous success; *Die wilde Jager' (1881); 'Der
Trompeter von Sakkingen' (1884); and * Otto
der Schutz ' (1886). The success of the ♦ Trom-
peter ' was almost as great as that of the * Rat-
tenfanger.' Both owe their popularity to an
easy superficiality of style, which commends
itself to the less musical portion of the German
public. When the * Rattenf anger,' under the
name of * The Piper of Hamelin,' was produced
at Covent Garden Theatre by the English Opera
Company on Jan. 7, 1884, it achieved a well-
merited failure. (Died May 27, 1890.) [M.]
NEUMARK, Geobg, bom March 6, 162 1, at
Miihlhausen in Thuringia, became librarian and
secretary to Duke Wilhelm 11. of Weimar, where
he died July 8, 1681, He was a renowned
player on the harpsichord and viola da gamba,
but his fame rests upon his chorales, of some of
which he wrote both words and music. Of these
the most important is * Wer nur den lieben Gott
lasst walten.* This and other chorales by which
his name is known appeared in one or other of
his collections of hymns. These were ' Poetisch-
musikalisches Lustwaldchen,' etc. 1652, and an
enlarged form of the same book, published at
Jena in 1657 under the title of 'Poetisch-
musikalisches Lustwald.* Two of his produc-
tions seem to have been intended for the stage.
They are 'Keuscher Liebesspiegel' (1649), which
Dr. K. E. Schneider (* Das musikalisches Lied/
iii. 151) says is a kind of opera ; and * Politischea
Gesprachsspiel ' (Weimar i66a). [M.]
NEVADA, Emma. See Wixom, vol. iv. p. 477-.
NEW PHILHARMONIC SOCIETY. Add
that the society came to an end in 1879, *^®
concert of June 21 being the last concert given
under the above title. The scheme was carried
on for three years more under the title of Ganz'a
Orchestral Concerts.
NIBELUNGEN. Add that the trilogy, or
tetralogy, as it is called in the article, was
given at Her Majesty's Theatre on May 5-9,
1882. Four performances of the entire work
took place.
NICODfi, Jean-Louis, a pianist and com-
poser of Polish birth, well known in Germany.
He was bom at Jerczik near Posen, in 1853,
was brought at an early age to Berlin by hi»
NICODfi.
father, an amateur of music, who, after losing
his property, earned a living by his violin play-
ing. Jean-Louis received musical instruction in
Berlin, resided there for some years as a teacher
and executant, and was offered in 1879 a pro-
fessorship at the Dresden Conservatoire. Nicod^
held this post until 1885. In the meantime he
had won a reputation by his compositions ; and
on coming forward as conductor of orchestral
concerts was accorded by the public and the
press hearty support and sympathy, which in-
creased when his talent for conducting became
evident. Under Nicod^, virtuosi of the first rank
are heard in Dresden, in conjunction with the
band of the Gewerbehaus.at the Subscription — or,
as they have come to be called, the Philharmonic
— Concerts ; whereas the excellent though infre-
NIXON.
731
quent concert performances of the Court Orches-
tra did not admit of the introduction of the solo
element.
Amongst Nicod^'s compositions for orchestra
are * Introduction and Scherzo,' op. 11, * Maria
Stuart,' Symphonic poem. Suite in B minor, op.
1 7, • Die Jagd nach dem Gliick,' and Symphonic
Variations, op. 27; 'Das Meer' for orch. and
male chorus ; * Bilder aus dem Siiden ' (op. 28)
and other pieces for PF. ; also music for cello,
violin, and solo voice (B. & H.). [L.M.M.]
NICOLINI, Ernest. Add that he married
Mme. Adelina Patti on Aug. 10, 1886.
NIEDERRHEINISCHE MUSIKFESTE.
Add to the table on p. 457 the following parti-
culars of the festivals since 1 880 : —
No.
68
59
60
61
62
63
64
63
Tear.
Place.
Conduelori.
Principal Choral and Orchestral Works.
1881
1882
1883
1884
1885
1886
1887
1888
Dasseldorf .
Aix . . .
Cologne . ,
Dasseldorf .
Aix . . .
Cologne . .
Dasseldorf .
Aix . . .
Gade and Tausch
WttUiier ....
HlUer and Brahms . .
Brahms and Tausch.
Beinecke and Eriese .
Wfillner ....
Eichter and Tausch .
Bichter and Schwlckerath
Handel's Samson ; Gade's Zion and Symphony In Bb.
Handel's Joshua ; part of Bach's B minor Mass ; Symphony, no. 9, Beethoven.
Haydn's Creation ; Mendelssohn's Ps. cxiv ; Symphonies. Eroica, Beethoven.
and Brahms in D.
Handel's Messiah ; Bach's Magnificat ; Brahms's Symphony in F ; Beet.
hoven's PF. Concerto no. 5.
Handel's Judas Maccabeus and Alexander's Feast ; Beethoven's C minor
Symphony.
Handel's Belshazzar ; Symphonies, Beethoven no. 9, Mozart in Eb, and
Brahms, no. 4.
Handel's Joshua; Bach's Ascension Cantata ' Lobet Gott'; Tausch's
' Miriam's Siegesgesang'; Beethoven's PF. Concerto inG; Symphonies,
Beethoven's Eroica and Schumann's in Bb.
Messiah ; Bach's ' Gottes Zeit ' ; Mendelssohn's Ps. cxiv ; Bruch's * SchOn
Ellen'; Finale * GotterdSmmerung ' ; Brahms's Double Concerto ; Sym-
phony, no. 9, Beethoven.
In the small list of symplionies at the end of
the article, the right hand column should read as
follows : —
No. 5, performed nine times.
No. 7, do, eight times.
No. 3, do. eleven times.
No. 9, do, fourteen times. [H.S.O.]
NIEMANN. At the end of article, for
twice read three times. Add that Herr Nie-
mann sang the part of Siegmund in the per-
formance of the ' Nibelungen ' at Her Majesty's
Theatre in 1882, and that he recently (1887)
took his farewell of the public. A son of his,
Otto Niemann, also a tenor, appeared in a se-
lection from 'Parsifal,' given at the London
Symphony Concert of Dec. 13, 1887.
NILSSON, Christine. Line i of article,/or
Aug. 20 read Aug. 3. P. 458 J, 1. 4 from
bottom, add that M. Rouzaud died Feb. 22,
1882. Add that she created the parts of Mar-
garet and Helen of Troy in Boito's ' Mefistofele,*
when that work was produced in England, July
6, 1 880. She played at the same theatre in 1 88 1 ,
since when she has only been heard in con-
certs. She married Count Casa di Miranda
in March 1887. She has retired altogether into
private life since her farewell concerts, the second
and last of which took place June 20, 1888.
NISARD, Theodor. See vol. ii. p. 614, note.
NIXON, Henry George, bom Feb. 20, 1796,
at Winchester, was successively organist at St.
George's Chapel, London Road, 181 7-1820;
at Warwick Street Chapel; at St. Andrew's
Roman Catholic Chapel, Glasgow, and finally
at St. George's Cathedral, South wark, in 1839,
which post he held until his death from cholera
in 1849. His compositions include five Masses,
a Te Deum, * Respice Victimae Paschali,' * Do-
minus regnavit'; a Cantata written for Mali-
bran ; Vespers for every festival in the year,
many of them published after his death in two
folio volumes, besides pianoforte solos and songs.
He married in 18 18 Caroline Melissa Danby,
who died in 1857, ^^^ daughter of John Danby,
the glee composer, by whom he had thirteen
children ; among them were
James Cassana (18 2 3-1 842), a promising
young violinist.
Henry Cotter, the fourth son, bom 1842 in
London, was taught music and the organ by
Deval of Hull, by Henry Smart, Dr. Steggall,
and G. A. Macfarren. He was successively
organist at various churches of all denominations
at Hull, Woolwich, Blackheath, Spanish Place,
and St. Leonard's, where he now resides, and is
the local representative of the Royal Academy of
Music. He received the degree of Mus.B. atCam-
bridge in 1 876. His compositions include a sonata
for piano and violin, played by himself and Henry
Blagrove in 1871 ; a pianoforte trio, first prize
Trinity College, London, in 1880; sonata for
pianoforte and cello ; overture * Titania ' (Mr.
Cowen's Concerts, Dec. 18, 1880) concertstiick
for piano and orchestra ; songs. [A.C.]
732
NOHL.
NOHL, C. F. L. Line 9 from end of article,
f(yr 1870 read 1867. Add date of death, Dec. 16,
1885.
NORCOME, Daniel. Add that he was bom at
Windsor in 1576. Having embraced the tenets
of the Romish Church, he was deprived of his
lay clerkship and went to Brussels, where he
became one of the instrumentalists in the Vice-
regal Chapel. His name occurs in a list of the
members of the chapel in 1641. [W.H.H.]
NORDISA. Romantic opera in three acts,
w^ords and music by F. Corder. Produced by
the Carl Rosa Company at Liverpool on Jan. 26,
and at Drury Lane, May 4, 1887. [M.]
NORMA. Line 2 of article,/or Lent, 1832,
read Dec. 26, 1831, and 1. 5, /or 1855 read 1835.
NORWICH FESTIVAL. Add that in 188 1
the festival was conducted by Signor Randegger,
who still holds the post. The new works were
Cowen's * St. Ursula' and A. Goring Thomas's
• Sun- worshippers,' and, for orchestra alone, Bar-
nett's * Harvest Festival' and W. Macfarren's
'Henry V.' In 1884 the chief novelties were
Mackenzie's *Rose of Sharon' and Stanford's
* Elegiac Ode.' At this festival Mme. Albani
was not engaged, the principal soprano music
being sung by Miss Emma Nevada. In 1887
Mme. Albani again appeared, and contrary to
previous practice, several of the younger English
singers were engaged. The new works were both
Italian oratorios, 'The Garden of Olivet,' by
Bottesini, and Mancinelli's * Isaias.'
NOTA CAMBITA. After the reference to
Part- WRITING add in Appendix.
NOTATION. P. 470 i, the statement as to
the stave, occurring immediately after the first
illustration, col. h, is to be corrected by a refer-
ence to vol. iii. p. 692 6. P. 471 a, 1. i^J^for
two read three. P. 474 a, 1. 32 from bottom,
for or read and ; and see Chiavette in App.
vol. iv. p. 586. P. 477 a. 1. 24 from bottom,
for Scarlatti's opera, etc. read Cavalli's *Gia-
sone,' 1655. Compare vol. i. p. 47 a. P. 477 6,
I. 17, add that the tenor part in choral works is
sometimes indicated by two G clefs close to-
gether. Messrs. Ricordi & Co. use a somewhat
barbarous combination of the G and C clefs for
the same purpose. P. 478 a, 1. 19-20 from
bottom.ybr are usually read were formerly; and a
line below, /br Sometimes read In modem music.
NOTOT, Joseph, bora at Arras, Pas de Calais,
in 1755. From his earliest infancy he mani-
fested a wonderful aptitude for music. His
NUANCES.
father intended to educate him for the church or
the bar ; and for the purpose of diverting his
naind from the pursuit he most loved they sent
him to Paris. It happened soon after his arrival
in that city that a friend took him to St. Ger-
naain-des-Prds, where, having obtained permis-
sion of Leclerc, the organist, to sit at the organ,
he performed extempore in so ingenious a man-
ner that Leclerc would not believe it possible
the boy could be playing from his own ideas.
Leclerc therefore gave him a subject, upon which
the boy instantly formed a fugue, and acquitted
himself so admirably that the great composer
seized him in his arms, and, lifting him up as
high as he could, exclaimed, in an ecstasy of
delight, * Tu resteras k Paris.' His father, find-
ing him to have really a genius for music, per-
mitted the boy to adhere to the study of music
as his future profession, and he consequently
remained in Paris, where he soon acquired a
great reputation. On his return to Arras he
was appointed organist there. His compositions,
which were greatly admired by John Christian
Bach, consist of four symphonies, three piano-
forte concertos, and a number of sonatas for that
instrument. And it is said that in his style
of accompanying from a full score Joseph Notot
was unequalled. At the French Revolution
this excellent musician renounced music as a
profession and came to reside in England. We
regret not to be able to ascertain the period of
his decease. The above notice is from a work
called the * British Minstrel and Musical Lite-
rary Miscellany,' published some years ago in
Glasgow as a periodical, No. 58. [C.H.P.]
NOTTEBOHM. Add to his publications,
' Ein Skizzenbuch von Beethoven aus dem Jahr
1 803' (B. & H. 1 880). This contains the sketches
for the Eroica. His death took place at Gratz,
on Oct. 30, 1882. Since then the papers which
appeared in the *Mus. Wochenblatt' as *Neue
Beethoveniana,' with others of the same nature
by him, have been collected by E. Mandyczew-
ski, and published in 1887 by Rieter-Bieder-
mann of Leipzig in a volume of 590 pages ; as
* Zweite Beethoveniana.' An index to both the
Beethoveniana volumes was published in Oct,
1888. [G.]
NOVELLO, EWER & CO. Add date of
death of Henry Littleton, May 11, 1888.
NOZZE DI FIGARO. Line 5 of article,
for i8'j6 read 1786.
NUANCES. For corrections of this article see
Notation, vol. ii. p. 4686, 4766, and also 535 b.
0.
OAKELEY, Sib Hebbeet Stanley. Line 13
of article, add: — He received in 1879 the
degree of Mus. D. from the University of
Oxford, and in 188 1 that of LL.D. from the Uni-
versity of Aberdeen ; he was created in the same
year Composer of Music to Her Majesty in Scot-
land. In 1886 the University of Toronto con-
ferred on him the degree of D.C.L., and in 1887 he
received the degree of Mus. D. from the Univer-
sity of Dublin. Line \\,for some 20 read, 25,
and add that 20 of the songs have been pub-
lished in a 'Jubilee Album' dedicated to the
Queen. Line 17, /or 12 read 18. Line 18, add
a Jubilee Cantata for 18S7. Among the sacred
compositions add a motet with orchestral ac-
companiment. Add that the annual festival
mentioned in the third line from the end of
the article, is due to Sir Herbert Oakeley. (See
Keid Conceets, vol. iii. p. loi.) He has lately
(1886) prepared a scheme for musical graduation
at the Edinburgh University, which has been
approved by the senate, and only awaits the
sanction of the Chancellor and the University
Court to come into eflfect.
OBERTAS. 1 This is described in the * Ency-
klopedyja Powszechna' (Warsaw 1884) as the
most popular of Polish national dances. The
couples follow their leader, turning from right to
left, and describing a circle or oval ring. The
woman sometimes dances round her partner, and
sometimes vice versd ; a song is often sung at the
same time. The obertas is evidently regarded
by the Poles as their national waltz, though, as
will have been seen, it differs from the German
waltz in several characteristics of the dance as
well as in the style of the music associated with
it by modem composers. Wieniawski's 'Mazurka
caract^ristique ' for violin No. i, bears the sub-
title * Obertas ' ; it is deficient in the rough, wild
character, without which the dance is scarcely
to be distinguished from a mazurka. Boito in-
introduces the obertas into the first scene of act 1.
of Mefistofele':
i
5^
U
gettate con forza.
ps
:t=t
TTT
:^:?
T-flp.p
-i — K=r*-f-*-^
=RP?P=r=
1 %
Basses.
etc
^ ' "• • etc
h Tih '
iTi= r~=r
> From • Obracad,' signifying to turn round. • Obertas ' has a
eecoiid meaning, confusion or perplexity. The accent lies ou the
second syllabic
tr etc.
Whether Boito was guilty of an anachronism in
representing his i6th century Frankfort populace
indulging in a national dance of Poland (to say
nothing of Polish exclamations) is open to ques-
tion. The Mazurka found its way into North-
Germany only after August III. of Saxony as-
cended the throne in 1733 (Brockhaus). Had
the obertas been adopted at any time by the
German people, such writers as Angerstein,
Czerwinski, Voss, etc, could not have ignored it
in their works on the art and history of the
Dance; though their neglect to include the
name of a dance known only in Poland, in their
enumeration of dances of all nations, is at least
excusable. However, the charm of these
stirring strains, no doubt suggested to Boito by
his Polish mother, renders very welcome the
composer's possible deviation from historic truth.
Wieniawski and Boito suggest by a drone bass
in fifths the rude accompaniment of the bagpipes
or other primitive combination of instruments.
Tutto vanno alia rinfusa
Sulla musica confusa
Cosi far la cornamusa—
writes Boito for his chorus. The wild and romp-
ing nature of this dance and music must have
proved without attraction for Chopin, who has
at any rate not included by name an Obertas
among his Mazurkas. Nevertheless, we may
recognize that in C major, op. 56, no. 2 (Vivace),
as being in harmony and rhythm the nearest
approach to the Obertas attempted by this fas-
tidious and undramatic composer. [L.M.M.]
OCCASIONAL ORATORIO, THE. A work
of Handel, probably intended to celebrate the
failure of the Jacobite rising of 1 745. It con-
sists of an overture and three parts, among which
are * O liberty,' afterwards transferred to • Judas
Maccabeus,' some of the choruses from * Israel
in Egypt * and a Coronation Anthem, introduced
into Part III. The words of Part I. are in great
part taken from Milton's Psalms, and many
numbers appear to be written by Dr. MorelL
(See pref. to the work in the Handelgesellschaffc
edition.) It was performed at Covent Garden
on Feb. I4, 19, and 26, 1746. (Rockstro's Life
ofHandeL) [M.]
734
OCTAVE.
OCTAVE. Add that an explanation of the
term ' Short Octave ' will be found in vol. ii.
p. 588, and vol, iii. p. 653.
ODINGTON, Walter de, or Walter of
Evesham, as he appears to have been indiffer-
ently called, probably took his name from
Oddington, in Gloucestershire. It has been the
fashion among musical historians to identify him
with the Walter, monk of Canterbury, whose
election to the primacy was quashed by the Pope
in 1329; but unfortunately the true spelling of
his name was Einesham or Eynsham. The sub-
ject of this article could not have been bom
much before the middle of the 13th century, if,
as appears beyond doubt, he was the Walter de
Evesham who is referred to in a list of mathe-
maticians as living in 1316. Upon this sup-
position we may accept the date, 1280, at which
Leland states that Odington was flourishing.
In all probability his musical works were written
early in his life, his latter days being given up to
astronomy, in which science he is known to have
been proficient, from several treatises which have
come down to us. His only known musical work
was the * De Speculatione Musices,' of which
there is a MS. copy in Corpus Christi College,
Cambridge. Another copy is supposed to have
been contained in one of the Cotton MSS. of
which the remains are now at the British Mu-
seum. In this treatise Walter shows himself a
sound musician as well as a learned writer, sup-
plying in almost all cases examples of his own
composition. The principal subjects he handles
are musical intervals, notation, rhythm, musical
instruments, and harmony, which latter term he
uses instead of the old * discantus ' ; he gives
interesting definitions of such words as ron-
deau, motet (which he calls * motus brevis can-
tilenoe*), etc. But the treatise is especially
important for the study of rhythm in the 13th
century. All that is known of his life is that
he was a Benedictine of the monastery at Eves-
ham, and that he was at Oxford, as stated above,
in 1316. [A.H.-H.]
OEDIPUS. Add that incidental music,
choruses, etc. were written to the play by Dr.
C. V. Stanford, for the performance at Cam-
bridge on Nov. 22-26, 1887.
OFFENBACH. Add that he died of gout
on the heart, at his residence on the Boulevard
des Capucines, Oct. 5, 1880. His posthumous
works include * La belle Lurette, composed
within a short time of his death, and * Les
Contes d'HoflOnann,' opdra comique. The former
was revised by L^o Delibes, and produced at the
Renaissance, Oct. 30, 1880, with Jane Hading,
MUly Meyer, Vauthier, Jolly, etc. (in English
at the Avenue Theatre, March 34, 1883). The
second opera was the composer's most cherished
work, on which he had been working for years.
For some time Offenbach had felt his end ap-
proaching, and said to M. Carvalho, *Make
haste, make haste to mount my piece ; I am in
a hmry, and have only one wish in the world
— that of witnessing the premUre of this
OPERA.
work.* ' It was finally revised and partly orches-
trated by Guiraud, and produced at the Op^ra
Comique, Feb. 10, 1881, with AdMe Isaac, Mar-
guerite Ugalde, Talazac, Taskin, Grivot, etc. It
was played no less than 10 1 nights in the year of
its production. It was given in Germany, and
at the Ring Theatre, Vienna, at the time of its
conflagration. Some of the music was adapted
to a one-act farce by Leterrier and Vanloo, ♦ Mile.
Moucheron,' produced at the Renaissance, May
10, 1881. Offenbach's widow died April 19,
1887. [A.C.]
OLD HUNDREDTH TUNE, THE. This
tune, as well as others in the Genevan Psalter,
has been so often erroneously ascribed to Goudi-
mel, or the name of that composer appended to
harmonies which are not his, that it will be in-
teresting to give here a transcript of the melody
by Bourgeois, 1552, as harmonized by Goudimel,
1565-
In 1 56 1 Kethe wrote versions of twenty-five
psalms for the enlarged edition of Knox's Anglo-
Genevan Psalter published in that year. One of
these was the Long Measure version of Psalm C,
'All people that on earth do dwell,* to which
the Genevan tune was then for the first time
adapted. [G.A.C.]
OPERA. P. 499 a, 1. 13, /or Mantua read
Modena. P. 501a, 1. 3, /or 1613 read 1615.
P. 502 a, 1. 30. The drama called * II Ri-
torno di Angelica,* etc., is ascribed, in Lady
Morgan's * Life and Times of Salvator Rosa,' to
a composer named Tignali. This name is con-
sidered by Mr. S. S. Stratton to be a corruption
of Tenaglia, whose • Clearco ' was produced at
> * Daily Teleeraph,' Farls Correspondence, Oct. 7, 1880.
OPERA.
Borne in 1661. P. 506 a, 1. 32 from bottom,
for 1669 read 1671. P. 507 a, 1. 15 from
bottom, for (1677), *Abelazor' (ib.), read
(1675), 'Abdelazar' (1677). Line 10 from
bottom, correct date of *Amphitrion' to 1690,
and four lines below, for date of * Don Quixote,'
read 1695. P. 5146, 1. 3, for written in 1734
read performed in 1733. P. 522 a, 1. 14 from
bottom, for 1844 ^««^ 1843. P. 524 a, 1. 29,
omit * The Castle of Andalusia,' since that opera
is not by Shield but by Arnold. Same col.,
1. 9 from bottom,/or 1810 read 181 1. P. 525 a,
1. 20 from bottom, for the same read the pre-
vious. Nine lines below, /or 1814 read 1813.
OPfiRA COMIQUE (second article with
that title). At end add that the theatre was
burnt down on May 25, 1887.
ORATORIO. P. 549 a, 1. 1 3, /or 1745 read
1750.
ORAZZI E CURIAZI. Line 3 of article,
for 1 794 read 1 796.
ORCHESTRA. P. 562 a, last line but one,
for 1549 read 1649.
ORCHESTRINA DI CAMERA. The title
of a series of little instruments of the harmonium
tribe. They were invented and are made by W.
E. Evans, of London, and represent the orches-
tral clarinet, oboe, flute, French horn, and
bassoon. They imitate the timbre of the re-
spective instruments after which they are called,
and have the same compass of notes. The clari-
net and French horn are furnished with shifting
keyboards, in order to arrange for the mechani-
cal transposition of the parts when these are not
written in the key of C. The different qualities
of tone are obtained by making the vibrating
reeds of varying dimensions, and by the peculiar
shape of the channels conveying the wind to
them. The orchestrinas are chiefly intended to
be employed as convenient substitutes for the
real instruments at performances where players
of the orchestral instruments cannot be ob-
tained. Dr. Hullah, in his * Music in the
House,* recommends them as valuable for the
practice of concerted music, as well as for
the purpose of supplying obbligato accompani-
ments. [T.L.S.]
ORDRES. Another name for Suites, used
by Couperin and some of his contemporaries.
There is no difference of arrangement or struc-
ture which would account for the employment of
the two names. [M.]
ORGAN. P. 599 &, 1. 31, for he read Mr.
Barker.
ORGANISTS, COLLEGE OF, an association
founded in 1864 on the initiative of the late Mr.
R. D. Limpus, with a view (i) to provide a
central organization in London of the profession
of organist ; (2) To provide a system of examin-
ations and certificates for the better definition
and protection of the profession, and to secure
competent organists for the service of the
church ; (3) to provide opportunities for inter-
course amongst members of the profession and
ORGANISTS, COLLEGE OF. 73&
the discussion of professional topics ; (4) to en-
courage the composition and study of sacred
music. A council was chosen, and the CoUeire
was opened at Queen Square, Bloomsbury, and
afterwards located at 95 Great Russell Street.
The College of Organists is incorporated under
the Companies' Acts ; it consists of a President,
Vice-Presidents, Musical Examiners, Hon. Trea-
surer, Hon. Secretary, Hon. Librarian, Hon.
Auditors (2), Fellows, Associates, Hon. Mem-
bers and Ordinary Members. The Archbishop
of Canterbury and the Bishop of London are
Patrons of the College, and the names of some
notable musicians appear among the office-bearers
— Elvey, Goss, Hullah, Macfarren, Ouseley,
Stewart, Sullivan, Stainer, Hopkins, Bridge,
etc. — from the commencement up to the pre-
sent time. A council of twenty-one Fellows,
with the Hon. Secretary and Hon. Treasurer,
hold the reins of government, retiring annually ;
two-thirds of the number are re-elected with
seven other Fellows who have not served during
the preceding year. The trustees are Messrs.
M. E. Wesley, E. J. Hopkins, and E. H. Turpin.
At the general meeting every July the retiring
council present their report on the state of the
College.
Arrangements are made for the half-yearly
holding of Examinations in Organ Playing,
General' Knowledge of the Organ, Harmony,
Counterpoint, Composition, Sight-reading, and
general musical knowledge, after passing which
a candidate is entitled to a First Class diploma
admitting him to a fellowship in the College.
This examination is only open to candidates-
who have previously been examined for and
obtained the certificate of associate ship, and to
musical graduates of the English Universities.
An idea of the growth of this institution may
fairly be gained by comparing the numbers of
candidates for examination in different years.
Whereas 7 presented themselves in July 1866,
38 came up in 1876, and 244 in 1886. Of Fel-
lows, Associates and Members the College now
numbers about 600, a position which the Hon.
Secretary, Mr. E. H. Turpin, and the Hon.
Treasurer, Mr. Wesley, have greatly assisted in
securing and maintaining for the institution.
To the latter gentleman is due the proposal to
establish a Pension Fund for organists incapaci-
tated by age or illness, a proposal which is likely
to be followed up. Other features of the College-
work are the Organists' Register, and the
prizes for composition.
Since June, 1887, *^® press representation of
the College has been effected through the * Musi-
cal World,' a part of which weekly paper is
under the superintendence of Mr. E. H. Turpin,
and is devoted to organ news and articles of
special importance to organists, besides occa-
sional reports of the lectures delivered at the
College meetings. It would be impossible in
a small space to give an adequate idea of
the number and interest of these addresses,
which are largely attended by strangers and
friends; the Ust of those that were heard ia
736 ORGANISTS, COLLEGE OF.
the year 1886-7 includes 'Ancient Keyboard
Music,' by Mr. Hipkins ; * Musical Elocution,'
by Mr. Ernest Lake ; ' False Relations,' by
Mr. James Turpin ; * Organ Construction,' by
Mr. Richardson; and *How to enjoy Music,'
by Mr. Banister. [L.M.M.]
ORGANOPHONE. A variety of the Har-
monium invented by the late A. Debain of Paris,
wherein the reeds or vibrators are raised within
instead of being beneath the channels. The
result of this disposition is the production of a
tone-quality asjsimilating to that of the American
organ. [A.J.H.]
ORGENYI. For name read Obg^ni, Anna
Mabia Aglaia, and add that her real name is
von Gorge'r St. Jorgen, and that she was born in
1 841 at Rima-Szombath, Galicia. She sang for
a few nights at the Lyrique, Paris, in 1879, as
Violetta. In 188 1 she re-appeared in England,
and sang with success at the Crystal Palace,
Philharmonic, and other concerts. She is now
a teacher of singing at the Dresden Conserva-
torium. [A.C.]
ORIANA, The Tbiumphs op. P. 611 a, 1. 4,
for in 1 60 1 read in 1603 (after Queen Elizabeth's
death, as is proved by Arbor's Stationers' Regis-
ter). The book was printed in 1601, but the pub-
lication delayed till two years afterwards, probably
because the Queen disliked the title of Griana.
ORNITHOPARCUS, vol. ii. p. 61 1 1. It wiU
be observed that the date of the publication
of the first edition of the Micrologus of Or-
nithoparcus is stated variously as 1 5 16 and 151 7.
The former date is that given by Panzer (vii.
p. 196), on the authority of the Catalogue of
Count Thott's Library (vii. p. 172). But no
trace of this edition — if it ever existed — can now
be found, and it seems certain that the work
was first printed in 151 7. The following are
the various editions through which it passed : —
1. Leipzig, Jan. 15 17. The colophon runs as
follows : —
ExcusBum est hoc opus Lipsiae in aedibus Valentini |
Schuman. Mese Januario, Annl virginei partus De |
cimiseptimi supra sesquimillesimu Leone de I cimo pont.
max. EC Maximiliano | gloriosissimo Imj^atore orbi ter-
rain I praesidentibus. i
This is the first edition, and only one copy is
known to exist, viz. in the Bibliothfeque Na-
tionale at Paris, the whole of sheet A of which
is wanting. It was described \>y F^tis, who
however confuses it with the second edition.
a. Leipzig, Nov. 151 7. Described in Panzer
(ix. 496). The colophon is : —
ExcusBum est hoc opus, ab ipso authore denuo casti-
.^atum, I recognituraq,: Lipsie in edibus Ualentini Schu-
manni, calco- | graphi solertissimi : Mense Nouebr :
Anni _yirjrinei pax'tus de- | cimi septimi supra sesquimil-
lesimu. Lieone decimo Pont. Max. | ac Maximiliano
inuictissimo imjiatore orbi terras psidetibus. |
This edition, though the colophon clearly proves
the contrary, is generally described as the first.
Copies of it are in the British Museum ; Kgl.
Bibliothek, Berlin ; Hofbibliothek, Darmstadt ;
Library of St. Mark's, Venice; University of
Bonn, and the * Rosenthal Antiquariat,' Munich
<May 1888).
ORRIDGE.
3. Leipzig, 1 519. The colophon runs : —
Excussum est hoc opus : denuo castigatum recogni-
tumq,: | Lipsie in edibus Ualentini Schuraanni : calco-
graphi solertissi | mi : Mense Aprili ; Anni virginei
partus vndeuigesimi supra | sesquimillesimum. |
There are copies of this at Berlin (Royal Li-
brary), Munich (Royal Library), Konigsberg
(see *Monatshefte fur Musikgeschichte,' 1870,
p. 47), Gbttingen (University Library) and Brus-
sels (see * Catalogue de la Bibliothfeque de F. J.
F^tis,' p. 621). A copy is said (* Monatshefte
fiir Musikgeschichte,' viii. p. 22) to be in the
Rathsschulbibliothek of Zwickau. F^tis says
there is an edition of 152 1 at the Bibliothfeque
Nationale in Paris, though on enquiry (May,
1888) the only copy found there was that of Jan.
1517. The colophon he quotes is that of the
1 5 19 edition, but he seems to have imagined that
• undevigesimi ' meant twenty one, instead of
nineteen. His statement has been copied by
Mendel.
4. Cologne, 1533. The title-page runs : —
AndrsB Ornitoparchi Meyningensis, De arte cantandi
micrologus, libris quatuor digestus, omnibus musicte
Btudiosis non tarn utilis quam necessarius, diligenter
recognitus. Colonise, apud Joannem Gymnicum, anno
1633.
A copy of this edition is in the Bibliothfeque du
Conservatoire National de Musique, Paris (see
M. Weckerlin's Catalogue, p. 209).
5. Cologne, 1535. An edition without colo-
phon, similar to the preceding. A copy is in
the Royal Library at Munich.
6. Gerber (Lexicon, ed. 181 3, iii. p. 618)
quotes Schacht's * Bibl. Music' (1687) to the
effect that there exists an edition in oblong 8vo.
printed by Johannes Gymnicus at Cologne in
1540, but no copy of this is known to exist.
Add to the account of Ornithoparcus that he
was M.A. of Tubingen, and in October 15 16
was connected with the University of Witten-
berg. [W.B.S.]
ORRIDGE, Ellen Amelia, bom in London,
1856, was taught singing by Manuel Garcia at
the Royal Academy, and gained the Llewellyn
Thomas bronze and gold medals for decla-
matory singing in 1876 and 1877, the certificate
of merit, the Parepa-Rosa medal, and the Chris-
tine Nilsson 2nd prize in 1878. While still a
student she sang in a provincial tour with Sims
Reeves in 1877. She made a successful d^but
at the Ballad Concerts, Nov. 21 of the same
year, and was engaged for the whole season.
Miss Orridge afterwards worthily maintained
the reputation acquired at the outset of her
career, and gave promise that in the future she
would become one of our best contralto con-
cert singers. She sang at Mr. Ganz's concert
in a selection from Berlioz's ' Romeo and Juliet,*
May 28 ; at the Richter in Stanford's 46th
Psalm, May 30 ; in the * Nuits d'jfetd ' and
Choral Symphony, Oct. 24, 1881; at the Phil-
harmonic in the last work, Feb. 9 ; at the Sym-
phony Concerts in Schumann's ' Faust,' June 8,
1882 ; at the Crystal Palace, at the Popular
Concerts, etc. She died Sept. 16, 1883, of
typhoid fever, at Guernsey, where she had gone
ORRIDGE.
for a short holiday ; the news of her death was
received with universal regret, on account of her
amiability and kindliness of disposition. [A.C.]
OSBORNE, G. A. Add day of birth, Sept. 24.
Add that his father was lay-vicar as well as
organist. During his residence in Brussels he
taught the present king of the Netherlands, by
whom he was afterwards decorated. Line 5
from end of article, omit the words string
quartets, and add to list of works, three trios
for piano and strings, a sextet for piano, flute,
oboe, horn, cello, and double-bass. Of the
many duets for piano and violin, thirty-three
were written with De Beriot, the greater part
of which are original, one was written in con-
junction with Lafont, one with Art6t, and two
with Ernst. (Died Nov. 1893.)
OTELLO. Line 3 of article, for in read
Dec. 4. Add : — 2. Opera in 4 acts ; libretto,
founded on Shakespeare, by Arrigo Boito, music
by Verdi. Produced at La Scala, Milan, Feb. 5,
1887.
OTTO, Melitta, n^e Alvsleben, bom 1845^
at Dresden, was taught singing there by Thiele at
the Conservatorium, and made her d^but at the
opera in the autumn of 186 1 as Margaret of Va-
lois, appearing subsequently as Irene and Bertha.
She remained a member of the company until
1873, having married Max Otto, an actuary, in
1866. Her parts comprised Anna in * Hans Hell-
ing,' Rowena in * Templer und Jftdin,' Queen of
Night, Alice, Martha, Eva, etc. She acquired a
great reputation as a concert singer, and was the
solo soprano at the Beethoven Centenary at Bonn
in 1 87 1. She first appeared in England at
Mme. Schumann's concert, St. James's Hall,
PACHMANN.
737
March 20, 1873; at the Crystal Palace, March
22 ; at Manchester, in Bach's Passion music;
at the Albert Hall, Apiil 2 and 7. She made a
great success, and remained in England until
1875, appearing most frequently at the Crystal
Palace and Albert Hall, notably in the revivals
of * Theodora,' Oct. 30, 1873, and the 'Christmas
Oratorio,' Dec. 15, 1873. She sang at the Phil-
harmonic, March 25, 1874 ; at the Leeds Festival
in * St. John the Baptist ' and Schumann's * Pa-
radise and the Peri,' etc., in 1874 ; at the Sacred
Harmonic, the Wagner, Mr. Bache's, the Ballad,
and principal provincial concerts, etc. She re-
turned to Dresden in 1875, and sang in opera
there and at Berlin and Hamburg. She was
engaged at Hamburg in 1880 and gave *Gast-
spiele ' at Leipzig. In the same year she was
re-engaged at the Dresden opera. [A.C.]
Otr PEUT-ON, etc. After note 2 add in
Appendix.
OURY, Mme. Line 4 of article, for 1806
read 1808.
OUSELEY, Sm P. A. G. P. 618 a, 1. 8, after
Dr. Corfe insert who was succeeded in 1884 by
Dr. C. H. H. Parry.
OVERTURE. P. 6215, 1. 4, for clarinet
read chalumeau.
OXFORD. In the additional list of Doctors
of Music given on p. 624 i, add to Wainwright
his Christian name, Robert; and that of Mar-
shall, William. At end of paragraph add that
in 1 883 an honorary degree of Mus. D. was con-
ferred upon Mr. C. V. Stanford. For the ad-
ditional information promised at end of article,
see Degrees in Appendix, vol. iv. p. 609.
PACCHIEROTTI, Gaspaeo. P. 626 a, at
beginning of second paragraph, add that on
his second visit to London he was engaged
by Sheridan for the season (i 782-3) at a salary of
£1150, with a benefit. Six lines below, correct
the date of Galuppi's death to 1784. [J.M.]
PACHMANN, Vladimir de, bom at Odessa,
July 27, 1848. His father was a professor in
the University there, and an amateur violinist
of considerable celebrity. Before taking up his
residence in Russia, he had lived in Vienna,
where he came in contact frequently with
Beethoven, Weber, and other great musicians of
the time. He was his son's teacher, and ulti-
mately sent him, at the age of 18, to the Con-
servatorium of Vienna, where he remained two
years under Professor Dachs. He obtained the
gold medal, and returned to Russia in 1869,
when he made his first appearance as a pianist,
giving a series of concerts which were very
successful, although the young artist was not
contented with his own performances. He
1 According to Baptie's Dictionur.
refused to appear again for eight years, during
which time he engaged in hard study. At the
end of this long period of probation, he played at
Leipzig, Berlin, and elsewhere, but again he was
his own severest critic, and after a time he once
more retired for two years. Being at last satis-
fied with his own achievements, he gave three
concerts in Vienna, and subsequently three in
Paris, and was uniformly successful. On May
20, 1882, he appeared in London at one of Mr.
Ganz's orchestral concerts, playingtheEb Concerto
of Beethoven, and achieving a brilliant success.
Since this time he has occupied a very high
position in the estimation of musicians and the
public. He has played in all the principal
cities of Europe, and when in Copenhagen
received the rank of Chevalier of the illustrious
order of Dannebrog. Although his individuality
is too strong and too littlb under control to
allow of his being considered a perfect player of
concerted music, yet as a solo player, more
especially of the works of Chopin, he is justly
and unreservedly admired. In April 1884 he
788
PACHMANN.
married his pupil, Miss Maggie Oeet, who had
attained very considerable success as a pianist.
She reappeared at a Crystal Palace Concert on
Kov. 26, 1887, in Schumann's Concerto. [M,]
PACINI, Giovanni. Line 2 of article, for
Feb. 19 read Feb. 17. P. 627 a, 1. 5, the date
given applies only to *L'ultimo giorno di
Pompei ' ; * Niobe * was produced in 1826.
PADILLA-Y-RAMOS. See Abtot in Ap-
pendix, vol. iv. p. 524, note 3.
PAER, Feedinando. Line 14 of article, /or
1799 read 1801.
PAISIELLO, Giovanni. P. 634 o, 1. 20 from
bottom, /<w in the same year read in the follow-
ing year.
PALADILHE, ]6mile. Add the following
to the article in vol. ii. p. 634 : — The first im-
portant work of Paladilhe's, * Suzanne,' having
had but a moderate success in spite of the merit
of its first act, a delicately treated idyll, the
young composer turned his attention to the
concert-room, and produced a work entitled
* Fragments Symphoniques ' at the Concerts
Populaires, March 5, 1882. It is a composition
of no extraordinary merit, but some of the songs
which he wrote at the time are exceedingly
graceful. On Feb. 23, 1885, his 'Diana' was
brought out at the Opdra-Comique, but only
played four times. The libretto was dull and
childish, and the music heavy and crude, with-
out a ray of talent or passion. Undismayed by
this failure, Paladilhe set to work on a grand
opera on Sardou's drama 'Patrie.' Legouvd,
who has always shown an almost paternal afiec-
tion for Paladilhe, and who was anxious to make
amends for the failure into which he had led the
composer by his libretto of ' L'Amour Africain,'
obtained from Sardou the exclusive right of com-
posing the music for Paladilhe. The work was
given at the Opdra, Dec. 20, 1886, and at first
was successful beyond its merits. His operatic
method is that of thirty years ago, and he is
deficient in real invention. He has disregarded
the course of musical development, and thus,
though he is young in years, his style is already
old-fashioned. In Jan. 1881 he was decorated
with the Legion d'Honneur. [A.J.]
PALESTRINA. P. 636 6, 1. 1 2 from bottom,
for 1563 read 1564. P. 640 a, 1. 7, /or 1562
read 1582,
PANOFKA, Heinrich. Add that he died at
Florence, Nov. 18, 1887.
PAPPENHEIM. Mme. See vol. iii. p. 54 a.
PARISH- ALVARS, Elias. Line a of article
for in 1816 read Feb. 28, 1808.
PARISIENNE. After reference at end of
first paragraph, add in Appendix.
PARRATT, Walter, was bom Feb. 10, 1841,
at Huddersfield, Yorkshire, where his father,
Thomas Parratt, was a fine organist and at the
head of his profession. The boy displayed much
precocity and was thoroughly grounded by his
lather at an early age. At 7 years old he took
the service in church, and at the age of 10 he
PARRY.
played on one occasion the whole of the 48 pre-
ludes and fugues of Bach by heart, without
notice. He thus laid the foundation of that
afiectionate and intimate knowledge of Bach's
music which now distinguishes him. His pre-
dilection for the organ was no doubt grounded
on his father's example and on his familiarity
with Conacher's organ factory, which he haunted
when very young. At any rate he was an
organist from the beginning. At 11 years of
age he held his first appointment at Armitage
Bridge Church. After a few months he was
sent to school in London, and became a pupil of
George Cooper's; but the school was unsatis-
factory, and in a short time he was recalled to
Huddersfield, and became organist of St. Paul's,
where he remained till 1861. In that year he
received the appointment of organist to Lord
Dudley, at Witley Court in Worcestershire.
Here he had time and opportunity for study, of
which he availed himself. His next steps were to
the parish church, Wigan, in 1868 ; to Magdalen
College, Oxford, in 1 8 7 2 , and to St. George's Chapel,
Windsor, his present post, vice Sir G. Elvey, in
1882. In 1873 he took the degree of Mus. Bac.
at Oxford, and in 1 883 was chosen Professor of
the Organ in the Royal College of Music. He
is conductor of the Madrigal Society of Windsor,
and * Passed Giand Organist ' of the Freemasons.
His publications comprise an anthem, 'Life
and Death,' to words by Dean Stanley, a valse-
caprice, three songs, and a piece or two for the
organ in the 'Organist's Quarterly.* He wrote
the music for the performance of * Agamemnon *
at Oxford in June 1880, and to * The Story of
Orestes, ' Prince's Hall, June, 1886. Mr. Parratt's
gifts are very great. His playing needs no en-
comium, and in addition his memory is prodi-
gious, and many stories of curious feats are told
among his friends. His knowledge of literature
is also great and his taste of the finest. He
has been a considerable contributor to this Dic-
tionary, and supplied the chapter on music to
Mr. Humphry Ward's * Reign of Queen Vic-
toria* (Longmans, 1887). He is a Very hard
worker, and the delight of his colleagues, friends,
and pupils. Nor must we omit to mention that
he is an extraordinary chess-player. [G.]
PARRY, C. H. H. Line 13 fi-om end of
article, for A minor read A b. Add that he
received the degree of Mus. D. from the Uni-
versity of Cambridge in 1883, and in the next
year succeeded Dr. Corfe as Choragus of the
University of Oxford, receiving the degree of
Mus. D. in the following year. He is Professor
of Composition and Musical History in the
Royal College of Music. To the list of his works
the following are to be added: — Symphony in
G, no. I, Birmingham Festival, 1882; Do. no.
2, in F, Cambridge University Musical Society,
1883, and (in a remodelled form) Richter, 1887 ;
music to * The Birds ' of Aristophanes, Cam-
bridge, 1883; 'Suite Moderne,' Gloucester
Festival, 1886, and at a London Symphony
Concert in the following winter; Sonata for
piano and violoncello in A; Theme and vari-
PARRY.
ations for piano in D minor ; Partita for piano
and violin in D minor ; Trio for PF. and strings
in B minor ; Quintet for strings in E b ; two sets
of 'Characteristic popular tunes of the British
Isles,' arranged for PF. duet ; two sets of English
Lyrics, and one set of Shakespearean sonnets
(songs) ; Choral Ode, set to Shirley's words,
* The glories of our blood and state,' from * The
Contention of Ajax and Ulysses,' Gloucester Fes-
tival, 1883 ; Do. ♦ Blest Pair of Sirens ' (Milton)
Bach Choir, May 17, 1887, and Hereford Festi-
val, 1888; and Oratorio 'Judith,' Birmingham
Festival, 1888. Director of R. C. M. ne'e Grove,
1895. Knighted, Easter, 1898, [M.]
PARSIFAL. Add that the first performance
took place at Bayreuth, July 30, 1882. On
Nov. 10 and 15, 1884, it was performed as a
concert under Mr. Barnby's direction at the
Albert Hall, with Malten, Gudehus, and Scaria
in the principal parts.
PART-BOOKS. The Polyphonic Composers
of the 15 th and i6th centuries very rarely pre-
sented their works to the reader in Score.
Proske, indeed, tells us that examples are some-
times to be met with, both in MS. and in print,
of the genuine Partitura cancellata — i. e. the
true barred Score, as opposed to the semblance
of a Score resulting from Hucbald's method of
writing between an unlimited number of hori-
zontal lines,^ or the early practice of employing,
as in the Reading MS., a single Stave com-
prehending lines and spaces enough to include
the aggregate compass of an entire composition.'^
Moreover, the English Student will scarcely need
to be reminded that our own Morley has given
examples, in genuine Score, at pp. 131-142, and
many other places of his ' Plaine and Easie
Introduction.' But examples of this kind are the
exceptions which prove the rule ; since, usually,
the Polyphonists preferred to issue their works
in the neparate Parts, and generally, in separate
volumes, well known to students of mediaeval
Music as ' the old Part-Books.'
Of these Part-Books, the greater number
may be divided into three distinct classes.
In the first class — that of the true repre-
sentative Part-Book — each Vocal-Part was tran-
scribed, or printed, in a separate volume.
In the second class, the Parts were indeed
transcribed, or printed, separately ; but, in the
form called, in early times, Catitus lateralis :
i.e. side by side, and one above the other, in
such a manner that the whole number of Parts
could be seen, at one view, on the double pages
of the open book, and that all the performers could
sing, at once, from a single copy of the work.
In the third class, the plan employed was that
known in Germany as Tafel-Musik ; the Parts be-
ing arranged side-ways and upside-down, so that
four performers, seated at the four sides of the little
table on which the open book was placed, could
each read their own Parts the right way upwards.
The most famous, and, with one exception
only, by far the most perfect and beautiful
specimens of the first class are those published,
PART-BOOKS.
739
>SeeT0l.iU.p.427a.
2 S«e vol. HI. p. i2&
at Venice and Fossombrone, at the beginning of
the 1 6th century, by Ottaviano dei Petrucci, the
inventor of the art of printing Music from move-
able types. Of these now exceedingly rare and
costly Part-Books, more than fifty volumes have
been catalogued, since the time of Conrad
Gesner, who, however, in his * Pandecta' mentions
some few which cannot now be identified. Many
of these are now known only by an imique ex-
emplar, which, in some few cases, is imperfect. A
rich assortment of these treasures is preserved at
the Liceo Comunale at Bologna ; and most of the
remainder are divided between the Libraries of
Vienna, Munich, and the British Museum — the
last-named collection boasting eleven volumes,
comprising ten complete and two imperfect sets
of Parts. In the following complete list of
Petrucci's publications, as far as they are now
known,^ those in the British Museum are indi-
cated by an asterisk, and those at Bologna,
Munich, Vienna, Rome, and Berlin, by the
letters B, M, V, R, and Ber.
Harmonice Musices Odhecaton. A. Venice, 1501,< May 14. (B. and
Paris Conservatoire.)
Canti B. numero ciuquanta. B. Venice, 1501, Feb. 5. (B. unique.)
Canti C, numero cento cinquanta. C. Venice, 1503, Feb. 10. (V.
unique.)
Motetti A, numero trentatre. A. Venice, 1502, May 9. (B. unique.)
Motetti B, numero trentatre. B. Venice, May 10. (B. unique.)
Motetti C. Venice, 1504, Sept. 15. (•Imperf. B. M. V.)
Motetti a 5. Lib. I. Venice, 1505, Nov. 28. (V. unique, imperf.)
Miss8e Josquin. Venice, 1502, Sept. 27. (Ber. unique.)
Missarum Josquin. Lib. I. Venice, 1502, Dec. 27. (V. unique.)
„ „ (Reprint). Fossombrone, 1514, Mar. 1. (B.M.V. B.)
„ „ (Reprint). Fossombrone, 1516. May 29. (♦unique.)*
„ „ Lib. II. Venice, 1503. Dec. 27. (V. unique.)
„ „ (Reprint). Fossombrone, 1515, April 11. (V. B.)
„ „ Lib. III. Venice. 1503, Dec. 27. (V. unique.)
„ „ (Reprint). Fossombrone, 1514, Mar 1. (• unique.)*
„ „ (Reprint). Fossombrone, 1516, May 29. (V. unique.)
MIsssB Obreth. Venice, 1503. Mar. 24. (M. V. Ber.)
Missse Ghiselln. Venice, 1503, July 15. (V. Ber.)
Missae Brurael. Venice, 1503, June 17. (V. Ber.)
Missaa Petri de la Rue. Venice, I.'SOS, Oct. 3L (• B. V. B. Ber.)
Missae Alexandri Agrlcoli. Venice, 1504. Mar. 23. (B. V. B. Ber.)
Missae de Orto. Venice, 1505, Mar. 22. (• Imperf. M. V.)
Missae Henrici Izak. Venice, 1506, Oct. 20. (• B. V.)
Missae Caspar. Venice. 1509. (V.)
Missae Antonii de Feuin. Fossombrone, 1515, Nov. 22. (• V.)
Missarum Joannis Mouton. Lib. I. Fossombrone, 1515, Aug. 11 (• V.)
Missarum diversorum. Lib. I. Venice, 1508, Mar. 15. (» M. V.)
Fragmenta Missarum. Venice. 1505. (B. unique.)
„ „ (Reprint). Venice, 1509. (V. unique.)
Lamentationes Jeremiae. Lib. I. Venice, 1506, Apr. 8. (B. unique.)
Lib. II. Venice. 1506. May 9. (B. unique.)
Intabulatura de Lauto. Lib. I. Venice, 1507. (Ber. unique.)
Lib. II. Venice, 1507. (Ber. unique.)
(Lib. III. caret.)
Lib. IV. Venice, 1508. (V. unique.)
Tenorl e contrebassl Intabulati. Lib. I. Venice, 1509. (V. unique.)
Frottole. Lib. I. Venice, 1504. (M. V.)
„ Lib.n. Venice, 1504. (M. V.)
„ „ (Reprint.) Venice, 1507. (Kegensburg.)
„ Lib. in. Venice, 1504. (M. V.;
Lib. IV. Venice, 1504. (M.)
„ Lib. V. Venice. 1505. (M. V.)
Lib. VI. Venice, 1506. (M. V.)
Llb.VIL Venice, 1507. (M.)
Lib.VIIL Venice, 1507. (M.)
Lib. IX. Venice, 1508. (M. V.)
Strambottl. Venice, 1505. (B. unique.)
Missa Choralis. Fossombrone. 1513. (B. unique.)
Missarum X. Libri duo. Fossombrone, 1515. (R. unique.)
Ill Missae Choral. Fossombrone, 1520. (B. unique.)
Motetti de la Corona. Lib. I. Fossombrone, 1514. ( .)
„ „ Lib. n. Fossombrone, 1519. (• V.)
„ Lib. IIL Fossombrone, 1519. (• V.)
„ ., Lib. IV. Fossombrone, 1519. (•V.)
The execution of these rare Part-Books is
above all praise. The perfection of their typo-
graphy would have rendered them precious to
s The discovery of some additional copies in Italy is reported u
these pages go to press.
* But see Vemareccl as to this dat«.
i These tno editions are unnoticed by Scbmld.
740
PART-BOOKS.
collectors, even without reference to the value
of the Compositions, which, but for them, would
have been utterly lost to us.^ Each Part is
printed in a separate volume, oblong ^to, with-
out a title-page at the beginning, but with a
Colophon on the last page of the Bassus,
recording the date and place of publication.
In one instance only has the brilliancy and
clearness of the typography been surpassed.
The British Museum possesses the unique
Bassus Part of a collection of Songs, printed
by Wynkin de Worde in 1530, which exceeds in
beauty everything that has ever been produced,
in the form of Music-printing from moveable
types, from the time of its invention by Petrucci
until now. The volume^ is an oblong 4to,
corresponding very nearly in size with those of
Petrucci ; but the Staves are much broader, and
the type larger, the perfection of both being
such as could only be rivalled at the present day
by the finest steel engraving. The volume con-
tains nine Songs a 4, and eleven, a 3, by Fayrfax,
Taverner, Cornyshe, Pygot, Ashwell, Cowper,
Gwynneth, and Jones ; and, at the end of the
book is the first leaf of the Triplex, containing
the title and index only. This, unhappily, is all
that has hitherto been discovered of the work.
Petrucci's successors were as far as those of
Wynkin de Worde from approaching the ex-
cellence of their leader— and even farther. The
separate Parts of Palestrina's Masses, and the
Madrigals of Luca Marenzio, printed at Venice
in the closing years of the i6th century, though
artistic in design, and in bold and legible type,
are greatly inferior, in execution, to the early
examples ; and the Motets of Giovanni Croce
published by Giacomo Vincenti (Venice 1605)
are very rough indeed. The nearest approach
to the style of Petrucci is to be found in the
earlier works printed, in London, by John Day ;
the ' Cantiones Sacrae ' of Tallis and Byrd,
printed by Thomas VautroUier (London, 1575) ;
and the earlier works published by Thomas Est,
under the patent of William Byrd^ such as Byrd's
'Psalmes, Sonets, and Songes of Sadnes and
Pietie ' (1588) and his * Songs of sundrie natures '
(1589). But Est's later productions, including
the second book of Yonge's * Musica Transalpina '
(1597), and the works of the later Madrigalists,
are far from equalling these, and little, if at all,
superior to the later Italian Part- Books.
The finest Part-Books of the second class,
presented in Cantus lateralis, are the magnificent
MS. volumes in the Archives of the Sistine
Chapel ; huge folios, transcribed in notes of such
gigantic size that the whole Choir can read from
a single copy, and adorned with illuminated
borders and initial letters of exquisite beauty.
In these, the upper half of the left-hand page
is occupied by the Cantus, and the lower half,
by the Tenor ; the upper half of the right-hand
page by the Altus, and the lower half by the
1 Facsimiles will be found in ' Ottaviano dei PetrnccI da Fossom-
brone,' by Anton Schmld (Vienna, 1846), and ' Ottaviano del Petrucci
da Fossombrone,' by Augusto Vernareccl (2nd edit. Bologna, 1882).
The student may also consult Catelani, 'Bibllogr. di due stampl
Ignotl da Ottav. del Petrucci ' (Milan), and the Catalogue of Rltner.
2 K. 1. e. 1. 8 See Tol. iv. p. 672 a.
PART-BOOKS.
Bassus. When a Quintus is needed, half of it is
written on the left-hand page, below the Tenor,
and the remainder (reliquium) below the Bassus,
on the right-hand page. When six Parts are
needed, the Quintus is written below the Tenor,
and the Sextus, below the Bassus. Books of this
kind seem to have been less frequently used in
England than in Italy ; unless, indeed, the MSS.
were destroyed during the Great Rebellion.*
The finest printed examples of this class are,
the large folio edition of Palestrina's First Book
of Masses (Roma, apud heredes Aloysii Dorici,
1572) and the still finer edition of *Hymni
totius anni' (Roma, apud Jacobum Tomerium
et Bemardinum Donangelum, 1589). A very
beautiful example of this kind of Part-Book, on
a small scale, will be found in Tallis's * Eight
Tunes,' printed, by John Day, at the end of
Archbishop Parker's metrical translation of the
Psalms (London, 1560) ; and one not very much
inferior, is Thomas Est's * Whole Booke of
Psalmes' (London, 1592). Ravenscroft's 'Briefe
Discourse,' (1606), is a very rough example;
and the * Dodecachordon ' of Glareanus (Basle,
1547), though so much earlier, is scarcely more
satisfactory, in point of typography.
The third class of Part-Books, designed to be
read from the four sides of a table, was more
common in England than in any other country.
One of the best-known examples is that given in
the closing pages of Morley's * Plaine and easie
Introduction' (London, 1597 and 1606), in
which the parts are presented in a rectangular
arrangement, each part facing outwards as the
book is placed open on the table.
u 1
■aoKiti ' '
ALTUS.
'saxNva
BASSUS.
i
In Douland's * First Booke of Songs or Ayres,*
a still more complicated arrangement is dictated
by the necessity for accommodating a Lutenist
by the side of the Cantus, the part for these two
performers appearing on two parallel staves on the
left-hand page, while the other three voices share
the right-hand page.
An interesting example of this class is * Le
Parangon des Chansons,' printed by ' Jaques
* A large folio MS. of this kind, containing a Mass by Philippus da
Monte, was lent to the Inventions Exhibition of 1885 by Mis*
Kivington, and another exceedingly fine specimen, containing a
(iloria o 5, written by Fayrfax for his degree of Mus. D. was lent tO
the same ezblbition from the Lambeth Palace Library.
PART-BOOKS.
Moderne diet Grand Jacques' (Lyon, 1539-41)
in 9 volumes, containing 224 Songs, a 4, and 33
a 2 and 3, so arranged, that the Superius and
Tenor sit facing each other, on opposite sides of
the table — the Superius reading from the lower
half of the left-hand page, and the Tenor from
the upper half; while the Bassus and Altus
occupy the same positions with regard to the
right-hand page.
The rapid cultivation of Instrumental Music
in the lyth and 18th centuries, naturally exer-
cised a great influence upon the Part-Books of
the period. Scores, both vocal and instru-
mental, became more and more common : and
the vocal and instrumental Part-Books gradually
assumed the form with which we are familiar at
the present day. [W.S.R.]
PART-WRITING (Free Part- Writing ; The
Free Style; German, StimmfuliruTtg). When
the Polyphonic Schools were abandoned, in the
beginning of the 1 7th century, in favour of the
newly-invented Monodic Style, the leaders of
the revolutionary movement openly professed
their contempt for Counterpoint, and for every
form of composition for which it served as the
technical basis. Vincenzo Galilei thought it
puerile ; Monteverde made a pretence of study-
ing it, under Ingegneri, but never paid the
Blightest attention to its rules ; neither he,
nor any other disciple of the Monodic School,
ever suggested a better system to supply its
place. But musicians like Giovanni Gabrieli,
Bernadino Nanini, and Leo Hasler, could not
content themselves with a stiflF and ungraceful
Melody, accompanied only by a still more stiff
and unmelodious Continue. Still less could
their successors, Colonna, and Alessandro Scar-
I latti, in Italy, and the ancestors of the great
Bach family in Germany, dispense with the
effect producible by a number of voices or
instruments, combined in accordance with a
well-arranged system of harmonious concord.
On the other hand, the gradual abandonment
of the Ecclesiastical Modes opened the way for
many new forms of treatment, and rendered
many older ones impossible. Yielding therefore,
from .time to time, to the necessities of the case,
these true apostles of progress gradually built up
a new system, which, while relinquishing no
part of the old one which it was possible or
expedient to retain, added to it all that was
needed for the development of a growing School,
marked by peculiarities altogether unknown to
the earlier Polyphonists.
In order to understand the changes introduced
into the new system of Part- writing, by the
pioneers of the modern Schools, we must first
briefly consider the changed conditions which
led to their adoption.
The daily increasing attention bestowed upon
Instrumental Music played an important part
in the revolutionary movement. When voices
were supported by no accompaniment whatever,
it was necessary that they should be entrusted
with the intonation of those intervals only
which they were certain of singing correctly in
VOL. IV. PT. 6.
PART-WRITING.
741
tune ; and on this point the laws of Counter-
point were very precise. When instrumental
support was introduced, it was found that many
intervals, previously forbidden on account of
their uncertainty, could be used with perfect se-
curity ; and, in consequence of this discovery, the
severity of the old laws was gradually relaxed,
and a wide discretion allowed to the composer,
both with regard to pure instrumental passages,
and vocal passages with instrumental accom-
paniments.
Again, the complete abandonment of all the
Ecclesiastical Modes, except the ^olian and
Ionian, led to a most important structural
change. In the older style, the composer was
never permitted to quit the Mode in which his
piece began, except for the purpose of extending
its range by combining its own Authentic and
Plagal forms.^ But, he was allowed to form
a True Cadence'^ upon a certain number of
notes, called its Modulations.^ As it was neces-
sary that these Cadences should all terminate
upon Major Chords, they involved the use of
a number of Accidentals which has led modern
writers to describe the Modulations of the
Mode as so many changes of Key, analogous to
the Modulations of modem Music. But the
Modulations of the Mode were no more than
certain notes selected from its Scale, like the
Dominant and Sub-Dominant of the modern
Schools ; and, in applying the term Modulation
to a change of Key, the technical force of the
expression has been entirely changed, and the
word itself invested with a new and purely
conventional meaning.* When it became the
custom to use no other Modes than the Ionian
and .^olian — the Major and Minor Modes of
modern Music — and to change the pitch of these
Modes, when necessary, by transposition into
what we now call the different Major and Minor
Keys, it was found possible to change that pitch
many times, in the course of a single composition
— in modern language, to modulate from one
Key to another. But, this form of Modulation
was quite distinct from the formation of true
Cadences upon the Regular and Conceded Modu-
lations of the Mode ; and it necessarily led to
very important changes in the method of Part-
writing.
Another striking characteristic of the new
School — closely connected with that of which we
have been speaking — was manifested in the
construction of its Cadences. The piinciple of
the Polyphonic Cadence was based upon the
melodic relation of two real parts.^ The Cadence
of the modern School is based upon the har-
monic relation of two successive Chords.* And,
naturally, the two forms demand very different
treatment in the arrangement of the vocal and
instrumental parts.
Finally, the free introduction of the Chromatic
genus, both in Melody and in Harmony, opened
a wide field for innovation in the matter of
I See vol. tl. p. 338-9. 2 See vol. iv. p. 592. » See vol. H. 351 b.
4 The Latin vrords Modula and Modulatio simply mean a tune.
8 See vol. lit. p. 742 ; also voL Iv. App. p. 592.
• See vol. L pp. 290 et leq.
3C
742
PART-WRITING.
Part-writing. Neither in Harmony nor in
Melody was the employment of a Chromatic
Interval permitted, in the Strict Counterpoint of
the 1 6th century." The new School permitted
the leap of the Augmented Second, the Dimin-
ished Fourth, and even the Diminished Seventh ;
and, by analogy, the leap of the Tritonus, and
the False Fifth, which, though Diatonic Inter-
vals, are strongly dissonant. The same intervals
and other similar ones were also freely em-
ployed in harmonic combination ; for the excel-
lent reason that, with instrumental aid, they
were perfectly practicable, and exceedingly
effective.'*
These new conditions led, step by step, to the
promulgation of an entirely new code of laws,
which, taking the rules of Strict Counterpoint
as their basis, added to or departed from them,
whenever, and only whenever, the new con-
ditions rendered such changes necessary or
desirable.
The new laws, like those of the older code,
were at first entirely empirical. Composers wrote
what they found effective and beautiful, without
being able to account, upon scientific principles,
for the good effect produced. It was not until
Rameau first called attention, in the year 1722,
to the roots of chords, and the difference between
fundamental and inverted harmonies,^ that any
serious attempt was made to account for the
prescribed progressions upon scientific princi-
ples, or that the essential distinction between
the so-c.iUed * vertical ' and * horizontal ' methods
was satisfactorily demonstrated:* and, even then,
the truth was only arrived at, after long and
laborious investigation.'
We shall best understand the points of differ-
ence between the two systems by referring to
the general laws of Strict Counterpoint, as set
forth in vol. iii. p. 741-744.
The * Five Orders ' of Strict Counterpoint are,
theoretically, retained in Free Part-writing,
though, in practice, composers very rarely write
continuous passages in any other than the Fifth
Order,* which includes the four preceding ones,
and, in the new style, admits of infinite variety
of rhythm.
The four Cardinal Rules remain in force,
though their stringency is slightly modified, in
their relation to ' Hidden Consecutives.' In one
respect, however, the severity of the law is in-
creased. In Strict Counterpoint, there is no rule
forbidding the employment of Consecutive Fifths
I One of the earliest known instances of the employment of the
chromatic genus In Polyphonic Music will be found in a canzonet
by Giles Farnaby. 'Construe my meaning' (1598) lately edited by
Hr. W. B. Squire. The English School vas always in advance of all
others in innovations of this kind.
3 It Is true that, at the present day, these Intervals are freely em-
ployed In unaccompanied vocal passages ; but, they are only safe now,
because our vocalists have so long been accustomed to sing them
with Instrumental assistance.
3 See Sir George Uacfarren's remarks upon this luhjeet, In the
EncyclopsBdia BrIUnnIc*. art. 'Music'
< See vol. i. p. 672.
5 An attempt has been made to claim for Dr. Alfred Day the credit
of having first clearly explained the difference between the Strict and
the b'ree Styles ; but the distinction had already been clearly demon-
strated by Albrechtsberger more than half a century earlier.
6 A remarkable exception to this will be found in the opening
movement of the Crtdo. In Bach's great Mass In B minor.
PART-WRITING.
by contrary motion ;' while, in the Free Style,
the progression is severely censured.
In Free Part-writing of the First Order, it is
not necessary to begin with a Perfect Concord.
Melodic leaps, in any interval, whether diatonic
or chromatic, are freely permitted. The employ-
ment of more than three Thirds or Sixths in
succession is not prohibited. Dissonant har-
monies, both fundamental and inverted, may be
used with the freedom of consonances, provided
only that they be regularly resolved. Chro-
matic chords may be freely introduced ; and, as a
natural consequence of their employment, the law
which relates to the treatment of False relations
— especially, that of the Octave — has undergone
considerable modification, as in cases analogous
to the following, which is perfectly lawful in
the free style —
Among these innovations, one of the most im-
portant— perhaps the most important of all — is the
natural result of the introduction, by Monteverde,
of the Unprepared Discords so carefully avoided in
Strict Counterpoint," Not only is the hannony
now known as that of the Dominant Seventh •
freely permitted without any form of preparation
whatever ; but, the Licence is extended to the
Dominant Ninth, whether Major or Minor:*"
the Diminished" and Augmented Triads; the
three forms of the Augmented Sixth ; the Dimin-
ished Seventh ; and even to double Dissonances,
sounded simultaneously. Combinations tolerated,
in Strict Counterpoint, as Suspensions only, and
therefore strictly confined to the Fourth Order,
may be treated in Free Part- writing without/
preparation, and used in the First Order as
Appoggiaturas. Dissonant Harmonies may be
employed as freely as Fundamental Concords;
and the Licence is comprehensive enough to in-
clude all possible combinations of this character,
provided only that the percussion of the Discord
be followed by its legitimate resolution. And
so great is the change of style effected by the
introduction of this salient feature, that had the
progress of the movement been arrested here, it
would still have sufficed to separate the Poly-
phonic from the Modern Schools, by an im-
penetrable barrier.
In the Second Order, it is not necessary that
the Minim on the Thesis should always be a
Concord, or that every Discord should lie be-
tween two Concords. AD that is prescribed, in
place of this rule, is, that the Discord, whether
struck upon the Thesis or the Arsis, must be
followed by its correct harmonic Resolution, up-
wards or downwards, either in the next note or
the next note but one — or at most two.
In the Third Order these conditions are still
farther relaxed. The Crotchets may proceed to
Discords by leap, either on the strong or the
weak parts of the measure, falling into figures
T Fuz, ar<td. ad Parnau, p. SBBw
• See example, vol. 11. p. S58 a.
• Bee vol. Ui. p. 741.
1* Ibid. u Ibid.
PART-WKITING.
dominated by Appoggiaturas or Mordents at
will. Or, they may take all the notes of a given
Chord, in succession, in the form of an Arpeggio,
either with or without Appoggiaturas or Mor-
dents between them, as in the following ex-
amples : all that is necessary being the ultimate
Eesolution of every Dissonance into a Consonant
Harmony : —
PART-WRITING.
743
In the Fourth Order, it is not necessary that
the Syncopation should invariably be prepared
in a Concord. On the contrary, it may, in certain
cases, be even struck, suspended, and resolved, in
combination with two or more successive Dis-
cords, as in the following example —
In the Fifth Order, as in the Fifth Order of
Strict Counterpoint, the Rules and Licences
prescribed in connection with the first four
Orders are combined; while much additional
freedom is derived from the rhythmical in-
volutions resulting from the intermixture of
notes of different length.
The highest aim of Strict Counterpoint was, the
perfect development of Unlimited and Limited
Real Fugue — i.e. Imitation, with all its most
complicated devices, and Canon. The highest
aim of Free Part-writing is the perfect de-
velopment of Tonal Fugue. And as the Real
Fugue of the i6th century could only be de-
veloped, in its most complex forms, by the aid
of Double, Triple, and Quadruple Counterpoint,
BO, for the development of the more modern
Art-form, it was necessary to invent correspond-
ing Orders of Double, Triple, and Quadruple
Free Part-writing — that is to say, combinations
of two, three, four, or even a greater number of
parts, which could be placed in any required
order, above, below, or between each other,
without injury to the harmony ; in the absence
of which provision, the successful manipulation
of a Subject with two, three, or more Counter-
Subjects, would have been impossible. The
rules for these devices were, mutatis mutandis,
very nearly analogous to those observed in
Strict Counterpoint : the chief points insisted on
being, that the Parts could not be permitted to
cross each other — since this would have nullified
the effect of the desired inversion ; and, that two
consecutive Fourths could not be permitted, since
these, when inverted, would become consecutive
Fifths.
The Polyodic School,* which was gradually
I So called, In contradistinction to the Monodic School, by which
it was immedliitely preceded.
developed in connection with this species of
Part-writing, reached its culminating point of
perfection under Handel and Bach, in the
earlier half of the 1 8 th century. Both these
Composers observed exactly the same laws ; but
the student can scarcely fail to notice the
strongly-marked individuality with which they
applied them. Though constantly using the
most dissonant intervals, both in harmony and
melody, Handel delighted in consonant points
of repose ; and to these his Music owes much of
the massive grandeur which is generally regarded
as its most prominent characteristic. Sebastian
Bach delighted in keeping the ear in suspense ; in
constantly recurring collisions of discord with dis-
cord, which allowed the ear no repose. And this
fearless determination to give the ear no rest,
enabled him to interweave the Subjects of his
Fugues with a freedom which has rarely, if ever,
been rivalled. Both masters made free use of
every resource provided by the progress of Art :
but, while Bach dwelt lovingly upon the discords,
Handel used them only as a means of making
the concords more delightful, and thus attained
a sweetness of expression which Bach never
attempted to cultivate.
But, the influence of the new School of Part-
writing was not confined, like that of Strict
Counterpoint, to the development of one single
form of Composition alone. It made itself felt
in Instrumental Music of every kind ; and, in no
case more prominently than in the Sonata-Form
of the classical period.
Passages such as those we have described, in
speaking of Part-writing of the Third Order —
Arpeggios, with or without Appoggiaturas or
Mordents between their principal notes ; Scale
passages, and the like, when written in notes
of very brief duration, and executed with
rapidity, form an essential element in Instru-
mental Music. When accompanied simply,
with long-drawn harmonies, they are purely
Monodic — Instrumental Melodies, supported
upon a harmonized Bass. But they are not
always confined to a single Part ; and, in that
case, they form a connecting link between the
Monodic and Polyodic Styles — between the
'vertical' and the 'horizontal' methods of modern
criticism. In Strict Counterpoint, the * vertical *
method, characterized by the formation of long
passages upon the harmony of a single Chord,
was impossible. Its passages were formed by
horizontally interweaving together a number of
independent Melodies. In Free Part- Writing,
* vertical ' and * horizontal ' passages succeed
each other frequently. In Bach's Fantasia
and Suite in G Major, the opening Arpeggios
of the Prelude are distinctly Monodic, and
vertically constructed ; while the massive har-
monies which succeed them are distinctly Poly-
odic, and constructed on the 'horizontal' method.
Vertical passages, interspersed with Free Part-
writing, are constantly found in Handel's
finest Choruses— e. g. * Worthy is the Lamb,*
and 'The horse and his rider.' The contrast
is less frequently found in the Choruses of Bach ;.
3Ca
744
PART-WRITING.
but it may be seen sometimes — as in the *Et
vitam venturi' of the Mass in B Minor. In
Beethoven's Sonatas, we meet it at every turn.
To mention two instances only ; the Rondo of the
* Senate pathdtique/ and the final Variations in
the Sonata in E Major, op. 109, exhibit the
contrast in its most strongly-marked form. In
the works of Wagner, the two methods are so
closely combined that it is sometimes scarcely
possible to separate them. The Leading-Themes
are interwoven in Free Part-writing as ductile
and as fearless as that of Bach himself ; while
an occasional burst of sustained harmony unites
the strongest characteristics of the * vertical '
and * horizontal ' methods, in a single passage.
It will be seen from what we have already
said, that Free Part-writing was no new in-
vention peculiar to the 17th and i8th centuries,
but a gradual development from the Strict
Counterpoint of the i6th century. It is not,
therefore, to be wondered at, that it can only be
successfully studied by those who have previously
mastered the laws of Strict Counterpoint, in all
their proverbial severity. So true is this, that
before writing Exercises in the Free Style,
Beethoven studied Strict Counterpoint in the
Ecclesiastical Modes, first under Haydn, and
then under Albrechtsberger, as his exercise-books
conclusively prove. Schubert felt it so strongly
that, at the moment of his death, he was
actually in treaty with a well-known teacher of
the time, for lessons in Counterpoint. Modern
progress would have us believe that it is unne-
cessary for the student to master the rule, so
long as he makes himself familiar with the
exceptions. Time will prove whether this
system is, or is not, more profitable than that
which Beethoven followed, and which Schubert,
after all he had already attained, was preparing
to follow, when an early death put an end to
his astonishing career. [W.S.R.]
PASDELOUP, Jules ^ienne. Add to
article in vol. ii. p. 659, the following : — After a
popularity of many years' duration, during which
the Concerts Populaires acquired an almost
universal celebrity, and did much to develop
musical taste in France, and to cultivate the
symphonic school of music, the enterprise ra-
pidly declined. The Sunday Matindes at the
theatres were formidable rivals to Pasdeloup's
concerts, besides which the public taste which he
had done so much to train was turning altogether
in the direction of the concerts given by MM.
Colonne and Lamoureux, whose standard of
performance was more careful, and who suc-
ceeded better in gauging the requirements of
the audience. Under these circumstances
Pasdeloup, after vain efforts to reinstate him-
self in public favour, decided to resign, and
closed the Concerts Populaires in April 1884,
the 23rd year of their existence. On May 31,
1884, a grand festival benefit was organized
in Pasdeloup's honour at the Trocaddro, by
which a sum of nearly 100,000 francs was
raised; all French artists, whether composers,
singers or instrumentalists, joined to contribute
PASSION MUSIC.
towards assuring a competence for the excellent
man who had done so much to make the for-
tunes of many artists without furthering his
own interests. After this exhibition of grati-
tude and charity M. Pasdeloup would have done
well to remain in well-earned retirement ; in
the winter of 1885, however, he organized con-
certs at Monte Carlo, and afterwards founded
pianoforte classes in Paris. At the conclusion
of the educational course he gave paying con-
certs of chamber music. In Oct. 1886, after
Godard had failed (in 1884) in his attempt to
reconstruct the Concerts Populaires, Pasdeloup
began a new series with the old title, giving one
concert a month from Oct. 1886 to March 1887,
with a sacred concert on Good Friday. This
inopportune revival, with a conductor weakened
by age and illness, and an inefficient orchestra,
could not possibly succeed. Pasdeloup did not
long survive the cessation of the concerts, and
died at Fontainebleau on Aug. 13, 1887, from
the effects of paralysis. [A.J.]
PASQUALATI. Add that Beethoven's
' Elegischer Gesang' (op. 118), was written in
memory of Eleonora Pasqualati, who died in
181 T, and dedicated to her husband, Baron
Pasqualati. [See vol. iv. p. 537.]
PASQUALI, Nicol6, a composer who settled
in Edinburgh about 1740 until his death in
1757. He published numerous compositions, an
opera called ' L'Ingratitudine Punita,' songs in
' The Tempest,' ' Apollo and Daphne,' and * The
Triumph of Hibernia,' as well as the • Solemn
Dirge in Romeo and Juliet.' Most of these are
printed in the ' XII English songs in score,*
dated 1750, and published in London. Two
sets of sonatas, one for violin and bass, and one
for two violins, tenor and thoroughbass, were
also published in London. * XII Overtures for
French horns' (I) were printed in Edinburgh,
* for Rob. Bremner, the assigney of Signer Pas-
quali ' ; and the book by which his name is beat
known, 'Thoroughbass made Easy,' was pub-
lished in Edinburgh in the year of his death. [M.]
PASSACAGLIA. Add that the form has
recently been introduced into the symphonic
structure, by Brahms, in whose Symphony in
E minor, no. 4 (op. 98), the finale is an exceed-
ingly elaborate passacaglia.
PASSION MUSIC. Besides the work men-
tioned at the end of the article. Bach wrote
four other settings of the story of the Passion.
The Passion according to St. John, which is now
as well known in England as its grander but not
more inspired companion work, was first per-
formed in the Thomaskirche on Good Friday,
April 7, 1724. These two masterpieces happily
came into the hands of Emanuel Bach, and were
thus preserved in their integrity ; the other
three works were left to Friedemann Bach, by
whom they were sold for a small sum ; two of
them have so far entirely disappeared. Of these
last, one was a setting according to St. Mark,
performed on Good Friday, 17 31, in the Thomas-
kirche, and the other seems to have been set to
PASSION MUSIC.
words by Picander, in the year 1725. The
remaining one was a Passion according to St.
Luke, the autograph of which is extant in the
possession of Herr Joseph Hauser of Carlsruhe.
There is no doubt that Bach wrote the MS. at
some time between 1731 and 1734, but from
internal considerations it is equally certain that
it was not then newly composed. If the whole
composition is ultimately proved to be genuine,
it must be assigned to a very early period of
Bach's career, probably to the first Weimar
period ; the question of its authenticity must be
still regarded, however, as an open one, although
there are many numbers in the work which
bear evident traces of Bach's style. A great
boon has been recently conferred upon lovers of
music by the publication of the work in vocal
score (Breitkopf & Hartel, 1886). The whole
subject of the Passion settings is discussed at
length in Spitta's Life of Bach, book v. chap. vii.
The four settings by Heinrich Schiitz, men-
tioned on p. 665 b have been published in Breit-
kopf & Hartel's complete edition of that com-
poser's works, vol. i, and his Matthew Passion
has also appeared in vocal score. [^O
PASTORALE. Line 20 of article, for in
May read on March 19.
PATON, Mary Anne. Line 2 of article,
for master read writing-master. Last line but
one of same column, for July 22 read July
23, P. 673 a, 1. 15 from bottom, /or 1854 '^^^^
1864. [W.H.H.]
PATRICK, RiCHABD. Omit the words (some-
times called Nathan or Nathaniel). That name
belongs to a composer whose * Songs of sundry
natures ' were printed by Este in 1597.
PATTI, Adelina. Line 2 of article./orFeb.
19 read Feb. 10. Both parents of Mme. A. Patti
were Italians, her father having been born at
Catania, Sicily, and her mother at Rome. The
latter's maiden name was Chiesa, and before her
marriage with Signer Patti she had married a
certain Signer Barilli. Their son, Antonio Barilli,
a musician, died at Naples, aged 50, June 15,1876.
(Pougin, Supplement to Ft^tis.) In 1885 Mme.
Patti was divorced from the Marquis de Caux,
and in 1886 married M. Nioolini. [See above,
p. 731 *.] [A.C.]
PAUKEN. The German name for Kettle
Drums, commonly used in orchestral scores. See
Drum, vol. i. p. 463. [V. de P.]
PA VAN. For another description of the
dance see Bishop Earle's ' Microcosmographie,' ed.
by Bliss (Nares's Glossary).
PAXTON, Stephen. Add that he died Aug.
18, 1787, aged 52, and was buried in St. Pancras
old churchyard. [W.H.H.]
PEDALIER. The sentence in lines 7-11 of
the article is to be corrected, as recent researches
made by Mr. Dannreuther leave scarcely any
doubt that these works were intended for the
organ. Add that Gounod has written a suite
concertante for pedal piano with orchestra, and
a fantasia for the same on the Russian National
PENTATONON.
745
Hymn, both for Mme. Lucie Palicot, by whom
the former was introduced at the Philharmonic
on April 21, 1887.
PEDALS. P. 682 a, 1. 22, for wrote once
only up to F read wrote twice up to F and once
up to FjJ.
PENTATONIC SCALE. The name given
to an early tonality, of very imperfect construc-
tion, but extremely beautiful in its aesthetic
aspect, and peculiar to a great number of Na-
tional Melodies, especially those of Scotland.^
The term is an unfortunate one, since it leads
us to expect a Scale based upon five intervals of
a Tone ; whereas, it really means a Scale formed
from the combination of five fixed sounds.
No written record tending to throw a light
upon the origin or history of the Pentatonic
Scale has been preserved ; but the construction
of the Scale itself furnishes us with a very va-
luable clue. The five sounds employed — Ut,
Ee, Mi, Sol, La — correspond exactly with those
of the Hexachord, minus the Fa. Now the Fa
was precisely the crux which prevented the
completion of the system of the Hexachords,
with their various Mutations,^ until the diffi-
culty was removed by the invention of the Fa
Jictum^ — presumably by Guido d'Arezzo* — in
the opening years of the nth century. It is,
therefore, more than probable that the Pentatonic
Scale belongs to a period anterior to that date :
how far anterior, it is absolutely impossible even
to hazard a guess.
The characteristics of the Scale led to certain
marked peculiarities in the form of the Melodies
for which it was employed ; and there is abun-
dant proof that these peculiarities were continued,
as a feature of ' style,' after the invention of the
Hexachords supplanted the older tonality by a
more perfect system : for instance, the Melody
of * The Flowers of the Forest,' which cannot
have been composed before the year 15 13, exhi-
bits, in its first strain, the strongest possible
pentatonic character, while the second strain is
in the pure Hypomixolydian Mode (Mode VIII)
— assuming, that is, the IT] to be genuine ; a fact
of which the Skene MS. leaves but little doubt.
The Chinese Melody, * Chin chin joss,' intro-
duced by Weber into the Overture to ' Turandot,'
is, if we may trust an apparently uncorrupted
copy, in the Pentatonic Scale ; though some ver-
sions introduce an F3, which would reduce it to
the Mixolydian Mode (Mode VII). [W.S.R.]
PENTATONON {iriVT<iTov6v). The Greek
terra for the interval known in Modern Music
as the Augmented Sixth, which consists, in the
aggregate, of five Tones ; *. e. two Greater and
two Lesser Tones, and one Diatonic and one
Chromatic Semitone.
The term cannot be correctly applied to the
Minor Seventh, since, though this contains the
aggregate of five Tones, in Equal Temperament,
it contains more than that in Just Intonation—
1 See ScoTiSH Music.
« See Hexachoed, vol. i ; Mutations, roLli.
» See Fa Fictum, Appendix.
< See UuiDO c'AKEZZo, Appendix.
746
PENTATONON.
viz. two Greater and two Lesser Tones, and two
Diatonic Semitones. [W.S.R.]
PERGOLEST. P. 688 a, 1. 20 from bottom,
add that before the successful performance of
*La Serva Padrona' in France it had failed
there in 1746.
PETRELLA, Enrico. Line 2 of article, for
Dec. I read Dec. 10. P. 696 a, 1. 2, add date
of production of * Le Precauzioni ' May ao, 1851,
at Naples, and add * Elena di Tolosa,' 1852.
Line \,for 1855 read 1854. ^.^^ *^*^ ^^^ 1^^*
work was * Biunca Orsini,' produced at Naples,
April 4, 1874. A more correct chronological
list than that given by Mendel will be found in
Pougin's supplement to F^tis, art. Petrella.
PETRUCCI, 0. DEL. Line 4 of article, for
June 14 read June 18. Line ii from bottom of
same column, /or shortly after that he probably
died read he died May 7, 1539. See Part-
Books, above, p. 739.
PETZMAYER, Johann, bom in Vienna,
1803, th® son of an innkeeper. When he was 18
years old he obtained a common zither, and
taught himself to play it with such success that
his performances brought a considerable amount
of custom to his father. His fame spread in
higher quarters, and it was not long before he
became the fashion in Vienna. He even played
before the Emperor. In later life he took to the
bowed zither (Streich-Zither) instead of the
ordinary kind he had previously used. In 1833
he made a successful tour in Germany, and in
1837 was made Kammervirtuos to Duke Maxi-
milian of Bavaria. He was living in Munich in
1870. (VVurzbach's Biographisches Lexicon,
vol. 22.). [M.]
PFEIFFER, Georges, pianist and composer,
was born at Versailles, Dec. 12, 1835. His first
piano lessons were from his mother, Mme. Clara
Pfeiffer, an excellent pianist of the school of
Kalkbrenner. Maleden and Damcke first taught
him composition. He gained a brilliant success
at the Conservatoire concerts in 1862. His
compositions include a symphony, a quintet, trios,
sonatas, concertos, of which the 3rd has been
repeated several times in Paris. Also an ora-
torio, 'Agar'; a symphonic poem, 'Jeanne
d'Arc ' ; an overture, * Le Cid,* and a quantity of
piano music, including some well-known studies.
His last important work is a comic opera, * L'En-
clume,' represented in 1884 and '85. M. Pfeif-
fer is a partner in the piano firm of Pleyel,
WolflF & Cie, Paris, and although he has fully
maintained his artistic reputation he has yet
found time to devote serious attention to tliis
business. He succeeded his father, Emile Pfeif-
fer in this position. His great uncle, J. Pfeiffer,
was one of the pioneers of piano-making in
Paris. [A.J.H.]
PHILHARMONIC SOCIETY. P. 698*,
1. 9, to the list of treasurers add the name
of Charles E. Stephens, who was elected on
the secession of Walter C. Macfarren after the
season of 1880. The office of treasurer has been
honorary since the foundation of the Society, ex- '
PHILHARMONIC SOCIETY.
cept in seasons 1836 to 1840, inclusive. Complete
the list of secretaries as follows : Henry Hersee
(1881-1884); Francesco Berger (1885). The
office of secretary became honorary in 1883.
The office of conductor was originally honorary,
except in the case of some special engagements,
and was performed by one or other of the direc-
tors. After the first three concerts in 1844,
Mendelssohn was engaged for the remaining five,
and, in 1845, Sir Henry Bishop for the whole
series, but at the third concert he withdrew on
the plea of illness, and Charles Lucas officiated
in his stead ; Moscheles was engaged for the re-
maining five concerts of the season. For sub-
sequent conductors see pp. 699 and 700; and
below, for completion to the present time.
The list on pp. 699 and 700 is continued as
follows : —
N.B. • denotes that a work was composed for the
Society; f that it was first performed in England in the
year named. 1st app. signifies first appearance at the
Philharmonic.
1881. (Six concerts). Dr. Francis Hueffer appointed
annotator of programmes, in succession to Sir G. A.
Macfarren. Dramatic Symphony, ' Kom6o et Juliette,'
Berlioz (given twice during the season). • Sinfonietta
in A (MS.), F. H. Cowen. Overtures — ' Waverley,'
Op. 1. Berlioz ; ' Sigurd Slembe.' J. Svendsen.
t P.F. Concerto, No. 2, in 0 minor (MS.) Xaver Schar-
•wenka. Liederkreis, Op. 98, Beethoven. Ist app.
Sofle Menter, Eugene d' Albert, Ovide Musin, Hope
Glenn, Sembrich, Albani, F. Boyle, Herbert Keeyes*
King, and Ghilberti.
1882. (Six concerts), t Pofeme Symphonique, 'Hungaria,*
Liszt. Overtures— t ' Ossian ' (MS.) F. Corder ; t ' The
Veiled Prophet,' Stanford, t PF. Concerto in Q
minor, Sgambati. Violin Concerto in A minor,
Molique. Scena, ' Che vuoi, mio cor ' (MS.) Mendels-
sohn. The Centurion's Song (Boadicea), Dr. J. F.
Bridge. Chorus of Keapers (Prometheus), Liszt
Choral Symphony, Beethoven ; f Choral Ode, ' Nanie,'
Brahms, t Chorus for female voices, 'Die Nixe,*
Kubinstein. Selection from 'Preciosa,' Weber.
t ' Paradise Lost,' Kubinstein. 1st. app. Sgambati,
Kufierath, Annie Marriott, Edith Santley^ Marion
Fenna, Eleanor Farnol, Ellen On-idge, Sophie Hud-
son, F. Barrington Foote, Ludwig. First season
of a voluntary choir (trained by the Society's Con-
ductor, Mr. W. G. Cusins).
1883. (Six concerts.) Prize of ten guineas offered for the
best Overture. Forty-six submitted, anonymously.
Adjudicator, Sir Michael Costa, assisted, in his serious
illness, by Sir Julius Benedict and Mr. Otto Gold-
Bchmidt. • Ballade for Orchestra, ' La Belle Dame
sans Merci,' Mackenzie, f Fantaisie Ecossaise.Violin,
MaxBruch. t Scena, 'Marie Stuart's Farewell.' Bene-
dict, t Prize Overture, ' Among the Pines ' Oliver A.
King. tMotet,'Adjutatorinopportunitatibus ' Cheru-
bini ; f Pastorale and ' Angel's Message ' (Cnristus),
Liszt The Choral Fantasia, the Chorus of Der-
vishes, and the March and Chorus in ' The Buins of
Athens,' Beethoven. 1st app. Pachmann, Teresina
Tua, Minnie Gwynne, Mierzwinsky, Ernest Laris.
At the close of this season Mr. W. G. Cusins re-
signed the office of conductor, which he had held for
17 years.
1884. (Six concerts.) Conductors (honorary for this
season), George Mount, Dr. C. V. Stanford, J.
Francis Bamett, F. H. Cowen. Symphonies— f No. 4,
in Bb minor, Cowen; in D Op. 60; t Overture, 'Hu-
sitska,' and Ehapsodie (Sclavische), No. 2, Op. 45,
Dvoidk: Symphony, No. 2, in D, Op. 73, Brahms.
Saltarello, Gounod. PF. Concerto in C minor, Op.
185, Baff. Double bass Concertino in F J minor,
Bottesini. fScfene religieuse, 'O deplorable Sionl'
(Kacine's Esther), A. G. Thomas. 1st app. Clara
Asher, Gertrude Griswold and "W. J. Winch. Herr
Dvorak made his first appearance in England this
season, at the invitation of the directors.
1885. (Six concerts.) Sir Arthur Sullivan appointed
conductor. Annotator of the first and part of the
second programmes, Dr. Francis Hueffer; of part
of the second and the third, Mr. Charles E. Stepl)en»
(ad interim), after which Mr. Joseph Bennett was
appointed. Prize of twenty guineas oflercd for the
PHILHARMONIC SOCIETY.
best Overture. Eighty-eight anbinitted, anony-
mously. Adjudicators, Messrs. W. H. Cummings,
George Mount, and Charles E. Stephens. •Sym-
Sbony, No. 2, in D minor (MS.) and PF. Concerto in
r minor. Op. 23, Dvof &k. t Symphonic Poem, ' Jo-
hanna d'Arc,' Moszkowski. * Orchestral Serenade,
T. Wingham. t Dramatic Overture (Prize Composi-
tion), Gustav Ernest. Symphony, No. 3, in F, Brahms.
1st app. Clotilde Kleeberg, Oscar Beringer, Franz
Rummeh Elly Warnots, Minnie Hauk, Marie Ether-
ington, Carlotta Elliot, Mary Beare, Florence Major,
Iver M'Kay, Arthur Thompson, A. C. Oswald, and
W. H. Brereton. Herr Moszkowski made his first
appearance in England this season, at the invitation
of the directors.
1886. (Six concerts). Symphonies— No. 3, in F, Prout ;
♦ in C minor, St. Saens. • Orchestral Scene, ' The
Forest of Arden,' Gadsby. • Suite in F, and t Violin
Concerto in C, Moszkowski. Pastoral Introduction,
and Overture to second part of ' The Light of the
World,' Sullivan. Overture, 'Graziella,' Bottesini.
t Violin Concerto in A minor, Op. 63, Dvorak.
Ingeborg's Lament (Frithjof), Max Bruch. Ist app.
Frickenhaus, Fanny Davies. Tivadar Nach6z, On-
dricek, Antoinette Trebelli, Agnes Larkcom.
1887. (Eight concerts.) Symphonies— No. 3, in C minor,
'The Scandinavian,' Cowen; No. 4, in E minor,
Brahms; in F, Hermann Goetz. * Suite 'Rouma-
nian,' Corder. Overtures— t'Kenilworth,'Macfarren ;
•Di ballo,' Sullivan. 'Loreley,' Max Bruch. Qua-
tnor Concertant, Oboe, Clarinet, Horn, and Bassoon,
with Orchestra, Mozart, t Concerto for Piano-Peda-
lier (MS.) Gounod, t Vocal duet, 'Hark, her step'
(MS., a revised setting for the Opera, 'The Canter-
bury Pilgrims '), Stanford. • t Aria, ' Per questa bella
mano,' with Contrabasso ohbligato, Mozart. • Prayer
of Nature (Byron), MS., Kandegger. 1st app. Sch6n-
berger, Josef Hoimann, Lucie Palicot, Marianne
Eissler, Nettie Carpenter, Marie de Lido, Ella Bus-
sell, Lillian Nordica, Nevada. At the close of the
season Sir Arthur Sullivan resigned the conductor-
ship, which he had held for 3 years.
1888. (Seven concerts.) Mr. F. H. Cowen appointed
Conductor. Symphonies— in G (from an early set
of six), Haydn; m D, and Norwegian Ehapsody,
No. 2, Svendsen. Overtures— ' Borneo and Juliet,'
Macfarren; ' (Edipus,' Stanford ; 'Siegfried Idyll,'
Wagner, t Music to a * Walpurgis Night,' Wider,
t Serenade for strings, and t Tema con Variazioni
from third Orchestral Suite, Tschaikowsky. Suite,
selected by F. A. Gevaert from works by Kameau.
Petite Suite, 'Jeux d'enfants,' Bizet. Pastoral
Suite, J. P. Bamett. Two elegiac Melodies for
strings, Grieg. * Three mythological pieces, * Aphro-
dite,*^' Vulcan ' and ' Pan,' Silas. Scotch Rhapsody,
No. 1, Mackenzie. Song of Judith, Prout. 1st
»pp. Fraulein Soldat, Otto Hegner, E. Grieg, A. Hol-
lins, Liza Lehmann, Eleanor Rees, Mme. Fursch-
Madi, Mrs. Hutchinson, Hilda Wilson, Carl Mayer.
Herren Tschaikowski, Grieg and Svendsen, and M.
Wider made their first appearance in England this
season, at the invitation of the directors. After the
fifth concert, Mr. Cowen, having been appointed Mu-
sical Conductor at the Melbourne Exhibition, was
released from completing his engagement at the
Philharmonic, and Herr Johan Svendsen, of Copen-
hagen, conducted the last two concerts of the season.
It is ardently to be hoped that a society so
active in promoting the cause of true art, and
in encouraging the composition of works of high
aim, may long continue to pursue its honoured
career. [C.E.S.]
* PHILLIPPS, Adelaide, a contralto singer,
counted as American, though bom in England
at Stratford-on-Avon, in 1833. Her father
was a chemist and druggist, and her mother,
who was of Welsh birth, was a teacher of
dancing. The family emigrated to America in
1840, going first to Canada, and then to Bos-
ton, Mass. Adelaide was early instructed in
dancing by her mother, and on Jan. 12, 1842,
made her first appearance on the stage at the
Tremont Theatre, Boston, as an • infant prodigy.'
On Sept. 25, 1843, she began an engagement at
the Boston Museum ; she remained at this house
• Copyright 1889 b; F. H. Jehks.
PHILLIPPS.
747
eight years, playing a great variety of parts
besides dancing, alone or with one or both of
two brothers. Occasional trips to Philadelphia
and New York were taken at this period.
Her vocal gifts soon attracted the attention of
connoisseurs, and, in 1850, she was introduced
to Jenny Lind, then on a professional tour in
America. The great singer advised the young
actress to give herself up to the study of music,
a subscription-list was started for the purpose
of paying for her training, and she was sent
to Manuel Garcia in London. She had before
this received some instruction in music at home
from Mme. Amoult, a teacher of repute in her
day, and Thomas Comer, a cultivated English
musician and the director of the orchestra at the
Boston Museum. Another fund was subscribed
to enable Adelaide to pursue her studies for the
opera in Italy. On Dec. 17, 1854, she made a
d^but at the Teatro Carcano, Milan, as Rosina. In
Aug. 1855 she returned to Boston, and in October
appeared at a concert in Music Hall. She was
then engaged for a series of operas of the English
ballad school— 'The Duenna,' 'The Devil's
Bridge,' and 'The Cabinet' — at the Boston
Theatre. Her American debut in Italian opera
was at the Academy of Music, New York, March
17, 1856, as Azucena in *I1 Trovatore.' Her
success secured for her an engagement for five
seasons. She went first to Havana, and subse-
quently to Paris (where she sang Azucena at
Les Italiens in Oct. 1861), Madrid, Barcelona,
and through Hungary and Holland. Her re-
pertory comprised all the contralto parts in the
operas that held their places on the Italian
stage during the twenty-five years that she
was known as an opera-singer. In 1879 she
became identified with the Boston Ideal Opera
Company, devoted to the presentation of ope-
rettas. She appeared with this company for the
last time in Boston, on the Museum stage, where
her early triumphs had been won, on Nov. 30,
1880. Her last appearance on any stage was at
Cincinnati in December 1881. Miss Phillipps
was a universal favourite with American au-
diences as a concert and oratorio singer. From
Dec. 31, i860, when she sang in the 'Mes-
siah,' to Nov. 24, 1878, when she took part
in Verdi's Requiem, she was a frequent and
a welcome contributor to the concerts of the
Handel and Haydn Society in Boston. In
Sept. 1882, the state of her health induced
her to go to Carlsbad. Some improvement
was detected, but there came a sudden re-
lapse, and she died on Oct. 3, 1882. Her
remains were carried to Boston, and subse-
quently buried at Marshfield, Massachusetts,
where the family had long lived on a fine estate
purchased by Adelaide. She left a sister,
Mathilde, also a contralto of excellent reputation
in America, and. three brothers. Brothers and
sister were alike indebted to Adelaide for their
education and start in life. Miss Phillipps's per-
sonal reputation was the best that a woman could
enjoy. She was especially noted for her free-
dom from professional jealousy, and for her readi-
748
PHILLIPPS.
ness to advise and encourage young singers. Her
life was one of constant and hard labour, the care
of a large family having early in life been thrown
upon her, but she was always patient and
cheerfuL [F.H.J.]
PHILP, Elizabeth, born 1827 at Falmouth,
educated at Bristol under the care of Mary
Carpenter, was taught singing by Manuel Garcia,
and received instruction in harmony and compo-
sition from Hiller at the last-named place. She
afterwards devoted herself to teaching singing
and composition. Her first works were published
in 1855, and comprised a Ballad, * Tell me, the
summer stars,' words by Edwin Arnold; also
six songs from Longfellow, etc. Among other
of her compositions we may name her setting of
songs from 'The Water Babies/ of Elizabeth
Barrett Browning's * Inclusions ' and * Insuffi-
ciency,* of Victor Hugo's 'Chant des Lavan-
diferes,' also arranged by her as a duet; *Le
Soupir ' (Prudhomme) ; * Lillie's good morning,'
'Lillie's good night'; Duets *The Moon is up,'
and *It was the time of roses; Part-songs,
* What is Love? ' 'The Owl in the Ivy Bush,'
etc. many of which were sung by herself and
other vocalists at her own concerts, and became
popular. Miss Philp was also the author of
' How to sing an English Ballad,' She died in
London Nov. 26, 1885. [A.C.]
PHRASING. P. 707 a, 1. 7, for dominant
read subdominant.
PIANOFORTE, P. 713 &, 1. 8, concerning
Frederick the Great's pianofortes see Silbek-
MANN, vol. iii. p. 494 J. The examination
of the one at the Neues Palais was made
at the request of the writer, who had pecu-
liar facilities for examining the pianofortes
and harpsichords at Potsdam and Berlin ac-
corded to him by H. I. H. the Crown Prin-
cess (since Empress) of Germany. P. 719 a,
1. 19 from bottom, add that Isaac Hawkins took
out the London patent for his son John Isaac
Hawkins the inventor, who was at that time
living in Philadelphia, U.S.A. P. 720 a, 1. 14
from bottom, add that Pierre Erard had patented
a system of fixed iron bars in Paris in 1 8 2 2 . He
could not do so in London, being barred by
Stodart's (Thom & Allen's) patent. Stodart
refrained from opposing the Broad woods when
James Shudi Broad wood took out his patent for
stringplate and bars in 1827. The writer had
this particular information from Mr. Joseph
Ries who died in 1882. For tension bars,
througJiout the article, read iron bars. P. 723,
in the synopsis of inventions, etc., the date of
John Broadwood's first 5^ F-C octave piano
should be 1 790, and that of his first six-octave
C-C piano should be 1 794. [A. J.H.J
PIANOFORTE MUSIC. P. 724 a, 1. 19
from bottom, /or 1712-1795 read 1710-1792;
four lines below,ybr 1716-1776 read 1702-1762.
P. 7245,1. 4,/ori768 read i^Sy ; 1. 9, /on 730
read 1729; 1. 21, for 1735 read 1734. P. 725 a,
L 20,/or 1753 read 1754; 1. 40,/or 1757 read
PIANOFORTE-PLAYING. ^
1758; 1. 9 from bottom, /or 1757 read 1748.
i*. 725 &, 1. 33. «8 to the date of Steibelt's birth,
see vol, iii. p. 699 b. P. 726 b, 1. 31 from bottom,
as to the date of PoUini's birth see vol, iii.
p. 9 a ; the date of his death is 1 746. P. 727 a,
1. i8,/or 1839 read 1840; 1. 28, /or 1835 »*«»^
iS.'JS- P. 727** J- 30 from bottom, /or 1788
read 1784. P. 728 a, 1. 29, the date of Grund's
death is 1874. P. 729 a, 1. 21 from bottom,
add date of death of Benedict, [885 ; 1. 8 from
bottom, for 1804 ^««^ 1S06. P. 7296, 1.- 22,
omit the word valse before *Pluie desPerles*;
1. 27, for 1806 read 1808; 1. 25 from bottom,
for 1880 read 1879; 1. 18 from bottom, add
date of death 1882. P. 7306, 1. 18, add date of
death of Rosellen, 1876 ; 1. 23, that of Hiller,
1885 ; 1- 33. that of Liszt, 1886. P. 731 o, 1. 24,
add date of death of Alkan, May 1888, P. 731 5,
1. 7, add death of Le Couppey, 1887; 1. 18, for
1855 read 1856 ; 1. 36, add death of Volkmann,
1883 ; 1. 42, that of Voss, 1882. P. 732 b, 1. 13,
for 1818 read 1814; 1. 18, add death of Kullak,
1882 ; 1. 31, add that of Lacombe, 1884; 1- 39»
that of Gutmann, 1882 ; 1. 45, omit date of death,
as Ravina is still alive (1887); last line of
column, add death of Evers, 1875. P. 733 a,
1. 6, add death of Brinley Richards, 1885 ; 1. 11,
for 1820 read 18 18 ; 1. 16, add death of Kbhler,
1886; 1. 29 from bottom, /or 1821 read 1822;
I. 3 from bottom, add death of Raff, 1882.
P* 733 &. 1- 22 from bottom, add death of Sme-
tana, 1884 ; 1. 5 from bottom, that of Eschmann,
1882. P. 734 a, 1. 7, that of Ehlert, 1884 ; 1. 10,
that of Moritz Strakosch, 1887; ^- 3°. ^^^^ of
Merkel, 1885. P. 7346, 1. 11, that of R. de
Vilbac, 1884; 1. 14 from bottom, that of Jaell,
1882 ; 1. 5 from bottom, that of Hecht, 1887.
P- 735 ». 1- 4 froi" bottom, that of Ritter, 1886;
last line, /or 1838 read 1837.
PIANOFORTE-PLAYING. P. 736 a, 1. 3
fi:om bottom, /or 1760 read 1757. P. 737 ft,
1. 1 3 from bottom, as to Steibelt's birth see '
vol. iii. p. 699. P. 738 b, 1. 5 from bottom, for
1805 read 1806. P. 739 a, 1. 26, for 1788 read
1784. P. 7416, 1. 14, /or 1847 ♦•e«^ 1846.
P. 742 6, 1. 14 from bottom, add death of Hiller,
1885. P. 743 a, 1. 2, add death of Kullak, 1882.
In the table on p. 744 the following corrections
are to be made : — Col. a, death of Schobert to
be altered to 1767; birth of Nanette Streicher
(Stein) to 1 769. Col. J, birth of Kalkbrenner
to 1784, and that of Lucy Anderson to 1790;
death of Benedict added, 1885, and Mme. Oury's
birth corrected to 1808. Col. c, J. Kufferath's
death to be added, 1882 ; do. Hiller and W. H.
Holmes, 1885 5 do. Liszt, 1886, and Voss, i88a ;
Dohler's death to be corrected to 1858. P. 745,
col. a of table, omit date of Ravina's death, and
insert those of Kullak, 1882; Mortier de Fon-
taine, 1883; Lacombe, 1884; Gutmann, 1882;
Evers, 1875 ; and Kohler, 1886. Litolff's birth
to be corrected to 181 8, and that of Horsley to
1822. Col. 6, add deaths of Wehle, Moritz
Strakosch, Lindsay Sloper, 1887 ; and Jaell,
1882. Col. c, add dates of deaths of Ritter,
PIANOFORTE-PLAYING.
1886, and Brassin, 1884, whose birth is to be
altered to 1836. Col. d, add date of death of
C. V. Alkan, May 1888.^
PIATTI, Alfredo. Add day of birth, Jan. 8.
PICCINNI. P. 748 a, 1. 27 from bottom,
for 17 read 27. P. 7486, 1. 2%, for Feb. 20
read Feb. 22; L 19 from bottom, /or Feb. 28
read Feb. 25.
PICCOLOMINI, Maeia. The date of birth
is 1836, as given by Pougin, Paloschi, and
Mendel. Lines 5-6 of article, /or Signers Maz-
zarelli and P. Romani read Signora Mazzarelli
and Signer Pietro Komani. P. 751 h, 1. 6, for
April 33 read April 30, and add that the occa-
sion was the second performance of the opera,
which had been produced on the 26th of the
month. In 1884 a testimonial was set on foot
for the artist, who was reported to be in re-
duced circumstances. ('Daily News,' March 21,
1884.)
PIETEREZ, Adrian, bom at Bruges eaily in
the 15th century, is the earliest known organ-
builder in Belgium. He built an instrument in
1455 at Delft, which is still in the new church ;
but it has been so often restored that nothing
remains of his work. [V. de P.]
PIETOSO, 'pitiful' or 'compassionate.' As
a musical direction it indicates that the passage
to which it refers is to be performed in a sym-
pathetic style, with much feeling. Although
the term appears in Brossard's Dictionary, where
it is defined as * d'une mani^re capable d'exciter
de la pitid ou de la compassion,' it is not to be
found in Beethoven's works, and the * romantic '
composers, in whose music it might be expected
to occur frequently, seem to prefer other terms
to indicate the same intention. 'Con duolo* is
Weber's favourite equivalent, and most com-
posers find 'espressivo' suflBciently definite. [M.]
PILGRIME VON MEKKA, DIE. Line 4
of article, add that it had been previously played
at Schonbrunn wikh French words in 1 764, that
it was produced in German in Vienna in 1776,
and in Paris, as * Les Foux de Medina,' 1790.
PINSUTI, CiRO. Add date of death, March
10, 1888.
PIRATA, IL. Line 3,/or in the autumn of,
read on Oct. 27.
PISCHEK, Johann Baptist. See vol. iii.
p. 54 a.
PITTMAN, JosiAH. Add date of death,
April 23, 1886.
PIXIS. Line 14 from end of article, for
Dec. 21 read Dec. 20.
PIZZICATO. Add that early instances of
the use of this effect are to be found in Handel's
*Agrippina,* 'Pastor Fido,' 'Terpsichore,' and
in an air by Hasse, written for Mingotti in 1748.
PLAIN SONG. Add to references on p. 765 h,
and 766 a, a reference to Gregorian Tones in
Appendix, vol. iv. p. 655.
1 The news of Alkan's death in Paris arrived after the earlier sheets
of this Appendix were printed.
PLEYEL & CO.
749
PLANTfi, FRAN901S, born at Orthez in the
Basses Pyrenees, March 2, 1839, appeared in
Paris at a very early age as an infant prodigy,
playing the piano with much success. In Dec.
1849 he entered Marmontel's class at the Con-
servatoire, and in the following year carried oflF
the first prize. He was then before the public
again as a performer, for some three years, dur-
ing which time he played frequently at the
chamber concerts given by Alard and Franc-
homme; in 1853 he returned to the Conserva-
toire to study harmony under Bazin. Here he
obtained a second prize in 1855. It must be
regarded as a fortunate circumstance that, at a
party at which he was playing, the audience
persisted in talking to an extent that highly
offended Plante ; whereupon he retired in great
wrath to the Pyrenees, where he remained for
nearly ten years, becoming familiar with the
compositions of all schools, and counteracting the
evils which necessarily accompany such a career
as his had hitherto been. He did not reappear
in Paris until 1872, when he devoted himself to
playing on behalf of various charitable objects.
A series of concerts given with Alard and Franc-
homme established his position, and thence-
forth he has held a distinguished place among
French pianists. He has undertaken many suc-
cessful concert-tours on the Continent, and
appeared in England in 1878. His playing is
characterized by repose, maturity of style, and
rare intelligence. He is Chevalier of the Legion
d'honneur. (Pougin's supplement to F^tis.) [M.]
PLAYFORD, John. Add that he com-
menced business as a book publisher about 1648.
His first musical publication was * The English
Dancing Master : or Plaine and easie rules for
the dancing of Country Dances,' with the tune
to each dance, bearing the date 1651, but really
issued in or about Nov. 1650, which became
very popular, and during the next 80 years,
under the title of *The Dancing Master,' ran
through 18 editions. [W.H.H.]
Line 8 of article, /or 1679 read 1681. Line
10, the date 1680 should probably be 1681, as in
that year his house at Islington was advertised
for sale, and it is not likely that he would have
set up the house in Arundel Street before getting
rid of his former residence. Line 1 2 from end of
article, the date of Henry Purcell (the younger's)
death should probably be 1 703.
PLEYEL. P. 3 h, correct date of Camillb
Pleyel's birth to Dec. 18, 1788. (Pougin;
Mendel's supplement.) Line 23 from bottom,
after Moke add or Mooke. Add Berlioz in 1830
was violently in love with her, as an episode in
his great passion for Miss Smithson ; and her
coolness after his departure for Rome nearly
caused him to commit a frightful crime. ^ See
his Biography, chap. 34, and ' Lettres intimes/
xxvii-xxxiii. Also in M. Jullien'a * Hector Ber-
lioz,' 1888.
PLEYEL & CO. Line 1 2 of article, add date
of death of Henri Pape, Feb. 1887.
750
POHL.
POHL, C. F. Line 13 from end of article,
add that the second volume of the Life of Haydn
was published in 1882, and that the third is in
course of completion by Herr Mandyczewski, to
whom Herr Pohl left his materials at his death,
which took place in Vienna, April 28, 1887.
POHLENZ, Chbistian August. See vol. iii.
p. 54 6, in which, for which he appears to have
held for nine years (p. 55 «, 1. i), vead he had
held since 1827.
POLLEDRO, G. B. Line 12 of article, /or
that year read the previous year.
POLLINI, Francesco. Add a second chris-
tian name, GiusEPFS. Correct date of death to
Sept. 17, 1846.
POLLITZER, Adolphe, was born at Pesth
in 1832, and after studying music in his native
town, in 1842 went to Vienna, where he studied
the violin under Bohm, and composition under
Preyer. After gaining the first prize at the
Conservatorium in 1846, he went on a concert
tour through the principal towns of Germany,
and finally went to Paris, where he continued
his studies under Alard. By the advice of
Erard, in 1851 Mr. Pollitzer came to London,
where he has since resided, having occupied
the position of leader at Her Majesty's Opera,
the Royal Choral Society, the New Philhar-
monic, and a professorship at the London
Academy of Music. He has written violin
concertos and solos which are still in manu-
script. [W.B.S.]
POLONAISE. P. II, last line but one before
first musical example, for major seventh read
leading note.
POLONINI. P. 1 1 ft, ]. 2 from end, add that
he died in the autumn of 1880.
PONCHIELLI, Amilcare. Add that *La
Gioconda ' was produced with success at Covent
Garden, May 31, 1883, and that the composer
died Jan. 16, 1886. Among his last composi-
tions is a hymn in memory of Garibaldi, per-
formed in Sept. 1882. His last work of all was
an opera in 3 acts, * Marion Delorme,' produced
at the Scala, March 17, 1885. In April, 1881,
Mr. Carl Rosa produced his * Promessi Sposi ' at
Birmingham.
POPULAR ANCIENT ENGLISH MUSIC.
Add that the author of * Popular Music of the
Olden Time,' etc., Mr. W. Chappell, died Aug.
20, 1888, at his house in Upper Brook Street.
See the obituary notice in the 'Musical Times*
for September, 1888.
PORTA, CoSTANZO, bom at Cremona (1520-
30 ?) ; studied under Willaert at Venice, where
his motets (Bk. I) were printed in 1555 (Drau-
dius alone giving 1546 as the date of their first
issue) ; became a Franciscan monk ; was chapel-
master at Osimo till 1564 ; then held similar
posts at Padua, first perhaps in the cathedral,
for the 52 Introits published in 1566, are dedi-
cated to the cathedral chapter, and later in the
church of S. Antonio. These Introits, designed
PORTA.
for the Sundays throughout the year, and a
second set of the same for saints' days, were
among the first works printed by Claudio Merulo,
the organist of St. Mark's, Venice, who wrote of
Porta as • his very dear friend and one with very
few equals in his profession.' Merulo's opinion
has been endorsed by all competent critics down
to our own times, and by common consent Porta
ranks as one of the great contrapuntal masters.
Arisius, moreover, speaks of him as proficient in
all the liberal arts.
In 1569 he left Padua to become chapel-master
at Ravenna, and one of the teachers in the boys'
school founded in that city in 1568 by the young
cardinal Giulio Feltrio della Rovero, who had
lately been appointed archbishop and was medi-
tating reforms in the music of his cathedral, in
accordance no doubt with the recent decisions
of the council of Trent. The school was a success,
and Porta had several good pupils, but with
reform in music itself he had scant sympathy.
Composers indeed at that time were passing
through a period of depression. Forbidden any
longer to use in their choirs works of the older
masters which they reverenced, and had hitherto
regarded as models for their own art, they were
now called upon to supply new compositions
written under such conditions in respect of sim-
plicity and brevity as must greatly have lessened
the interest in their task. Porta disliked the
introduction of new masses. His mind was
'hostile ' to the duty of composing them ; scruples
of all kinds assailed him. 'I thought,' he writes,
* it behoved me rather to guard from an unjust
oblivion the works which the great composers
have left to posterity, so apt as they are to their
purpose, so full of beauty, delight, and charm.*
Accordingly, for many years he published no-
thing, but in 1575 the archbishop, in granting his
request to be removed from Ravenna to the
church * della Santa Casa ' at Loreto in succes-
sion to Pionerio, extracted from him a more
distinct promise to publish some new works,
urging him to aim at a style which would make
it not only possible but even very easy to hear
the words of the mass, and recommending brevity
as specially suitable to Loreto, where it was an
object not to tire the large congregations of pil-
grims in all ranks of life, who came to worship
at the shrine. Porta, however, still delayed.
Further pressure was put upon him. His word,
he was told, had been given and his honour was
at stake. Moreover the serious illness of the
Archbishop in 1577 may have warned him to
delay no longer the fulfilment of his promise.
So, at length, without resting day or night, and
with great anxiety of mind, he prepared la
masses, the first six (a 4) of a simple character,
and the rest (a 5 and a 6, and some settings of the
Agnus Dei a 7 and a 8) of somewhat more ela-
borate design. The dedication was signed July 4,
^68, and addressed to the Archbishop, who died
two months later (Sept. 3). A copy of this work,
which must be rare, since certain dates fixed by
the preface have not been given in former ac-
counts of the composer, is now in the British
PORTA.
Museum. The masses are of great interest, for
they belong to the same period as the three famous
masses of Palestrina, and owe their existence
and style to the same circumstances. Leaving
Loreto, Porta went back to Eavenna ; for Pom-
ponius Spretus, describing the entry of Cardinal
Sforza into that city on Nov. 6, 1580, mentions
the performance of ' a delightful piece of music
composed by M. Costanzo Porta of Cremona, the
first musician of the time, and chapel-master of
our cathedral.' To this year belong 52 motets
(a 5, 6, 7, 8), from which Bumey has chosen the
elaborate * Diffusa est gratia ' to print in his His-
tory. In 1585 a set of motets (a 6) were dedicated
to Pope Sixtus V, from the title-page of which we
know that Porta had returned to Padua as chapel-
master in the cathedral. In 1595 he was ap-
pointed to the church of S. Antonio *for the
second time,* and held this post till his death in
June 1601. An assistant, B. Eatti, had been ap-
pointed the previous year to help him on account
of his great age. Many extracts from his works
are given in modern notation by Paolucci, Cho-
ron, Martini, Proske, etc. A curious example is
the piece which Hawkins has copied from Artusi,
a 4-part setting of * Vobis datum est nosce mys-
terium ' which can be sung upside down. Four
books of madrigals represent Porta's contribution
to secular music. [J.R.S.-B.]
PORTOGALLO. Line 2 of article, add
Christian name, Marcantonio. Line 4, for in
1763 read March 24, 1762. Line 11 from end
of article, add exact date of death, Feb. 7, 1830.
POTT, August. Add that he died in Nov.
1883.
POTTER, Cipriani. P. 23 a, 1. 27, for
Stemdale Bennett read Charles Lucas (cor-
rected in late editions). Add that on March 8,
1824, he introduced Beethoven's C minor Con-
certo at the Philharmonic Concert.
POUGIN, Arthur. Add the most impor-
tant of his later works, a * Life of Verdi,' pub-
lished first in Italian, 1881, and translated by
J. E. Matthew, 1887.
PRACTICAL HARMONY. Lines 14, 15,
of article, for vols. i. and ii. alone read all the
volumes.
PRAETORIUS. P. 25 5, 1. 19 and note 3,/or
1518 and 1519 read 1618 and 1619. Add that
F^tis's date is correct. The order of publication
of the ' Syntagma ' is as follows : —
Vol. I. Part I. Wolfenbuttel, 1614 ; Part a.
Wittenberg, 161 5.
Vol. II. Part I. WolfeubQttel, 1619 ; Part 2.
ditto, 1620. [W.B.S.]
PRENTICE, Thomas Ridley, born July 6,
1842, at Paslow Hall, Ongar, entered the Royal
Academy in 1861, studying the piano under Mr.
Walter Macfarren, and harmony and composi-
tion under the late Sir. G. A. Macfarren. In
1863 he obtained the Silver Medal and the
Potter Exhibition. On leaving the institution
he was elected an associate, and since that
time has been chiefly engaged in pianoforte
PROGRAMME MUSIC.
751
teaching. In 1869 ^^ started * monthly popular
concerts* at Brixton, which were carried on for
five years, the assistance of first-rate artists being
secured, and many new works, both English and
foreign, being performed. For some years he
gave an annual concert at the Hanover Square
Rooms. At the Crystal Palace he played Beetho-
ven's Rondo in B b with orchestra, for the first time
in England. [See vol. iv. p. 538, no. 151.] For
some time he held the post of organist at Christ
Church, Lee Park. In 1880 he was appointed
professor of the piano at the Guildhall School of
Music, and in the same year he organized an
extremely successful series of * twopenny con-
certs ' in Kensington Town Hall, especially in-
tended for the working class. During the two
seasons in which the scheme was carried on,
many artists of eminence appeared; and chamber
music of a high class was given. In 1881 he
became professor at the Blackheath Conserva-
toire of Music. His compositions include a can-
tata, * Linda,' for female voices, several anthems,
* Break forth into joy,' * I love the Lord,' etc.,
part-songs, trios, etc., besides numerous songs
and pianoforte pieces, among the latter of which
may be mentioned a * Gavotte fantastique,' an
elegy, a minuet and trio, etc. He edited six
cantatas by Carissimi, with accompaniments, and
has lately completed an excellent series of in-
struction-books for the pianoforte under the col-
lective title of * The Musician ' (Swan Sonnen-
schein & Co.), in which special stress is laid
upon the analysis of musical compositions from
the beginning of pianoforte study. [M.]
PREYER, Gottfried. Line 2 of article, /or
March 15, 1808, read May 15, 1809.
PRINCESS IDA ; or CASTLE ADAMANT.
Comic opera in a prologue and two acts, written
by W. S. Gilbert, music by Arthur Sullivan.
Produced at the Savoy Theatre, Jan. 5, 1884.
The piece was called 'a respectful operatic
perversion of Tennyson's " Princess." ' [M.]
PROFESSOR. Line 6 of article, for 1848
read 1847. Page 33 a, 1. 8, add the date of Dr.
C. V. Stanford's election to the Cambridge Pro-
fessorship, Dec. 1887. Line 21 from bottom of
the same column, /or 1845 read 1847. Line 17
from bottom, /or 1862 read 1861.
PROGRAMME-MUSIC. Page 34 J, 1. 32,
omit the mention of Weber's Concertstiick, as
that is a specimen of intentional 'Programme-
music' The authority for Weber's intention
is handed down by Sir Julius Benedict, in his
life of Weber. The sentence on p. 356, 1. 4-7
after musical example, is to be omitted, since
both Jannequin and Gombert wrote pieces with
the title of * Le Chant des Oyseaux.' The com-
position by the former is for four voices, and
was published in 1551, that of Gombert being
for three voices, and published in 1545. Line
30 from bottom of same column, omit the worda
' Soprano, Alto, Tenor and Bass,' since the com-
position referred to is in three parts, not four.
It is ' in four parts ' in the sense only of being
in four sections, or movements. Correct the
752
PROGRAMME MUSIC.
sentence beginning 7 lines below, with the words
' Mr. Bird's Battle * by a reference to Lesson,
And Virginal Music, where the exact title is
given. The detailed title of the piece from
which the first examples on p. 36 are taken will
be found in the article last mentioned, vol. iv. p.
308 a, note 2. P. 36 J, 1. 19-26, the statement
that the titles given by Couperin to his harpsi-
chord pieces have no application in the sense
of * Programme-music,' is to be corrected ; to
mention but two instances out of many, *Le
Reveil-matin ' is as true a specimen of the class
as could be found in all music, while * La
Triomphante ' exceeds * The Battle of Prague '
as far in graphic delineation as it does in musical
beauty. P. 39 J, 1. 30 from bottom, for the
preludes * Tasso,' etc., read the symphonic poems,
* Les Preludes,' ' Tasso,' etc.
PROMENADE CONCERTS. P. 40 5, 1. 8
from bottom, yor 1851 read 1850.
PROPORTION. P. 41 &, in the diagram,
above the figure 8 in the top row of figures, the
sign should be a semicircle, not a circle. The
note below the sign is correct.
PROUT, Ebenezeu. Add to list of com-
positions Minuet and trio for orchestra, op. 14;
* Queen Aimde,' a cantata for female voices, op,
21; ' Freedom,* for baritone solo, chorus and
orchestra; a Symphony in F, No. 4, op. 22
(Birmingham Festival, 1885) ; Symphony in D,
No. 5 (MS. Oxford, i886j; a Magnificat and
Nunc Dimittis in D ; a scena for contralto
and orchestra, ' The Song of Judith,' Norwich
Festival, 1SS7, etc. Made Prof, of Mus., T. C.
Dublin, Easter, 1895.
PRUCKNER, Caroline, singer and pro-
fessor, was bom at Vienna in 1832, and developed
dramatic feeling together witli a powerful voice
so early in life that, notwithstanding the counsels
of prudence, she was heard (at a provincial
theatre) in the part of Adalgisa when only 15.
An engagement followed in 1850 at the Hanover
Court Theatre, where she won much applause as
Martha, Susanna, Leonora (' Stradella,') etc.
Two years later similar success attended her per-
formances, at Mannheim, of more arduous parts,
such as Elvira and Valentine. Thus seemingly
launched upon a brilliant career, Caroline Pruck-
ner must have cruelly felt the total loss of her
voice in 1855, when she was barely 24 years of
age ; and it speaks well for the courage and the
temper of the budding prima donna that she at
once resigned herself in the best possible way by 1
devoting herself to teach the art she loved,
especially that branch of it which is concerned
with the nursing of the vocal organs (as a part
of voice-training), and the healing of injuries
done by forcing and other ill-usage. Fraulein
Pruckner applied her newly acquired science to
her own case ; and to some extent her voice re-
covered its power. It was at Luib's Poly-
h3nnnia that she entered upon her professorial
life; after two years, in 1870, she opened an
independent School of Opera in the Feinfalter
Strasse, whence a move was effected in 1887 to
PSALTER.
the Hohenstaufengasse. Her 'Theorie und Praxis
der Gesangskuust' (Schlesinger 1872) has gained
for the authoress a wide celebrity, and on the
appearance of a second edition (1883), the Grand
Duke of Mecklenburg-Schwerin decorated her
with a gold medal for art and science. The pro-
duction of new songs and cantatas is an impor-
tant feature of the concerts and lectures given
at the Schools of Song and Opera by Fraulein
Pruckner and her pupils. [L.M.M.]
PSALTER, THE English Metrical, or para-
phrastic rhyming translation of the Pwlms and
Evangelical Hymns, intended to be sung, dates
from the third year of King Edward the Sixth,
the year 1549 ; but if we may believe the accounts
usually given of the subject, the practice of
singing compositions of this nature in England is
far older, having existed among the sympathizers
with the new doctrines, long before the Refor-
mation; it may even have had its beginnings
among the followers of Wycliffe or Walter
Lollard. With regard to this supposition, one
thing only is certain : Stemhold's translations —
the nucleus of the metrical psalter which has
come down to us — were not by any means the
first. Sir Thomas Wyat the elder had already
translated the seven penitential psalms, and the
Earl of Surrey three others; and in 1549, the
year in which Stemhold's first small work was
published, without tunes, there appeared a
metrical translation of the Psalter complete,
together with the Evangelical Hynins, and
music set in four parts, of which the title is as
follows : —
The Psalter of David newely translated into Englysh
metre in such sort that it maye the more decently, and
wyth more delyte of the mynde, be read and songe of
al men. Wherunto is added a 1 note of four partes,
with other thynges, as shall appeare in the Epistle to
the Beadar. Translated and Imprinted by Bobert
Crowley in the yere of our Lorde MDXLTX the XX
daye ot September. And are to be sold in Eley rentes
in Holbourne. Cum privilegio ad Imprimendum so-
lum.2
In the * Epistle to the Readar ' the music is
described thus : —
A note of song of iiii parts, which agreth with the
meter of this Psalter in such sort, that it serveth for all
the Psalmes thereof, conteyninge so many notes in one
Sart as be syllables in one meter, as appeareth by the
yttie that is printed with the same.
This book is extremely interesting, not only
in itself, but because it points to previous works
of which as yet nothing is known. In his preliace
the author says : — ' I have made open and
playne that which in other translations is
obscure and harde,' a remark which must surely
apply to something more than the meagre con-
tributions of Surrey and Wyat ; and indeed the
expression of the title, * the Psalter of David,
newly translated,' seems clearly to imply the
existence of at least one other complete version.
The metre is the common measure, printed not,
1 'Note' or ' note of songr." was, or rather had been, the usual de-
scription of music set to words. At this date It was probably old-
fashioned, since it seldom occurs again. In 1M4, Cranmer, in his
letter to Henry VIII, respecting his Litany, speaks of the whole of
the music sometimes as ' the note,' and sometimes as the ' song.'
2 The unique copy of this book Is in the library of Brasenose
College, Ozlurd. Thanks are due to the College lor permission to
examiue it.
PSALTER.
PSALTER.
753
aa now, in four lines of eight and six alternately,
but in two lines of fourteen, making a long
rhyming couplet.^ The verse, compared with
other work of the same kind, is of average merit :
the author was not, like Surrey or Wyat, a poet,
but a scholar turned puritan preacher and
printer, who pretended to nothing more than a
translation as faithful as possible, considering the
necessities of rhyme. But the most interesting
thing in the book is the music, which here
follows : —
Mode IX.
That man Is happy 3 and blessed, that hath not gone a -stray:
Counter Tenor ^-^ _ i /tn
Plain Song
A^A & A
^
W^-^-^.
In the comuell of wycked men, nor stode in gynners
^9^
zzk
3
..A^AszAj
fW
-P^W^
B
r ^
«:
Its interest is of several kinds. In the first
place it is the earliest music to an English metrical
version as yet discovered. It is also a double
chant, a musical form hitherto supposed unknown
till a hundred years later ; and it thus shows
by what a simple transition the passage from
chanting the prose psalter to singing the metrical
one might be accomplished. It would be unwise
to argue from this single specimen that it was
so accomplished, or that we see here the typical
early English metrical psalm-tune ; but certainly
the discovery of this little composition, so ob-
viously intermediate in character, very much
diminishes the probability that anything like the
chorale form, which soon afterwards prevailed,
was known in England at this time.
We now enter upon the history of what after-
wards became the authorized version. In the
year 1548 or 1549 — it is uncertain which, but
possibly early in 1549 — appeared a small volume
with the following title : —
Certayne Psalmea chosen out of the Psalter of David
and drawen into Englishe Metre by Thomas Sternhold,
Grome of y® Kynces Maiestiea Eobes. London, Ed-
vardua Whitchurcne.'
This volume, which is without date, contains
19 psalms only, in the double common measure,
or four lines of fourteen, by Sternhold alone,
without music. Sternhold died in 1 549, and on
Dec. 14 of that year another edition was pub-
lished, with a new title : —
All such psalmea of David as Thomas Stemehold
late OToome of y® Kinges Maiesties Robes didde in his
lyfetime draw into English metre. Newly imprinted by
Edward Whitchujche.
1 This was the usual way of printing the common measure In
Crowley's day, and for matiy years afterwards.
z In the original the reciting note Is divided into semibreves, one
for each syllable.
Besides the original 19, this edition contains
18 by Sternhold; and, printed as a second
part, a supplement of 7 by J. Hopkins, without
music. This is the volume which in previous
accounts of the subject^ has been usually
described as the first edition ; and no mention is
made of Hopkins's supplement. It has also been
usual to describe the contents as 'fifty-one
psalms' ; the actual number, it will be seen, is 44.
Lowndes mentions a second edition of this work
in the following year : — 'by the wide we of Jhon
Harrington, London, 1550.'
In this year also William Hunnis, a gentleman
of the Chapel Royal, published a small selection
of metrical psalms, in the style of Sternhold,
with the following title : —
Certayne Psalms chosen out of the Psalter of David,
and drawen furth into English Meter by "William
Hunnis. London, by the wydow of John Herforde,
1650.
A copy of this work is in the public library
of Cambridge. There is no music. In 1553 ap-
peared a third edition of the volume dated 1.549,
again published by Whitchurche. This edition
contains a further supplement of 7 psalms, by
Whittingham, thus raising the number to 51.
There is still no music. Lowndes mentions an-
other edition of the same year, 'by Thom,
Kyngston and Henry Sutton, London.'
To this year also belongs a small volume con-
taining 19 psalms in the common measure,
which is seldom mentioned in accounts of the
subject, but which is nevertheless of great
interest, since it contains music in four parts.
The title is as follows : —
Certayne Psalmes select out of the Psalter of David,
and drawen into Englyshe Metre, with notes to every
Psalme in iiij parts to Synge, by E. S. Imprinted at
London by Wyllyam Seres, at the Sygne of the Hedge
Hogge, 1553 .4
In the dedication, to Lord Russell, the author
gives his full name, Francys Seagar. The music
is so arranged that all the four voices may sing
at once from the same book : the parts are
separate, each with its own copy of words ; the
two higher voices upon the left-hand page, the
two lower upon the right ; all, of course, turning
the leaf together. Though the music continues
throughout the book, the actual number of
compositions is found to be only two, one being
repeated twelve times, the other seven. The
first is here given : —
MonB II. Transposed. "^
Bles - - sed be the Lord
Bles - sed, etc.
» Except In that given by Warton, who speaks of several editions
during Sternhold's lifetime i it is Impossible however to corroborate
this.
4 The unique copy of this book is in the library of Emmanuel
College, Cambridge. Thanks are due to the College for permission
to examine it,
s The original Is without bars.
754
PSALTER.
my re -
foge.
mj whole powre strength and
J 1 J J —^-\-'
whole, etc.
I A'
•^ gg
_.—
I ^
\f e»\
to tyght.
It will be perceived that we have not yet
quite arrived at a tune. The part next above
the bass, in descending by one degree upon the
final, performs the office of a oantus firmus, but
exhibits no other characteristic of a tune that
could be sung alone. The composition is in fact
a little motet, full of points of imitation, but
capable of repetition. It is written in a style
which will be easily recognised by those who
are acquainted with Dr. Tye's music to his
metrical Acts of the Apostles (also published
in this year) or with the four-part song * In going
to my naked bed ' ; a native style, founded upon
the secular part-songs of Fayrfax, Comysshe,
Newark, and Banister, which had been growing
up during the reign of Henry the Eighth. We see
it here, however, in an imperfect shape, and its
development into a flowing, consecutive common
measure tune is only to be found in Tye's work.*
It is true that Tye, in the last line of his compo-
sitions generally, and occasionally elsewhere,
somewhat injured the rhythmical continuity by
introducing a point of imitation ; but that was so
obviously a concession to scholarship, and could
with 80 little difl&culty have been altered, that
we may certainly ascribe to him the invention
of an English form of psalm tune, in four parts,
suitable for popular use, and far more beautiful
than the tunes in chorale form to which it was
compelled to give way. The influence of Geneva
was at this time exceedingly powerful in England,
and the tendency, slight as it is, to florid descant
in Tye's work, must have been to the reformers
extremely objectionable; for just as unisonous
psalm-singing was to the papist the sign of heresy,
80 not less to the reformer was florid descant the
sign of popery. To this, no doubt, it is owing
that no more tunes were written in this style.
1 One of Tye'8 tunes has already been printed entire in this work.
Bee article Windsob ob Eton tumk.
PSALTER.
The publications of this year probably took
place before July, which was the month of the
king's death ; and nothing further was produced
in this country during the reactionary reign of his
successor. But in 1556 an edition of Stemhold
was published in Geneva, for the use of the Pro-
testants who had taken refuge there, which ia
extremely important in the history of the sub-
ject, since it contains the first instalment of those
famous * Church tunes,' some at least of which
have been sung, Sunday after Sunday, in our
English churches, from that day to this. The
book appeared with a new title : —
One and fiftie Psalmes of David in Enptlish metre,
whereof 37 were made by Thomas Stemeholde and the
rest by others. Conferred with the hehrewe, and in
certeyn places corrected as the text, and sens of the
Prophete required.2
The date is gathered from the second part of
the book, which contains the Geneva catechism,
form of prayer, and confession, and is printed
I by John Crespin, Geneva, 1556.' No addition,
it will be seen, had been made to the number of
translations : it only remains, therefore, to speak
of the tunes. In one respect this edition difiera
from all others. Here a new tune is given for
every Psalm ; in subsequent editions the tunea
are repeated, sometimes more than once. They
are printed without harmony, in the tenor or alto
clef, at the head of the Psalm ; the first verse
accompanying the notes. The question has often
been discussed, what the Church tunes are; what
their origin, and who their author. Bumey says
they are * mostly German ' ; but that is impossi-
ble, since the translations in the edition of Stem-
hold which the emigrants took with them to
Geneva were all, except one or two, in double
common measure ; and there are no foreign tunes
of this date which will fit that peculiarly English
metre. The true answer is probably to be found
in Ravenscroft's classified index of the tunes in
his Psalter, published in 1621 ; where, under the
heading of 'English tunes imitating the High
Dutch, Italian, French and Netherlandish tunes,'
will be found almost all the original * Church
tunes ' which remained in use in his day. Ac-
cording to this excellent authority, therefore, the
• Church tunes,' as a whole, are English composi-
tions. Furthermore, considering that they ap-
pear for the first time in this volume, pubUshed
at Geneva, three years after the emigration, it
becomes exceedingly probable that they are imi-
tations of those which the emigrants found in use
at Geneva among the French Protestants ; which
were chiefly, if not entirely, the tunes composed
by Guillaume Franc for the Psalter of Marot and
Bdza. [See Bourgeois and Franc in App.] Some
of the French tunes evidently at once became great
favourites with the English Protestants. Already
in this volume we find two most interesting
attempts to adapt the famous French tune now
known as the Old Hundredth to the double
common measure. One is set to the 3rd Psalm,
the other to the 68th. In both the first line is
note for note the same as in the French tune :
the difference begins with the diflFerence of
s The unique copy of this boolc Is in the Bodleiu Library.
PSALTER.
metre, in the second line. We find further that
as the translation of the Psalter proceeded to-
wards completion, Keith and Whittingham,
residents in Geneva, rendered some of the later
psalms into special metres, and re-translated
others — among them the looth, in order to pro-
vide for the adoption of the most admired French
tunes intact : these will be mentioned in detail,
so far as they have been as yet identified, later
on. The question of authorship is of secondary
interest. There were at this time, no doubt,
many English musicians capable of composing
them, among the organists or singing men
in the Cathedrals and Chapels Eoyal, who are
known to have entered almost as warmly as
the clergy into the religious discussions of the
time, and of whom many took refuge at Geneva
along with the clergy. Immediately upon the
death of Mary, in 1558, this work found its way
to England. The tunes at once became popular,
and a strong and general demand was made for
liberty to sing them in the churches. In the
following year permission was given, in the 49th
section of the injunctions for the guidance of the
clergy ; where, after commanding that the former
order of service (Edward's) be preserved, Eliza-
beth adds : —
And yet nevertheless, for the comforting of such as
delight in music, it may be permitted, that in the be-
ginning or in the end of Common Prayer, either at
morning or evening, there may be sung an hymn, or
such like song, to the praise of Almighty God, in the
best melody and music that may be conveniently devised,
having respect that the sentence of the hymn may be
understood and perceived.
This permission, and the immediate advantage
that was taken of it, no doubt did much to
increase the popular taste for psalm-singing, and
to hasten the completion of the Psalter. For in
the course of the next year, 1560, a new edition
appeared, in which the number of Psalms is
raised to 64, with the following title :^ —
Psalmes of David in Englishe Metre, by Thomas
Stemeholde and others : conferred with the Ebrue, and
in certeine places corrected, as the sense of the Prophete
required : aiid the Note joyned withall. Very mete to
be used of all sorts of people privately for their godly
solace & comfort, laying aparte all ringodly songes &
ballades, which tende only to the nourishing of vice,
and corrupting of youth. Newly set foarth and allowed,
according to the Queues Maiesties Iniunctions. 1560.
There is no name either of place or of printer,
but in all probability it was an English edition.
Although no mention is made of them in the
title, this work includes metrical versions of
three of the Evangelical Hymns, the ten Com-
mandments, the Lord's Prayer, and the Creed.
It may have included a few more of the same
kind, but the only known copy of the work is
imperfect at the end, where these additions are
printed as a kind of supplement. The practice
of repeating the tunes begins here, for though the
number of psalms has been increased, the number
of tunes has diminished. There are only 44, of
which 23 have been taken on from the previous
edition ; the rest are new. Among the new tunes
will be found five adopted from the French Psalter,
in the manner, described above. They are as fol-
» The unique copy of this work is In the library of Christ Church,
Oxford. Thanks are due to the College for permission to examine it.
PSALTER.
756
lows: — The tunes to the French 121st, 124th,
and 130th, have been set to the same psalms in
the English version; the French 107th has been
compressed to suit the English 1 20th ; and the
French 1 24th, though set to the same psalm in the
English version, has been expanded by the inser-
tion of a section between the third and fourth of
the original ; the French psalm having four lines
of eleven to the stanza, the English five. The
tune for the metrical commandments is the same
in both versions.
By the following year 23 more translations were
ready; and another edition was brought out,
again at Geneva : ^ —
Foure score and seven Psalmes of David in English
Mitre, by Thomas Stemeholde and others: conferred
with the Hebrewe, and in certeine places corrected, as
the sense of the Prophet requireth. Whereunto are
added the Songe of Simeon, the then commandments and
the Lord's Prayer. 1561.
From the * Forme of Prayers,' etc., bound up
with it, we gather that it was ' printed at Geneva
by Zacharie Durand.' The number of tunes had
now been largely increased, and raised to a point
beyond which we shall find it scarcely advanced
for many years afterwards. The exact number
is 63 ; of which 2 2 had appeared in both previous
editions, 14 in the edition of 1560 only, and 2 in
the edition of 1556 only. The rest were new.
Among the new tunes will again be found several
French importations. The tunes for the English
50th and 104th are the French tunes for the same
psalms. The lOoth is the French 134th, the
113th the French 36th, the 122nd the French
3rd, the 125th the French 21st, the 126th the
French 90th. The 145th and 148th are also
called ' French ' by Ravenscroft.^ Thus far there
is no sign of any other direct influence. The
imported tunes, so far as can be discovered, are
all French ; and the rest are English imitations
in the same style.
Before we enter upon the year 1562, which
saw the completion of Sternhold's version, it is
necessary that some account should be given
of another Psalter, evidently intended for the
public, which had been in preparation for some
little time, and was actually printed, probably
in 1560, but which was never issued ; — the
Psalter of Archbishop Parker. The title is as
follows : —
The whole Psalter translated into English metre,
which contayneth an hundreth and fifty psalmes.
Imprinted at London by John Daye, dwelling over
Aldersgate beneath S. Martyn's. Cum gratia et privi-
legio Begise maiestatis, per decennium.
The privilege sufficiently proves the intention to
publish. It seems at first sight curious, that
while it has been necessary to speak of the
copies of published works hitherto referred to as
unique, it should be possible to say of this, which
was never given to the public, that at least four
or five examples are in existence. The reason,
however, is no doubt to be found in the fact that
2 The unique copy of this book Is in the Library of S. PauVs
Cathedral. Thanks are due to the Dean and Chapter for permission
to examine it.
8 The imported tunes sometimes underwent a slight alteration,
necessitated by the frequency of the feminine rhymes in the French
TersioQ. By this method a new character was often given to the tune.
756
PSALTER.
the few copies struck off as specimens were dia-
tributed to select persons, and so, finding their
way at once into careful hands, were the better
preserved. The existing copies, so far as they have
been compared, correspond exactly ; and show
that the work was complete, lacking nothing
except the date, for which a blank space was
left at the foot of the title page. The verse of
this translation, which is in various metres, is in
every way far superior to that of Sternhold's ;
but though the author has evidently aimed at
the simplicity and directness of his original, he
is frequently obscure. The suppression of the
work, however, was probably not due to any
considerations of this kind, but either to the
enormous popularity of Sternhold's version, which
was every day becoming more manifest, or, as it
has been sometimes supposed, to a change in the
author's opinion as to the desirability of psalm-
singing. In any case, it is much to be regretted,
since it involved the suppression of nine tunes,
specially composed by Tallis, in a style peculiar
to himself, which, if the work had been published,
would at all events have once more established
the standard of an English tune in four parts,
broad, simple, and effective, and suitable for
congregational use ; and, from the technical
point of view, finer than anything of the kind
that has been done since. Whether it would
have prevailed or not, it is impossible to say.
We have seen how, in the case of Tye, the in-
fluence of Geneva triumphed over the beauty
of his music ; and that influence had become
stronger in the interval. On the otlier hand, the
tendency to florid descant, so hateful to the re-
formers, was absent from the work of Tallis. The
compositions in this book are printed, in the
manner then customary, in separate parts, all
four being visible at once. They are in nearly
plain counterpoint ; the final close is sometimes
slightly elaborated, but generally the effect —
which is one of great richness, solemn or sweet
according to the nature of the particular scale —
is obtained by very simple means. Eight of the
tunes are in the first eight modes, and are in-
tended for the psalms ; the ninth, in Mode XIII,
is supplementary, and is set to a translation of
* Veni Creator.' Two of them have been revived,
and are now well known. One appears in our
hymnals as 'Tallis,' and is the supplementary
tune in Mode XIII.; the other, generally set to
Bishop Ken's evening hymn, and known as
* Canon,' is the tune in Mode VIII. With regard
to the latter, it should be mentioned that in the
original it is twice as long as in the modern form,
every section being repeated before proceeding to
the next. With this exception the melodies ap-
pear as they were written ; but, as regards the
three other parts, only such fragments have been
retained as have happened to suit the taste or
convenience of compilers. In the original, too,
the tenor leads in the canon ; this is reversed in
the modem arrangement. The example here
given, which is the tune in Mode I, is in a
more severe and solemn strain than the two just
mentioned. The treatment of the B — natural in
PSALTER.
the first half of the tune, and flat in the latter
half — is in the finest manner of Dorian harmony.^
tbera
— V
•at
and
wept:
While By -on i
■IM — \ — h
iiotint:w6
h^
Q ■
1
A
-«c> •
41
\^^\
A
— h-
1 1 1
=M
vreep - Ing eyes, to mat • ten mu • it
5=P
3
r
J2^
^
■^-?zr
T^rr^
^
The instruction with regard to the tunes is as
follows : —
The tenor of these partes be for the people when they
will syng alone, the other parts, put lor greater queers,
or such as will syng or play them privatlye.
The method of fitting the psalms to appropriate
tunes is very simple. At the head of each
psalm stands an accent — grave, acute, or
circumflex — indicating its nature as sad, joyful,
or indifferent, according to the author's notion :
the tunes bear corresponding accents. The
work is divided into three parts, each containing
fifty psalms ; and since it is only in the third
I The bars In the original are only sectional, coinciding with tb»
punctuation of the text.
PSALTER.
part that these accents appear, (together with
a rather ingenious system of red and black
brackets, showing the rhyming structure of the
verse,) we may perhaps conclude that the work
was not all printed at once, and that it was only
towards the end — possibly after the promulgation
of Elizabeth's injunctions — that it was thought
desirable to have tunes composed.
It seems certain that the first complete edition
of this version, containing the whole Psalms, the
Evangelical Hymns, and the Spiritual Songs, was
published in 1562, and that another followed in
1563 ; but the earliest now in existence is the one
of 1564, of which the title is as follows : —
♦ The whole booke of Psalms collected into Englysh
Meter, by Thomas Stemhold, J. Hopkins, and others,
conferred with the Hebrew, with apt notes to sing them
withal, faithfully perused and allowed according to
thorder appoynted in the Queenes maiestyes Iniunctions.
"Very meet,' etc., as in the edition of 1560. ' Imprinted
at London by John Daye, dwelling over Aldersgate.
Cum gratia et privilegio regise Maiestatis per septen-
nium. 1564.»
The number of tunes in this edition is 65 ; of
which 14 had appeared in all the previous edi-
tions, 7 in the editions of 1560 and 1561 only,
and 7 in the edition of 1561 only, and 4 in
the edition of 1560 only. The rest were new.
Nothing more had been taken from the French
Psalter ; but two tunes which Ravenscroft calls
* High Dutch ' were adopted. One of them.
Bet to Wisdome's prayer * Preserve us, Lord,
by thy dear word,' was identified by Burney
with the so-called Luther Chorale set to simi-
lar words. It will have been observed that a
considerable re-arrangement of the tunes had
hitherto taken place in every new edition ; the
tunes which were taken on from previous edi-
tions generally remained attached to the same
psalms as before, but the number of new tunes,
as well as of those omitted, was always large.
Now, however, the compilers rested content;
and henceforward, notwithstanding that a new
edition was published almost yearly, the changes
were so gradual that it will only be necessary
to take note of them at intervals. The tunes
are printed without bars, and in notes of unequal
length. Semibreves and minims are both used,
but in what seems at first sight so unsystematic
a way — since they do not correspond with the
accents of the verse — that few of the tunes, as
they stand, could be divided into equal sections ;
and some could not be made to submit to any
time-signature whatever. In this respect they
resemble the older ecclesiastical melodies. The
idea of imitation, however, was probably far
from the composer's mind, and the object of his
irregularity was no doubt variety of effect ; the
destruction of the monotonous swing of the alter-
nate eight and six with accents constantly recur-
ring in similar positions. To the eye the tunes
appear somewhat confused ; but upon trial it
will be found that the long and short notes have
been adjusted with great care, and, taking a
whole tune together, with a fine sense of rhythm-
ical balance. The modes in which these com-
positions are written are such as we should
VOL. IV. PT. 6.
PSALTER.
757
expect to meet with in works of a popular, as
opposed to an ecclesiastical, character. The
great majority of the tunes will be found to be
in the modes which have since become our major
and minor scales. The exact numbers are as
follows :— 28 are in Modes XIII. and XIV., 23
in Modes IX. and X., 12 in Modes I. and II.,
one in Mode VIL, and one in Mode VIII. All
these modes, except the last two, are used both in
their original and transposed positions.
A knowledge of music was at this time so
general, that the number of persons able to sing
or play these tunes at sight was probably very
considerable. Nevertheless, in the edition of
1564, and again in 1577, there was published
* An Introduction to learn to sing,' consisting of
the scale and a few elementary rules, for the
benefit of the ignorant. The edition of 1607
contained a more elaborate system of rules, and
had the sol-fa joined to every note of the tunes
throughout the book ; but this was not repeated,
nor was any further attempt made, in this work,
to teach music.
For competent musicians, a four-part setting
of the church tunes was also provided by the
same publisher : —
The whole psalmes In foure partes, which may be song
to al musical! instrumentes, set forth for the encrease of
vertue, and abolishyng of other vavne and triflyng
ballades. Imprinted at London by John Day, dwelling
over Aldersgate, beneath Saynt Martyns. Cum gratia et
privilegio Eegise Maiestatis, per septennium. 1563. 1
Notwithstanding this title, only the first verse
of each Psalm is given ; enough to accompany
the notes once, and no more : it is therefore only
a companion to Stemhold ; not, like almost all
subsequent works of the kind, a substitute.
But in other respects it was designed on a much
larger scale than anything that appeared after-
wards. It is in four volumes, one for each voice.
Every composition, long or short, occupies a
page ; and at the head of each stands one of
the fine pictorial initial letters which ajipear
in all Day's best books about this time. But
it is as regards the quantity of the music that
it goes farthest beyond all other collections of
the same kind. The composers of subsequent
Psalters thought it quite sufficient, as a rule,
to furnish each of the 65 church tunes with
a single setting; but here, not only has each
been set, but frequently two and sometimes
three and four composers have contributed
settings of the same tune ; and as if this were
not enough, they have increased the work by as
many as 30 tunes, not to be found in Stemhold,
and for the most part probably original. The
total result of their labours is a collection
of 141 compositions, of which 4 are by N.
Southerton, 11 by R. Brimle, 17 by J. Hake,
27 by T. Causton, and 81 by W. Parsons. It
is worthy of remark that while all the contem-
porary musicians of the first rank had already
been employed upon contributions to the liturgi-
cal service, not only by way of MSS., but also
in the printed work, ' Certayne notes,' etc. issued
1 A Mooad edition was published in 1565.
SD
758
PSALTER.
by Day in 1560, — the composers to -whom the
publisher had recourse for this undertaking are
all, except one,* otherwise unknown. Nor is
their music, though generally respectable and
sometimes excellent, of a kind that requires any
detailed description : it will be sufficient to men-
tion a few of its most noticeable characteristics,
interesting chiefly from the insight they afford
into the practice of the average proficient at this
period. The character of these compositions in
most cases is much the same as that of the
simple settings of the French Psalter by
Groudimel and Claude le Jeune ; the parts
usually moving together, and the tenor taking
the tune. The method of Causton, however,
differs in some respects from that of his asso-
ciates: he is evidently a follower of Tye;
showing the same tendency towards florid coun-
terpoint, and often indeed using the same figures.
He is, as might be expected, very much Tye's
inferior in invention, and moreover still retains
some of the objectionable collisions, inherited
by the school of this period from the earlier
descant, which Tye had refused to accept.'
Brimle offends in the same way, but to a far
greater extent : indeed, unless he has been
cruelly used by the printer, he is sometimes
unintelligible. In one of his compositions, for
instance, having to accommodate his accom-
panjdng voices to a difficult close in the
melody, he has written as follows : — ^
$
t^
J-J-U-^
p
^
The difficulty arising from the progression of
the melody in this passage was one that often
presented itself during the process of setting
the earliest versions of the church tunes. It
arose whenever the melody, in closing, passed
by the interval of a whole tone from the seventh
of the scale to the final. When this happened,
the final cadence of the mode was of course
impossible, and some sort of expedient became
necessary. Since, however, no substitute for
the proper close could be really satisfactory —
because, no matter how cleverly it might be
treated, the result must necessarily be ambigu-
1 Causton, a Gentleman of the Chapel Boyal, had been a contri-
butor to ' Certayne notes.'
2 He frequently converts passing discords Into discords of percus-
sion, by repeating the bass note ; and his ear, it seems, could tolerate
the prepared ninth at the distance of a second, when it occurred
between inner parts.
3 This passage, however, will present nothing extraordinary to
those who may happen to have examined the examples, taken from
Bisby, Pigott, and others. In Morley's ' Plaineand Easie Introduction
to Practlcall Musick.' From those examples it appears that the
laws which govern the treatment of discords were not at all generally
understood by English musicians, even as late as the beginning of
Henry the Eighth's reign: it is quite evident that discords (not
passing) were not only constantly taken unprepared, but, what is
more strange, the discordant note was absolutely free in its
progression. It might either rise or fall at pleasure ; It might pass,
by skip or by degree, either to concord or discord ; or it might
remain to become the preparation of a suspended discord. And
this wa» the practice of musicians of whom Morley says that 'they
were skilful men for the time wherein they lived.'
PSALTER.
ous — in all such cases the melody was sooner
or later altered. As these expedients do not
occur in subsequent Psalters, two other speci-
mens are here given of a more rational kind
than the one quoted above.
Mode IX. Transposed (Final, D).
1. I W. Parsons.
Both Parsons' and Hake appear to have been
excellent musicians. The style of the foimer is
somewhat severe, sometimes even harsh, but
always strong and solid. In the latter we find
more sweetness ; and it is characteristic of him
that, more frequently than the others, he makes
use of the soft harmony of the imperfect triad in
its first inversion. It should be mentioned that
of the 17 tunes set by him in this collection,
7 were church tunes, and 10 had previously
appeared in Crespin's edition of Sternhold, and
had afterwards been dropped. His additions,
therefore, were none of them original. One
other point remains to be noticed. Modulation,
in these settings, is extremely rare ; and often,
when it would seem — to modem ears at least —
to be irresistibly suggested by the progression of
the melody, the apparent ingenuity with which
it has been avoided is very curious. In the
tune given to the 22nd Psalm, for instance,
which is in Mode XIII (final, C), the second
* In Este's psalter the tune of No. 1 has already been altered, in
order to make a true final close possible, in the manner shown below.
The tune containing Xo. 2 does not occur again, but here also an
equally simple alteration brings about the desired result.
W. COBBOLD.
B W. Parsons must not be confounded with B. Parsons, a well-
known composer of this period. J. Hake may possibly hare been the
' Hr. Hake,' a singing man of Windsor, whose name was mentioned
by Testwoode in one of the scoffing speeches for which he was after*
wards tried (with Herbecke and another) and executed.
PSALTER.
half begins with a phrase which obviously
suggests a modulation to the dominant : —
but which has been treated by Parsons as
follows : — ^
PSALTER.
7^^
The importance of this Psalter, at once the
first and the most liberal of its kind, entitles it to
a complete example of its workmanship. The
tune chosen is that to the 137th Psalm, an
excellent specimen of the English imitations of
the French melodies, and interesting also as
being one of the two tunes which, appearing
among the first printed — in Crespin's edition of
Stemhold, — are in use at this day. It was
evidently a favourite with Parsons, who has set
it three times ; twice placing it in the tenor, and
once in the upper voice. The latter setting is
the one here given : — *
Mode XIV. Transposed.
Psalm cxxxvii. ^ff persons.
When as
we
sat in Ba
- bl •
Ion.
m-Tnn^-7^ ^-
— .^^
S: S: '^
-C5-
-s —
-^-
-^ii-b 1=^
1 f-
— <s^
the ry.
' =^
T6W round a-bout: And in re -mem -
~^^~^^ 7: ^ 'J 1
-t^
^ i^
^ " ' - v-f--^
1 Kothing is more interesting tlian to trace the progress of a pas-
sage of this kind through subsequent psalters, and to notice how
surely, sooner or later, the modulation comes:—
MoDK XIII. Transposed.
W. CoBBOLD (Este's Psalter, 1592),
2 It must be confessed that the tune is more beautiful without its
■setting. Parsons has not only avoided erery kind of modulation,
.braunoe of
81 - on.
the teares ftw grief turst out:.
r
■ 1 .. .
^ V ^ ^^ g r-^ ■■
^f
=^=^
I
1
=F=^
' r " J^
We hanged
our 1
larpes and
in -
ttro-menta.
the wU-low
il
1
12^
^
J -^
^--^^^#
-^^
—\ — S-
-1—
—
— t=f-=
For in that plaee
to their tne.
^
-S^pr— p?-
^ C^ r^ (1. p--
I I i
'A
:e=t
I
had plant • ed ma
^ 1 \-l^
- ny
OIML
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1
-1=t1— i
^ — T
^ 1
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1
At the end of the book are to be found a few
miscellaneous compositions, some in metre and
some in prose, evidently not specially intended
for this work, but adopted into it. Some of
these are by the musicians employed upon the
Psalter ; but there are also two by Tallis, and
one each by Shephard and Edwards.
The ample supply of four-part settings con-
tained in Day's great collection seems to have so
far satisfied the public craving, that during the
next sixteen years no other publication of the
same kind was attempted. Nor had the work
which appeared at the end of that period been
composed with any kind of desire to rival or
succeed the existing one ; it had, in fact, never
been intended for the public, and was brought
out without the permission, or even the know-
ledge of its author. Its title was as follows : —
The Psalmes of David in English meter with notes of
foure partes set unto them by G-uilielmo Damon, for
John Bull, to the use of the godly Christians for
recreatyng themselves, instede of fond and unseemly
Ballades. Anno 1579 at London Printed by John Daye,
Cum privilegio.
The circumstances of this publication, as they
were afterwards related, were shortly these. It
was Damon's custom, on the occasion of each of
his visits to his friend, Mr. John Bull, to com-
pose, and leave behind him, a four-part setting
of some one of the church tunes; and these,
when the collection was complete. Bull gave
to the printer, without asking the author's con-
but has even refused closes which the ear desires, and which ha
might have taken without having recourse to chromatic notes. It
remained for later musicians to bring out the beauty of the melody.
3D2
t6d
PSALTEB.
sent. The preface, by one Edward Hake, is
ft kind of apology, partly for the conduct of
the above-mentioned Mr. John Bull, 'citizen
and goldsmith of London,' and partly for the
settings themselves, of which he says that they
were 'by peece meale gotten and gathered
together from the fertile soyle of his honest
frend Guilielmo Damon one of her Maiesties
Musitions,' who * never meant them to the use
of any learned and cunnyng Musition, but alto-
gether respected the pleasuryng of his private
frend.' The settings— one only to each tune-
are very much of the kind that might be ex-
pected from the circumstances. They are in
plain counterpoint, with the tune in the tenor ;
evidently the work of a competent musician, but
without special merit. The book contains 14
tunes not to be found in Day, and among these
are the first four of those single common measure
tunes which later quite took the place in popular
favour of all but a few of the older double kind.
They had not as yet been named, but they were
afterwards known as Cambridge, Oxford, Canter-
bury, and Southwell. Two of the church tunes
have been dropped ; and it should also be remarked
that in many tunes the value of the notes has
been altered, the alteration being, in all cases,
the substitution of a minim for a semibreve.
Warton mentions a small publication, •VII
Steppes to heauen, alias the vij [penitential]
Psalmes reduced into meter by Will Hunnys,'^
which he says was brought out- by Henry
Denham in 1581 ; and ' Seuen sobs of a sorrow-
full soule for sinne,* published in 1585, was,
according to the same authority, a second edition
of the same work with a new title. The later
edition contains seven tunes in double common
measure, in the style of the church tunes,
exceedingly well written, and quite up to the
average merit of their models. Burney and
Xiowndes both mention a collection of settings
with the following title : —
Musicke of eix and five parts made upon the common
tones used in singing of the Psalmes by John Cosyn,
London by John Wolfe 1585. 1
Another work, called by Canon Havergal the
'Psalter of Henrie Denham,' * is said to have
been published in 1588.
Damon seems to have been considerably
annoyed to find that compositions which he
thought good enough for Mr. Bull, had been
by Mr. Bull thought good enough for the public ;
and, as a protest against the injustice done to
his reputation, began, and lived long enough to
finish, two other separate and complete settings
of the church tunes, in motet fashion ; the tunes
in the first being in the tenor, and in the second
in the upper voice. They were brought out
after his death by a friend, one William Swayne,
from whose preface we learn the particulars of
the publication of 1579. The titles are as
follows : —
1. The former booke of the Musicke of M. William
Damon late one of her maiesties Musitions : conteining
all the tunes of David's Psalmes, as they are ordinarily
1 Tb0M works tb« irrit«r has not been able to me«t witb.
PSALTER.
sounff in the Church : most iexcellently by liim composed
into 4 parts. In which sett the Tenor singeth the Church
tune. Published for the recreation of such as delight in
Musicke : by W. Swayne Gent. Printed by T. Este, the
assigns of W.Byrd. 1591.
2. The second Booke of the Musicke of M. William
Damon, conteining all the tunes of David's Psalmes,
differing from the former in respect that the highest
part singeth the Church tune, etc.
In both these works the compositions are in
the same rather ornate style ; points of imitation
are frequently taken upon the plain song, the
parts from time to time resting, in the usual
manner of the motet. Their whole aim is, in
fact, more ambitious than that of any other
setting of the church tunes. Twelve of the
original tunes have been dropped ; and one in
single common measure, added, — the tune after-
wards known as Windsor or Eton. [See Windsor
Tune.]
Este, the publisher of these two works, must
have been at the same time engaged upon the
prei)aration of his own famous Psalter, for in the
course of the next year it was brought out, with
the following title : —
The whole booke of psalmes: with their wonted
Tunes, as they are song in Churches, composed into
foure parts : All which are so placed that foure may
sing ecu one a seueral part in this booke. Wherein the
Church tunes are carefully corrected, and thereunto
added other short tunes usually song in London, and
other places of this Kealme. With a table in the end of
the booke of such tunes as are newly added, with the
number of ech Psalme placed to the said Tune. Cora-
piled by sondry avthors who haue so laboured herein,
that the vnskilfuU with small practice may attaine to
sing that part, which is fittest for their voice. Imprinted
at London by Thomas Est, the assign^ of William Byrd :
dwelling in Aldersgate streete at the signe of the Black
Horse and are there to be sold. 1592. 2
It seems to have been part of Este's plan to
ignore his predecessor. He has dropped nine
of the tunes which were new in Damon's
Psalters, and the five which he has taken on
appear in his 'Note of tunes newly added in
this booke.' Four of these five were those after-
wards known as Cambridge, Oxford, Canterbury,
and Windsor, and the first three must already
have become great favourites with the public,
since Cambridge has been repeated 29 times,
Oxford a; times, and Canterbury 33 times.
The repetition, therefore, is now on a new
principle : the older custom was to repeat
almost every tune once or twice, but in this m
Psalter the repetition is confined almost entirely fl
to these three tunes. Five really new tunes, »
all in single common measure, have been added.
To three of these, names, for the first time, are
given ; they are * Glassenburie,* ' Kentish *
(afterwards Rochester), and 'Chesshire.' The
other two, though not named as yet, afterwards
became London and Winchester.
For the four-part settings Este engaged ten
composers, * being such,' he says in his preface,
* as I know to be expert in the Arte and suffi-
cient to answere such curious carping Musitions,
whose skill hath not been employed to the
furthering of this work.' This is no empty
boast : 1 7 of the settings are by John Farmer ;
12 by George Kirbye ; 10 by Richard Allison;
* A second edition was published In 1604, and a third In 1604. Tba
work was reprinted by the Musical Antiquarian Society in 1814.
PSALTER.
9 by Giles Famaby ; 7 by Edward Blancks ; 5
by John Douland ; 5 by William Cobbold ; 4 by
Edmund Hooper ; 2 by Edward Johnson, and
I by Michael Cavendish. It will be observed
that though most of these composers are eminent
a.s madrigalists, none of them, except Hooper,
and perhaps Johnson, are known as experts in
the ecclesiastical style : a certain interest there-
fore belongs to their settings of plainsong; a
kind of composition which they have nowhere
attempted except in this work.^ The method of
treatment is very varied : in some cases the
counterpoint is perfectly plain; in others plain
is mixed with florid ; while in others again the
florid prevails throughout. In the plain settings
no great advance upon the best of those in Day's
Psalter will be observed. Indeed, in one respect,
—the melodious progression of the voices, —
advance was scarcely possible ; since equality
of interest in the parts had been, from the very
beginning, the fundamental principle of com-
position. What advance there is will be found
to be in the direction of harmony. The ear is
gratified more often than before by a harmonic
progression appropriate to the progression of the
tune. Modulation in the closes, therefore, be-
comes more frequent; and in some cases, for
special reasons, a partial modulation is even
introduced in the middle of a section. In all
styles, a close containing the prepared fourth,
either struck or suspended, and accompanied by
the fifth, is the most usual termination ; but the
penultimate harmony is also sometimes pre-
ceded by the sixth and fifth together upon
the fourth of the scale. The plain style
has been more often, and more successfully,
treated by Blancks than by any of the others.
He contrives always to unite solid and reason-
able harmony with freedom of movement and
melody in the parts ; indeed, the melody of his
upper voice is often so good that it might be
fiung as a tune by itself. But by far the greater
number of the settings in this work are in the
mixed style, in which the figuration introduced
consists chiefly of suspended concords (discords
being still reserved for the closes), passing notes,
and short points of imitation between two of the
parts at the beginning of the section. It is
difficult to say who is most excellent in this
manner. Farmer's skill in contriving the short
points of imitation is remarkable, but one must
also admire the richness of Hooper's harmony,
Allison's smoothness, and the ingenuity and
resource shown by Cobbold and Kirbye. The
two last, also, are undoubtedly the most suc-
cessful in dealing with the more florid style,
which, in fact, and perhaps for this reason, they
have attempted more often than any of their
associates. They have produced several com-
positions of great beauty, in which most of the
devices of counterpoint have been introduced,
though without ostentation or apparent effort.
Famaby and Johnson were perhaps not in-
1 Fanner had published, In the previous year, forty canont, two In
one, upon one plainsong. These however were only contrapuntal
exercise*.
PSALTER.
7«X
eluded in the original scheme of the work, since
they do not appear till late, Johnson's first setting
being Ps. ciii. and Farnaby's Ps. cxix. They need
special, but not favourable, mention; because,
although their compositions are thoroughly able,
and often beautiful — Johnson's especially so — ^it
is they who make it impossible to point to Este's
Psalter as a model throughout of pure writing.
The art of composing for concerted voices in the
strict diatonic style had reached, about the year
1580, probably the highest point of excellence it
was capable of. Any change must have been for
the worse, and it is in Johnson and Famaby
that we here see the change beginning.''
There is, however, one Psalter which can be
said to show the pure Elizabethan counterpoint
in perfection throughout. It is entirely the work
of one man, Richard Allison, already mentioned
as one of Este's contributors, who published it
in 1599, with the following title : —
Tlie Psalmes of David in Meter, the plaine song beeing
the common tunne to be sung and plaide upon the Lute,
Orpharyon, Citterne or Base Violl, severally or alto-
gether, the singing part to be either Tenor or Treble to
the instrument, according to the nature of the voyce, or
for fowre voyces. "With tenne short Tunnes in the end,
to which for the most part all the Psalmes may be
usually sung, for the use of such as are of mean skill,
and whose leysure least serveth to practize. By Richard
Allison Gent. Practitioner in the Art of Musicke, and
are to be solde at his house in the Dukes place neere
Aide-Gate London, printed by "William Barley, the
asigne of Thomas Morley. 1699.
The style of treatment employed by Allison in
this work — in which he has given the tune to
the upper voice throughout — is almost the same
as the mixed style adopted by him in Este's
Psalter. Here, after an interval of seven years,
we find a slightly stronger tendency towards the
more florid manner, but his devices and orna-
ments are still always in perfectly pure taste.'
The lute part was evidently only intended for
use when the tune was sung by a single voice,
since it is constructed in the manner then proper
to lute accompaniments to songs, in which the
notes taken by the voice were omitted. Sir John
3 Johnson (Ps. czi.) has taken the fourth unprepared in a chord of
the 6-4, and the imperfect triad with the root in the bass. Farnaby
so frequently abandons the old practice of making all the notes upon
one syllable conjunct, that one must suppose he actually preferred
the leap in such cases. The following variants of a well-known
cadence, also, have a kind of Interest, since it is difficult to see how
they could for a moment have borne comparison with their original :—
P
:bct
G. Farnaby.
J 1
E. Johnson.
fzz^ifr^tp
:ag=
1— r
A_j.
— t — ' ' —
Johnson, though sometimes licentious, was also sometimes even
prudish. In taking the sixth and fifth upon the fourth of the scale,
his associates accompanied them, in the modern way, with a third ;
Johnson however refuses this, and, following the strict Eoman prac-
tice, doubles the bass note instead.
3 It was by a chance more unfortunate even than usual that Dr.
Burney selected this Psalter, -on the whole the best that ever ap-
peared,—as a victim to his strange prejudice against our native
music. His slighting verdict Is that ' the book has no merit, but what
was very common at the time It was printed': which is certainly
true; but Allison, a musician of the first rank. Is not deserving of
contempt on the ground that merit of the highest kind happened t»
be very common in his day.
761
PSALTER.
Hawkms, in his account of the book, inakes a
curious mistake on this point. He says, ' It is
observable that the author has made the plain-
song or Church tune the cantus part, which part
being intended at well for the lute or cittern, as
the voice, is given also in those characters called
the tablature which are peculiar to those instru-
ments.^ That the exact opposite is the case,i
-will be seen from the translation of a fragment
of the lute part, here given : —
Voices.
ilhr-^—^
1
-r
.ca.
J.
— J-
1
— r
r
— r-
1 , ■
-T-rH
1
-4-
«S-
— 1 1—
— <^ — ^A—
r-iH
T
B» -
— <s»
-^-
bl
-•
• Ion.
\—
J
J_^
3
i7»—
-?3-
1
C5
..a
[ —
L_
— ^
— r-j-
=1=
=9=
1
\
L_
-J
^
— 1—
t
-^
i-^
j 1
The next Psalter to be mentioned is one which
seems to have hitherto escaped notice. It was
issued without date; but since collation with
Este's third edition proves it to be later than
1604, and since we know that its printer, W.
Barley, brought out nothing after the year 16 14,
it must have been published in the interval be-
tween those two dates. Its title is as follows : —
The whole Booke of Psalmes. With their woonted
Tunes, as they are sung in Churches, composed into
foure parts. Compiled by sundrie Authors, who have so
laboured herein, that the unskilful with small practise
may attains to sing that part, which is fittest for their
voice. Printed at London in little S. Hellens by W.
Barley, the assigne of T. Morley, and are to be sold at
his shop in Gratious street. Cum privilegio.
From this title, and from the fact that Morley
was the successor to Byrd, whose assignee Este
was, it would be natural to infer that the work
was a further edition of Este's Psalter : and from
its contents, it would seem to put forward some
pretence to be so. But it differs in several im-
portant respects from the original. Este's Psalter
was a beautiful book, in octavo size, printed in
small but perfectly clear type ; the voice parts
separate, but all visible at once, and all turning
1 Hawklni haa eridently been mbled by tbe cIumailT worded title.
PSALTER.
IhiB leaf together. Barley's Psalter is reduced to
duodecimo size, becoming in consequence incon-
veniently thick; it is badly printed; and the
parts, though separate, do not always turn the
leaf together. Worse than this, in almost
all the settings, the two upper voice parts are
omitted, and the remaining parts — the tune
and the bass — ^being separate are rendered use-
less even to the organist, the only person who
could have turned two parts to any sort of ac-
count. The work, therefore, is so unsatisfactory
as to be scarcely worthy of notice, did it not
contain ten new and admirable settings, of
which four are by Morley himself, five by John
Bennet, and one by Farnaby. These not only
save the book, but render it valuable; for in
Ravenscroft's Psalter, published a few years
later, only five of them — two by Morley, and
three by Bennet — survive. This work therefore
contains six compositions by eminent musicians
which are not to be found elsewhere. They are
of course printed entire, as are also the settings
of the two established and often repeated
favourites above referred to, Oxford and Cam-
bridge tunes, and a few others, which, however,
though they have escaped mutilation, have not
escaped alteration, considerable changes being
sometimes made in the parts. In some of ther
mutilated settings, also, the bass part has been
altered, and in some a new bass has been sub-
stituted for the old one, while the editor has
allowed the name of the original composer to
stand above the tune. Examples of extreme
carelessness in editing might also be given j
were it worth while to do so. On the whole,
the book is somewhat of a puzzle. There
would be nothing surprising in its peculiarities
had it been some unauthorized or piratical edi-
tion of Este ; but when we remember that the
printer was working under the royal patent
granted to Morley, and that Morley himself, and
another musician almost as distinguished, con-
tributed to it some of the best settings of church
tunes ever composed, it becomes difficult to
account for its badness." Besides the nevir
settings of old tunes, it also contains one new
tune set by Blancks, afterwards called by Ravens*
croft a Dutch tune.
Ravenscroft's Psalter, which comes next in
order, was published in 1621, with the following
title :—
The whole Booke of Psalmes with the Hymnes Evan-
felicaU and Songs Spirituall. Composed into four parts
y sundry authors, to such severall tunes, as have been,
and are generally sung in England, Scotland, Wales,
> One explanation onljr can be susKested at present. The work may
never have been Intended to ranlc witli four-part psalters at alt
Tlie sole right to print Ktemhold's Tersion, with the church tunes,
had Just passed into the hands of the Stationers' company ; and It i»
possible that this book may have been put forward, not as a fourtii
edition of Este, but in competition with the company : the promoters
hoping, by the retention of the complete settings of a few favourite
tunes, and the useless bass part of the rest, to create a technical
difference, which would enable them to avoid Infringement of th»
Stationers' patent. The new settings of Morley and Bennet may
have b'-en added as an attractive feature. If, however the an-
nouncement in the title of the third edition of Este (1604), ' printed
for the companie of Stationers,' should mean that the company had
acquired a permanent right to that work. Barley's publication would
seem no longer to be delensible, on any ground. Further researcU
may make the matter more clear. '
PSALTER.
Germany, Italy, France, and the Netherlands : nerer as"
yet before in one vohime published. . . Newly corrected
and enlarged by Thomas Eavenscroft Bachelar of
Musicke. Printeo. at London, for the Company of Sta-
tioners.i
This Psalter contains a larger number of com-
positions than any other except that of Day ;
but the number in excess of the Church tunes is
not made up, as in Day, by alternative settings,
but by the addition of 40 new tunes, almost all
of which are single common measure tunes of
the later kind, with names. They appear in the
index under the heading — 'such tunes of the
Psalmes usually sung in Cathedrall Churches,
Collegiat Chapels, &c.,' and are divided broadly
into three classes, one of which contains those
named after the English Cathedrals and Uni-
versities, while the other two are called respec-
tively Scotch and Welsh, and the tunes named
accordingly. The whole subject of these names,
and how they are to be understood, has been
gone into at some length by Canon Havergal in
the preface to his quasi-reprint of this Psalter ;
and his conclusion is probably the right one,
namely, that the tunes were in most cases de-
signated according to the localities in which
they were found in use, but that this does not
necessarily imply a local origin. We have
already referred to Ravenscroft's description of
the old double common measure tunes, and need
add nothing here with respect to them. Under the
heading * forraigne tunes usually sung in Great
b Brittaine' will be found, for the French, only
the few tunes taken from the Geneva Psalter,
enumerated above ; with regard to other sources,
the magnificent promise of the title-page is
reduced to three German tunes, two Dutch, and
one Italian.
Of the 100 settings in this work, 38 had
appeared in previous ones. All the musicians
engaged upon Este's Psalter are represented
here ; 31 of their compositions have been taken
on, and Douland and Hooper have each con-
tributed a new one ; Douland's is the setting of
the 1 00th Psalm, already given in this work. [See
Hymn, vol. i. p. 763 6.] Also, one of Parsons'
settings has been taken from Day's Psalter,
though not without alteration. The four settings
by Morley and Bennet, from Barley's Psalter,
have already been mentioned, and in addition
there is a new one by Morley, a setting of the
I at Psalm. Tallis's tune in Mode VIII is also
L given here from Parker's Psalter (to a mom-
B ing hymn), in the shortened form, but with the
|r tenor still leading the canon.
I Eight new composers appear, whose names
■ and contributions are as follows : — R. Palmer, i ;
J. Milton, 2 ; W. Harrison, i ; J. Tomkins, i ;
T. Tomkins, a ; W. Cranfield or Cranford, 2 ;
J. Ward, I ; S. Stubbs, 2 ; Ravenscroft himself,
48. In the work of all these composers is to be
seen the same impurity of taste which was
visible in the settings made for Este by Famaby
and Johnson. The two cadences given above in
a note, as examples of a kind of aberration, are
1 A second edition \ru published in 1633. It was also several times
rsprluted, eittier entirely or iu part, during tlie 18tb century.
PSALTER.
76a
here found to have become part of the common
stock of music ; and an inferior treatment of
conjunct passages in short notes, in which the
alternate crotchet is dotted, finds, among other
disimprovements, great favour with the editor.
Ravenscroft and Milton appear to be by far the
best of the new contributors. The variety shown
by the former in his methods of treatment is
remarkable : he seems to have formed himself
upon Este's Psalter, to have attempted all its
styles in turn, and to have measured himself
with almost every composer. Notwithstanding
this, it is evident that he had no firm grasp
of the older style, and that he was advancing
as rapidly as any musician of his day towards
the modem tonality and the modem priority of
harmonic considerations in part writing. Milton's
two settings are fine, notwithstanding the oc-
casional use of the degraded cadence, and on the
whole worthy of the older school, to which indeed
he properly belonged. The rest, if we except
Ward, may be briefly dismissed. They were
inferior men, working with an inferior method.
Two years later appeared the work of George
Wither: —
The Hymnes and Songs of the Church, Divided into
two Parts. The first Part comprehends the Canonicall
Serly be sung: with some other ancient Songs and
reeds. The second Part consists of Spirituall Songs,
appropriated to the severall Times and Occasions, ob-
servable in the Church of England. Translated and
composed by G. W. London, printed by the assignes of
George Wither, 1623. Cum privileglo Eegis Kegali.
This work was submitted during its progress
to James the First, and so far found favour that
the author obtained a privilege of fifty-one years,
and a recommendation in the patent that the
book should be * inserted in convenient manner
and due place in every English Psalm book
in metre. The king's benevolence, however,
was of no effect ; the Company of Stationers,
considering their own privilege invaded, declared
against the author, and by every means in their
power, short of a flat refusal, avoided the sale of
the book. Here again, as in the case of Parker's
Psalter, the virtual suppression of the work
occasioned the loss of a set of noble tunes by a
great master. Sixteen compositions by Orlando
Gibbons had been made for it, and were printed
with it. They are in two-part counterpoint,
nearly plain, for treble and bass; the treble
being the tune, and the bass, though not figured,
probably intended for the organ. In style they
resemble rather the tunes of Tallis than the
imitations of the Geneva tunes to which English
congregations had been accustomed, it being
possible to accent them in the same way as the
words they were to accompany; syncopation,
however, sometimes occurs, but rarely, and more
rarely still in the bass. The harmony often
reveals very clearly the transitional condition of
music at this period. For instance, in Modes XIII
and XIV a sectional termination in the melody on
the second of the scale was always, in the older
harmony, treated as a full close, having the
same note in the bass ; here we find it treated in
the modern way, as a half dose, with the fifth
764
PSALTER.
of the scale in the bass. Two of these tunes,
altered, appear in modem hymnals.^
In 1632 an attempt was made to introduce the
Geneva tunes complete into this country. Trans-
lations were made to suit them, and the work
was brought out by Thomas Harper. It does
not seem, however, to have reached a second
edition. The enthusiasm of earlier days had no
doubt enabled the reformers to master the exotic
metres of the few imported tunes ; but from the
beginning the tendency had been to simplify,
and, so to speak, to anglicize them ; and since
the Geneva tunes had remained unchanged,
Harper's work must have presented difficulties
which would appear quite insuperable to ordinary
congregations.
We have now arrived at the period when the
dislike which was beginning to be felt by educated
persons for the abject version of Stemhold was
to find practical expression. Wither had in-
tended his admirable translation of the Ecclesi-
astical Hymns and Spiritual Songs to supersede
the older one, and in 1636 George Sandys, a son
of the Archbishop, published the complete psalter,
with the following title : —
A paraphrase upon the Psalms of David, by G. 8. Set
to new tunes for private devotion ; and a thorough bass,
for voice or instrument. By Henry Lawes, gentleman
of His Majesty's Chapel BoyaLi
The tunes, 24 in number, are of great interest.
Lawes was an ardent disciple of the new Italian
school ; and these two-part compositions, though
following in their outline the accustomed psalm-
tune fuim, are in their details as directly opposed
to the older practice as anything ever written by
Peri or Caccini. The two parts proceed some-
times for five or six notes together in thirds or
tenths ; the bass is frequently raised a semitone,
and the imperfect fifth is constantly taken, both
as a harmony and as an interval of melody. The
extreme poverty of Lawes's music, as compared
with what was afterwards produced by composers
following the same principles, has prevented him
from receiving the praise which was certainly
his due. He was the first English composer
who perceived the melodies to which the new
Bystem of tonality was to give rise ; and in this
volume will be found the germs of some of the
most beautiful and affecting tunes of the 17th
and 1 8th centuries : the first section of the
famous St. Anne's tune, for instance, is note for
note the same as the first section of his tune to
the 9th psalm. Several of these tunes, complete,
are to be found in our modern hymnals.
The translation of Sandys was intended, as
the title shows, to supersede Sternhold'sin private
use ; but several others, intended to be sung in
the churches, soon followed. Besides the trans-
lation of Sir. W. Alexander (published in Charles
the First's reign), of which King James had been
content to pass for the author, there appeared,
during the Commonwealth, the versions of Bishop
King, Barton, and Rous. None, however, re-
quire more than a bare mention, since they were
all adapted to the Church tunes to be found
1 These works were reprinted by John Buaiell Smith in 1850 and
1872 z«spectiveljr.
PSALTER.
in the current editions of Stemhold, and have
therefore only a literary interest. Nothing
requiring notice here was produced until after
the Restoration, when, in 1671, under circum-
stances very different from any which had decided
the form of previous four-part psalters, John
Playford brought out the first of his well-known
publications : —
Psalms and Hymns in solemn musick of f oare parts on
the Common Times to the Psalms in Metre : used in
Parish Churches. Also six Hymns for one voyce to the
Organ. By lohn Playford. London, printed by W.
Godbid for J. Playford at his shop in the Inner Temple.
1671.
This book contains only 47 tunes, of which
35 were taken from Sternhold (including 14
of the single common measure tunes with names,
which had now become Church tunes), and 12
were new. But Playford, in printing even this
comparatively small selection, was offering to
the public a great many more than they had
been of late accustomed to make use of. The
tunes in Sternhold were still accessible to all ;
but not only had the general interest in music
been steadily declining during the reigns of
James and Charles, but the authorized version
itself, from long use in the churches, had now
become associated in the minds of the Puritans
with the system of Episcopacy, and was con*
sequently unfavourably regarded, the result
being that the number of tunes to which the
psalms were now commonly sung, when they
were sung at all, had dwindled down to some
half dozen. These tunes may be found in the
appendix to Bishop King's translation, printed
in 1 65 1. According to the title-page, his psalms
were ' to be sung after the old tunes used in y*
churches,' but the tunes actually printed are
only the old looth, 51st, 8 1st, 119th, Com-
mandments, Windsor, and one other not a
Church tune. * There be other tunes,' adds the
author, * but being not very usuall are not here
set down.' The miserable state of music in
general at the Restoration is well known, but,
as regards psalmody in particular, a passage in
Playford's preface so well describes the situation
and some of its causes, that it cannot be omitted
here : —
For many years, this part of divine service was skil-
fully and devoutly performed, with delight and comfort,
by many honest and religious people : and is still con-
tinued m our churches, but not with that reverence and
estimation as formerly: some not affecting the trans-
lation, others not liking the music : both, I must con-
fess need reforming. Those many tunes formerly used
to these Psalms, for excellency of form, solemn air,
and suitableness to the matter of the Psalms, were not
inferior to any tunes used in foreign churches ; but at
this day the best, and almost all the choice tunes are
lost, and out of use in our churches; nor mustweexpeot
it otherwise, when in and about this gi*eat city, in above
one hundred parishes there is but few parish clerks to be
found that have either ear or understanding to set one
of these tunes musically as it ought to be : it having
been a custom during the late wars, and since, to choose
men into such places, more for their poverty than skill
or ability ; whereby this part of God's service hath been
so ridiculously performed in most places, that it is now
brought into scorn and derision by many people.
The settings are all by Playford himself.
They are in plain counterpoint, and the voices
indicated are Alto, Countertenor, Tenor, and
PSALTER.
]6ass, an arrangement rendered necessary by
the entire absence, at the Restoration, of trained
trebles.
This publication had no great success, a
result ascribed by the author to the folio size
of the book, which he admits made it in-
convenient to 'carry to church.' His second
psalter, therefore, which he brought out six
years later, was printed in 8vo. The settings
are here again in plain counterpoint, but this
time the work contains the whole of the Church
tunes. The title is as follows : —
The whole book of Psalms, collected into English
metre by Sternhold Hopkins, &c. "With the usual Hymns
and Spiritual Songs, and all the ancient and modern
tunes sung in Churches, composed in three parts, Cantus
Medius and Bassus. In a more plain and useful method
than hath been heretofore published. By John Play-
ford. 1677.
Playford gives no reason for setting the tunes
in three parts only, but we know that this way
of writing was much in favour with English
composers after the Restoration, and remained
BO till the time of Handel. Three-part counter-
point had been much used in earlier days by the
secular school of Henry the Eighth's time, but
its prevalence at this period was probably due to
the fact that it was a favourite form of com-
position with Carissirai and his Italian and
French followers, whose influence with the
English school of the Restoration was paramount.
This was the last complete setting of the
Church tunes, and for a hundred years after-
wards it continued to be printed for the benefit
of those who still remained faithful to the old
melodies, and the old way of setting them. In
1757 the book had reached its aoth edition.
Playford generally receives the credit, or dis-
credit, of having reduced the Church tunes to
notes of equal value, since in his psalters they
appear in minims throughout, except the first
and last notes of sections, where the semibreve
is retained ; but it will be found, on referring to
the current editions of Sternhold, that this had
already been done, probably by the congregations
themselves, and that he has taken the tunes as
he found them in the authorized version. His
settings also have often been blamed, and it
must be confessed that compared with most of
his predecessors, he is only a tolerable musician,
though he thought himself a very good one ; but
this being admitted, he is still deserving of
praise for having made, in the publication of
his psalters, an intelligent attempt to assist in
the general work of reconstruction ; and if he
failed to effect the permanent restoration of the
older kind of psalmody, it was in fact not so
much owing to his weakness, as to the natural
development of new tendencies in the art of
music.
The new metrical translations afterwards
brought out were always intended, like those of
the Commonwealth, to be sung to the Church
tunes ; and each work usually contained a small
selection, consisting of those most in use, to-
gether with a few new ones. Concurrently with
these appeared a large number of publications, —
PUPPO.
765
Harmonious Companions, Psalm Singer's Maga-
zines, etc., which contained all the favourite
tunes, old and new, set generally in four parts.
Through one or other of these channels most of
the leading musicians of this and the following
century contributed to the popular Psalmody.
Both tunes and settings now became very various
in character, and side by side with settings
made for Este's Psalter might be found compo-
sitions of which the following fragment will give
some idea.
Harmonious Companion, 1732.
8^
1
^^^
♦^i^*^
:aEE^=
---F-:
=F=
— P=
m
Lord goes
On the next page is the original setting of the
44th Psalm by Blancks.
The fact most strongly impressed upon the
mind after going through a number of these
publications, extending over a period of one
hundred and fifty years, is that the quality and
character of the new tunes and settings in no
way depends, as in the case of the old psalters,
upon the date at which they were written. Dr.
Howard's beautiful tune, St. Bride, for instance,
was composed thirty or forty years after the
strange production given above; his tune, hovv-
evex-, must not be taken as a sign of any general
improvement, things having rather gone from
bad to worse. The truth seems to be that the
popular tradition of psalmody having been hope-
lessly broken during the Commonwealth, and
individual taste and ability having become the
only deciding forces in the production of tunes,
the composers of the 17th and i8th centuries, in
the exercise of their discretion, chose sometimes
to imitate the older style, and sometimes to
employ the inferior methods of contemporary
music. To the public the question of style
seems to have been a matter of the most perfect
indifference.
Sternhold continued to be printed as an au-
thorized version until the second decade of the
present century. The version of Tate and Brady
remained in favour twenty or thirty years longer,
and was only superseded by the hymnals now in
actual use. [H.E.W.]
PUCITTA, ViNCENZO. Line i of article, /or
Rome read Civita Vecchia.
PUPPO, Giuseppe. Line 2 of article, add
day of birth, June 12, and 1. 6 from end,
that of death, April 19.
766
PURCELL.
PURCELL. P. 46 6, 1.19-35. This sentence
is to be corrected by a reference to Macbeth
Music, vol. ii. p. 184; the question of the date
of composition of ' Dido and Aeneas ' is discussed
in Mr. Cummings's 'Life of Purcell.' P. 47,
L 3-4, for ' He does not appear to have pro-
duced,' etc, read His only production for the
stage in 1679 was Lee's 'Oedipus.' [See Dorset
Garden Theatre in Appendix vol. iv. p. 617.]
PURCELL SOCIETY. The edition of 'Timon
of Athens ' referred to in the last sentence but
one of article, was issued in 1882. The music-
meetings mentioned at the end were aban-
RANDEGGER.
doned, and in 1887 the scheme, which had
fallen into abeyance for a time, was re-organized
by Mr. Cummings and Mr. W. Barclay Squire,
who undertook the respective duties of editor
and honorary secretary.
PYNE. Line 7, omit the words (afterwards
Mrs. Galton) . S usan , or more correctly Susannah,
Pyne, married Mr. F. H. Standing, a baritone
singer, known professionally as Celli ; Mrs.
Galton was another sister, who had no repute as
a singer. P. 54 b, 1. 6, add the date of the
return to England and commencement of the*
atrioal management, 1858.
QUARENGHI, GUGLIELMO, violoncellist, and
professor of the cello at the Conservatorio of
Milan, was bom at Casalmaggiore Oct. 22,
1826. He studied under Vincenzo Merighi, who,
as he says, 'gave a proof of his wisdom and skill
in educating that piece of perfection (quella per-
fezione) called Alfredo Piatti.' Quarenghi has
published numerous compositions for his instru-
ment, but he will always be best known by his
great ' Metodo di Violoncello' published at Milan
in 1877, which is undoubtedly the most complete
method extant. It was formally adopted by the
Milan Conservatorio in 1875, after a commission
of four professors (with Piatti) had reported on
its merits. It is divided into five parts, of which
the third is a short treatise on Harmony and
Counterpoint, a branch of study which, in the
words of the report, has been either omitted or
imperfectly developed in the existing methods.
It is much to be regretted that this admirable
work has not been translated, as the writer feels
assured that it only has to be knovm to be
thoroughly appreciated by all professors of the
violoncello. [G.H.]
QUART-GEIGE. See Yiolino Piccolo.
QUAVER. P. 60 a, 1. 4 before last musical
example, for notes read quavers. Add as foot-
note, One quaver of historical importance de-
serves mention, that which Handel added in
pencil to the quintet in 'Jephtha' in 1758, six
years after he is supposed to have lost his sight,
and which in Schoelcher's words shows that by
* looking very closely at a thing he was still able
to see it a little.' [G.]
QUINTUPLE TIME. P. 61 h, after Rhyth-
mische Studien, op. 53, add *Viens, gentille
Dame 'in Boieldieu's *La Dame blanche'; Lowe's
Ballad * Prinz Eugen,' a number in Rubinstein's
* Tower of Babel,' and elsewhere.
R.
RACCOLTA GENERALE, etc. Line 15 of
article, ybr 2jd. read ijd. At end of ar-
ticle add reference to Alfiebi in Appendix,
vol. iv. p. 520.
RAFF, Joachim. P. 656, 1. 7, add that he
died in the night of June 24-25, 1883. In the
list of works, add op. 191, ' Blumensprache,' 6
songs ; 209, * Die Tageszeiten,* for chorus, piano-
forte, and orchestra ; 210, suite for PF. and vln. ;
214, symphony 'Im Winter'; 215, 'Von der
Schwabischen Alb,' 2 PF. pieces, and 216, * Aus
der Adventzeit,' 8 PF. pieces, edited by Bulow
after the composer's death.
RAMANN, LiNA. Add that her life of
Liszt was translated by Mrs. S. H. Eddy,
Chicago, and by Miss E. Cowdeiy, and published
in 2 vols, in 1882.
RAMEAU, J. P. In the list of operas and
ballets on p. 70 b, the date of production of * Les
F^tes de Polymnie ' is to be altered to Oct. 10^
1745-
RANDEGGER, Alberto. P. 73 b, 1. 3, for
Maurona read Mauroner. Line 6, for Zera
read Zara. Line 22, for a director read an
honorary member and director. Line 26, for
1879-80 read 1879-85, omitting the words Her
Majesty's Theatre from the next line. He
superintended the productions and conducted the
performances of the following operas, produced
for the first time in English: — * Carmen,' 'Taming
of the Shrew,' * Lohengrin,' and * Tannhauser,
besides * Esmeralda' and 'Nadeschda* by A.
Goring Thomas. A scena by him, set to words
from Byron's * Prayer of Nature,' for tenor and
EAUZZINI.
orchestra, was given at a Philharmonic Concert
in 1887.
RASOUMOWSKY. Pp. 77 6 and 78 a, the
two examples are given in Kohler's * Album
Eusse/ nos. 188 and 175 respectively,
EAUZZINI, Vbnanzio. Line 8 of article,
add that his first appearance in London was in
Corri's * Alessandro nell' Indie.' The Eound men-
tioned in 1. 25 will be found in vol. iv. p. 191.
EAVENSCROFT, John. Add that a set of
sonatas in three parts (two violins and violone
or arch-lute) by him, were printed at Eome in
1695.
EAVENSCEOFT, Thomas. Line 19, /or
161 1 read 1614.
EAYMOND AND AGNES. Add that the
opera had been produced at Manchester in 1855.
EEAL FUGUE. P. 81 a, note i, for 1558
read 1588.
EEBEC. Line 5 from end of article; a correc-
tion of the statement there made will be found in
vol. iv.p. 271, note i.
EECITATIVE. P. 85 a, last sentence, for
correction see vol. iii. p. 695, note 2.
EECOEDING MUSIC PLAYED EXTEM-
PORANEOUSLY. Many efforts have been
made to obtain a permanent record of music
played impromptu on the pianoforte or organ.
In the year 1747 the Rev. J. Creed proposed
to make a machine * to write down extempore
voluntaries as fast as any master shall play
them,' but the apparatus does not seem to have
been constructed. In vol. i. p. 499 of this work
will be found a brief account of some early at-
tempts to construct such machines. Hohlfeld's
apparatus, made in 1752, is simplicity itself, and
has been the parent of many such schemes put
forth as novel from that time down to our own day.
The plan of attaching a pencil or some form of
stylus underneath the far end of each pianoforte
key, so that when it is depressed it shall make
a mark (more or less long according to the time
value of the note held down) upon a slowly
moving band of paper unwound from a roll, is an
obvious idea. But there are material diflaculties
connected with such a plan, the chief being the
ready translation of its product into the ordinary
notation. Some inventors proposed to substitute
for the friable pencil a metal stylus and black
carbonized paper. But no attempt was made to
indicate the bars on the paper, and so the streaks
more or less long, the hazy accidentals and the
rests on the paper presented a hopeless puzzle to
the transcriber. In 1827 M. Carreyre exhibited
before the French Institute a * Melographic
piano,' in which the music played was repre-
sented by certain signs impressed on a thin plate
of lead. A committee was appointed to examine
the apparatus, but inasmuch as they never re-
ported, the machine was doubtless not a success.
M. Boudouin afterwards read before the same
EECORDING MUSIC.
m
body a paper concerning another scheme of this
kind, but nothing is known of his plan. In
1836 an English patent was taken out on behalf
of M. Eisenmenger of Paris for an apparatus of
the depressed stylus and carbonized paper type,
and it is notable as showing the first attempt
made to measure off the bars. The inventor sug-
gested that this could be accomplished by the
performer's beating time with his foot on a pedal ;
mechanism connected with this punctured the
moving band of paper, dividing it into regulated
spaces. It is uncertain whether a machine was
ever made on this plan. Towards the close of
1840, M. Duprat de Tressog patented at Paris an
apparatus of this kind, but no description of the
plan has been published. In 1856 I. Merzolo,
ail Italian engineer, applied for a provisional
patent for an apparatus to give an * identical
repetition with types like those used in ordinary
printing.* The specification is very brief, and too
vague to indicate how the desired object could be
accomplished. In 1863 electricity is first men-
tioned in connection with this subject, a patent
being taken out by Mr. F. B. Fenby of Worcester,
for* The Electro-Magnetic Phonograph' (the same
word which Edison employed some sixteen years
later). The main principle of Fenby's instrument
was identical with that which underlies all tele-
graphic operations, viz. the making a bent piece
of soft iron into a temporary magnet by passing
an electric current round it ; by the motion so
obtained from its armature a small inked wheel
was pressed against a band of moving paper.
The scheme seems to be complicated, and there
is no evidence that such a machine was ever
made. In 1864 Mr. E. S. Endres applied for a
patent, but it was refused him. His chimerical
proposal was to have as many type -wheels as
there were pianoforte keys ; on the periphery of
these wheels there were cut notes of various
values, from a semibreve to a demisemiquaver.
Upon the finger rising from a note struck, the
intention was, that the revolving wheel should
print on paper an ordinary note of the exact
time- value of the sound played. Pedals had to
be depressed when accidentals were used. An
examination of the mechanism drawn shows that
the idea was quite impracticable. As late as 1880
Schwetz a German, Hoyer a Frenchman, in 1884
Allen an Englishman, and in 1885 Greiner of
New York, amongst others, took out patents for
apparatuses of the depressed pencil order. At
the Paris Exhibition of 1881, M. J. Char-
pentier exhibited * La M^lographie R^p^titeur,'
attached to a small harmonium. Its inventor
stated that it was to write down ordinary music
played extemporaneously on the instrument dans
le langage de Jacquard, The process was to
be effected by means of electro-magnets con-
nected with the keys putting into action a series
of cutters which cut slits in a band of moving
paper, the slits corresponding to the length and
position of the notes. By an after arrangement the
perforated paper allows the wind to pass through
its slits, and thus reproduces the music previously
played. M. Charpentier was enthusiastic enough
768
BECORDING MUSIC.
to believe he could also make his machine print
the music executed in the ordinary notation,
but avowed that this was only a project. The
apparatus shown did not appear to have been in
working order. In 1887 M. Charpentier took out
another patent, in which metal styles attached to
the under part of the keys acted on the balanced
ribs of a revolving cylinder ; these were kept inked,
and marked the paper as it gradually unwound.
He also provided for depressing by electro-mag-
nets or pneumatic agency. In 1880 Mr. H. J.
Dickenson proposed to apply the principle of the
Casselli electro-chemical telegraph to recording
music played on the piano ; from the meagre
account of his plan printed in the specification it
is ini possible to describe its mechanism. In 1 881,
M. A. P. Hodgson, an engineer of Paris, took
out a patent (No. 573) for an * Apparatus for cor-
j-ectly transcribing musical compositions.* The
instrument is termed by the inventor the 'Piano-
graph Metronome.* To judge from the specifica-
tion and drawings attached to the patent, this
Apparatus was of the most complicated descrip-
tion. The machine was furnished with a metro-
nome for governing the rate of motion at which
a cylinder should revolve, and so regulating the
time ; this had to be mathematically exact, other-
wise the mechanism would not synchronise with
the player. If all went right, the machine was
supposed to print on a huge band of paper about
four feet broad, lines representing in their length
the duration of the notes held down. As no pro-
vision was made for indicating any variation of
the time-measure, or for accelerandos, ritardan-
do8, etc., M. Hodgson's machine would not have
proved of much utility, even if it could have
been constructed ; he had so little idea of music
that he directed the player * to end his compo-
sition by a perfect chord in the key of F, and not
by the tonic a third or a fifth.*
In 1881 Herr J. Fohr showed at the Stuttgart
Exhibition of that year an excellent contrivance
which accomplishes the object aimed at in a
more complete way than before. The apparatus
was exhibited in action in London, and a paper
was read upon the subject by the present
writer at the June meeting 1882, of the Musical
Association; it is described at length in the
1 88 1-2 volume of the society's proceedings. The
machine was also shown in operation before the
members of the College of Organists. The me-
chanism of this Electro-chemischer Notenschreib-
apparat is simple. The apparatus is contained
in a small pedestal which may be placed at the
side of a piano, and connection is made with the
instrument through a cable of wires attached to
A long frame resting on the keyboard of the
instrument. This is furnished with a series of
studs each one touching the back of the ivories
and ebonies just in front of the usual name
board ; these studs, by means of insulated wires,
are in connection with platinum points which
press on a band of paper, five inches broad,
unwound from a drum by means of clockwork.
The paper, as it passes through the mechanism, is
saturated with a solution of ferrocyanide of potas-
RECORDING MUSIC.
slum, ammonia, sulphuric acid and water ; it is
afterwards ruled by means of an aniline inking
roller with the five lines of the stave, and some
dotted ledger lines are added above and below.
On the pianoforte key being depressed, the circuit
is completed and the current runs from a Le-
clanch^ battery, passing through the saturated
paper by the particular style or styles in connec-
tion with the keys struck, and staining it a bluish
colour ; the electric current decomposing the salts
with which the paper is charged. The length of
the stain depends upon the time the key is
held down ; a semibreve, for instance, appearing
as a long streak, while a quaver would be but a
dash, and a demisemiquaver a mere dot. The
blank spaces on the paper represent the periods
of silence ; thus, marks are formed by the passing
current, and rests are indicated by its absence.
The stains representing the white notes ■■ are
twice as broad as those standing for the black
ones MM. A pedal serves to indicate the bar
lines. On depressing this (as in the ordinary
mode of beating time) the position of the first
beat in the b;tr is indicated by short double
lines := stained at the moment of depression on
the top and bottom of the stave. The rate of
motion of the paper is governed by a sliding
lever, which also serves to start and stop the
clock-work arrangement. Herr Fohr's apparatus
is simple in design, and the musical shorthand
it produces is translateable without much diffi-
culty. It is worked upon much the same plan
as that of the electro-chemical telegraph of Bain.
In 1872 Mr. Alexander A. Rossignol took out a
patent (No. 990) for an * Apparatus for tracing
music,' and his scheme is substantially the same
as that of Herr Fohr. The only modification
would seem to be that M. Rossignol employed
styles made of two different metals which
severally stain the saturated paper red and blue,
representing the black and white keys of the
piano. There is no record of this instrument
having been constructed. As it is stated that
Herr Fohr's design dates from several years ago,
since which time he has been working it out, the
question as to priority of invention is uncertain.
The following illustration is a reduced represen-
tation of the first section of ' God Save the Queen,*
as produced by Herr Fohr's contrivance ; it is in
the key of A and in four parts, 3-4 time.
KECOKDING MUSIC.
The following represents bax i6 from Chopin's
Nocturne in Eb, Op. 9, No. a (ia-8 time). In
this example the paper has been set to run
slower, and so the bars occupy a larger space.
EEGAL.
769
Z vjp— -^
In 1886 Mr. H. H. Muir took out a patent
for recording music, the principle of which
was practically the same as that of Herr
Fohr. [T.L.S,]
REDEMPTION, The. A Sacred Trilogy,
written and composed by Charles Gounod. First
performed at the Birmingham Festival, Aug.
30, 1882, under the composer's direction. [M.]
REDHEAD, Richaed, bom March i, 1820,
at Harrow, was a chorister at Magdalen College,
Oxford, 1829-36, having received his musical
education there from Walter Vicary, the organist.
He was organist at Old Margaret Chapel (now
All Saints' Church), Margaret Street, in 1839-64,
since which he has been, and still is, organist at
St. Mary Magdalene, Paddington. His works
are almost exclusively written or compiled for
use in the Church of England service, viz.
*Laudes Diurnse, the Psalter and Canticles in the
Morning and Evening Service,* 1843, Music for
the Oflfice of the Holy Communion,' 1853 ; '0
my people,' anthem for Good Friday ; ' Church
Melodies, a collection of short pieces and Six
Sacred Songs,* 1858; *The Celebrant's Office
Book,' 1863; 'Ancient Hymn Melodies, Book
of Common Prayer with Ritual music. Canticles
at Matins and Evensong, pointed as they are to
be sung in churches and adapted to the Ancient
PsaJm Chants, and Parish Tune Book and Ap-
pendix,* 1865 ; *The Universal Organist, a Col-
lection of Short Classical and Modem Pieces,'
1866-81; 'Litany with latter part of Com-
mination Service, Music to the Divine Liturgy
during the Gradual, Offertorium and Communion,
arranged for use throughout the year,' 1874;
Festival Hymns for All Saints and St. Mary
Magdalene Days, Hymns for Holy Seasons,
Anthems, etc. [A.C.]
REED, Thomas German. Add date of death,
March 21, 1888. P. 91a, add to list of pieces
produced at St. George's Hall, under the
management of Mr. Corney Grain and Mr. Alfred
Beed:—
'No. 204.' F. 0. Bnrnand and
German Reed.
' Once in a century.' G.A*Beckett
and Vivian Bllgh.
•Our new Dolls' House.' W.
Tardley and Cotsford Dick.
' Answer Paid.* F. 0. Bumand
and W. Austin.
•Doubleday's Will.* Bumand
and King Hall.
•Artful Automaton.' Arthur
Law and King Hall.
•A Tremendous Mystery.' F.
0. Burnand and King Hall.
'Enchantment.' A. Law and
German Bead.
' Grimstone Grange.' 6. A'Beck-
ett and King Hall.
•1001. Beward.' A. Law and
Corney Grain.
•Back from India,' Fottlnger
Stevens and Cotsford Dick.
• The Pirates' Home.' G. A'BeCk-
ett and Vivian Bligh.
•A Christmas Stocking.' 6.
A'Beckett and King Hall.
• Castle Botherem.' A. Law and
Hamilton Clarke.
•The Three Hats.' A. A'Beckett
and Edouard Marlols.
•A Flying Visit,' A. Law and
Corney Grain.
'The Turquoise Elng.' 6. W.
Godfrey and Lionel Benson.
•A Merry Christmas.' A. Law
and King Hall.
•Sandford and Merton.' Bur-
nand and A. 8. Gatty.
• All at Sea.' A. Law and Corney
Grain.
•Many Happy Returns.' G
A'Beckett and Lionel Benson.
•A Bright Idea.' A. Law and
Arthur Cecil.
'Cherry Tree Farm.' A. Law
and Hamilton Clarke.
The Head of the Poll.' A. Law
and Eaton Faning.
Nobody's Fault.' A. Law and
Hamilton Clarke.
• A Strange Host.' A. Law and
King Hall.
That Dreadftil Boy.' O.A'Beclr-
ett and Corney Grain.
A Mountain Heiress.' O.
A'Beckett and Lionel Benson.
Treasure Trove.' A. Law and
A. J. Caldicott.
A Water Cure.' A. Law, Arnold
Felix, and George Gear.
A Moss Rose Rent.' A. Law
and A. J. Caldicott.
A Double Event.' A. Law.
Alfred Reed, and Corney Grain.
Fairly Puzzled." Oliver Brand
and Hamilton Clarke.
•A Terrible Fright.' A. Law
and Corney Grain.
Old Knockles.' A. Law and
A. J. Caldicott.
A Peculiar Caie.' A, Law and
G. Grossmith.
Hobbies.' Stephens, Yardley,
and G. Gear.
A Pretty Bequest.' M. Wat-
son and Hamilton Clarke.
•A Night In Wales.' H.Gardner
and Corney Grain.
' In Cupid's Court.' M. Watson
and A. J. Caldicott.
•A United Pair." Comyns Carr
and A. J. Caldicott.
•The Friar.' Do.
•The Naturalist.' Comyns Carr
and King Hall.
•Tally-Hol' M. Watson and
A. J. Caldicott.
' Wanted an Heir.' Do.
' The Bo'sun's Mate.' W. Browne
and A. J. Caldicott.
• Brittany Folk.' Walter Frltb
and A. J. Caldicott.
For some years the * Musical Sketches ' of Mr.
Corney Grain have been the principal attractions
of the entertainment. Upwards of 50 of these
have been given, the 50th coinciding with Her
Majesty's Jubilee, and treating of topics con-
nected with that event. [M.]'
REFORMATION SYMPHONY. It should be
added that one of the most prominent themes of
the work is the beautiful ascending phrase known,
as the 'Dresden Amen,' which has been used
with marvellous effect in Wagner's ' Parsifal.'
REFRAIN. P. 93 6, add See Schubert'*
* Vier Refrainlieder,* op. 95.
REGAL. This name describes a variety of
organ (not differentiated by size alone, as is
implied in vol. iii. p. 93), which is especially
interesting as being in some ways the prototype
of the modern harmonium. It consists of a
single row of ' beating ' reeds, the pipes of which
are in some instances so small as hardly to cover
the reeds. A fine specimen is in the possession
of the Brussels Conservatoire, and was lent to
the Inventions Exhibition in 1885. The name
' bible regal ' is not a synonym, but the title of
another variety, the peculiarity of which consists
in its being arranged to fold in two, on a similar
principle to that on which leather backgammon
boards are made. The bellows are covered with
leather, so that when the instrument is folded, it
presents the appearance of a large book. Line
II of article, /or Roll read VoU. For further
particulars the reader is referred to Mr. A. J.
Hipkins's 'Musical Instruments' (A. and 0.
Black, 1887), where both instruments are figured.
770
BEGONDT.
REGONDI, GiULio. Line 8 of article, fw
1831 or 1833 read in June 1831.
REICHARDT, Alexander. Add date of
death, May 14, 1885.
REICHARDT, J. F. P. looa, 1. 34, for 17
read 27,
REICHER, HEDWia, nie, Kindennann, the
daughter of the celebrated baritone/ was bom
July 15, 1853, at Munich. She was taught the
piano first by her mother, and at the School of
Music, but abandoned the same in &vour of
singing, on the advice of Franz* Wiillner. She
received her vocal instruction firom her father,
and made her d^but at the Munich Opera as
one of the boys in the ' Meistersinger,' and next
played small parts in the opera, drama, and
ballet, besides singing in the chorus, so as to
gain experience. She sang the alto part in
Franz Lachner's Requiem at Leipzig in 1871
with such success that she became engaged at
Carlsruhe. She played 'as guest' at Berlin as
Pamina, June 5, and Agatha, June 9, 1874;
she then returned to Munich, and sang Daniel
in Handel's * Belshazzar,' April 14, 1875. Soon
after she married Emanuel Reicher, an actor
at the Gartnerplatz theatre, and for a time
sang there in opera bouffe, but returned to
opera and played Grimgerde in the 1st Cycle,
and Erda in the 2nd Cycle at Bayreuth in 1 876.
She next played at Hamburg, Vienna (where
she appeared as Leah on the production of
Rubinstein's * Maccabees '), and again at Mu-
nich. Having received instruction for the pur-
pose from Faure and Jules Cohen at Paris, she
played in French at Monte Carlo in 1880 with
such success that she received an offer to sing at
La Scala, Milan, but declined it in favour of an
engagement at Leipzig under Neumann, where
she made her ddbut as Fidelio May 13, 1880.
She became a great favourite, and remained
there until 1882. She played on tour with Neu-
mann as Briinnhilde in the * Trilogy ' in London,
Berlin, and other German towns, and finally at
Trieste, where she died June 2, 1883.
She made a great impression at Her Majesty's
Theatre as Fricka on the production of * Rhein-
gold.' May 5, and of 'Walkiire,' May 6, 1882,
and still more as Biiinnhilde in the 2nd Cyclus
in the first two parts of the Trilogy; not
only was her * magnificent voice' equal to all
the demands upon it, but her presentation of
the character was full of force and of pathos.
While no less touching than Frau Vogl in the
truthfulness of her expression, she was more
heroic and dignified; the supernatural element
was brought into stronger relief ... in the grand
1 KiNDERMAMN. AuoDST. bom Feb. 6, 1816, at Barlin, be^n bU
career at the opera a< a choriu linger, received instruction from
Meyer, and played both bass and baritone parts at Leipzig in 1839—
1846. since \«hen he has been engaged at Munich, where he obtained
a life engagement, and has always been there a great favourite,
being a very versatile artist. He celebrated his 25th anniversary of
his engagement there on June IS, 1871, as Figaro in 'Nozze,' the
Oherubiuo being his elder daughter Marie, then engaged at Cassel.
He played Tlturel (Parsifal) at Bayreuth in 1882; and on Sept. 9, 1886,
he celebrated the Jubilee of his career, and the 40th year of his
engagement at Munich, playing the part of Stadinger in Lortzing't
REYER.
awakening scene her manner was perhaps too
coldly dignified and wanting in the impulsive-
ness which characterizes the heroine when she.
has finally abandoned her supernatural attributes
and become a true woman.' [A.C.]
REID, General John. P. loia, L 23,/or
184a read 1841.
REINECKE, Kabl. Line 4 of article, for
1827 read 1824. To the list of his works add
* Die Flucht nach Aegypten,* cantata for male
voices; an opera, *Auf hohem Befehl* (Schwerin,
Mar. 13, 1887); an overture 'Zenobia,* and a
funeral march for the late Emperor of Germany
(op. 200). Of his settings of fairy tales as
cantatas for female voices * Schneewittchen,'
♦ Dornroschen ' and * Aschenbrodel,' are very
popular.
REINE DE CHYPRE, LA. Last Une of
article, ybr 1846 read 1841.
REINKEN, J. A. P. 103 6, 1. 7, fw viola
read viola da gamba, and add that the * Hortus
Musicus' has lately been republished as no. XTII
of the publications of the Maatschappij tot
bevordering der Toonkunst (Amsterdam, 1887).
No. XIV of the same publication consists of
Reinken's 'Partite Diverse ' (variations). Note I,
add reference to English translation of Spitta'a
*Bach,* i. 197-9.
REINTHALER. Add Martin as a second
Christian name; also that he was a pupil of
A. B. Marx, and that his cantata ' In der Wiiste*
has been very successful.
RENN, organ builder. See Jardink & Co.
vol. iv. p. 685.
REQUIEM. Mention should be made of the
Requiem Masses of Gossec. [See vol. i. p. 611.]
Berlioz, whose work is in some respects the most
extraordinary setting of the words that has ever
been produced, and Verdi, whose setting of the
words maybe regarded as markingthetransitional
point in his style. A work of Schumann's,
op. 148, is of sniall importance ; more beautiful
compositions of his, with the same title, though
having no connection with the ecclesiastical use
of the word, are the Requiem for Mignon, and a
song included in op. 90. See vol. iii. p. 420 a.
REYER, LoDis Etibnne Ernest. Add the
following to the article in vol. iii. p. I23 : — ^The
revival of ' Maltre Wolfram ' and * La Statue '
at the Opdra Comique, Dec. 12, 1873, *nd April
ao, 1878, respectively, showed how little the
composer had been influenced by injudicious
advice given him on the production of the former
work, and the transformation of * La Statue *
into a grand opera made evident the fact that his
artistic tendencies and convictions had become
stronger instead of weaker. After numerous at-
tempts on Reyer's part to secure an unmutilated
performance of * Sigurd ' at the Paris Opera, ho
produced it at the Theatre de la Monnaie, Brus-
sels, Jan. 7, 1884, with considerable and last-
ing success. On July 15 of the same year it
was produced at Covent Garden. The first per-
t Athenanm, May ao. 1882.
EEYER.
formance of the work in Francje was at Lyons,
on Jan. 15, 1885, when it was received with
marked success. On June 12, 1885, * Sigurd'
was performed at the Grand Opera in Paris, but
at the general rehearsal the directors thought fit
to make curtailments in the score, and the com-
poser retired, protesting against the proceeding,
and yet unwilling to withdraw a work, on which
so much trouble and expense had been bestowed,
on the eve of its production. He threatened
never to set foot in the opera-house imtil his
score should have been restored to its original
integrity, and in this he has kept his word. The
public, less exacting than the composer, received
the opera, which in many passages must have
considerably surprised them, with increasing
sympathy, and its success was all the more re-
markable as it was entirely unassisted either by
the composer, who appeared to take no interest
in its fate, or by the directors, who would not
have been sorry had it failed. The qualities
which are most prominent in 'Sigurd' are the
individual charm of its musical ideas, the exact
agreement between the words and the music,
vain repetitions and conventional formulas being
generally absent ; and lastly, the richness and
colouring of the instrumentation, the style of
» which was greatly influenced by Eeyer's favourite
masters, Weber and Berlioz, and in places by
Wagner. No charge of plagiarism from the last-
named composer is intended to be suggested, nor
could such a charge be substantiated. It is true
that the subjects of 'Sigurd' and the 'Ring
des Nibelungen ' are identical, but this is a mere
coincidence. The plot of the libretto, which was
written by Du Locle and A. Blau, is taken from
the Nibelungen N6t, the source that inspired
Wagner, who, however, went further back and
took his subject direct from the Eddas, moulding
it after his own conception. In 1868 the libretto
of Wagner's trilogy had been published for 15
years, but it was completely unknown in France,
and when the trilogy was produced in 1876,
Reyer's score was nearly finished and ready
for production. Reyer was decorated with
the Legion d'Honneur in August 1862, after
the successful performance of *La Statue' at
the Lyrique, and was raised to the rank of an
officer in Jan. 1886, after that of * Sigurd,' the
success of which has had the important result of
deciding him to write a new grand opera on
Flaubert's * Salammbd.' He is now editor of the
musical portion of the 'Journal des D^bats.'
having succeeded d'Ortigue, who followed Ber-
lioz. (The sentence in lines 1-5 from bottom of
page 122 a, is thus to be corrected.) He has
collected his most important articles and pub-
lished them under the title of 'Notes de Musique'
(Paris, Charpentier, 1875). In both literature
and composition he is the disciple and admirer of
Berlioz. It is curious that M. Reyer, having
succeeded F. David at the Institut (1876), who
himself succeeded Berlioz in 1869, should thus
occupy the positions, both in music and literature,
of the master whose legitimate successor he may
well claim to be. . [A. J.]
RHAPSODY.
771
RHAPSODY. The Greek Rhapsodist CPo^-
^Sds) was a professional reciter or chaunter of
epic poetry. 'Pa^q/dia is the Greek title of each
book of the Homeric poems, the first book of
the Iliad being 'Parpq/Sia A, and so forth. The
Rhapsody was the song of the Rhapsode \ a
sequel of Rhapsodies when sung in succession or
written down so as to form a series constituted
an epic poem, and when a long poem was
chanted in sections at different times and by
different singers it was said to be rhapsodized.
The usual derivation of 'Paipq>5ia is ^anroj — I
sew, and (pZ-q = song, ode.
Musicians might speak, in Hamlet's phrase,
of a * rhapsody of words,' or of tunes — that is to
say, of a string of melodies arranged with a view
to effective performance in public, but without
regular dependence of one part upon another.
Such a description would seem to apply pretty
closely to Liszt's fifteen Rhapsodies Hongroises,
and to his * Reminiscences d'Espagne ' (a fantasia
on two Spanish tunes, Les Folies d'Espagne and
La Jota Arragonesa, 1844-45) which, in 1863, he
republished as a ' Rhapsodic Espagnole.' The
history of the latter piece is similar to that of the
Hungarian rhapsodies — portions of which were
originally published under the title of • Melodies
Hongroises — Ungarische National-melodien ' —
short transcriptions of Hungarian tunes as they
are played by the wandering bands of Gipsies, the
national musicians of Hungary. The prototype of
these ' melodies' in all probability was Schubert's
'Divertissement k la Hongroise,'in G minor, op-
54 — a piece Liszt has always been fond of, and of
which he has produced several versions — as of the
whole for pianoforte solo, and of the march in C
minor for orchestra.^ Liszt's ten sets of ' Melodies
Hongroises' date from 1839 *° ^^47 > ^^® ^5 ^^
called Rhapsodies Hongroises from 1853 <^o 1854,
In 1859 Liszt published a book in French, ' Des
Bohdmiens et de leur Musique en Hongrie' — a
late and overgrown preface, as he confesses, to
the Rhapsodies. In this brilliant, though at
intervals somewhat meretricious work,^ an effort
is made to claim for the set of Rhapsodies the dig-
nity of an Hungarian Epic sui generis. P. 344 :
'Alors nous acquimes la conviction que ces
morceaux ddtach^s, ces melodies disjointes et
^parses dtaient des parties dissdmindes, ^miett^es,
^parpilldes d'un grand tout ; . . . et pourrait fitre
considdrds comme une sorte d'^pop^e nationale, —
6popee hoMmienne, — chantde dans une langue et
dans une forme inusitdes,' etc. P. 346 : * Par le
mot de Rhapsodie, nous avons voulu designer
r^l^ment fantastiquement 4pique que nous avons
cru y reconnaitre.' * Les Rhapsodies, nous ont
toujours sembl^ faire partie d'un cycle poe'tique,*
etc. Be this as it may, the term ' Rhapsodie '
remains as one of Liszt's many happy hits in the
way of musical nomenclature, witness 'Pofemes
Symphoniques ' (Sinfonische Dichtungen), 'Par-
titions de Piano,' 'Paraphrases de Concert,' 'Fan-
taisies Dramatiques,' etc.
1 He played his version of the march In London, April, 1886.
2 Like Liszt's ' OhopJn,' this book Is on good authority reported to
be the Joint production of himself and certain lady-friends.
772
RHAPSODY.
Brahms has adopted the term *Rhapsodie*
both in Liszt's sense and in that of the Greek
Bhapsodists; and, as usual with him, he has
added weight to its significance. His original
•Rhapsodien,' op. 79 for pianoforte solo — in B
minor and G minor — are abrupt impassioned
aphoristic pieces of simple and obvious structure,
yet solidly put together. The 'Rhapsodie' in C,
op. 53, for contralto, male chorus, and orchestra,
justifies its title, in the Greek sense, inasmuch as
it is a setting — a recitation, a rhapsody — of a por-
tion of Goethe's poem ' Harzreise im Winter ' ; it,
also, is a compact and carefully balanced piece.
Of Rhapsodies recently written, for the most
part in the vein of Liszt, the following may be
mentioned :—
Raff, op. 32, two * Rhapsodies ^l^giaques,'
op. 1 30, ' Rhapsodie Espagnole,' and the * Rhap-
Bodie' contained in the Suite, op. 163 — all for
pianoforte.
Dvorak, op. 45, three * Slavische Rhapsodien,'
for orchestra.
SvENDSBN, two ' Norwcgische Rhapsodien,' for
orchestra.
A. C. Mackenzie, op. 21, 'Rhapsodie Ecos-
saise' in B b (original), and op. 24, 'Bums,
Second Scotch Rhapsody,' also in B b, for orches-
tra. The latter, based on national tunes, is an
admirable example of its kind.
The last movement of C. Hubert H. Parry's
'Symphonic Suite in A minor for orchestra,' en-
titled * Rhapsodic,' consists of a systematized
series of melodies on the plan familiar in the
Rondo. [E.D.]
RHEINBERGER, Joseph. Line a of article,
for 1859 read 1839. Among his works are to be
mentioned the following, besides those referred
to in the article. Two large compositions for
solos, chorus and orchestra, ' Christoforus ' and
* Montfort*; two elaboi-ate settings of the • Stabat
Mater ' and a Requiem for the same, an organ
concerto, and 6 sonatas for that instrument,
making the number of these compositions eleven
in all ; two string quartets, three piano trios, a
quintet for piano and strings, a duet for two
pianos, besides part-songs, and other vocal works.
Among his latest works are a nonet for wind
instruments (op. 139), a string quartet (op. 147),
6 pieces for PF. and organ (op. 150), a mass
(op. 151) and 12 organ pieces (op. 156). He has
the title of Hof kapellmeister and Professor, and
is a member of the Academy of Arts in Berlin.
RICHARDS, Beinlet. Add date of death,
May I, 1885.
RICHARDSON, Vaughan. Line 8 of article,
for about 1695 read in June 1693.
RICHTER, Hans. Line 5 of article, for
Pesth read Vienna. P. 129 a, 1. 9, /or Capell-
meister read Hof kapellmeister ; 1. 10, etc. add
that the Richter Concerts have been given every
year, since the publication of the article, and
are now among the most successful of London
concerts.
RICORDI. Line 14 of article, add that Tito
Ricordi was bom in 181 1, and died Sept. 7, 1888.
ROBERTS.
RIEDEL, Carl. Add date of death, June 4,
1888.
RIES. P. 133 a, add day of birth of Hubert
R1E8, April I.
RIETZ, Julius. Line 7 from end of article,
for Oct. I read Sept. la.
RIMSKY-KORSAKOW, Nikolaus Andre-
JBWITCH, bom at Tichwin, Russia, in 1844, was
at first intended for a military career, and be-
came an ofl&cer of marines in the Imperial army.
After several years' service, he abandoned his
profession in order to devote himself to music.
Although principally self-taught, he turned his
studies to such good account that in 1 871 he was
made professor of composition at the Conserva-
torium at St. Petersburg. Not long afterwards
he was appointed director of the free school of
music in the same capital. Two operas by him
have been represented at the Russian opera-house,
* Pskowitjanka,' Jan. 13, 1873, and 'Die Mai-
nacht ' (as the name is given in Riemann's Opem-
handbuch), Jan. 20, 1880. The words of the
latter are by the composer himself. Some frag-
ments of another opera were published at St.
Petersburg, where several symphonies, works for
piano, and a collection of 100 Russian popular
songs, have appeared. A * legend ' for orchestra,
entitled 'Sadko,' was given by the Allgemeine
Deutsche Musikverein at Altenburg in 1876, in
which year a string quartet by him obtained
considerable success, The society just men-
tioned produced his symphony ' An tar * (op. 15),
at Magdeburg in 1 88 1. He lately collaborated
with the Russian composers, Liadow, Borodine,
and Glazounow, in writing a string quartet on
the name Belaieff, i. e. the notes * B-la-f,' or Bb,
A, F. A * symphoniette ' in A minor has lately
been published as op. 31, a 3rd symphony as
op. 32, a fantasia for violin and orchestra on
Russian themes as op. 33, and a Capriccio Es-
pagnol for orchestra as op. 34. [M.]
RITTER, F. L. Line 2 from end of article /oj*
Women read Woman. Add that Mme. Ritter
has recently brought out a second series of the
Essays and Criticisms of Schumann, and has
written a sketch entitled ' Some Famous Songs.*
RITTER, Theodore. See vol. ii. p. 735 o,
and add date of death, April 6, 1886.
ROBARTT, of Crewkerne, was an 'orgyn
maker' who let out organs to churches by the
year. The Mayor of Lyme Regis in 1551 paid
him ten shillings for his year's rent. [V. de P.]
ROBERTO DEVEREUX. Line 4 of article,
for 1836 read the autumn of 1837, and add that
an opera of the same name, composed by Merca-
dante, was produced at Milan on March 10,
1883.
ROBERTS, J. Varlet. Add that in i88a
he was elected organist at Magdalen College,
Oxford, succeeding Mr. Parratt. In 1884 the Uni-
versity Glee and Madrigal Society was founded
under his conductorship ; it now ntmibers about
150 members. In 1885 he accepted the post of
organist of St. Giles's, Oxford, and in the same
EGBERTS.
year was appointed examiner in music to the
Oxford Local Examinations, and also became con-
ductor of the Oxford Choral Society. In 1886
he was appointed one of the University examiners
for musical degrees. The latest addition to the
list of his church music is an anthem, • I will sing
unto the Lord,' written for the Jubilee Service
in Magdalen College. [W.B.S.]
ROBSON, Joseph, organ builder. See Flight,
vol. i. p. 532, and Flight, vol. iv. A pp. p. 636.
ROCHE, Line i , for Edward read Edmond.
The facts of the case concerning the French
translation of * Tannhauser ' have only recently
been made public, in M. JuUien's 'Richard
Wagner ' (1887). Roche, not knowing German,
had recourse to the services of a friend named
liindau, and the translation, when sent to the
director of the Opera, was rejected, as it was in
blank verse ; the necessary alteration into rhyme
was made by Roche, Nuitter, and Wagner in
collaboration. On this Lindau brought an action
against Wagner, to enforce the mention of his
name as one of the translators ; the case was
heard on March 6, 1861, a week before the first
representation of the opera, and it was decided
that no name but that of Wagner should appear
in the books. [M.]
RODE, Pierre (properly Jacques Pierre
Joseph). Line 2 of article, for 26 read 16.
P. 142 6, 1. 20, add that he was solo violin at
the Op^ra until Nov. 17, 1799. P. 143 a, 1. 13
from bottom, add that three more concertos were
published posthumously. (See Pougin's supple-
ment to Fdtis.)
ROGERS, Benjamin. Line 5, add that he
succeeded Jewitt in the appointment to Christ
Church, Dublin, in 1639. Line 4 from bottom
of same column, refer, as to his degree, to Car-
lyle's ' Oliver Cromwell,' v, 243, 4 (People's
Edition).
ROGERS, Roland, Mus. Doc, born at West
Bromwich, Staffordshire, Nov. 17, 1847, where
he was appointed organist of St. Peter's Church
in 1858. He studied under Mr. S. Grosvenor,
and in 1862 obtainetl by competition the post
of organist at St. John's, Wolverhampton. In
1867 he similarly obtained the organistship
of Tettenhfill parish church, and in 1871 was
appointed organist and choirmaster at Bangor
Cathedral, a post which he still holds. He took
the Oxford degiee of Mus. B. in 1871, and
that of Mus. D. in 1875. Dr. Rogers's pub-
lished works are * Prayer and Praise ' a cantata.
Evening Services in Bb and D, Anthems, Part-
songs, Organ Solos, and Songs; a Symphony in A,
a Psalm ' De Profundis,' and several Anthems
and Services are still in MS. [W.B.S.]
ROMANCE. P. 148 a, 1. 2, add the three
pieces by Schumann, op. 28. Line 3, omit the
ivoi'ds or some one of his followers.
ROMANTIC. P. 149 b, second example, the
last three dotted minims should not be tied.
ROME. The early music schools of Rome,
from the time of St. Sylvester to that of Pales-
VOL. IV. PT. 6.
ROMK
77S
trina, were so closely connected with the papacy
that their history, as far as it is known, may be
read in the article Sistine Choir, vol. iii. p. 519.
Whether or not Guido d' Arezzo founded a
school of singing at Rome in the first half of the
ilth century is only a matter of conjecture ; the
probabilities are in favour of the theory, as it
is known that Guido spent a short time, at least,
at the capital about the year 1032, and that the
then Pope John XIX. was so delighted with his
method of teaching singing that he urged him
to take up his residence in Rome, an invitation
which only ill-health prevented Guido from ac-
cepting. In any case there can be no reasonable
doubt that the papal choir received many valu-
able hints from him.
The Sistine Chapel was not the only one which
had a school or college of music attached to it,
though it was by far the earliest. In 1480
Sixtus IV. proposed the formation of a ' cappella
musicale' in connection with the Vatican, dis-
tinct from the Sistine ; his idea was not however
realized till the time of Julius II., when the
* Cappella Giulia ' was founded (in 151 3) for 1 2
singers, 12 scholars, and 2 masters for music
and granmiar. Arcadelt was the first * Maestro
de' Putti ' (in 1539), Palestrina the first * Maestro
della cappella della basilica Vaticana '(155 r-4) ;
among celebrated ' maestri ' in later days were
Tommaso Bai (171 3-1 5), and Domenico Scarlatti
( 1 7 1 5 - 1 9 ) . The * C appella musicale nella proto-
basilica di S. Giovanni in Laterano' was founded
ini535 by Cardinal de Cupis ; one of the earliest
'Maestri de' Putti' was Lasso (1541); Pales-
trina held the office of ' Maestro di cappella *
here after his exclusion from the Vatican chapel
(1555-61). The ' Cappella di Musica nella basi-
lica Liberiana ' (or Sta. Maria Maggiore) was
founded about the same time as the Lateran
chapel, and numbers among its * maestri ' Pales-
trina (1561-71), Giov. Maria Nanini (1571-
1575), Alessandro Scarlatti (1703-9).
Besides these exclusively ecclesiastical schools,
others were established by private individuals.
The first man who is known to have kept a
public music school at Rome was a foreigner,
Claude Goudimel, of Vaison, near Avignon ; his
school is supposed to have been founded about
the year 1539, and among his earliest pupils
were Palestrina, Giovanni Animuccia, and Gio-
vanni Maria Nanini. In 1549 Nicola Vicentino,
the would-be restorer of the Ancient Greek
Modes, opened a small private school at Rome,
into which a few select pupils were admitted,
whom he endeavoured to indoctrinate with his
musical views. But it was not till a quarter of
a century later that a public music school was
opened by an Italian. Whether it was that
Nanini was inspired by his master's example, or,
which is still more likely, was stirred by the
musical agitation of the day, is of little import-
ance ; but it is certain that the year to which
the opening of his school is attributed was the
same which saw the foundation of the Order of
Oratorians, who in the person of their leader,
St. Filippo Neri, were then doing so much for
3E
774
ROME.
the promotion of music. Nanihi soon induced
his former fellow-pupil, Palestrina, to assist him
in teaching, and he appears to have given finish-
ing lessons. Among their best pupils were Felice
Anerio and Gregorio Allegri. After Palestrina's
death Nanini associated his younger brother
Bernardino with him in the work of instruction,
and it was probably for their scholars that they
wrote jointly their treatise on counterpoint,
Giovanni Maria dying in 1607 was succeeded by
Bernardino, who was in his turn succeeded by
his pupil and son-in-law Paolo Agostini. It
must have been this school that produced the
singers in the earliest operas and oratorios of
Peri, Caccini, Monte verde, Cavaliere, Gagliano,
etc. In the second quarter of the 1 7th century
a rival school was set up by a pupil of B.
Nanini, Domenico Mazzocchi, who, with his
younger brother Virgilio, opened a music school,
which was soon in a very flourishing condition ;
this was due in a great measure to the fact
that the masters were themselves both singers
and composers. Their curriculum differed but
slightly from that of the Palestrina-Nanini
school. In the morning one hour was given daily
to practising difficult passages, a second to the
shake, a third to tlie study of literature, and
another hour to singing with the master before a
mirror ; in the afternoon an hour was occupied
in the stud}' of the theory of music, another in
writing exercises in counterpoint, and another in
literature ; the remainder of the day (indoors)
was employed in practising the harpsichord and
in composition. Outside the school the pupils used
sometimes to give their vocal services at neigh-
bouring churches, or else they went to hear some
well-known singer ; at other times they were
taken to a spot beyond the Porta Angelica to
practise singing against the echo for which that
neighbourhood was famous. In 1662 Pompeo
Natale kept a music school, at which Giuseppe
Ottavio Pitoni, the reputed master of Durante
and Leo, learnt singing and counterpoint. G. A.
Angelini-Buon tempi, a pupil of the Mazzocchis,
writing in 1695, says that Fedi, a celebrated
singer, had opened the first school exclusively for
singing at Rome. His example was soon followed
by Giuseppe Amadori, with equal success ; the
latter was a pupil of ]?. Agostini and no doubt
had not entirely forgotten the teachings of the
old school; but by the end of the 17th cen-
tury its traditions were gradually dying out,
to be replaced by the virtuosity of the i8th
century.
We must now retrace our steps and give some
account of the most important musical institution
at Rome of past or present time — the * Congre-
gazione dei Musici di Roma sotto I'invocazione di
Sta. Cecilia.' It was founded by Pius V. in 1566,
but its existence is usually dated from 1584, when
its charter was confirmed by Gregory XIII. ; al-
most all the masters and pupils of the Palestrina-
Nanini school enrolled their names on its books,
and their example has been since followed by
x)ver 4000 others, including every Italian of note,
and in the present century many illustrious
ROME.
foreigners, such as John Field, Wagner, Liszt,
Gounod, etc., etc.
The officers originally appointed were a Car-
dinal Protector, a * Primicerio * or president,
usually a person of high position, a • Consiglio
dirigente ' of four members (representing the four
sections — composition, the organ, singing and
instrumental music), a Secretary, a Chancellor,
twelve Councillors, two Prefects, etc.; there were
also professors for almost every branch of music ;
Corelli was head of the instrumental section in
1700. Those qualified for admission into the
institution were chapel-masters, organists, public
singers, and well-known instrumentalists. By a
papal decree of 1689 all musicians were bound to
observe the statutes of the Academy ; and by a
later decree (1709) it was ordained that its
licence was necessary for exercising the profes-
sion. Soon after this the Congregation began to
suffer from an opposition which, though covert,
was none the less keenly felt; and in 1716a
papal decree unfavourable to the institution was
passed. In 1762 it was flourishing again, for in
that year we find that a faculty was granted to
the cardinal protector to have the general direc-
tion of all ecclesiastical music at Rome. By
another decree, of 1764, it was enacted that none
but those skilled in music should be in future
admitted as members. The entrance-fee was, as
it has continued to be, a very small one. The
demands made upon members were also very
slight. At first they were only expected to as-
sist, by their compositions or performances, in the
grand annual festival in honour of the patron
saint. Towards the close of the 17th century
were added one or two annual services in memory
of benefactors; in 1700 a festival in honour of St.
Anna, and in 177 1 a 'piccola festa di Sta. Cecilia.*
The Academy originally took up its quarters
at the College of Barnabites (afterwards Palazzo
Chigi) in the Piazza Colonna, where they re-
mained for nearly a century ; thence they moved
to the Convent of Sta. Maria Maddalena, and
again to another college of Barnabites dedicated
to San Carlo a Catinari. Here they resided for
the greater part of two centuries, and, after the
temporary occupation of premises in the Via Ri-
petta, finally, in 1876, settled at their present
quarters, formerly a convent of Ursuline nuns,
in the Via dei Greci. Besides the hostility which
the Congregation had to undergo, as we have
seen, from outsiders, at the beginning of the
last century — which was repeated in another
form as late as 1836 — it has had its financial
vicissitudes. Indeed at the end of the last, and
beginning of the present century, the funds were
at a very low ebb, from which they have been
gradually recovering. The institution was dignir
fied with the title of Academy by Gregory XVI. in
1839, ^^^ shortly after Queen Victoria consented
to become an associate. Two years later Rossini's
*Stabat Mater ' was performed for the first time in
Italy in its entirety by the members of the Aca-
demy. Pius IX., who became Pope in i846,though
he founded several other schools for singing, such
as that of *S. Salvatore in Lauro,' did little more
BOME.
for the Academy than to bestow iipon it the epithet
' Pontificia.' After the consolidation of the king-
dom of Italy the Academy began to make great
strides ; Victor Emmanuel himself gave it his
support and erected it into a Royal Institution.
In 1870 Signers Sgambati and Pinelli started
their pianoforte and violin classes, which are
still the most popular, owing to the excellence of
the instruction given and the very moderate
price of lessons. It was not till 1877 that the
long-wished-for ' Liceo musicale ' in connection
with the Academy became a fait accompli.
Members were now divided into * Soci di merito,
ordinari, illustri, and onorari ' ; but the titles of
the principal officers were not materially altered.
Professors were appointed, twenty-nine in number
(since increased to thirty-four) for every quality
of voice and for every instrument of importance.
Alessandro Orsini had the superintendence of
the Singing, and Ferdinando Furino of the Vio-
loncello classes. A school was also set up for
choral singing ; lectures were delivered by the
Librarian, Professor Berwin (to whose efforts a
great deal of the success of the * Liceo ' may be
attributed); prizes were offered ; public concerts
were given by the members ; — in fact it is to the
Academy that Rome looks on all public occasions,
whether it is for a charity concert or a requiem,
as in the cases of Garibaldi and Victor Emmanuel.
The Library, which was a very small one when
Gregory XVI. bequeathed to it, in 1846, his
musical library, has since, in 1875, been enriched
by the Orsini collection, and, in 1882, by the
musical works which had formerly belonged to
the dissolved Monasteries ; in the latter year
were also added copies of all modern musical
publications — since 1500 — which were to be found
in the various libraries of Rome; so that now the
Academy possesses one of the largest .ind most
important musical libraries in Italy. Owing to
the large grants made by the government, the
municipality, etc., at the time of the creation of
the ' Liceo,' — grants which have been for the
most part continued annually and in some cases
increased — the institution has been enabled to
extend its sphere of operations. It still enjoys
Court patronage. King Humbert being honorary
president, and Queen Margherita also an as-
sociate. There are now nearly 200 members,
and it is proposed to erect new schools to meet
the increased demands. Interest in the Academy
is not by any means confined to Italy ; this is
often shown in a substantial way, as in the pre-
sentation to it of pianofortes by Messrs. Erard
and Brinsmead, etc. etc. At the present moment
a large concert hall is in course of construction.^
The institution has done great service in the
past to the Roman musical world, and is still
continuing to do so, to such a degree that Rome
no need longer fear comparison with any other
Italian town, Milan perhaps excepted.
Still, notwithstanding the presence of such ex-
cellent musicians as Sgambati and Pinelli, whose
1 A considerable part of the Information relating to the Academy
,has been derived from Enrico Tosti's ' Appuntl storici auU' Acca-
demia di S. UecUia.'
ROSSL m
classical concerts have done much to elevate the
taste of the capital, notwithstanding its national
Apollo theatre, its well conducted journal the
• Palestra Musicale,' and its numerous musical
critics, the Rome of 1889 reflects but little of
its former glories. [A.H.-H.]
ROMEO AND JULIET. Line 8 of article,
for Carnival read Jan. 30. Line 11, for the
Scala read the Teatro della Canobbiana, and for
spring of 1826 read Oct. 31, 1825. Line 15,
for 12 read 11. Add date of first performance
of Berlioz's symphony, Nov. 24, 1839.
RONCONI. P. 154 &, 1. 14 from bottom,
for Giovannina read Elguerra. Line 13 irom
bottom, for the previous year read early in the
same year. Line 12 from bottom, /or St. James'
Theatre read Lyceum and King's Theatres.
Add date of death of Giorgio, Feb. 1883.
P. 155 «> !• 3 from bottom, add that his first
appearance in England was at the Lyceum as
Cardenio in Donizetti's *Furioso,' Dec. 17, 1836.
It is presmned to have been Sebastiano who
sang at the Philharmonic Feb. 27, 1837, since
Giorgio first appeared in London in 1842.
ROOSE, John, a Brother of the Order of
Preaching Friars, repaired one of the organs in
York Minster in 1457. This is the first English
organ builder of which we have any authentic
mention. [V. de P.]
RORE, CiPKiANO DI. Line 14 of article, /or
almost immediately read after about eighteen
months.
ROSA, Carl. Add that In 1882 a season was
given at Her Majesty's Theatre, fi-om Jan. 14
to March 11. ' Tannhauser ' and Balfe's ' Painter
of Antwerp ' (* More ') were produced, and Mme.
Valleria joined the company. For the season
of 1883 (March 26-April 21) the company
moved to Drury Lane, which was its London
centre until 1887. Thomas's 'Esmeralda' and
Mackenzie's * Colomba ' were produced, and
Mme. Marie Roze appeared as Carmen, etc. In
1884 (April 14-May 10) Stanford's 'Canterbury
Pilgrims ' was the only new work produced. In
1885 (April 6-May 30) Thomas's *Nadeschda*
and' Massenet's 'Manon' were given. In 1886
(May 23-June 26) Mackenzie's 'Troubadour,'
and in 1887 (April 7-June 11) Corder's *Nor-
disa' were the novelties. In 1889, a 'Light
Opera Company' opened with Planquette's 'Paul
Jones' at the Prince of Wales's Theatre.
ROSALIA. P. i6o h, 2nd paragraph, add For
a fivefold repetition see the Branle given under
Form, vol. i. p. 542 h.
ROSENHAIN, Jacob. Line 5, for Stutt-
gart in 1825, read Frankfort in 1823. Line 11,
for not so fortunate read never performed.^ Line
12 from end, for minor read major. Line ii
from bottom, for but not played read played at
a Concert Populaire. To list of works add a
PF. concerto, op. 73 ; Sonata, op. 74 ; do. PF. and
cello, op. 98 ; ' Am Abend' for quartet, op. 99.
ROSSI, Lauro. p. 163 b, 1. 12, for one of
the Milanese theatres read the Teatro della
3E2
776
ROSSL
Canobbiana, in September 1849. Line 2 from
end of article, for version rtad libretto. Add
date of death, May 5, 1885.
ROSSINI. P. 166 a, 1. 5 from bottom, for
1814 read 1813-14. line 4 from bottom, for
in the Carnival read in Dec. 1813. P. 174 a,
1. 30-34, add that the three choruses for female
voices here referred to are ptated by Mr. Louis
Engel to be spurious. In his ' From Mozart to
Mario ' he says that the composer denied their
authenticity. P. 177 a, 1. 13 from bottom, /or
Countess read Baroness. P. 1776, in the list
of operas, after * Ermione,' insert * Figlio per
Azzardo, D,' produced at Venice, Carnival, 18 13.
For date of production of * Moise ' in Paris, read
March 26. For date of production of * Mosb '
at Naples, read March 5. For the first per-
formance of • Otello * at Naples, read Dec. 4,
and for production of the same in London, read
May 16. For date of production of ' Tancredi '
in Venice read Feb. 6. After * Turco in Italia '
insert 'Viaggio a Reims,' produced in Paris,
June 19, 1825. P. 178 a, omit from the list of
Sacred Music * La Foi, I'Esperance, et la Charity.'
ROTA. Line 4 of article, omit the words or
dulcimer or primitive zither. The instrument is
partly analogous to the Welsh Crwth, and would
appear to be derived from the ancient lyre. The
word Rota is also employed to denote a round
or canon, as in the well-known instance of SuMER
IS ICUMEN IN.
ROUGET DE LISLE. Line 12 from end of
article, omit the reference to Varney.
ROUSSEAU'S DREAM. For the last two
sentences of the article read as follows : — The
melody occurs in the ' Pantomime * in Scene 8 of
the 'Devin du Village,' where its form is as
follows : —
LUJS|T7"^^J^=%^
The origin of the title 'Dream' is not forth-
coming. [M.]
ROW OF KEYS. Line 4 from end of article,
for one sounding less noisy wires than the other
read one fitted with jacks more finely quilled,
and therefore less powerful, than those connected
with the other manual.
ROYAL ACADEMY OF MUSIC. P. 186 5,
1. 25, add that the room was not available
as a public concert room for a few years, the
license being withdrawn for some time. Line 28,
add that Mr. Shakespeare was succeeded in this
capacity by Mr. Barnby in 1886. Line 34, add
date of death of Sir G. A. Macfarren, 1887, and
RUCKERS.
that of the appointment of his successor. Dr. A. C.
Mackenzie, 1888.
ROYAL COLLEGE OF MUSIC, THE. For
information as to the commencement of the in-
stitution, see Training School, vol. iv. p. 159.
Line 15 from end of that article, add that in
1886, Mme. Lind-Goldschmidt was succeeded by
Mr. Henschel, and he by Mr. A. Blume. Add
that the number of scholarships is now (Feb. 1 889)
58, of which 15 include maintenance; the number
of paying students is 188. In 1887 the Alexandra
House was opened, containing a beautiful con-
cert hall, where the students' concerts are regu-
larly held, as well as accommodation for 100
ladies, some of whom are pupils of the College.
ROZE, Marie. Add that after singing at
the Birmingham Festival of 1882 with great
success, she joined the Carl Rosa company front
1883 to 1887; in that time she added to her
repertory Fidelio, and Elsa, and was the first
representative in England of Manon Lescaut in
Massenet's opera of that name. Margaret and
Helen in Boito's * Mefistofele,' Carmen, Fadette
in Maillart's 'Dragons de Villars,' Donna Maria
in Marchetti's ' Ruy Bias,' s,re among the parts
which she has sung on the first production of
these works in English.
RUBINI. Line ao from end of article, add
that the date of death is variously given aa
March i (Paloschi), and 2 (Mendel and Riemann).
RUBINSTEIN, Anton. Line 3, correct
date of birth to 1830. To the list of lu's operas
given on p. 192a, add 'Die sibirische Jager,'
' Toms, der Narr,' * Die Rache,' and ' Kalasch-
nikoff,' (1880), all to Russian words; * Sula-
mitb,' in 5 acts, Hamburg, Nov. 8, 18S3,
* Unter Raubem,* comic opera in one act (pro-
duced, according to Riemann's 'Opernhandbuch,'
on the same evening with * Sulamith '), and * Der
Papagei,' comic opera in one act, Hamburg,
Nov. II, 1884. (The last three with German
words.) Add to list of works the following ; —
Op. 108. Trio for PF. and Strings
In C minor.
109. Soirees Musicales. 9 PF.
pieces.
no. Erolca. Fantasia for PF.
and Orchestra.
Op. 111. 6th Symphony (A minor).
112. 'Moses,' a Biblical opera
In 8 tableaux. Part I,
containing four tableaux
(Bllder), was published
by Senff, 1888.
P. 192 5, 1. 8 from bottom, omit the sentence
heginning No doubt he played in public, etc.,
and add that an account of his performance will
be found in the ' Musical and Dramatic Review '
for 1842. P. 193 a, 1. 10 y for 'Ocean' read
'Dramatic' Line 17, add that he gave a set of
seven historical recitals in S. James's Hall, in
May and June 1887. (Died Nov. 20, 1894.)
RUBINSTEIN, Josef. Add that he died
by his own hand in September 1884.
RUCKERS. P. 194 a, 1. 3. This Hans
Ruckers harpsichord transformed into a grand
pianoforte appeared again at the sale of Lord
Lonsdale's furniture in June 1887, when it
realised £700. Bumey's description of Rameau's
portrait inside the lid should be amended. The
composer does not hold a lyre, and is being
RUCKERS.
crowned with a wreath. The expressive cha-
racter shown in the portrait should vouch for
the resemblance to the composer even if Bumey
had not said that it was very like. On the front
board above the keys is inscribed a complete piece
of clavecin music, * Pastorale par Mr. Balbastre,
le 6 Aoust, 1767,' beginning —
RUDOLPH.
VT
^
n^
The stand for this instrument is rococo, and gilt.
In the same house (Carlton House Terrace), and
Bold by auction at the same time for £290, was an
Andries Ruckers harpsichord that had also been
made into a pianoforte by Zeitter. In this instru-
ment the original belly, dated 1628, was pre-
served. The soundhole contained the rose (No. 6)
of this maker. The present compass of the piano
is five octaves F — F. Inside the top is a landscape
with figures, and outside, figures with musical
instruments on a gold ground. Round the case
on gold are dogs and birds, a serpent and birds,
etc. All this decoration is i8th century work.
The instrument is on a Louis Quinze gilt stand.
It will be seen that these two harpsichords have
undergone remarkable changes at intervals of
more than one hundred years. They will be
numbered 67 and 68 in the list of extant Ruckers
clavecins, which completes all that is at present
known to the writer concerning the existing
instruments of that family.
Hans Ruckers (the
Elder or the Younger) and Andries Ruckers (the Elder).
So.
Form.
Date.
DtmenstoM.
General Deseriplion.
Present OtcnerB.
Source ofinformr
ation.
67
68
Bent side.
Bent side.
Four
cornered.
1628
Not original.
7ft. 74 bySft.ei
32 in. long, 12J
in. wide, 6 in,
deep : key-
board projects
4 in.
To be found in pp. 1936, 194 a.
Rose No. 6 in soundboard, which is painted with
the usual decoration. The width has been in-
creased to admit of a greater compass.
White natural keys, E to D, nearly 4 octaves.
Inscribed Andreas Ruckers me fecit Antverpiae
(Rose No. 6 ?). Inside surfaces painted in black
curved design on a white ground, Red line
round the inside. Georgian mahogany case.
Panmure Gordon, Esq.
Waiter H. Burns, Esq.
and Captein Hall.
W. H. Hammond
Jones, Esq.. Witley,
Godalmiug.
A. J. Hipkins.
A. J. Hipkins.
AV. H. H. Jonea,
Esq.
Andries Ruckers (the Elder).
^0.
Form.
Date.
DimeniioHs.
General Description.
Present Ounier.
Source of inform-
alion.
TO
Bent side.
1639
6 ft. 4 in., 2 ft. 9
at keyboard.
Two keyboards, compass 4.^ octaves G— D, white
naturals. Two unisons and octave. Sound-
board painted, and usual A. Ruckers rose.
Mr. C. Cramp, Bjfleld,
Northamptonshire.
Mr. 0. Cramp.
. Nos. I to 58 are tabulated in vol. iii. pp. 197-9.
Nos. 59 to 62, vol. iii. p. 652. Nos. 63 to 66,
vol. iv. p. 305.
P. 194 a, 1. 21, for always long read long, or
it may have been trapeze-shaped. It must be
remembered that the names Clavicordio in Spain,
Clavicordo in Italy, and Clavicorde in France,
have been always applied to the quilled instru-
ments. We are not therefore sure whether old
references to the clavichord are to be taken as
describing a plectrum or a tangent keyboard
instrument.
P. 194 b. It is doubtful what changes of con-
struction Hans Ruckers made in the harpsichord
— perhaps the octave strings only. Yet a clavicem-
balo by Domenico di Pesaro, dated 1590, lately
acquired by South Kensington Museum, has the
octave strings with two stops. His great service
may after all have only been to improve what
others had previously introduced. It is nearly
ceitain that harpsichords with double keyboards
and stops for different registers existed before
Hans Ruckers' time, and their introduction may
be attributed to the great favour the Clavi-
oi'ganum, or combined spinet and organ, was held
in during the i6th century. The researches of
Mr. Edmond Vander Straeten (* LaMusique aux
Pays Bas,' vol. viii. Brussels 1885), have done
much to bring into prominence the great use of
the Claviorganum at an early time ; see Rabelais,
who, before 1552, described Caremeprenant as
having toes like an * epinette organisee.'
P. 194&, footnote 2. The latest harpsichord in
date known to have been made in London is the
fine Joseph Kirkman, dated 1 798, belonging to
Mr. J. A. Fuller Maitland.
P. 195 &, 1. 37, see Ruckers No. 59, by Hans
the elder, now in the Kunst und Gewerbe
Museum, Berlin, as being similarly constructed.
P. 196 a, footnote. The Hitchcocks were active
in the second half of the 17th century and in the
first years of the i8th. [A.J.H.]
RUDDYGORE: ob, THE WITCH'S
CURSE (Title afterwards spelt Ruddigore.)
Comic opera in two acts ; the words by W. S.
Gilbert, music by Sir Arthur Sullivaa. Produced
at the Savoy Theatre, Jan. 22, 1887.
RUDERSDORFF, Hermine. Line 11 of
article, /or June 5 read June 25. Add date of
death, Feb. 26, 1882.
RUDOLPH, Archduke. P. 201 h, to list of
works add Variations by him on a theme of Rossi-
ni's, corrected by Beethoven, exist in MS. (Thayer).
t78
RtJDOKFF.
KUDORFF, E. To list of works add Sym-
phonic variations and a Scherzo capriccioso for
orchestra.
EUE, Pierre db la, also known as Pierchon,
Pierson, Pierzon, Pierozon, and Petrus Platensis,
born in Picardy about the middle of the istli
century and fellow-pupil of Josquin des Prds in
the school of Okeghem. State records prove
that he was in the service of the court of Bur-
gundy in the years 1477, 92, 96, 99, 1500 and
1502. In 1501 he was a prebend of Courtrai,
and later held a similar benefice at Naraur, which
he resigned in 15 10. Most writers on music
accord him a position as a contrapuntal com-
poser scarcely second to that of Josquin, and
the magnificent copies of his masses made by
order of the Princess Margaret of Austria, and
now in the libraries of Vienna and Brussels,
testify to the value set upon his works by those
he served. Indeed, considering his great repu-
tation, it is somewhat surprising that so little is
known of the events of his life, and that so little
of his music has been printed. Of the 36 masses
now existing Petrucci printed five in the com-
poser's life-time (Misse Petri de la Rue; Venetiis,
1503), and a few more in later collections. Of
motets only 25, and of secular pieces no more
than 10, are to be found in the publications of
the 1 6th century — a small result compared
to the long catalogue of Josquin's printed
works. Borne J, Forkel and Kiese wetter give
SAINT-SAfiNS.
short examples from Pierre de la Hue's com-
positions. [J.R.S.B.]
RULE BRITANNIA. Add that Wagner
wrote an overture in which it is introduced.
See vol. iv. p. 373 a.
RUSSELL, Henry, was bom at Sheer-
ness on Dec. 24, 1813; went to Bologna, in
1825, to study music, to New York in 1833, re-
turning to England in 1840, when he commenced
travelling as a vocalist and composer. In his
particular styles he has had no rival. His songs
* I'm afloat,' ' A life on the ocean wave,' • Cheer,
boys, cheer ' (the only air played by the regi-
mental drum and fife band when a regiment
goes abroad), * Woodman, spare that tree,' etc., are
still familiar, and some of his dramatic songs, as
* The Dream of the Reveller,' « The Maniac,*
*The Gambler's Wife,' etc., were immensely
popular in their day. It may certainly be said
that over 800 songs have either been written
or composed by him. Fifty years ago (when
Australia, Tasmania and New Zealand were
almost unknown), Henry Russell was instru-
mental, through the Canadian government, in
sending over thousands of poor people who are
now wealthy. A memoir was published in 1846,
and two volumes of copyright songs in 1 860 ;
* L'amico dei cantanti,' a treatise on the art of
singing. His last composition is a song 'Our
Empress Queen,' written in honour of Her
Majesty's Jubilee, [J.H.D.]
S.
SACOHINI, A. M. G. P. 208 h, add that
the opera of * Oedipe ' was performed at
Versailles, Jan. 2, 1786.
SACRED HARMONIC SOCIETY. P. 210 6,
1. 4 from bottom, for only read first. Add that
the original society was dissolved in 1882, its
last concert being a performance of * Solomon '
on April 28 of that year. At the sale of its
property its valuable library was acquired for
the Royal College of Music. Some members of
the committee determined to resuscitate the
society, and the new institution was incorporated
in 1882. Mr. Charles Halle was appointed con-
ductor, and in 1885 was succeeded by Mr. W. H.
Cummings, who had, up to that time, acted as
assistant conductor. In the autumn of 1888
the new society ceased to exist.
SAINT-GEORGES, J. H. V., Marquis db.
Add day of death, Dec. 23.
SAINT-SAENS, Charles Camille. Add
the following to the article in vol. iii. : — Since
the article was written, the composer has pro-
duced two important dramatic works, * Henri
VIII' (Opdra, March 5, 1883) and 'Proser-
pine * (Opdra Comique, Maich 16, 1887), neither
of which has kept the stage in spite of their real
musical interest. The former, after a successful
series of representations, was twice revived with-
out success and almost immediately given up ;
* Proserpine ' was received with marked disappro-
bation, and only played ten times. Saint-Saens ia
a consummate master of composition, and no one
possesses a more profound knowledge than he
does of the secrets and resources of the art ; but
the creative faculty does not keep pace with the
technical skill of the workman. His incompar-
able talent for orchestration enables him to give
relief to ideas which would otherwise be crude
and mediocre in themselves ; and it is this talent
which makes him the one French musician most
fitted to compete with the classic masters of the
Symphony. His weakness consists not only in
the inequality of his inspiration, but also in the"
indecision of his artistic principles ; this is shown
in all his compositions, and it is this which leads
him to place excellent and objectionable passages
in juxtaposition. For the same reason his works
are on the one hand not frivolous enough to
become popular in the widest sense, nor on the
other do they take hold of the public by that
sincerity and warmth of feeling which is so con-
vincing, Saint-Saens, who was made a knight
of the Legion d'honneur in 1867, and an officer
of the same in July 1884, is aK\ays the same
incomparable pianist. It would even seem that
Dramatic and Lyric :—' Henry
VIII' and 'Proserpine,' men-
tioned above ; ' Hjmne i Victor
Hugo' (Trocad^ro, March 15,1884)*,
Psalm xlx, for solo, chorus, and
orchestra (Sacred Harmonic So-
ciety, Nov. 20, 1885).
Orchestral :— A third Symphony
In C minor, for orchestra, organ,
PF., 4 hands ^played at a Philhar-
monic Concert in May 18&5), (op.
78) ; • Le Carnaval des Animaux,'
orchestral suite.
Concerted music with orchestra:
SAINT^AfiNS.
during the last few years his talent in this
direction had increased, and such receptions as
he has received at the Conservatoire, where he
played Beethoven's Choral Fantasia, in Russia,
on the occasion of his tour in 1887 with
Taffanel, Turban, and Gillet, and in London,
prove him to be one of the most remarkable
and earnest pianoforte players of the day.
Under the title of 'Harmonie et Mdlodie'
(Paris, Calmann L^vy, 1885), he has published
a collection of his principal contributions to
periodical literature, with an introduction and
appendix explaining the change which his views
have undergone in relation to Richard Wagner.
This volume, proving as it does the author's
mobility of character and changeableness as re-
gards ideals and tendencies, will not add materi-
ally to his fame.
To the list of works on p. 216 a, add the fol-
lowing : —
— 'Khapsodie d'Auvergne,' for PF.
and orchestra (Concerts du Ch&-
telet, March 13, 188S).
Chamber music: — Sonata for
PF. and violin in D minor ; Ca-
price (quartet) on Danish and
Russian airs for PF. and wind
instruments (op. 79); Havanaise
for violin and PF. (op. 83).
Pianoforte :— ' Souvenir d'ltalie '
(op. 80), and 'Feuillet d'Album'
(op. 81).
Vocal:— 'La Fiancee du Tim-
balier,' ballade (V. Hugo), (op. 82).
[A.J.J
SAINTON-DOLBY, Charlotte Helen.
Add that she died at the age of 64 at her resi-
dence, 71 Gloucester Place, Hyde Park, Feb. 18,
1885, and was buried at Highgate Cemetery,
the great concourse of persons assembled testify-
ing to the estimation in which this singer was
held. M. Sainton's farewell concert, June 1 883,
at the Albert Hall, was the occasion of his wife's
last appearance in public. *Florimel,' a fairy
cantata for female voices, written during the last
few months of Madame Sainton-Dolby's life, has
since been published by Novello. The Royal
Academy of Music founded, shortly after her
death, a scholarship in memory of the eminent
singer, once a student within its walls. [L.M.M.]
SALE, John. Line 10 of article, for 1783
read 1788.
SALIERI, Antonio, Line 3 of article, /or
Legnano in the Venetian territory, read Legnago
in the Veronese territory.
SALMON, Thomas. See vol. iii. p. 655,
note 2.
SALVAYRE, Gervais Bernard, called
Gaston, bom at Toulouse, Haute-Garonne,
June 24, 1847, began his musical education at
the maltrise of the cathedral, and afterwards
studied at the conservatoire of the town, before
he was brought by Ambroise Thomas to the
Paris Conservatoire, where he studied the organ
with Benoist, and composition and fugue with
Thomas and Bazin. He gained the first prize
for organ in 1 868, and competed for the Prix de
Rome every year from 1867 to 1872, gaining it
at last by sheer force of perseverance. During
.SAMARA.
77^
his Stay at Rome, Sal vay re worked very hard,
and many of his compositions date from this,
time, notably his opera of ' Le Bravo,' and his
sacred symphony in four movements, ' Le Juge-
ment dernier,' of which the first two movements
were performed at the Concerts du Chatelet,
March 19, 1876. It was given in its entirety
at the same concerts on Dec. 3, 1876, under the
title of 'La Resurrection,' and again, under a
third title, 'La Vallde de Josaphat,' at La-
moureux's concert on April 7, 1882. The
remaining works written by Salvayre for the
concert-room are an 'Ouverture Symphonique,*
performed on his return from Rome at the Con-
certs Populaires, March 22, 1874; a Stabat
Mater, given under the care of the Administra-
tion des Beaux- Arts ; a setting of Ps. cxiii for
soli, chorus, and orchestra; and an air and
variations for strings, performed in 1877, all
the last given as the fruits of his residence
in Italy. On his return to Paris, ho was
appointed chorus master at the Opera Populaire
which it had been attempted to establish at the
Theatre du Chatelet, and he then wrote ballet
music for Grisar's • Amours du Diablo,' revived
at this theatre Nov. 18, 1874. Three years
later he made his real ddbut with his grand
opera, * Le Bravo ' (Theatre Lyrique, April 1 8,
1877)* ^ noisy and empty composition revealing
the true nature of the composer, who loves
effect, but is wanting in inspiration, style, and
form, and is wholly destitute of any fixed ideal.
His little ballet, ' Fandango * (Opira, Nov. 26,
1877), in which he made use of some highly
characteristic Spanish melodies, was a decided
advance in point of instrumentation, but his
grand opera, * Richard III,' performed at St.
Petersburg, Dec. 21, 1883, was a dead failure,
and in * Egmont,' produced at the Opera Comique,
Dec. 6, 1886, his chief faults, noisiness, and an
amalgamation of different styles, from that of
Meyerbeer to that of Verdi, were so predominant
that the work was only performed a few times.
Salvayre, who is a great friend of the present
director of the Opera, M. Gailhard, having been
his companion at the maitrise of Toulouse, was
commissioned to set to music Dumas' drama
• La Dame de Monsoreau,' a subject little fitted
for musical treatment. It was produced at the
Op^ra, Jan. 30, 1888, and was wholly unsuccess-
ful, Salvayre, who has the qualities of a good
musician, in spite of his repeated failures, was
decorated with the Legion d'honneur in July
1880. [A.J.]
SAMARA, Spiro, is a Greek, son of the
Consul-general of Greece in Corfu, by an English
mother. He was born Nov. 29, 1861. He
got his first musical education in Athens,
under the tuition of Enrico Stancampiano,
a pupil of Mercadante, himself an opera con-
ductor and music master, living in the Greek
capital. While studying piano and harmony,
literature had a great attraction for young
Samara, and he dedicated to it all the time he
did not employ with music. Thanks to his
perseverance and to his natural facility. Samara
780
SAMARA.
acquired both ancient and modem Greek, and be-
came a good English, French and Italian scholar.
He was already a pianist of uncommon talent
when he left Athens for the Paris Conservatoire.
There he finished his musical education as a
pupil of Delibes. It was in Paris that Samara's
first compositions for orchestra were executed ;
there also some of his drawing-room songs were
received with success. But that was not suflficient
for the new composer; his ambition wanted a
larger field, and he went to Milan, where the
publisher E. Sonzogno, who had already heard
of him in Paris, gave him ' Flora mirabilis,' a
tliree-act libretto by the renowned poet, Ferdi-
nando Fontana, to set to music. The first
performance of his opera took place on May i6,
1886, at the Theatre Carcano of Milan. In a
few days the name of the Greek maestro became
popular in Italy, so successful was the appearance
of his work. While the public applauded with
enthusiasm, the critics were unanimous in pro-
claiming that this opera, without approaching
perfection, still showed that its author had
studied the great masters with care, that he
possessed a certain originality of ideas, and
above all, dramatic power.
Many important European towns have con-
firmed the verdict of Milan, and Samara has
triumphed everywhere. Before writing ' Flora
mirabilis' he had already composed an opera
entitled *Medj^.' This he has lately revised
and completed, and it was brought out at the
Costanzi Theatre in Rome, Dec. 12, 1888. * Lio-
nella ' is the title of another three-act libretto
by Fontana, on which Samara is now at work.
After the splendid dawn of ' Flora mirabilis,'
it is not surprising that the musical world should
expect great things from its author. [F.Rz.]
SAN CARLO. P. 223 *. L 9if<»' first read
second.
SANDONI. See CuzzoNi in Appendix.
SANTINI, FoETUNATO. Line 2, for July
read Jan. (on the authority of Riemann and
Paloschi).
SANTLEY, Charles. Add that he joined
Mr. Carl Rosa's company for the season of 1876,
when he sang the * Flying Dutchman ' with the
greatest success. On April 5, 1889, he left
London for an artistic tour in Australia. His
daughter, Miss Edith Santley, before her mar-
riage with the Hon. R. H. Lyttelton in 1884,
had a short but exceedingly brilliant career as a
concert singer.
SAPHO. Add that the opera was recently
remodelled by its composer, extended to four
acts, and produced at the Grand Op^ra April 2,
1884, with moderate success.
SARABANDE. P. 227 &, in the example at
top add a dot to each quaver rest ; and make the
last Gt| quaver in line I, and the E quaver in
line 3, semiquavers.
SARASATE. Add that his full name is
Pablo Martin Meliton Sarasate y Navascues.
(The right date of birth is that given in the
SAXOPHONE.
Dictionary.) In 1885 and 1886 he gave sets of
orchestral concerts, conducted by Mr. Cusins, in
St. James's Hall, and at the Birmingham Festi-
val of 1885 played a violin concerto written for
him by Mr. Mackenzie.
SARTORIS, Mrs. Line i^for 6 read 4.
SATZ. The German term for Movement,
which see.
SAVONAROLA. Grand opera in a pro-
logue and three acts ; words by Gilbert ^
Beckett, music by C. Villiers Stanford. Pro-
duced at the Stadt -Theater, Hamburg (words
translated by Ernst Frank), April 18, 1884, and
at Covent Garden (German Opera, under Rich-
ter), July 9 of the same year. L^*]
SAXOPHONE. Add that R. Wagner gave
to instruments of this class the formidable-look-
ing name of * Ra9enkreuzungsklangwerkzeuge,*
which may be translated by 'tonal hybrids.'
For the second paragi*aph of the article, sub-
stitute the following : —
It is manufactured in different sizes, compris-
ing a complete choir of its class. A. Sax says he
made eight varieties ; namely, i. Sopranino in
Eb ; 2. Soprano in Bb ; 3. Alto in Eb ; 4. Tenor
in Bb ; 5. Baritone in Eb ; 6. Bass in Bb ; 7. Bass
in Eb (an octave lower than the baritone) ; 8.
Contrabass in Bb (an octave lower than the
bass). Of these the first and the two last-named
kinds have, however, never come into general
use.
It is rather singular that an instrument of
considerable artistic capacity, and very effective
when manipulated by an aitist, should never
have been accepted as a means of enlarging the
tonal resources of our modern orchestras.
Georg Kastner introduced it into the score of
his biblical opera, * Le dernier roi de Juda,*
which was performed at the Conservatoire in
Paris in Dec. 1844 ; A. Adam gives an effective
solo to the Eb Alto Saxophone in his opera
'Hamlet,' and we are told that it is also employed
by Berlioz in his opera • Les Troy ens.' This
last work remaining in MS. it is not easy to get
precise information on the point ; in none of the
published works of Berlioz is the Saxophone to
be found. Wagner, the greatest tone-painter
of our time, has never given it a place in his
scores, and the instrument remains outside the
recognized orchestral resources.
The reason for this neglect lies piobably in its
unsympathetic tone, combining two characteristic
tone colours, 'reed ' and * bj-ass,' which are pre-
ferable when rendered separately and pure by
either the clarinet or a brass instrument.
It has, however, been accepted as a valuable
addition to Wind-bands, where its hybrid
tone forms a most effective link between reed
and brass instruments. When represented by
a full choir it materially improves the tone
quality, while its capacity for distinct render-
ing of very rapid passages, combined with its
powerful tone, make it a valuable adjunct for
obtaining a good balance of instrumentation
of wind-bands.
SAXOPHONE.
The Saxophone is extensively employed in
most military reed-bands of the south of Europe,
especially those of France ; but in the infantry
bands of Germany and Austria it remains almost
unknown.
Even in France it has had a rather chequered
career. Adopted by a decree of the Minister
of War (published in the ' Moniteur de Tarm^e,*
of Sept. lo, 1845), it came into general use
with all infantry bands. In the year 1848 it
was suppressed, to be again reintroduced in 1854,
since which time it has obtained a permanent
footing. [J.A.K.]
SCARAMUCCIA, UN' AVVENTURA DI.
P. 237 J, 1. I, /or Sept. 6 read March 8.
SCAR I A, Emil. Add that he created the
part of Gurnemanz in 'Parsifal' at Bayreuth,
and sang the same at the concert performances
of the work in Nov. 1884 at the Albert Hall.
He subsequently became insane, and died July
22, 1886.
SCARLATTI, Alessandeo. To the list of
works add the following, the MSS. of which
are in the possession of the Earl of Aylesford : —
Oratorios : * Giuditta,' and * S. Cecilia,' a * Salve
Regina ' for chorus, and a cantata.
SCARLATTI, Domenico. P. 240 a, 1. 9,
for B. Cooke read John Johnson (at the Harp
and Crown, Cheapside). After 1. 12, add that
in 1752 John Worgan obtained the sole licence
to print certain new works by Domenico Scar-
latti, and published them (at J. Johnson's, facing
Bow Church, Cheapside) . These were twelve sona-
tas, most of them new to England.
SCENA. P. 240 J, 1. II from bottom, /or
1688 read 1689.
SCHACK, Benedict. Add that in the ' Har-
monicon,' vol. ix. p. 298, there is an account of a
Mass by him which was finished by Mozart.
SCHARWENKA, Xaver. Line 2 of article,
for 1840 read 1850. To list of important woi'ks
add a Symphony in C minor, op. 60.
SCHAUROTH, Delphine. Add date of
birth, 1 8 14. She appeared in England when
only nine years old, and gave a concert on July
2, 1823, playing Beethoven's Eb quartet for
PF. and strings, and an air and variations by
Kalkbrenner.
SCHEIDEM ANN. The name of a family of
organists in Hamburg in the i6th and 17th
centuries. Gerber, in his Lexicon, mentions
Heinrich Scheidemann, bom about 1600, died
1654, but appears to confuse him with an older
and more important member of the family,
David Scheidemann, probably an uncle of Hein-
rich. The date of David Scheidemann's birth is
not ascertained, but in 1585 he was organist of
St. Michael's Church, Hamburg. He is chiefly
noteworthy as associated \\ ith three other Ham-
burg organists of repute, Jacob and Hieronymus
Praetorius, and Joachim Decker, in the compila-
tion of what we should now call a Choralbuch,
though this name was not in general use
SCHEIDEMANN.
781
then,' a book of the usual hymn-tunes or chorales
of the Lutheran Church, simply harmonized in
four parts for congregational singing. This
book appeared in 1604. Its original title is
* Melodeyen-Gesangbuch, darem Dr. Luthers
und ander Christen gebrauchlichste Gesange,
ihren gewohnlichen Melodien nach .... in
vier stimmen iibergesetzt.' The example first
set by Lucas Osiander in 1586, of uniformly
giving the melody to the soprano part, and not
to the tenor, as the older practice was, is here
followed, and in the preface attention is called
to the greater convenience of this for congrega-
tional singing. Of the 88 tunes in the book,
David Scheidemann harmonized 13 or 14; among
them there appears for the first time harmonized
*Wie schon leuchtet der Morgenstern.* Gerber,
confusing David with Heinrich, attributes both
the melody and the setting of this Chorale to
Heinrich. But Winterfeld shows (Ev. Kirch, i.
p. 90) that the melody belongs to neither, but
seems to be taken from an old secular song,
beginning with similar words (* Wie schbn
leuchten die Aeugelein '), to the metre of which
Philip Nicolai in 1599 wrote the words of his
hymn, ' Wie schon leuchtet der Morgenstern.*
Winterfeld praises Scheidemann's settings of the
chorales for their fresh animated character, and
for the happy way in which the rhythmical
peculiarities of the old melodies are brought out.
Chorales were not then sung as now, all in slow
uniform rhythm, but many of the older melodies
had curious changes of rhythm, as from common
to triple time, in successive lines. See the
specimens of Scheidemann in Winterfeld, Part I.
nos. 70, 71,
Heinrich Scheidemann, mentioned above,
was the son of Hans Scheidemann, organist of
St. Catherine's Church, Hamburg. In 16 16 he
and Jacob Praetorius the younger were sent at
the public expense to Amsterdam, to be initiated
into a higher style of organ-playing, under the
tuition of the then most famous organ-player of
Europe, Peter Sweelinck. In 1625 Heinrich
succeeded his father as organist of St. Catherine's.
Matheson says of Scheidemann that his organ
playing and compositions were like himself,
popular and agreeable, easy and cheerful, with
no pretence or desire for mere show. None of
his organ pieces have survived, though F^is
speaks of having obtained some. As a composer,
Heinrich Scheidemann was again associated with
Jacob Praetorius in contributing melodies to
1 It Is worth while noting that the word Choral (In English usually
spelt Chorale), as now restricted to the melodies of German metrical
hymns, really originated in a misunderstanding of what Walther
meant when he spoke of Luther as having called the 'deutscher
Choralgesang ' into life. What both Luther and Walther meant
by ' Choralgesang ' was the old Cantus Choralis or Piaiii-song of the
Latin Church, which Luther himself wished to retain ; and his merit
consisted in the adaptation of the chief parts of the Latin Choral to
German words, his work in this respect corresponding to Marbeck's
' Book of Common Trayer Noted' with us in England. All the older
Lutheran Church-musicians, such as Lucas Losslus and Michael
Praetorius, used the words Clioral and ChoralgesSnge in this sense
of the old Plain-song melodies to the graduals, sequences, and
antiphons, whether sung to Latin or adapted to German words. It
was only when German metrical hymns gradually superseded in
common use the other choral parts of the service, tliat the name
Choral in course of time became restricted to the melodies of these
hymns. See Winterfeld, Ev. Kirch, i. pp. 151, 152.
782
SCHEIDEMANN.
Kist's 'Himmlische Lieder,' which were pub-
lished in 1641, 42. Praetorius composed ten to
the 4th part of Rist's Book, Scheideinann ten to
the 5th part, entitled * Hollenlieder.' One of
Scheidemann's melodies in this collection, 'Frisch
auf und lasst uns singen,' continued for a while
in church use, as it appears again in Vopelius
Leipziger Gesangbuch of 1682. On Scheide-
mann's death in 1654, Job. Adam Reinke or
Reinken became his successor as organist of St.
Catherine's, Hamburg. [J.R.M.]
SCHEIDT, Samuel, one of the celebrated
three S.'s (the other two being Heinrich Schiitz
and Hermann Scliein, his contemporaries), the
best German organist of his time, was born at
Halle in 1587. His father, Conrad Scheldt, was
master or overseer of salt-works at Halle. The
family must have been musical, as some works
are still preserved of Gottfried, Samuel's brother,
which A. G. Ritter ('Geschichte der Orgel-
musik ') says show considerable musical abi-
lity. Samuel owed his training as an organist
to the then famous • Organisten-macher ' Peter
Sweelinck of Amsterdam. At what date he
betook himself to Amsterdam, and how long he
remained a pupil of Sweelinck, is not precisely
ascertained. In 1620 at least, if not earlier,
he was back in his native town, and had re-
ceived the appointment of organist and capell-
meister to Christian Wilhelm, Markgraf of
Brandenburg, and then Protestant Administrator
of the Archbishopric of Magdeburg. In this
capacity Scheidt officiated as organist not at
Magdeburg, but in the Hof-kirche at Halle.
The troubles of the Thirty Years War and the
misfortunes of his patron, the siege and sack of
Magdeburg in 1 631, and the abdication of Chris-
tian Wilhelm in 1638, seem to have made no
diiFererice t6 Scheldt's official position at Halle,
though his income and means of living may have
suffered. We have no record as to his personal
relations with Christian's successors in the ad-
ministration of the Magdeburg archbishopric,
but Chrysander in the ' Jahrbticher fur musik-
alische Wissenschaft,' i. p. 158, prints a letter
from Scheidt to Duke Augustus of Brunswick in
1642, which seems to imply that he was then
looking for some patronage or assistance from
that art-loving prince. Scheidt never left Halle
however, and his circumstances may have im-
proved, as in his will he bequeathed some money
for the sake of the organ in the St. Moritz-kirche
at Halle. He died at the age of 67 on March 14,
1654.
Scheidt s first published work appeared at
Hamburg in 1620 ('Cantiones Sacrae octo vo-
cum'), and consists of 39 vocal compositions, 15
of which are settings of Lutheran chorales. His
fame however rests not on his vocal composi-
tions, but on his works for the organ. His next
work, also published at Hamburg in 1624, is
considered epoch-making in the history of organ
music. It consists of three parts, but the whole
work bears the general title * Tabulatura Nova * ;
the same title, indeed, as many earlier works of
the same kind in Germany {e.ff. Ammerbach,
SCHEIDT.
1571; B. Schmid, 1577; Paix, 1583; Woltz,
1 61 7), from all of which, however, it differs
widely both in aim and style, and indeed marks
the beginning of a new and better treatment of
the organ both with regard to playing and to
composition. From 1570 to about 1620, organ
playing in Germany almost entirely consisted in
what was known as the art of • koloriren,* the
art of • colouring ' melodies sacred or secular by
the inserting of meaningless passages, all framed
on one and the same pattern, between each note
or chord of the melody. These earlier Tablature-
books were all compiled simply to teach this
purely mechanical art of 'colouring' melodies
for the organ. The music was written in the
so-called German Tablature, i.e. with letters
instead of notes.* (For a full account of these
German * Coloristen ' ^ of the i6th and 17th cen-
turies, see A. (j. Ritter's * Geschichte der Orgel-
musik,' pp. 111-139.) Scheldt's 'Tabulatura
Nova' put an end to this miserable style of
playing and composing for the organ, as well as
to the old German Tablature. The music in his
book is noted in score of four staves, with five
lines to the stave, so far differing from the nota-
tion both of Frescobaldiand Sweelinck, the former
using two staves of six and eight lines respec-
tively, the latter two staves both of six lines.
To give an idea of the contents of Scheldt's work,
we transcribe in full the separate titles of the
three parts : —
I. Tabulatura Nova, continens variationes aliquot
Psalmorum, Fantasiarum, Cantilenarum, Passamezzo
et Canones aliquot : in gratiam Organistorum adomata
a Samuele Scheidt Hallense, Reverendiss. lUustris-
simique Principes ac Doraine Christiani Gulielmi
Archiepiscopi Magdeburgeiisis, Primatia Germaniae
Orgauista et Capellae Magistro. Hamburgi . . . MDCXXIV.
II. Pars Seounda . . . continens Fu^arum, Psalmorum,
Oantionum et Echos Tocatae variationea varias ao
omnimodas. Pro quorumyis Organistarum captu et
modulo. ...
III. Tertia et ultima pars, continens Kyrie Dominicale.
Credo in unum Deum, Psalmum de Coena Domini sub
Communione, Hymnos praecipuorum Festorum totiua
anni. Magnificat 1—9 toni, modum ludendi pleno
Organo et Benedicamus ... In gratiam Organistarum,
praecipue eorum qui musice pure et absque celerrimia
coloraturis Organo ludere gaudent . . .
The last words mark an important difference
between the third part and the two preceding.
In the first two parts the composer appears to
wish to show how he could beat the 'Colourists*
on their own ground, his figures and passages
however not being like theirs, absolutely mean-
ingless and void of invention, but new and
varied, and having an organic connection with
the whole composition to which they belong.
He shows himself still as virtuoso, desirous to
extend the technique of organ-playing, while at
the same time displaying his contrapuntal mas-
tery. So far as technique is concerned, there is
to be noticed in Scheidt the extended use of the
pedal, so different from Frescobaldi's occasional
use of it for single notes merely, also the imita-
tion of orchestral effects, such as what he himself
terms * imitatio violistica,* the imitation of the
1 For an example of Germaa Organ Tablatare, tee Bcblecht,
• Geschichte der Kirchenmusik,' p. 877 ff.
2 ' GetchmackloM Barbaren ' (tasteless barbarians), u Ambroa
I
SCHEIDT.
effects of the different ways of bowing on the
violin, and the imitation of an organ tremulant
itself by the rapid interchange of the fingers of
the two hands on one and the same key (* Bici-
nium imitatione tremula organi duobus digitis
in una tantum clave manu turn dextra, turn
sinistra '). The first two parts contain a mix-
ture of sacred and secular pieces, the secular
pieces however being marked off as for domestic
rather tlian for church use by the absence of a
pedal part. The sacred pieces consist of ten
fantasias or sets of variations on chorale melo-
dies, with a few fugues or fantasias on another
motive, among which is a ' fantasia fuga quadru-
plici,' on a madrigal of Palestrina's, which Ritter
describes as a masterpiece of contrapuntal art,
four subjects irom the madrigal being treated first
singly and then together, and with contrary
motion and other devices. The secular pieces
consist chiefly of variations on secular melodies,
among which appears one entitled an English
song * de for tuna.' The third part of the ' Ta-
bulatura Nova' stands however on a higher
level than the first two. The composer ex-
pressly renounces the virtuoso ; he writes, as the
title-page says, for those who delight to play the
organ purely musically, and without mere orna-
mental and passage work. In this third part he
gives very full directions with regard to register-
ing both for manuals and pedal. It is intended
entirely for church use, and both by the choice of
pieces, and the manner in which they are ar-
ranged, it gives us an insight into the way in
which the organ was very frequently employed
in the church services of those days. It was
not then generall}" used to accompany or sustain
the voices of the choir or congregation, but
rather to alternate with them. Thus, for in-
stance, between each verse of the ' Magnificat '
sung by the choir without accompaniment, the
organ would come in independently with some
variation or changing harmonies on the plain-
song melody. A further use of the organ was
even to take the place of the choir in making
the lesponses to the ecclesiastical intonations of
the officiating clergy when there was no proper
choir to do this. Frescobaldi's works (espe-
cially ' Fieri Musicali,' 1635") furnish instances
of this use of the organ in the Roman Church.
Thus when the priest had intoned the Kyrie of
the Mass, in the absence of a proper choir, the
organist would answer, as Ambros expresses it,
when speaking of Frescobaldi's works of the
kind, * with a kind of artistically-ennobling and
enriching echo' ('mit einer Art von kfinstler-
isch-veredelnden und bereichemden Echo '), that
is to say, the oiganist, taking up the plain- song
theme, would not just harmonize it note by note,
but treat it in the form of a short polyphonic
composition for the organ. (See the quotations
from Frescobaldi in Ambros's * Geschichte der
Musik,' iv. pp. 444-450.) The third part of
Scheidt's 'Tabulatura' shows that this usage
was not confined to the Roman Church, but was
also retained for a considerable time in the
Lutheran. It opens with twelve short move-
SCHEIDT.
788
ments based on the plain-song of the different
sections of the Kyrie and Gloria of the Mass, and
the remark, or rubric, as we might call it, * Gloria
canit Pastor,' shows that they were expressly
intended as responses made by the organ to the
intonation of officiating clergy. The Magni-
ficat follows, in all the church tones, one verse
sung by the ecclesiastic and every alternate
verse arranged to be played by the organ in lieu
of a choir. This way of treating the Magnificat
prevailed in Lutheran Churches even up to
Pachelbel's time (1706), though the plain-song
was more and more put into the background,
and the practice became simply an excuse for
interludes on any motive. After the Magni-
ficat came a series of hymns common to both
Roman and Lutheran Churches, with their
plain-song melodies treated in a similar fashion.
The book further contains Luther's version of
the Creed (*Wir glauben All, an einen Gott')
with its Doric melody, John Huss's Commu-
nion Hymn, arranged to be played instead of
being sung during Communion. The two last
pieces in the book are 6-part movements for the
full organ, meant to be played at the end of
Vespers. Interwoven with the last is the litur-
gical melody of the Benedicamus. In all these
compositions Scheldt has faithfully adhered to
the original plain-song melodies when they ap-
pear as Cantus Firmus, but in the further work-
ing out has not been content simply to harmonize
them according to the laws of the Church modes,
but has so far altered them in accordance with
the new ideas of harmony then beginning to
make way. But there is still wanting in him a
consistent system of modulation. The chromatic
semitones are still employed by him rather in
a hap-hazard sort of way.
Twenty-six years later, viz. in 1650, Scheldt
published another work for the organ, his second
and last, which shows a different conception as
to the use of the organ in the services of the
Church, and probably marks a change which
was then going on gradually in the practice of
the Lutheran Church. The congregational sing-
ing of metrical hymns was gradually superseding
the older liturgical music, and the organ had
more and more to surrender its independence to
accommodate itself to the simple accompaniment
in 4-part harmony of the melodies of these
hymns, which now began to assume exclusively
the name of Choral-musik. This, which was at
first a loss, became in time a gain, as it deepened
the sense of the value of harmony for its own
sake ; and besides, out of this originated the new
art-form of the Choral- Vorspiel of later days.
Scheidt's last organ work was intended to meet
the new requirements. Its title sufficiently ex-
plains its object : * Tabulatur-buch 100 geist-
licher Lieder u. Psalmen D. Martini Lutheri
und anderer gottseliger Manner fiir die Herren
Organisten mit der Christlichen Kirchen u.
Gemeine auf der Orgel, desgleichen auch zu Hause
zu spielen u. zu singen, auf alleFest-u. Sonn-tage
durchs ganze Jahr mit 4 Stimmen componirt
. , , Gedruckt zu Gorlitz . . . im. 1650 Jahr.'
784
SCHEIDT.
This work is dedicated to the Magistrates and
Town Council of Gorlitz, and the composer
seems to imply that it had been undertaken at
their special desire. In this, as in his previous
work, there is noticeable, as Ritter points out,
the same undecided struggle in the composer's
mind between attachment to the old and in-
clination to the new. Thus, while he strictly
adheres to the original rhythms of the old melo-
dies, he harmonizes according to the rules of
modern musical accent, and thus the rhythm of
the melody is not in agreement with the rhythm
implied by the harmony. See for illustration
his setting of * Ein' feste Burg' in Ritter, * Ge-
schichte der Orgel-Musik,* p. 19, the first two
bars of which may here be given : —
-ff-^A J J
P
r
^^
33^
T=f
f
jjaii
^^^J
One chorale appears in this book for the first
time, viz. *0 Jesulein siiss, O Jesulein mild,'
which has been adapted in later chorale books to
the words * 0 heiliger Geist, 0 heiliger Gott.*
As harmonized by JScheidt it is given in Win-
terfeld * Ev. K. G.",' ii. No. 218, and Schoberlein,
* Schatz des Chorgesangs,' ii. No. 457.
If it is his organ works that now entitle Scheldt
to honourable remembrance and give him a dis-
tinct position of his own amongst composers, it
was not his organ works, but his vocal composi-
tions, that procured him the esteem of his con-
temporaries, and caused him to be ranked as one
of the celebrated three S.'s. Of his vocal works,
besides the 'Sacrae Cantiones' of 1620, men-
tioned above, there are mentioned 'Liebliche
Kraft-Bliimlein conzertweise mit 2 Stimmen und
General-Basse,' Halle 1625; * Geistliche Con-
certen mit 2 und 3 Stimmen, etc., 4 parts,' Leip-
zig, 1 63 1. Another instrumental work should
also be recorded, more for the clavier than the
organ, 'Ludorum musicorum prima et secunda
pais, 1623.*
It is natural to draw comparisons, as Ritter
does in his 'History of Organ Music,' between
Schcidt and Frescobaldi, whose lives covered
nearly the same period of time, and who may
both be regarded as the true founders of modern
organ music, or rather, the Italian of clavier
music generally, the German of specifically
organ music. Of the two, Frescobaldi is the
greater genius, showing greater force of imagin-
ation in the invention of new forms and the
solution of difficult problems ; Scheidt is more
laboi-ious and painstaking, showing greater study
of the capabilities of his instrument, as, for in-
stance, in the use of the pedal, and in registeiing
generall}', with neither of which did Frescobaldi
concern himself. As Ritter points out, while
Scheidt has thus greater command of all the
resources of expression, Frescobaldi has mors
of real poetic expression in his music itself.
SCHEIN.
For more detailed comparison of the two mas-
ters it will be sufficient to refer to Ritter's
work. [J.R.M.]
SCHEIN, JoHANN Hermann, was born Jan.
29, 1586, at Giiinhain in Meissen, where his
father was the Lutheran pastor. Having lost
his father at an early age, he was taken to Dres-
den and became a chorister in the Court Chapel
there. His further education was received at
the Gymnasium of Schulpforta and the Univer-
sity of Leipzig. Of his musical training further
than what he received in the Court Chapel at
Dresden we have no details. In 161 3 he was
invited to be Capellmeister at Weimar, but held
this post for only two years. On the death of
Seth Calvisius in 1615 he obtained the appoint-
ment of Cantor to the Thomas-Schule in Leip-
zig, which post he held till his death in 1630.
Schein is chiefly known to later times by his
*Cantional,' first published in 1627. Its ori-
ginal title is * Cantional oder Gesangbuch Augs-
purgischer Confession, in welchem des Herm
D. Martini Lutheri und anderer frommen Chris-
ten, auch des Autoris eigne Lieder und Psalmen
. . . So im Chur und Fiirstenthumern Sachsen,
insonderheit aber in beiden Kiichen und Ge-
meinen allhier zu Leipzig gebrauchlich, verferti-
get und mit 4, 5, 6 Stimmen componirt . . .' A
second enlarged edition appeared in 1645 after
Schein's death. As the title shows, it consists
of Choral-melodies, both old and new, harmonized
for ordinary church use, mostly note against note.
Schein himself appears in this book in three
capacities, viz. as poet, melodist, and harmonist.
Of the 200 and odd Choral-melodies in the book
about 80 are Schein's own, a few of which have
still held their ground in modern chorale books,
though some appear to be attributed to him by
mistake. Schein's book differs from Criiger's
similar book of later date (1648) in retaining
the old irregular rhythm of Choral-melodies,
while Cruger has transformed their rhythms
according to more modern ideas. But if Schein
still retains the old rhythm in the melodies, in
his harmonies he has almost entirely lost, as
Winterfeld points out, the feeling for the pecu-
liarities of the old church modes in which those
melodies are written, though otherwise his har- j
monies are serious and dignified. With Michael H
Praetorius and Heinrich Schiitz, and probably s
through their influence, Schein was one of the
pioneers in Germany of the new movement in
music proceeding from Italy at the beginning
of the 17th century. Naturally his other works
show this more plainly than the * Cantional,' as
many of them are avowedly written in imitation
of Italian models. These other works are as
follows : —
1. * Venus-Kranzlein ' ('Garland of Venus'),
a set of ' weltliche Lieder ' or secular songs, for 5
voices. Leipzig, 1609.
2. 'Geistliche Concerte' (Sacred Concertos)
for 4 voices. 161 2.
3. 'Cymbalum Sionium,' containing 31 set-
tings of German and Latin sacred texts for 5, 6,
8, 10, and 12 voices. 16 13.
SCHEIN.
4. *Banclietto Musicale,' a collection of Pa-
vanes, Gaillardes, etc., in 5 parts. 1617.
5. 'Opella Nova,' ist part, containing 'Geist-
liche Concerte auf jetzo gebrauchliclie Italien-
ische invention componirt' (Sacred Concertos
written in the new Italian style). 161 8.
6. 'Musica boscareccia, Waldliederlein auf
Italian - Villanellische Invention fingirt und
componirt ' (Hunting or Forest Songs, com-
posed in the style of Italian villanellas).
7. ' Fontana d'Israel,' * Israelis Briinnlein aus-
erlesener Kraftspriichlin altes und neuen Tes-
taments, etc., auf ein sonderbare anmuthige
Italian-Madrigalische Manier, etc., mit Fleiss
componirt * (Israel's fountain of select passages
of the Old and New Testament, carefully com-
posed in the specially graceful style of the Ita-
lian Madrigal). 1623. In this work Schein
gives up the basso continue, and goes back to
the more purely vocal style of the old madrigal,
permitting himself however the bolder harmonic
license of the new style of Monteverde and other
Italians. Wherever the words seem to justify
his doing so, the composer delights in using un-
prepared discords, and discords without resolu-
tion, with perhaps too much straining after
passionate expression.
8. • Opella Nova,' 2nd part, 1626, contents
similar to the ist part, both parts having basso
continuo and instrumental accompaniment.
Over 30 numbers from Schein's 'Cantional'
may be found in Schoeberlein's *Schatz des
Liturgischen und Chor-gesangs,* Gottingen,
1867-72. [J.K.M.]
SCHICHT, J. G. Last line but one, add
probably before the words not by John Sebastian ;
and refer to Bach in Appendix.
SCHILLING, Dr. G. Add date of death, 1880.
SCHIMON, Adolf. Add date of death, June
ai, 1887.
SCHINDLER, Anton. Line 2 of article,/or
1769 read 1796. Line 3, /or Modi read Medl.
SCHIRA, Feancesco. Add date of death,
Oct. 16, 1883.
SCHLESINGER. P. 254 a, 1. 4, for in read
Dec. 14.
SCHMIDT. See Smith, Father.
SCHMITT. P. 2545, 1. 7 from bottom, /or
1803 read 1796.
SCHNEIDER, F. J. C. A fuller list of his
oratorios will be found in vol. ii. p. 555 a.
SCHNETZLER. See Snetzlee, and vol. ii.
p. 597-
SCHOELCHER, Victor. P. 257 6, 1. 13 from
bottom, the sentence beginning ' Up to 1850 ' re-
quires correction, as in 1827 'The Messiah' (with
Latin words), the * Ode on St. Cecilia's Day,' and
* Alexander's Feast,' had been given in Paris. P.
358 a, 1. 4 from end of article, read the highly
elaborated narrative.
SCHONE MINKA. The name by which a
certain very popular Ruthenian or Little Rus-
SCHOTT.
785
sian song ia generally known. (The music and
original words are given by Pratsch, * Sobranie
russkikh narodnuikh pyesen,' end of vol. i., and
the literal German version in Fink, 'Musikal-
ischer Hausschatz,' No. 157.)
Te-khav Ko - zak za Dn - na • I, Ska - al dlr - chl -
EiD So - sak rltt In den Erie?, Sagt dem MSd-cben
na pro - shchal ; Vui ko - nl - kl vo - ro - nen - kl
3=J-
Le • be • vrohl; Nun, ibr mei-ne lie - ben Bap-pen,
Na si - lu - gu - lal. Po - stol, po - stol
SE-SES
lE^
Lau • fet v/as Ihr kOnnt.
Wart docb, wart doch,
che, Tvo - ya div - chi - na pla - che.
meln Ko - sak, Sleh deln MSd-chen weint um dlch,
Yak tul me -no po - kl - da-esh, Til-ko po - du
mat.
...,w « w ^ . w 1 1 |.__ ^_^_.„ jl
I— u
Wenn du mich nun aucb ver-lflss-est, Den-ke doch an micb.
It is marked by perfect regularity of rhythm
and absence of certain eccentricities noted in
the article Song, vol. iii. pp. 612, 613, as com-
mon in the Cossack and Little Russian songs ;
and the words are a dialogue in rhymed verse.
It is an interesting instance of a Volkslied of one
country becoming domesticated in the same ca-
pacity in another, and also of the extraordinary
transformation which the song may undergo in
the process. A very loose imitation of the words
of this song, beginning ' Schone Minka ich muss
scheiden,' was published by the German poet
Ch. A. Tiedge in 1808, and this, with the melody
much altered, is now to be found in most collec-
tions of German Volkslieder without notice of
the Slavonic source. J. N. Hummel has made
this air (rather in its original than in the German
form) the subject of 'Adagio, Variazionen und
Rondo uber ein russisches Thema' for PF.,
violin, and violoncello, op. 78, and Weber wrote
a set of brilliant variations for pianoforte on the
same theme. [R.M.]
SCHOOLS OF COMPOSITION. P. 280 a,
1. 12 from bottom,/o?' 1612-1618 read 1615-18.
^. 285 h, as to the date of Purcell's * Dido and
^neas,' see Purcell in Appendix. P. 287 a,
L 7,/or 1694 read 16^^.
SCHOTT (B. Schott's SOhne). P. 315 a,
1. 15 of article, after Adam add (living after-
wards as bandmaster in Canada and India, where
he died). At end of first paragraph add Schott's
sons have been music publishers to the Court
since 1824. After Rink's organ-music add * der
Choralfreund,' in 9 volumes ; * £cole pratique de
la modulation,' op. 99 ; ' Gesangstudien ' (vocalises,
m^thode de chant, etc.) by Bordfese, Bordogni,
Concone, Fetis, Gavaudd, Garcia, Lablache, Abb^
Mainzer, Rossini, Rubini, Vaccai, etc.
786
SCHOTTISCHE.
SCHOTTISCHE. The last bar of lines a and
4 of the musical example should be identical.
The right notes are F, G (appoggiatura), F, E, F.
SCHRIDER or SCHREIDER (possibly
SchbOdeb), organ builder. See vol. iii. p. 539 &,
article Fathbb Smith.
SCHRODER - DEVRIENT, Wilhelmine.
Line 3 of article, /or December read Dec. 6.
SCHROTER, CoBONA Elisabeth Wilhel-
mine, a celebrated singer of the Weimar court
in its most brilliant days, was the daughter of a
musician, Johann Friedrich Schroter. Accord-
ing to her latest biographer, Keil (Vor hundert
Jahren, Leipzig, 1875), Corona was bom Jan.
14, 1 751, at Guben, whence the family shortly
afterwards migrated to Warsaw and finally to
Leipzig. Corona's voice was trained by her
father, and she sang when she was but 14 at
a Leipzig Grosses Concert (1765). From the
following year until 1771 she was engaged at
these concerts, Schmehling (La Mara) being re-
tained as principal vocalist. Goethe had become
acquainted with Schroter in 1 766 ; ten years later
he conveyed to her the offer of the post of Kam-
mersangerin to the Dowager Duchess of Weimar.
Here she made her first appearance Nov. 23,
1776, and soon became the idol of the place.
Associated with Goethe himself in the produc-
tion of his dramas, she created amongst others
the part of Iphigenia, completely realizing the
poet's ideal (see Auf Mieding's Tod). Her co-
operation in * Die Fischerin ' included tlie com-
position of all the music. It was on July 22,
1782, that she was lieard as Dortchen, and that
*Der Erlkonig,* with which the play opens, was
sung for the first time. After 1786 Schroter
sang little in public, but devoted herself to com-
position, painting, and a few dramatic pupils.
Schiller heard her read Goethe's Iphigenia in
1787, and Charlotte von Schiller, a year or two
later, found much to praise in the musical settings
of * Der Taucher ' and * Wiirde der Frauen,' and
their expressive rendering by the famous artist.
In the meantime Schroter's health had broken
down, and her death, when aged 51, at Ilmenau,
-A-ug. 23, 1802, was not unexpected.
Her songs were published in two books. They
are melodious and simple settings of poems by
Herder, Matthison, Klopstock, etc. Book I. (25
Lieder, Weimar, 1786) contains Goethe's 'Der
neue Amadis * and ' Der Erlkonig.' The list of
subscribers furnishes the names of many notabili-
ties of the day connected with Weimar and other
German Courts. The second collection of songs
was published at Weimar, 1 794.
Corona's brothers, Johann Samuel (vocalist)
and Johann Heinrich Schroter (violinist) visited
England; the former died here in 1788. Be-
sides the life by Keil, Diintzer's * Charlotte von
Stein and Corona Schroter ' may be consulted for
details of her social and artistic successes. In
1778 Schroter handed to Goethe her MS. auto-
biography, which has never been made public,
perhaps has not yet been discovered among his I
SCHUBERT.
papers, although Goethe noted the receipt of it
in his diary. [L.M.M.]
SCHROETER, Leonabd, bom at Torgau to-
wards the middle of the 16th century, became
Cantor of the Cathedral of Magdeburg about
1564, in succession to Gallus Dressier, also a
composer of some importance. Schroeter's chief
work is *Hymni Sacri,' Erfurt, 1587, and con-
sists of 4- and 5-part settings of those Latin
Church Hymns which had also been received
into the worship of the Lutheran Church. Win-
terfeld says of these hymns, that they belong to
the best musical works of the time ; the har-
mony is rich, clear, and dignified, and shows an
unmistakeable advance on the path of the older
masters. They are in the same style as the
Hymns of Palestrina and Vittoria, only the
choral melody is mostly given to the upper voice.
Some of these hymns, as well aa some of the
German psalms of Gallus Dressier, Schroeter's
predecessor, are re-published in Schbberlein and
Riegel's * Schatz des liturgischen Chorgesangs,*
Gottingen, 1868-72. Four Weihnachts-Lied-
lein of Schroeter's are received into the repertoire
of the Berlin Dom-Chor, and are published in
Schlesinger's ' Musica Sacra,* No. ii . A Ger-
man Te Deum for double choir by Schroeter,
previously existing only in manuscript, has been
printed by Otto Kade in the Noten-beilagen to
Ambros's *Gesch. der Musik,' No. 28. [J.R.M.]
SCHUBERT, Feanz Petee. P. 324 a, 1. 15
from bottom of text, omit the word Schiller's.
P. 331 &, add to first paragraph, also a fine
overture in E minor published in Series II. of
the complete edition. P. 333 b and elsewhere,
for Gundelberg read Gundelhof. P. 334 a,
1. 8, the hexameters are Kanne's. P. 3396,
1. 14 from bottom, read Count F. von Trover.
P. 341 J, 1. 26, after fond add so fond as to
have encored it on first hearing, and himself
sung in the encore (Spaun). P. 343 b, 1. 9 from
bottom of text, add See an interesting letter
from Ernst Perabo, the present owner of the
MS., with extract from the Andante, in the
*M. Musical Record,' April, 1888. P. 346 a*
1. 16 fi:om bottom, for Diabelli read Haslinger.
P. 351 a, 1. 32, for alone read in themselves.
!*• 355 a, !• 34> for still fairer read much
fairer. Add that Schubert was reburied on Sept.
23, 1888, in the central cemetery of Vienna.
P. 359 a, note 2, add It was taken, or begun,
while Schubert took refuge in the artist's house
from a thunderstorm (Pohl). P. 359 &, 1. 25,
add He had a beautiful set of teeth (Benedict).
P. 362 b, at bottom, the sentence beginning
'They show no aesthetic artifices,' etc., is not
correct. See the * Rondo brillante,' op. 70, where
part of the introduction is quoted in the Rondo :
also in op. 100 the subject of the slow move-
ment is introduced into the Finale, and others.
P. 367 a, add to note. His poems were collected:—^
* Poetische Betrachtungen in freyen Stunden, von
Nicolaus : mit einer Vorrede . . . von Friedrich
von Schlegel.' Wien, Gerold, 1828. P. 369 fe,
add to list of authors of poems, W. Miiller 44.
SCHUBERT.
P. 370 b, add The articles on Schubert's masses
by Mr. E. Prout in the * M. Musical Record ' for
1871, and the * Concordia' for 1875, are too im-
portant and interesting to be omitted. Ibid.
Add to the letters, 1828. Ap. 10 | Vienna |
Probst I MS. copy in the writer's possession. P.
371 h,for Auf der Briicke read Auf der Bruck.^
P. 374 a, to Tod und das Madchen, Der, add
1 81 7. P. 375 J, in No. 7 of the Symphonies read
entry in last column as MS. (See pp. 334,
335.) Lower down, No. 16 of the Sonatas,
for Op. 40 read Op. 140. P. 378 b, after 471
add Der Tod und das Madchen | . | Op. 7, no. 3 |
February. P. 379 a, No. 496, the date of Furcht
der Geliebten should be Sept. 12, 1 8 1 5 (Autog. at
Sotheby's). P. 380 a, 1 8 2 2, Eitner (' Monatshefte,'
etc., 1888, p. 33) mentions an autograph of * Du
liebst mich nicht ' (op. 59, no. l) in Gff minor, and
dated July 1822, but whether this is the original
autograph or a duplicate by Schubert is not certain.
P. 382 a, 1. i,jrorKopfermannr«a(^Kopfermann.
A complete edition of Schubert's works in 22
classes was announced by Breitkopf & Hartel on
' Schubert's death-day, 1884.' Up to Feb. 1889,
the following have been published : — Series I.
8 Symphonies in 2 vols. II. 10 Overtures, etc.
VII. 5tets, 4tets, and Trios, 2 vols. VIII. 8
Rondos, Sonatas, etc., for PF. and one instrument.
IX. PF. 4-hand compositions, 32 in all, in 3 vols.
X. 1 5 Sonatas for PF. solo. XI. Miscellaneous
PF. works. XIII. Masses, 7, in 2 vols. XIV.
21 small church works. XV. Dramatic music:
(i) * Teufels Lustschloss ' ; (2) * Der vierjahrige
Posten ' ; ' Fernando ' ; * Die Freunde von Saia-
manka ' ; (6) * Fieixabras.'
The history of Schubert's music owes very
much to Max Feiedlandeb, Dr. in Philosophy,
who was born at Brieg in Silesia Oct. 12, 1852,
and studied singing under Manuel Garcia in
London and Julius Stockhausen in Frankfort,
Friedlander has travelled much and is widely
known as a baritone singer. He sang at the
Cryslal Palace on April 19, 1884, and elsewhere
in London. He has taken up musical investiga-
tion, especially in connection with Schubert ;
and has edited the new edition of Peters' collec-
tion of Schubert's songs ; with a supplement of
variations; Schubert's duets; Schubert's quintet,
'Nur wer die Sehnsucht*; Gluck'sOdes; Re-
vised edition of the text to Schumann's songs ;
100 Deutsche Volkslieder (not before published) ;
Stockhausen's G^sangstechnik (with the author).
He is understood to be devoting himself to the
collection of materials for an exhaustive biography
of Schubert, for which he is well qualified. [G.]
SCHUTZ, Heinkich. See vol. iv. p. 45, and
add as follows : — His father and grandfather
occupied a good social position at Weissenfels,
whither his father removed with his family on
the death of the grandfather in 1591. In his
thirteenth year (1598) Heinrich was taken into
the service of Landgraf Moritz of Hesse-Cassel,
as narrated in tlie former article.
1 'AufderBruck. Der 25sten Julius. 18U.' See ' Poetlsches Tage-
buch," p. 79; iu Sfimmtl. poet. Werke von Ernst Schulze. 8vo.
Leipzig, 1822.
SCHUTZ.
787
Add to vol. iv. p. 45 a, 1. 9 from bottom : — ^The
Landgraf, as a man of culture, interested in all
new movements in literature and art, wished him-
self to gain a closer acquaintance with the new
Italian style of music, and hoped through Hein»-
rich Schutz to be able to transplant it to Germany
and into his own Court chapel, and thus vivify
German art by a new alliance with Italian. In
Schutz he found the man for his purpose. Schutz
accepted the LandgraPs offer and proceeded to
Venice, where he remained under Gabrieli's
tuition from 1609 until his master's death in
161 2. Gabrieli showed his esteem for his pupil
by sending to him from his death-bed a ring to
wear to his memory, and Schiitz on his part ever
professed the highest veneration for his master.
In 161 2 he returned to Cassel, and was appointed
organist to the Landgraf, but either uncertain
himself as to his real vocation for music or
induced by his friends, he had still some thoughts
of taking up again the profession of law. Per-
haps the Landgrafs chapel was too narrow
a sphere for him to work in; it was fortunate
therefore that in 16 14 he received the invitation
to undertake the entire direction of the capelle
of the Elector Johann Georg of Saxony at
Dresden, at a salary of 400 gulden. The Land-
graf was unwilling to part with him, and would
at first only allow him to accept this position
temporarily. He recalled Schutz in 1616, but on
the earnest petition of the Elector finally con-
sented to his remaining permanently at Dresden.
Schiitz's first endeavour at Dresden was to re-
organize the electoral music, and indeed, as he
had been engaged to do, on the Italian model,
for the purpose of introducing the new concerted
style of music vocal and instrumental. He
procured good Italian instruments and players,
and sent qualified members of the capelle to
Italy for a time, to perfect themselves in the new
style of singing and playing.
To p. 45 b, 1. 7 from bottom, add: — For his
purpose Schutz uses the means of expression
afforded by contrast of different choirs, or
contrast of solo voices with full choir, or con-
trast of voices with instruments, either the
simple Basso Continuo, i.e. for organ, lute, or
theorbo, or strings with occasional trumpets,
etc. The work on the subject of the Resur-
rection is entitled *Historia der frohlichen
und Siegreichen Auferstehung unsers einigen
Erlosers und Seligmachers Jesu Christi.' The
occasion for the composition of this work would
seem to have been the practice, still kept up
at Dresden, Leipzig and other churches in
Saxony, of singing the story of the Resurrection
at Easter as that of the Passion in Holy Week.
A 'Geistliches Gesangbuch' of 161 2 informs us
that * Every year on Easter-day at Vespers, before
the sermon, there is sung in our Christian congre-
gations the Resurrection, so splendidly set by
Antonius Scandellus.' This Antonius Scan-
dellus, or Scandelli, had been one of Schiitz's own
predecessors at Dresden from 1568-80, and had
written both a Passion and a Resurrection. His
* Resurrection ' must have continued in use even
788
SCHUTZ.
beyond Schiitz's time, since it even appears in
Vopelius' * Leipziger Gesangbuch* of 1682. It
may be seen in Schoberlein and Riegel's * Schatz
des liturgischen Chorgesangs' vol. ii. 619-647.
(With regard to the authorship, compare O.
Kade's remarks in the Vorwort to the Noten-
beilagen to Ambros's Geschichte xlvi.). Schiitz's
Resurrection follows the line of Scandelli's, only
whereas Scandelli's composition is purely vocal,
that of Schtitz is adapted to instrumental accom-
paniment. Both works begin with a setting (in
Scandelli 5-part, in Schiitz 6-part) of the words
'Die Auferstehung unsers Herm Jesu Christi,
wie uns die von den Evangelisten bescbrieben
wird,' and conclude with a setting (Scandelli
5-part, Schiitz 8-part) of the words * Gott sei
Dank, der uns den Sieg gegeben hat,' etc.
In Scandelli, the part of the Evangelist is alto-
gether liturgical, but in Schiitz, while it is
mostly based on the liturgical melody, the more
important passages have given to them a more
characteristic and expressive form of declamation,
which sometimes rises up to actual melody in the
more modern sense of the term, and the Evan-
gelist's part is accompanied throughout either by
the organ or preferably by four Viole da Gamba,
which are called upon at certain pauses in the
narrative to execute appropriate runs or passages
(* Zierliche und appropriirte Laufe oder passaggi
machen '). The words of other personages are
Bet for two or more voices, according to their
number, as for instance, the words of the three
Maries as a trio, of the two angels as a duet, of
the eleven disciples as a 6-part chorus, only that
usually for single personages two parts are
employed (as in Scandelli), though Schiitz permits
one of these parts to be taken, as he expresses
it, instrumentaliter. This work of Schiitz's is
altogether remarkable, as being a highly success-
ful endeavour to unite dramatic expressiveness
with reverence for ecclesiastical tradition. The
same spirit is shown in another form in his next
work of importance, Cantiones Sacrae, for four
voices with bass accompaniment for organ. The
endeavour here is to unite the older form of the
Motet with the newer form of the Concerto, and
the Diatonic Church Modes with the use of
Chromatic harmonies. In 1627 Johann Georg I.
of Saxony wished to signalize the occasion of the
marriage of his daughter to the Landgraf of
Hesse- Darmstadt by giving the first performance
of opera in Germany. The opera had just sprung
into life in connexion with the new musical
movement in Italy, as a supposed revival of the
antique music- drama. Schiitz was commissioned
to procure from Italy Peri's opera * Dafne.' The
poet Opitz was set to the task of translating the
Italian text by Rinuccini into German, and as it
was found that Peri's music would not quite fit
the new German words, Schiitz had to adapt
them to new music of his own. The opera
* Dafne,' as thus set by Schiitz, was performed at
Torgau on the 13th of April, 1627. Unfor-
tunately the music of this first German opera
has not been preserved, and, no further account
of it has been given. It is probable however
SCHUTZ.
that Schiitz did little else on this occasion than
re-arrange Peri's music and add something in
exactly the same style. In any case the result
was not such as to induce Schiitz to make any
farther attempts in music for the theatre, if we
except another occasional piece, a Ballet written
in 1638, the music of which appears also to be
lost. In 1628, Schiitz having lost his wife, found
some comfort in his sorrow, as he tells us, by
occupying himself with the task of composing
melodies with simple 4-part harmony to a rhymed
version of the Psalms by Dr. Cornelius Becker.
This version by Becker was meant to be a
Lutheran rival to an earlier Calvinistic version
by Lobwasser based on the French Psalter of
Marot and Beza, and adapted to the same
melodies. Later on, Johann Georg II., with a
view to the introduction of the Becker Psalter in
place of Lobwasser's in the schools and churches
of Saxony, urged Schutz to complete his compo-
sition of melodies for the work. The task was
hardly congenial to our composer, as he himself
confesses in the preface to the complete work
when it appeared in 166 1. Two further editions
however of this Psalter, with Schiitz's melodies,
appeared in 1676 and 171a. Some of these
melodies passed into later Cantionals, though
none have ever taken the same place in general
use or esteem that similar work by less eminent
composers has done.
Correct p. 46 a, 1. 4, etc. by the following : —
Partly to distract himself from his great sorrow,
partly to familiarize himself with the still newer
development of music in Italy, with which
the name of Claudio Monte verde is chiefly-
associated, Schutz set out on a second visit
to Italy in 1629. He found musical taste in
Venice greatly changed since the time of his first
visit ( 1 6 1 2 ) , * modern ears were being regaled with
a new kind of sensation' ('recenti titillatione').
The new style consisted in the greater prominence
given to solo singing, and to intensity of
expression in solo singing, the freer use of
dissonances, and greater richness and variety in
instrumental accompaniment. In a series of
works entitled Symphoniae Sacrae, Schutz en-
deavoured to turn to account the new experiences
he had gained, without however, like his new
Italian models, turning his back upon his earlier
polyphonic training. He never altogether forgot
to unite the solidity of the old school with the
piquancy of expression of the new. The first part
of * Symphoniae Sacrae ' appeared at Venice in
1629, and consists of twenty settings of Latin
texts, chiefly from the Psalms and the Song of
Songs. A second part of Symphoniae Sacrae,
with the sub-title * Deutsche Concerten,' appeared
at Dresden in 1657 ; a third part also at Dresden
in 1650. The two later parts are settings of
German Bible texts. They may be described as
brief dramatic cantatas for various combination*
of voices and instruments, and in virtue of them
Schutz may be considered joint-founder with
Carissimi of the Dramatic Oratorio. Winterfeld
(Gabrieli, vol. iii. pp. 82, etc., also Evang. Kir.
Gesang. ii. p. 315) singles out for special notice
SCHUTZ.
from the first part, * Fili, fili mi, Absalom '
(David's lament over Absalom), written for bass
solo with accompaniment of four trombones, and
from the third part, * Saul, Saul, was verfolgst du
mich ' (a cantata for the festival of the Conversion
of St. Paul), and ' Mein Sohn warum hast du una
das gethan' (for the first Sunday after Epiphany).
In 1 63 1 and following years Saxony became
the scene of war, and one result was the com-
plete disorganization of the Elector's capelle,
means failing for the payment of musicians, and
the attention of the Elector and his court being
occupied with more serious matters than music.
Schiitz obtained leave in 1633 to accept an in-
vitation to Copenhagen from King Christian IV.
of Denmark. The years 1635-41 were spent in
wanderings to and fro between different courts
with occasional returns to Dresden, Schiitz
being still nominally in the service of the Elector.
The chief works worthy of notice published
during these years are two sets of Geistliche
Concerte for i to 5 voices, with Basso Continuo
(1636, 39), the second set being especially re-
markable by the composer's frequent directions
for the securing of proper expression in his
music. (It is to be remembered that marks
and terms of expression were not then in vogue.) |
In 1641 Schiitz returaed to Dresden to make an
effort to reorganize the music, but from want of
means his efforts were not crowned with any-
thing like success till 1645 or 47. A work of
importance was written and produced about
1645, though strangely enough it was never
printed or published in Schlitz's life-time, and
only appeared in print for the first time in 1873,
edited by Carl Riedel of Leipzig. It is a small
Passion Oratorio on the Seven Words from the
Cross. This work is of importance as con-
tributing some new elements to the development
of the later Passion Music. First, the part of
the Evangelist is no longer based on the liturgical
intonation, as in the ' Resurrection ' oratorio of
1623, but takes the form of the new Arioso
Recitative. For the sake of variety Schiitz
divides this part among different solo voices, and
sets it twice in the form of a quartet. Next,
the work is opened and concluded with a chorus
(5-part with basso continuo) expressive of the
feelings of Christians at the contemplation of our
Lord upon the Cross. After the opening, and
again before the concluding chorus, there occurs
a short 5-part instrumental symphony, which has
been aptly described as an ideal raising and
dropping of the curtain before and after the
action. The instruments to be used are not
specified, but strings are probably more intended
than anything else. The part of our Lord differs
from the other parts in having a 3-part instru-
mental accompaniment. This probably origi-
nated out of the custom in previous * Passions '
(as followed in Scandelli's * Resurrection ' for
instance), of setting the words of our Lord in
4 vocal parts. Schiitz here improved upon the
idea, first timidly suggested by himself in his
* Resurrection,' of giving the words of a single
character to a single voice, for the sake of
VOL. IV. PT. 6.
SCHUTZ.
789
dramatic consistency, and assigning the ac-
companying parts to the instruments. The way
in which this accompaniment is carried out
deserves to be noticed. It is neither in the old
style nor in the new, but a curious combination
of both; the lower part is identical with the
basso continuo for sustaining the harmony
throughout : the other two parts are written in
the polyphonic style with the voice, consisting of
imitations either preceding or following the vocal
phrase. It is well known how Bach in his
* Matthaus-Passion ' developed this idea of a
special accompaniment to the words of our Lord,
surrounding Him as it were with a halo. Na-
turally there are no arias in the modern sense
in Schlitz's work, all is in the form of expre3sive
recitative. A touching simplicity and tender-
ness distinguish the whole work. In 1648
appeared his ' Musicalia ad Chorum Sacrum,' a
work in quite a different style from those last
mentioned, and showing a reaction in Schlitz's
mind against the exclusive claims of the modern
'Manier.' It consists of 29 pieces to German
words, for 5, 6, and 7 voices, in the old motet
or strictly polyphonic style, in which the bassus
generalis or continuus may be dispensed with (as
the title says, ' VVobei der Bassus Generalis auf
Gutachten und Begehren, nicht aber aus Noth-
wendigkeit zugleicli auch zu befinden ist '). In
the preface he expresses the opinion that no one
will become a capable musician who has not first
acquired skill in stiict contrapuntal work with-
out the use of the basso continuo. Personal reasons
to some extent combined with artistic reasons to
produce the reaction in favour of the older school
of music as against the new, to which we
have referred. From 1647 onwards, in spite
of the many personal sacrifices he had made on
behalf of the Elector's capelle, as for instance
by paying or increasing out of his own salary
the salaries of others of the musicians, he ap-
pears to have suffered so many annoyances in
connection with it as caused him to have almost
a disgust for the further cultivation of music
at Dresden, and induced him to solicit over
and over again in 1651-55 dismissal from the
Elector's service. The new Italian element in
the chapel was very different from the old,
Schiitz was getting involved in continual differ-
ences and squabbles with a new Italian colleague
Bontempi. Italian art was losing its earlier
seriousness of purpose, turning its back upon its
older traditions, and aiming simply at the
amusement of princes and their courts, and thus
acquiring a popularity dangerous to higher
ventures of art. The Elector however refused
to accept the resignation of his Capellmeister,
and after 1655 affairs imj)roved somewhat, so
far as Schiitz was personally concerned, so that
he continued quietly at his post for the remain-
ing sixteen years of his life.
In 1657 he published 'Zwolf geistliche
Gesange ' a 4 for small choirs, a work which we
might call a German Communion and Evening
Service, consisting, as it does, mainly of settings
of the chief portions of the Liturgy in order, viz.
3^
790
SCHUTZ.
the Kyrie, Gloria, Nicene Creed, Words of In-
Btitution (usually appointed to be sung in early
Lutheran liturgies), a Communion Psalm, Post
Communion Thanksgiving, then a Magnificat
and Litany, etc. From 1657-61 our composer
would seem to have been occupied with the task
enjoined on him by the new elector, that of com-
posing additional melodies for Becker's Psalter,
already mentioned ; work which apparently gave
him more trouble than it was worth, and
hindered him from devoting himself to other
more congenial work. In the preface to this
Psalter, 1661, he says that * to confess the truth,
he would rather have spent the few remaining
years of his life in revising and completing other
works which he had begun, requiring more skill
and invention ' (' mehr sinnreichen Inventi-
onen '). It is greatly to be regretted that the
next work with which Schiitz occupied himself
has been preserved to us in so incomplete a form.
It was a setting of the story of the Birth of our
Lord, and as a Christmas oratorio would have
been a fitting companion-work to his earlier
* Easter' oratorio and his later *Passions-Musik.'
Only the part of the Evangelist, in recitative
with bass accompaniment, has been preserved to
us; but the preface to this (1664) contains a
specification of 10 so-called 'Concerto' for various
voices and instruments which were to come in
at different points of the narrative. The intro-
duction, for instance, consisted of the title (' Die
Geburt, etc.') set for 4 vocal and 5 instrumental
parts ; the message of the Angel was set for
soprano solo with accompaniment of 2 violettas
and I violone ; the Chorus of Angels for 6 voices
with violins and violas ; the words of the Shep-
herds for 3 alto voices with 2 flutes and bassoon ;
of the Wise Men for 3 tenor voices with 2
violins and bassoon ; of the High Priests for 4
bass voices and 2 trombones ; and so on with the
rest of the work. The loss of these concerted
movements is the more to be regretted, as they
would doubtless have shown Schiitz's maturer
views on instrumentation and the combination
of voices and instruments. The last work of
Schiitz preserved to us, and perhaps his most
famous work, is his setting of the stoiy of the
Passions, four settings in all, after the four
Evangelists. This work was never published in
his own life-time, and the only original copy
extant is that of the St. John Passion, presented
by the composer himself to the Duke ot Wolfen-
biittel, and now in the library at Wolfenbiittel.
The only copy of the other setting^ is that made
by a later hand in 1690, regarding which see
below in list of Schiitz'a works. As we now
have the work, it is for voices alone without
instruments. It is, therefore, as if the composer
here wished to denounce the mere external
advantages of the newer concerted and dramatic
style for the sake of showing how the spirit of it
could be retained and applied to the purely vocal
and older polyphonic style. For what specially
distinguishes this Passions-Musik, is the series
of brief choruses of surprising dramatic energy
and truth of expression, yet never overstepping
SCHUTZ.
the bounds of devout reverence inspired by the
subject. Otherwise the work is more purely
liturgical than later Passions, not having arias
and chorales to interrupt the narrative and give
that variety of interest so needed for modern concert
performance. Each Passion is opened according
to old custom with a setting of the title ('the Pas-
sion etc *) and closed with a devotional chorus
in motet style, the text taken from some familiar
Church hymn. The rest of the work is written
in unaccompanied recitative, though parts of it
may have been meant to be accompanied in the
manner suggested by Schutz himself in his * Re-
surrection. In the ' St. Matthew ' the recitative
has more of melodic expressiveness than in the
other Passions. The * St. Mark ' is peculiar in
combining the greatest monotony of recitative
with the richest dramatic character in the
choruses. Dr. Spitta, the editor of the new com-
plete edition of Schiitz's works, is inclined, on
this and other grounds, to have some doubts as
to the authenticity of the ' St. Mark Passion '
(see his preface pp. xx, xxi.) But the fact of its
being joined with the other undoubtedly authen-
tic Passions without anything to indicate its
being by a different author, is suflBcient to out-
weigh mere suspicions. These ' Passions,' com-
pressed, and so far adapted to the requirements
of modern performance, have been repeatedly
produced with considerable success by the Riedel-
sche Verein of Leipzig.
To p. 466, 1. 6 from end, add In his later
years Schiitz's powers began to fail, especially his
sense of hearing ; and we are told, when he
could no longer go out, he spent the most of his
time in the reading of Holy Scripture and spiritual
books. His last attempts at composition were
settings of portions of the 119 th Psalm ; and no
verse indeed of that psalm could have been more
fittingly chosen as the motto of both his personal
life and his art-work than that on which he was
last engaged, but left unfinished : * Thy statutes
have been ray songs in the house of my pilgrim-
age.' He is the true predecessor of Handel and
Bach, not so much in the mere form of his work,
as the spirit. If in the dramatized Biblical scenes
of his 'Syraphoniae Sacrae,' he is more especially
Handel's predecessor, in his Passion Music he is
Bach's. Both Handel and Bach simply brought
to perfection what lay in germ in Heinrich
Schiitz. His great merit consists in this,
that at a time when the new dramatic style
was threatening the complete overthrow of the
older polyphonic style, he saw how to retain the
advantages of both, and laboured to engraft the
one upon the other. It was thus he prepared
the way for the greater work of Handel and
Bach after him. The rather singular coinci-
dence of Schiitz's birth -year being exactly a
hundred years earlier than the birth-year of
Handel and Bach, brought about on the occasion
of the keeping of the bicentenary of the two
latter, in 1885, a great revival of interest in
the work of their forerunner, which has had
this practical result at least, the beginning of
the publication of a monumental edition of
SCHUTZ.
his works by Messrs. Breitkopf & Hartel of
Leipzig.
The following is a list of Sclmtz's works,
based on Eitner, Monatshefte fiir Musikge-
schichte, xviii. pp. 476".
I. WOBKS PUBLISHED IN LIFETIME.
1. II primo libro de Madrigali de Henrico Sagitario Alemanno.
Venice. 1611. Dedicated to Landgraf Moritz of Hesse-Cassel. Con-
tains 18 Madrigals a 5, and 1 Dialogo a 8. (Tliis work is said in
Langhanss ' Geschichte der Musilc,* i. p . 115, to be lost, but Eitner says
a complete copy exists in the Library at Cassel.)
2. 3 Pieces d'occasion, entitled • Concerte,' published separately.
Dresden, 1618.
3. Psalmen Davids sammt etlichen Moteten und Concerten mit
»cht und mehr Stimmen, nebenst andern zweien Capellen dass dero
etliche auf drei und vier Chor nach Beliebung sebraucht werden
kOnnen, wie auch mit beigefflgten Basso Continuo vor die Orgel,
Lauten, Chitaron, etc. Dresden. 1619. Contains 26 Psalms.
4. Psalm cxzxiii. for 8 voices with Basso Continuo, composed for his
brother's wedding. Leipzig, 1619.
5. Syncharma Musicum tribus Choris adornatum, etc. A pi6ce
d'occasion for the restoration of peace in Silesia. Vratislaw, 1621.
C. Historia der frOhlichen und siegreichen Auferstehung unsers
einigen ErlOsers und Seligmachers Jesu Christi. In fuistlichen
Capellen oder Zimmern um die Osterliche zeit zu geistlieher Recrea-
tion t'ugliehen zu gebrauchen. Dresden, 1623. An Oratorio on the
'Eesurrection of Christ.' The title shows that it was Intended as
well for Chamber performance as for Church.
7. Elegy on the Death of 'Karstin Prau Sophia. Herzogin zu
Sachsen.' Melody with Basso Cont. Text by Schtttz himself, Frei-
berg, 1623.
8. Cantiones Sacrae quatuor vocum, cum Basso ad Organum.
Freiberg, 1C25. Contains 41 pieces a 4 with Latin words.
9. De Vitae fugacitate, Aria quinque vocum supra Bassum Con-
tinuum. Freiberg, 1G25. A pi6ce d'occasion.
10. Psalmen Davids, in Teutsche Beimen gebracht durch D. Cor-
nelium Beckern . . . nach gemeiner Contrapunctsart in 4 Stimmen
gestellt . . . Freiberg, 1628. Contains 92 new melodies by Schfltz
himself and 11 others harmonized by him. An edition, Gilstrow,
1640, was published for use in Meckleriburgh-Schwerln. A later
enlarged edition, with melodies for all the Psalms, appeared,
Dresden. 16fil.
11. Symphoniae Sacrae . . . variis vocibus ac Instrumentls acco-
modatae o3, 4, 5, 6. Opus ecclesiasticum secundum. Venice, 1629.
Dedicated to the Elector of Saxony. Contains 20 settings of Latin
texts.
12. 'Das istje gewlsslich wahr.' A motet for 6 voices in memory
of Johann Hermann Schein, died 1631. Dedicated to Schein's widuw
and children. Dresden, 1631.
13. Erster Theil Kleiner geistlichen Concerten, mit 1, 2, 8. 4, und
5 Stimmen sammt beigefiigten Basso Cont. Leipzig, 1636. Contains
17 pieces to German words.
14. Musicalische Exequien . . . mit 6, 8. und mehr Stimmen zu
gebrauchen. Dresden, 1636. Contains 3 funeral pieces.
15. Anderer Theil Kleiner geistlichen Concerten, mit 1. 2, 3, 4, und
5 Stimmen, sammt beigefiigten Basso Continuo vor die Orgei.
Dresden, 1639. Contains 31 pieces, texts German and Latin.
16. Symphonlarum Sacrarum Secunda Pars . . . Deutsche Concerte
mit 3, 4, 5 nfimlich einer, zwo, dreien Vocal- und zweien Instru-
mental-Stimmen . . . Opus Decimum. Dresden, 1647. Dedicated to
Christian V. of Denmark. Contains 27 pieces. German words.
17. Musicalia ad Chorum sacrum. Geistliche Chor-Musik mit 5, 6,
7 Stimmen, beides Vocaliter und Instrumentaliter zu gebrauchen . . .
Opus Undecimum. Dresden, 1648. Dedicated to the Biirgermeister
etc. of Leipzig out of respect for the Choir of the Thomas-Schule.
Contains 29 Motets to German words.
18. Symphonlarum Sacrarum Tertia Pars. Deutsche Concerte mit
6, 6, 7, 8, nfimlich 3, 4. 5, 6. Vocal und zweien Instrumental-Stlm-
men . . . Opus Duodecimum. Dresden, 1650.
19. Canticum B. Slmeonis. German text of Nunc Dlmlttis, 2 set-
tings for 6 voices. (Not perfectly preserved.)
20. ZwOlf Geistliche Gesfinge a 4. FQr Kleine Cantorelen. Opus
Decimum Tertium. Dresden, 1657.
21. Historia der Freuden- und Gnaden-reichen Geburt Gottes und
Marien Sohnes, Jesu Christi . . . Vocaliter und Instrumentaliter in
die Musik versetzt. Dresden, 1664. A Christmas Oratorio, but only
Imperfectly preserved.
n. WOBKS UNPUBLISHED IN LIFETIME.
1. Die Sleben Worte unsers lleben ErlOsers und Seligmachers Jesu
Christi, so Er am Stamm des heiiigen Kreuzes gesprochen, ganz
beweglich gesetzt . . . I'arts in manuscript preserved in the Library
at Cassel, discovered In 1855 by 0. Kade, and first published in
Score and adapted for modern performance by Carl Bledel. Leipzig,
1878.
2. Historia des Leidens und Sterbens unsers Herrens Jesu Christi.
a. Nach dem Evangelisten St. Matthaeus. 6. Nach St. Marcus.
c. Nach St. Lucas, d. Nach St. Johannes. An older form of the
Johannes Passion exists In MS. 1665. Of the four Passions together
there exists only a copy made by J. Z. Gnindig In 1690, now in the
Leipzig StadtBibliothek.
3. Various single motets and concerted pieces, enumerated by
Eitner, M.f.M.G., xvlil. pp. 62, 67-70.
SCOTISH MUSIC.
III. WOBKS LOST.
791
1. ' Daphne.' Opera, performed 1627. German text by Opitz, after
the original by Rinuccini.
2. A Ballet with Dialogue and Becltative, composed for the mar-
riage of Johann Georg II. of Saxony, 16a-*. (Another Ballet, ' Von
Zusammenkunft und Wirkung VII. Planeten,' existing in MS., is
conjeciurally ascribed to Schtttz in Eitner's List, M. f. M. G. xviii.
p. 69.)
All Schatz's MS. remains at Dresden were destroyed by fire, 1760.
The same faite befel in 1794 what he may have left at Copenhagen.
IV. NEW EDI-nON IN SCOBB.
Begun on the Tercentenary of the composer's Birthday, 1885.
Heinrich Schtttz, Sfimmtliche Werke, edited by Friedrich Chry-
sander and Philipp Spitta. and published by Messrs. Breitkopf A
Hfirtel, Leipzig, Seven volumes have been Issued up to the present
time, of which the contents are as follows:—
Vol. 1 contains the 'Besurrection' Oratorio, the Passions-Muslk
after the four Evangelists, the Seven Words from the Cross, and in
an Appendix the Imperfect Christmas Oratorio, and the older form
of the Johannes-Passion.
Vols. 2 and 3 contain the Psalms and Motets of 1619.
Vol. 4, Cantiones Sacrae, 1625.
Vol. 5, Symphoniae Sacrae, Part T. 1629.
Vol. 6, Geistliche Concerte of 1636 and 1639.
Vol. 7, Symphoniae Sacrae, Part II. 1647. [ J.R.M.]
SCHULHOF, Julius. Correct name to
SCHULHOFF.
SCHUMANN, EoBEET Alexander. P.
390 &, 1. II from bottom, for Zuccamaglio read,
Zuccalmaglio. P. 404 a, 1. ii, for now read
afterwards. P. 409 b, 1. 6, for poem read story.
P. 413 a, in the first musical example the pause
should be over the last note, not the last note
but one. P. 413 &, 1. 5, for trombones read
trumpets. Add that a complete edition of the
works of Schumann has been undertaken by
the firm of Breitkopf & Hartel, who are also
issuing a ' Volksausgabe ' of the same at a very
moderate price.
SCHUMANN, Clara Josephine. P. 423 a,
1. I, add that she came to England in 1885,
1886, 1887, and 188S. (Died May 20, 1896.)
SCHUND, Joachim, one of the oldest known
organ builders, made the organ of St. Thomas's
at Leipzig in 1356. [V. de P.]
SCHUPPANZIGH, Ignaz. In the musical
example on p. 424 b, the time-signature should
be 6-8, not 6-4. In the first bar of the fourth
stave of the same, the treble clef should be re-
stored before the word ' Wir.'
SCHWARBKOOK, Thomas, a German, was
in the employ of Renatus Harris, the organ
builder. Early in the iSth century he left Lon-
don to live at Warwick, and built many noble
instruments. His masterpiece was the organ of
St. Michael's, Coventry, built in 1733, which
cost £1400. The latest mention of him is in 1 752,
when he improved the organ of Worcester Cathe-
dral. See vol. ii. p. 596 a. [V. de P.J
SCORDATURA. In the second musical ex-
ample it should be mentioned that the player
reads the music as if the scordatura had not
been introduced, so that the first phrase sounds
in the key of A. Line 4 below the example.ybr
(a) read (c).
SCOTISH MUSIC. P. 451 h, at the bottom
of the column should be added a notice of the
excellent set of twelve Scotish songs arranged
by Max Bruch, and published by Leuckart of
Breslau.
3F2
(92
SCRIBE.
SCRIBE, EuG^XE. In the list of librettos,
correct date of 'La Fiancee ' to 1829.
SECHTER. P. 455 J, 1. 13 from bottom,
add [See vol. iii. p. 353 a.].
SEE, THE CONQUERING HERO COMES.
P. 457 «» 1- ^}for 1747 read 1748.
SEGUIN. Add tliat Mrs. Seguin died in
New York, in August iS88.
SEIDL, Anton, bom May 7, 1850, at l^esth,
was entered as a pupil at the Leipzig Conserva-
torium iu Oct. 1870. Early in 1872 he went to
Bayreuth, and was there employed by Wa^jner
to make the first copy of the score of the Nibelun-
gen tetralogy. He also assisted at the festival
in Aug. 1876. In 1879, through Wagner's re-
commendation, he obtained the post of conduc-
tor at the Leipzig Opera House, and retained it
until 1882, when he went upon a long tour
through Germany, Holland, England, Italy, etc.
in the capacity of conductor of Angelo Neu-
mann's 'Nibelungen' opera troupe. The per-
formances were not altogether faultless : it is
true that the vocalists were good, but the great
music drama was reproduced in a sadly mutilated
condition. Y"et Seidl proved himself to be an
energetic conductor, and was personally success-
ful. In 18S3 he became conductor at the Bre-
men Opera House. Early in 1885 he married
the well-known soprano singer, Frl. Kraus, and
in September of that year accepted the post of con-
ductor at the New York German Opera House,
which post he has now satisfactorily filled for
three successive seasons. [C.A.]
SENNET. It should be added that the name is
probably derived from Seven, and may indicate
a flourish of seven notes, as suggested in Stainer
and Barrett's ' Dictionary of Musical Terms.'
SENZA. Add that in the 'Sanctus' of
Verdi's Requiem both the terms senza misura
and senza tempo occur.
SERENADE. The Italian word Serenata is
almost undoubtedly allied to Sera, evening,
which a^ves a more satisfactory definition than
that given in the Dictionary. P. 467 a, 1. 19,
for fenestra read finestra.
SEROFF, A. N. Line 9 from end of article,
add day of death, Feb. i.
SERVAIS. Add date of death of Joseph,
Aug. 29, 1S85.
SFORZANDO. Last line of article,/or Va-
riations, etc., read Variation 3.
SG AMB ATI, G. Add that in May 1 8 84 he was
invited as representative of Italy to the inter-
national concerts at the Trocad^ro in Paris,
where he conducted his first symphony. In
1886 he was named one of the five corresponding
members of the French Institut to fill the place
vacated by the death of Liszt.
In 1887 he was invited to condiict his second
symphony and to execute his first quintet at the
great mu.sical festival of the Tonkiinstler-Ver-
sammlung, in Cologne.
SHUDI.
To the list of works add the following: —
Op. 17. Quartet for strings In Db. Prelude, Valse, Air, Intermezzo,
18. I'our pieces forTF.: Pre-'Ktuiie m^lodique ; a Cantata for
ludlo, Yecchlo minuet- one voice, with orchestral accom-
to, Nenia. Toccata. jpaiilment; a Symphony for full
19. Four Italian Songs, ! orchestra, already performed in
20. Three Nocturnes for PF. I liome, and at the festival of the
Four songs without opus number. Tonlcttnstler - Versammlung in
The following are to be publish- Cologne,
ed shortly: Suite for PF. (op. 21), [F.Rz.l
SHAKE. P. 4806, last stave but one of
music type, the first note should be a semiquaver.
P. 483 b, second stave of music type, the last
three notes should be E, not G. P. 484 a, ex-
ample 43, it should be mentioned that Von
Billow, in his edition of Cramer's studies, inter-
prets this passage in a precisely opposite sense
to that given in the Dictionary, directing the
shake to be performed as in example 44 of the
article.
SHIELD, William. P. 487 a, 1. 19 from
bottom, for ' Friar Bacon ' read ' Harlequin
Friar Bacon.' In the same list of works, under
date 1793, add * Sprigs of Laurel.' Under 1794
add ' Netley Abbey.' Under 1 797, • Wicklow
Gold Mines,' and for 1798, ' The Farmer.' Add
that he was appointed Master of the King's
Music in 1817.
SHINNER, Emily, born at Cheltenham, July
7, 1862, began the study of the violin at the age
of seven. In 1874 she went to Berlin, and for
two years studied under H. Jacobsen, a pupil of
Joachim's, female violinists not being at that
time admissible to the Hochschule. In 1876
this restriction was taken away, and Miss Shinner
was among the first admitted. In October 1877
she became a pupil of Joachim*s, and remained
with him for three years. In Feb. 1881 she
came to London, and after being heard at several
private concerts (among others at one given by
the Bach Choir), made her dt^but at a concert
given by Mr. H. R. Bird in the Kensington Town
Hall, in Brahms's Sonata in G, etc. At the
London Musical Society's concert of June 29,
1882, she played David's concerto in E minor
with great success, and since that time has held
a high position among English artists, her style
being pure and refined, and lier power of in-
terpreting works of a high intellectual order being
very remarkable. Early in 1889 she married
Capt. A. F. Liddell. [M.]
SHIRREFF, Jane. Add date of death, Dec.
23, 1883.
SHORE. Line 3 from end of article, for 1 750
read 1752.
SHUDI, Joshua, harpsichord maker and
pupil of Burkat Shudi (vol. iii. p. 488), appears
from his atlvertisement in the Gazetteer of
Jan. I a, 1767, to have set up for himself about
that time at the Golden Guitar, Silver Street,
Golden Square, London. An advertisement
of his widow, Mary Shudi, then of Berwick
Street, St. James's, in the 'Public Advertiser'
of Jan. 16, 1775, announces his death and her
continuance of the business, and as there is a
fine harpsichord still existing, said to have a.
SHUDl.
romantic history, and bearing the name and
date of Joshua Shudi, 1779, it is evident that
she continued to use her late husband's name,
or dated instruments of his make when she
sold them. [A.J.H.]
SIEGE OF ROCHELLE, THE. Omit the
last sentence of the article, as the subject has
nothing to do with that of ' Linda di Chamouni.'
SIEGFRIED. See under Walkure, vol. iv.
p. 376 &.
SIGNATURE. P. 493, add in the original
edition of Bach's Art of Fugue, as well as in many
old publications and MSS., the signatures of Bb
and Eb are thus given —
SISTINE CHAPEL.
793
and ^:^
S
The true explanation of the omission of the
last flat or sharp from the signature referred to
on p. 493 &, is probably to be found in the in-
fluence of the ancient modes.
SILAS, Edouard. Add that three Mytho-
logical Pieces for orchestra were played at the
Philharmonic Concert of May 17, 1888.
SILVANA. See vol. iii. p. 533 h.
SIMONE BOCCANEGRA. See vol. iii.
p. 533*-
SINICO. See vol. iii. p. 534 a.
SINGING. P. 510&, last line but one, omit
Nicolino and. (Nicolini was a sopranist.)
SIREN. Last line but one of article, for
Tonometer read Scheibler.
SIROE. See vol. iii. p. 534 a.
SISTINE CHAPEL, Archives op the.
For centuries past the jealousy with which these
archives have been guaided by the Capellani
Cantori Pontificii, their official custodians, has
led to the circulation of many mysterious re-
ports concerning them. All the trustworthy
information we formerly possessed on the sub-
ject is contained in a few scattered notices in
the works of Adami^ and Baini ; '^ and this
amounted to little more than the certainty that
they contained a priceless collection of works by
the Ecclesiastical Composers of the 15th and
16th centuries. A large proportion of these
treasures was, however, destroyed by fire, during
the sack of Rome in 1527.^ Again, between the
years 1678 and 1688, further havoc was made,
through the carelessness of the then * protet-
tore,' Cardinal Rospigliosi, after whose death, in
1688, it was found that numberless title-pages,
and other portions of the finest MSS., had
been stolen, for the sake of the miniatures and
illuminations with which they were adorned.*
Between the years 1721 and 1724, the greater
number of volumes in the collection were re-
bound, and ' restored ' by order of Pope Innocent
XTII. Some volumes may possibly have been
1 ' Osservazionl per ben regolare 11 Coro del Cantori della Cappella
Pontiflcia,' per Ant. de' llossl (Roma, Xlll).
2 Memorle storico-critiche della vita e delle opere dl G. T. da
Palestrina', da Guiseppe Baini (Roma, 1828).
3 Baini, in op. cil. Tom. 11. p. 310, Note 631. * lb. 11. 310, note.
preserved by this process; but the operation
was performed with such carelessness, that
works, and parts of works, were bound to-
gether at random, only because they happened
to correspond in size, while the edges were so
ruthlessly cut down, that, in many cases, clefs,
initial letters, and composers' names were com-
pletely cut away. Finally, during the occupation
of Rome by the French revolutionary soldiers, in
1798, a certain ' citoyen' Mesplet, who was nom-
inated * Commissaire des Beaux Arts,* took
possession of the keys, but was recalled before
much harm had been done ; and, though the
volumes were soon afterwards removed to a room
used for the breeding of poultry, and placed in
the custody of the hen-wife, Baini found them,
after the departure of the French, much less in-
jured than could have been reasonably expected.'
Until within the last few years, this was all
that we knew, in connection with the archives.
But all doubts are now removed. By permission
of Pope Leo XIII, Dom. Fr. Xav. Haberl,
Director of the School of Church Music at
Regensburg, began, in the yesit 1883, an ex-
haustive critical examination of the Archives,
and, after continuous study, has published a
complete bibliographical and thematic catalogue
of the Collection,® containing a mine of informa-
tion entirely new to the public.
From this most valuable work we learn that the
collection contains 269 numbered volumes, and
many others not numbered, mostly in large folio,
written on vellum, or thick hand-made paper,
bound in white or brown leather, with heavy
clasps of steel or brass, and adorned with mag-
nificent illustrations by the great masters of the
15th and i6th centuries. The MSS. date from
the year 1458, to the end of the Polyphonic
period ; and the voice-parts are generally arranged
on opposite pages, in the form called Cantus
lateralis.'' Of the numbered volumes, 224 are
in MS. and 45 printed. In 26 volumes the
music is Gregorian. Among the printed works,
are six volumes published by Petrucci^ (Nos.
235 — 238), the twelve volumes of Masses, and
nearly a complete set of the other works, by
Palestrina, published during his life-time and
that of his son Igino. Compositions by Pales-
trina are also continued in 61 of the MS.
volumes, which include 44 Masses, 104 Mo-
tets, Improi^ena, Lainentationes, Miserere, and
Magnificat.
A few volumes in the collection are of special
interest.
No. 22 contains the earliest copy of the Missa
Papse Marcelli in existence. When the three
Masses written by Palestrina in 1565 were
submitted for approval to the Commission of
Cardinals, it was ordered that copies should be
made of them, for preservation in the archives,
and, that the Missa Papae Marcelli should be
6 Balnl, 1. 278, note S79.
« • Blbllographlscher und thematlscher Muslk-katalog des PRpst-
lichen Kapellarchives Im Vatican zu Kom. von Fr. Xav. Uaberl
(Leipzig, bei BreStkopf A Hfirtel, 1888).
7 See Part-Books, vol. Iv. p. 739 o.
8 See I'AaT-BooKS, vol. iv. p. 739 6.
794
SISTINE CHAPEL.
transcribed in letters of extraordinary size.* The
three masses are now bound together, in the
volumes in question ; but, when this was * re-
stored,' in 1734, some other works were bound
up with them. The present contents of the
volume are —
No 22. (a) Missa, En doTdenr et tristesse. Noel Bau-
douyn.
(b) Missa (dated 1568), Eobledo.
(c) Missa, in Modes III and IV (now known
as ' Illumina oculos meos '). Palestrina.
(d) Missa Papae Marcelli. Palestrina.
(e) Missa, in Mode VII. Palestrina.
(f) Missa, Ultimi miei sospiri. II Bosso.
Vols. 205-206^ contain Palestrina's 'Impro-
peria,' and 12 settings of the * Miserere*; one,
by an anonymous author, and the remainder by
Dentice, Fr. Guerrero, Palestrina, Teofilo Gar-
garo. Ft. Anerio, Fel. Anerio, Giov. M. Nauini,
Kugg. Giovanelli, and Gregorio Allegri — the
last-named work being the famous composition
sung, with so much effect, at Rome, during Holy
Week. •'' The Miserere of Bai, sung, for many
years, in alternation with that of Allegri, is
continued in Nos. 203-204.*
The following is the list of Composers — many
of them otherwise altogether unknown — whose
works are contained in the MS. volumes.
N.B. Names without any distinguishing mark are
attached to MSS. only ; names marked t, to printed
works only ; names marked », to both.
Agost. Agazzari; Alex. Agricola*: Greg. Allegri;
Christ. Ameyden; Fel. Anerio; Fr. Anerio; Jo. Ani-
muccia t J Arcadelt ; Ch. d'Argentil ; Tomm. Bai ; Gius.
Baini; Noel Baudouyn; Hotinet Barra; Ph.Basiron
Jo. Beausseron; Ant. Bencini: Jo de Billhon; Jo.
Biordi ; Ant. Brumal * ; Jo. Brumen ; Jo. Brunet ;
Ant. Busnoys; Ginus Angelus Capponius; Firmin
Caron; Carpentrasso • (= El. Genet); Ott. Catalan!:
Pet. Certon t ; Jo. Certori f ; Ant. Cifra t ; Claudin • ( = CI.
de Sermisy) ; Clemens non papa ; Clibano ; Loyset
Compere; Jo. Consilium; Barth. del. Cort; J. P. Co-
lonna t ; Pet. Cotin t ; Giov. Costanzi ; Arc. Crivelli*
Fabr. Dentice; Josquin Despres*; Ant. Divitis; De
Domarto; Josquinus Dor; G. Dufay; Fr. Durante
liot ; Mathurin Forestyn ; Fornarino ; Fremin ; Frea-
neau ; Fr. Guerrero ; Jo. Gallus ; Theo. Gargari ; Ant.
Gardane t ; Gascongne ; Caspar (Qy. Werbecke) ; Jo.
Ghisellinf; Bug. Giovanelli; Vine, de Grandis ; Fr.
Guerrero ; Geo. de la Hele t ; Hesdin ; C. Heyns ; J. de
Hillanas ; Jachet * (Qy. = Jachetto, Jaquet) ; Maitro
Jehan (Qy. de Ferrara) ; N. Jomelli ; Isaac ; Jac. de
Kerle t ; Stef. Lando + ; Ii'heritier ; Orl. de Lassus f ;
Fr. de LayoUe t ; Alfons. Lobo t ; Alex. Lonk ; Jo.
Lupi»; Lupus ;t Tib. Massainof; Maylard; Curtius
Mancini ; Tiburtius Mancini ; ijuca Marenzio ; Agost.
Martini ; Jo. Martini ; A. Michot ; Vine. Mi-
Bonne ; Kinaldo da Montagnanat; CI. Monteverde;
Christoph. Morales*; Pet. Moulu»; Jo. Mouton*;
RomuloNaldi ; Giov. Mar. Nanini ; Jos. de Nebra ; Jac.
Obrecht ; Flam. Oddus ; Jo. Qkeghem ; Ortiz ; M. de
Orto; Pet. Pari. Paciottit; Jo. Petr. Al. Palestrina*;
Dom. Pane • ; Fr. Parisius ; Jo. Parvi ; Pasquin ; Vine.
Pellegrini t; Penet; Jo. le Petit; Philippon; Loyset
Pieton ; Pintelli ; M. Pipelare • ; Pasquale Pisari ; Guil.
Prevostt; Prioris; Lorenzo Katti ; (Jean) Regis ; Jean
(Richafort •) ; Melchior Bobledo ; Roselli + ; 11. Rosso ;
Petrus, (Person or Perisson) de la Rue • ; Jusquinus de
Sala ; Jo. Sarton + ; Balth. Sartori ; A. Scarlatti ; Barth.
Scobedo; Scribano ; Sermisy (mrfe Claudin) ; Ph. Sici-
liani; Andr. de Silva ; Matt. Simonelli ; Fr. Surianot;
Pet. Ant. Tamburini ; Jo. Tinctoria ; Bern. Vacqueras ;
1 Balnl, Tom. 1. p. '290. See also, vol. II. p. 637a.
3 Balni's description of these two famous volumes differs mate-
rially from that given by Haberl. He describes them as Nos. 150-
151; and, among other differences, mentions a 'Miserere' by C.
Festa, and another, by Sante Naldint. There can, hovrever, be no
doubt that the volumes are the same. (See Baini's ' Memorle,' Tom.
II. pp. 194-187, note 577.)
« 8m also vol. 11. p. 330. « lb.
SONG.
Jo. alia Venture ; Ph. Verdelot; Jo. Viardot ; Vincenet;
Phil. Vitali; T. L.Vittoria*; P.de Villierst; Laur.de
Vorda ; Adr. Willaert • ; Jo. Wreede, Brugensis ; Jul.
Zacchini ; Annib. Zoilo.
(Some few modem Composers have also presented
their works to the Library ; among others, Adrien de la
Fage, and Gaetano Donizetti.)
Besides the volumes of music, the archives
contain a vast mass of documents relating to the
history and management of the Papal Choirs,
which are not noticed in Haberl's otherwise
exhaustive catalogue. [W.S.R.]
SIVORI, Camille C. See vol. iii. p. 534 a,
where (line 2 of article), /or June 6, 181 7 read
Oct. 25, 1815.
SLOPER, E. H. Lindsay. Add date of death,
Julys, 1887.
SMART. P. 538 a, 1. 2, for Nov. 33 read
Nov, 27.
SMETANA, F. Among his works mention
should be made of the symphonic poems * Wal-
lensteins Lager,' 'Richard III,' and 'Hakon
Jarl,' as well as of his successful • Lustspiel-
ouverture' brought out shortly before his death,
which took place May 12, 1884.
SMITH, Alice Mary. See White, Mrs.
Meadows.
SMITH, John. See Vowles, in Appendix.
SMITH, John. P. 540 a, 1. i of article, for
commonly styled Dr. Smith read Mus.D. Lines
8-1 1, for sentence beginning About 1826 read
On July 7, 1827, the degree of Mus.D. was con-
ferred upon him by the University of Dublin.
(See vol. iv. p. 170&, note 9.) Line 16, /or
about 1845 read in 1847.
SMITH, John Christopher. Line 5 from
end of article, for Two read Three, as another
collection of Handel's works in Smith's writing
belonging to the Granville family, is now in the
possession of Bevil Granville, Esq. of Welles-
bourne Hall, Warwickshii-e. Omit the reference
to Handel in Appendix.
SMITH, Sydney. Add date of death, March
3, 1889.
SOCIJ&TJ& DES CONCERTS DU CONSER-
VATOIRE. For corrections and additions see
Alt^S and Garcin in Appendix.
SOGGETTO (Ital. for a Subject or Theme).
The true subject of an orthodox Fugue: as opposed
to the Andamento, which is a Subject of abnoi-mal
length ; and the Attacco, which is a mere Point
of Imitation.
In its most regular form, the Soggetto consists
of a single homogeneous section ; as in No. i of
* Das wohltemperirte Clavier.'
Occasionally, however, its division into two
sections is very clearly marked ; as in No. 7 of
the same.
Subjects of this last-named class frequently
make a very near approach to the Andamento,
from which they sometimes differ only in their
less extended dimensions. [See Andamento and
Attacoo in Appendix.] [W.S.R.]
SONG. P. 604 a, in the song • When I am
laid,' the treble clef should be added to the voice
part, and the treble and bass clef to the accom-
SONG.
SPINET.
795
paniment throughout. On p. 608 a, among the
English songs, Hatton's * To Anthea ' should be
mentioned as one of the very best of its kind.
Its omission was accidental. P. 6086, 1. ^4, for
Gattie read Gatty. P. 611, add to list of col-
lections of national songs.
Finnish : —
•Valituita Suomalaisia Kansan-Lauluja,' harmonized
by K. Logi, and published at Helsingfors.
P. 614 a, line 3 from bottom, add Worthy
of mention, likewise, are the songs of J.
Brzowski, Ig. F. Dobrzynski, J. Eisner, E.
Jenike, E. Kania, V. Kazynski, Ig. Komorowski,
M. Madeyski, F. Mirecjki, J. Nowakowski, W.
Prohazka, A. Sowinski, J. Stefani and K. Wy-
soQki.
In 181 8 the poet Niemcewicz published his
great work Spietony historyczne z muzylcon (His-
torical songs with music), and at his invitation
the most popular composers of the day wrote or
adapted melodies to them. From these songs,
cherished as household words by all classes of the
people, Polish patriotism has drawn both in-
spiration on the battle-field and consolation
under misfortune and oppression. The collection
includes some of the oldest national hymns, ar-
ranged in modem notation ; among them, for
instance, St. Adalbert's hymn to the Virgin
{Boga-Rodziqa) , a hymn of the loth century
which is engraved in plain-chant on its writer's
tomb in the Cathedral of Gnesa, and still sung
there as well as at Dombrowa on the Warka
every Sunday. The characteristics of the old
Polish historic chants, such as the Hymn of the
Virgin of Czenstochowska and the Hymn of St.
Casimir, are their simplicity and dignity.
P. 614 b, after last line in small print, add
•PastoralM 1 Kolendy z melody ami,' by Abb^ M.
Mioduszcwski. (The Kolendas or Noels are peculiar to
the Polish people ; they are mostly quaint old popular
airs of the 13th century, and are sung at Christmas in
every house and street. Numerous collections of them
exist.)
* Polish National Melodies,' by Jules Fontana.
'Chants du peuple de Gallicie,' by C. Lipinski.
'Chants polonais nationaux et populaires,' by S.
Sowinski.
' Piesni ludu polskiejo,' by 0. Kolberg. (This is a very
valuable collection.)
' Dainos oder Lithauische Volkslieder mit Musik,' by
li. J. Kh6sa.
' Polnische Liedergeschichte ' ; Eph, Oloff.
' Histoire de la musique en Pologne' ; A. Jarzemski.
' Cent illustres Polonais ' ; S. Starowolski.
' Janociana '; D. JanQcki (treating of old Polish com-
posers).
* La Utt^rature musicale polonaise ' ; Ig. Potocki.
*Les Musiciens polonais et slaves' j A. Sowinski.
See also the writings of Sikorski, Chodzko, Golem-
biowski, Grabowski, Woronicz and Eisner, for further
information on Polish music.
P. 618 a, 1, II, before second musical example,
for lesser read looser. P. 620 a, note 3, /or Olt
read Ott. [A.H.W.]
SONTAG, Henriette. Line 2 of article,
correct date of birth to Jan. 3, 1806.
SOUNDS AND SIGNALS. P. 6476, 1. 7,
for such read much ; and add at end of article,
that Messrs. Potter & Co. have recently pub-
lished a * Drum, Flute, and Bugle Duty Tutor.*
SPINET. After title add Fr. Epinette, Clavi-
corde ; Ital. Spinetta, Clavicordo ; Spanish
Clavicordio. 'English. Spinet, Virffinal. P. 651a,
footnote, add: — and the upright spinet from the
Correr collection, belonging to Mr. George
Donaldson, which had also plectra of brass. It
is therefore possible that the use of the quill
superseded that of brass. P. 651 J, 1. 36, Con-
siderable light has been thrown upon the hitherto
profoundly obscure invention of the keyboard
instrument subsequently known as the Spinet, by
that erudite searcher and scholar Mr. Edmond
Vander Straeten, in *La Musique aux Pays Bas,'
vol. vii. (Les musiciens neerlandais en Espagne,
I's partie), Brussels, 1885. He quotes, p. 246,
from a testamentary inventory of musical instru-
ments which had belonged to Queen Isabella, at
the Alcazar of Segovia, dated 1 503. * Dos Clavi-
cinbanos viejos ' that is to say, two old clavecins
(spinets). One of her chamberlains, Sancho de
Paredes (p. 248) owned in 1500 'Dos Clabior-
ganos ' — two claviorgans or organized clavecins.
In a previous inventory, dated 1480 (and earlier),
the same chamberlain appears to have possessed
a manicorde or clavichord with tangents. But
Mr. Vander Straeten is enabled to give a posi-
tive date, 1387 (p. 40, et seq.), when John the
First, King of Aragon, had heard and desired to
possess an instrument called ' exaquir,' which was
certainly a keyboard stringed-instrument. He
describes it later on as resembling an organ but
sounding with strings. The name 'exaquir'
may be identified with * I'eschuaqueil d'Angle-
terre,' which occurs in a poem entitled ' La Prise
d'Alexandrie,' written by Guillaume de Ma-
chault, in the 14th century. Mr. Vander Straeten
enquires if this appellation can be resolved by
' dchiquier ' (chequers) from the black and white
arrangement of the keys ? The name echiquier
occurs in the romance 'Chevalier du cygne' and
in the * Chanson sur la joui-n^e de Guinegate,' a
1 5th century poem, in which the poet asks to be
sounded
Orgius, harpes, naquaires, challemelles,
Bons echiquiers, gxiistemes, doucemeUes.
The enquirer is referred to the continuance of
Mr. Vander Straeten's notes on this interesting
question, in the work above mentioned. It is
here suflBcient to be enabled to prove that a kind
of organ sounding with strings was existing
in 1387 — and that clavecins were catalogued
in 1503, that could be regarded as old; also
that these dates synchronize with Ambros's
earliest mention of the clavicymbalum, in a
MS. of 1404. P. 652 a, 1. 8, a^rZ:— In the
Bologna Exhibition, 1888, Historical Section,
was shown a spinet bearing the inscription
'Alessandro Pasi Modenese,' and a date, 1490.
It was exhibited by Count L. Manzoni. It is a
true Italian spinet in a bad state of repair. The
date, which has been verified, does not in-
validate the evidence adduced from Scaliger
and Banchieri concerning the introduction of the
spinet, but it places it farther back and before
Scaliger, who was born in 1484, could have
observed it. This Bologna Loan Collection
contained, as well as the earliest dated spinet,
the latest dated harpsichord (1802, dementi)
796
SPINET.
known to the writer. Line ii, Miss Marie
Decca owns a Bosso spinet dated 1550, and
there is another by the same maker (signed
Annibalis Mediolanesis) dated 1569, recently in
the possession of Herr H. Kohl, Hamburg, who
obtained it from the palace of the San Severino
family, at Crema, in Lombardy. These spinets
are usually made entirely of one wood, the souml-
board as well as the case. The wood appears to
be a kind of cedar, from its odour when planed
or cut, at least in some instances that have come
under the writer's notice. P. 654 a, 1. 7, The
spinet by Antonio of Padua of 1550 has dis-
tinctly written on the lowest E key, the next
being F, etc., but although the writing is very
old, it does not follow that it was written when
the instrument was made. P. 654 &, 1. 13, Han-
del's clavichord from Maidstone, with cut sharps,
showed by the tuning when examined in 1885,
that the first diagram is to be accepted as right,
namely, that the nearer divisions of the cut keys
are the dominants, and the back divisions, the
chromatics. L. 24 from bottom of text, for
Mr. Amps read Dr. A. H. Mann. P. 6546
footnote : 16.^0, on Mr. W. Dale's spinet, is
not a date ; it is the maker's number. P. 655 h
1- 5> S^f dated read numbered. The Haward
spinet belonging to the Rev. L. K. Hilton, of
Semley, Shaftesbury, is nearly like a Hitchcock,
which proves that Howard did not remain
with the model figured 655 a. Mr. Kendrick
Pyne acquired a Haward spinet (now in Mr.
Boddington's collection) dated or numbered
1 68 7, that has sharps like the Hitchcocks, with
a strip of the colour of the naturals let in, in this
instance black. [A.J.H.]
SPITTA, J. A. P. P. 656 5, note i, add
that the ti-anslation of his 'J. S. Bach,' by
Clara Bell and J. A. Fuller Maitland, was pub-
lished in three volumes, by Novello & Co. in
1884-5. ^^^ ^^^t the new edition of Schiitz's
works, published by Breitkopf & Hiirtel, is
edited by Dr. Spitta. (Died Apr. 13, 1894.)
SPOFFORTH, Reginald. Line 2, for 1768
read 1770. Line 4 from bottom, ^br Kensing-
ton read Brompton.
SPOHR, Louis. Line 2, for April 25 read
Apx-il 5. P. 661 a, 1. 28 from bottom, for Oct.
16 read Oct. 22. P. 664 a, in the second column
of the list of works, add that op. 97 a, *• Psalm
24,' has been published by Messrs. Novello & Co.,
in * The Bach Choir Magazine.'
SPONTINL P. 677 a, note \, for 'Vdnus
n'avait pas tort ' read * Au bruit des lourds mar-
teaux.'
STAINER, John, Mus. D. Add that in 1888
he was obliged to resign his post at St. Paul's
owdng to his failing sight. In the same year he
received the honour of knighthood. Among his
more imjiortant works should be added a sacred
cantata, 'St. Mary Magdalen,* written for the
Gloucester Festival of 1883, and an oratorio,
♦The Crucifixion' (1887).
STOKES.
STANFORD, C. V. Line 10 of article, /or
was appointed read had been appointed two
years previously. Add that he received the
honorary degree of Mus. D. at Oxford in 1883;
in 1885 he succeeded Mr. Goldschmidt as con-
ductor of the Bach Choir, and in Dec. 1887 he
was elected Professor of Music in the University
of Cambridge, on the death of Sir G. A. Mac-
farren. P. 689 6, bottom line,/or String Quartet
read Quartet for PF. and Strings. To list of
works add the following : —
Op.
18. Three ' Cavalier Songs * (Browning), for baritone and ohoms.
19. Six Songs.
20. PF. Sonata, in Db (MS.).
21. Elegiac Ode (Walt Whitman), for 80II and chorus. Xorwlch, 1884.
22. Oratorio. 'The Three Holy Children.' Birmingham Festival, 1885.
23. Incidental Music to the ' Eumenides.' Cambridge. 1885.
24. • The Bevenge ' (Tennyson), choral ballad. Leeds Festival, 1886.
25. Quintet for PF. and Strings, in D minor.
26. Carmen Saeculare (Tennyson), for soprano solo, and chorus.
Composed for Her Majesty's Jubilee, 18S7.
27. Psalm cl. for soprano and chorus. Opening of Manchester Exhi-
bition, 1887.
28. • Irish • Symphony In F minor. Bichter, 1887.
29. Incidental music to the' Oedipus Tyraunus.' Cambridge, 1887.
30. Songs (unpublished. 1888).
81. Symphony in F (Berlin, Jan. 14, and Crystal Palace. Feb. 23. lf!89).
82. Suite for violin and orchestra (Berlin. Jan. 14, 1889, and I'bil-
harmonic. March 28).
S3. Overture, 'Queen of the Seas' (Armada Tercentenary).
Add that the opera ' Savonarola,' in three acts
and a prologue, was produced at Hamburg,
April 18, 1884, and at Co vent Garden, July 9 of
the same year. On April 28 of that year, his
'Canterbury Pilgrims,' in three acts (words by
Gilbert A'Beckett), was produced by the Carl
Rosa company at Druiy Lane. Other works
without opus-numbers are a Festival Overture,
Gloucester, 1877 ; Elegiac Symphony, in D minor,
Cambridge, ancl Gloucester Festival, 1883; Con-
certos for PF. and for violoncello, with orchestra.
A collection of * Fifty Irish Melodies ' (Boosey),
with accompaniments, etc., edited by him, and a
' Song Book for Schools ' (National Society), may
also be mentioned. (M.)
STARK, LuDwio. Add date of death, March
22, 1884. Add that Dr. S. Leber t died in Dec.
1884.
STEIN. P. 708 6, line 12 from bottom of text,
adddatesof J. A. Streicher, 1761-1833, P. 709 a,
1. \\, for 1795 read 1796. Line 2^, for Jan.
16, 1835, read Jan. 10, 1833. 3^or correction of
the next sentence (lines 26, 27) see Streicher
in vol. iii. p. 739 h.
STEPHENS, John, Mus.D. Line 2 from
end of article /or Dec. 15 read Dec. i.
STEVENS, R. J. S. Line 2 of article, for
in read March 27.
STIEHL, H. Add that he died in May 1886.
STIGELLI, G. Add that he died at Monza,
July 3, 1868.
STOCKFLOTE. See Czakan.
STOCKHAUSEN, Julius. Add that his
Method of Singing has lately been translated into
English by Mme. Sophie Lowe (Novello & Co.).
STOKES, Charles. Line 8 from end of
article, for now read then, and add date of
death, April 14, 1839.
STONARD.
STONARD, William, Mus. D. Add that an
Evening Service by him is printed iu the Motet
Society's publications, vol. ii. p. 78.
STOPPING is the term used for the action of
the fingers of the left hand in playing instruments
with strings stretched over a fingerboard, in
order to produce the intermediate sounds lying
between the notes sounded by the * open * strings.
When a higher note than the fundamental sound
of the string is required, the vibrating part of
the string must be shortened by stopping the
vibration at a certain point between nut and
bridge, i. e. by using one of the fingers of the
left hand as an artificial nut or stopping-point.
The nearer this point is to the bridge, the shorter
the vibrating part of the strings, and the higher
in pitch therefore the sound produced. A correct
intonation or playing in perfect tune obviously
depends entirely on exactness of stopping. See
also under Double Stops and Harmonics. [P.D.j
STRADELLA, Alessandro. P. 723 b, 1. 17
from bottom, add that internal evidence makes
it very probable that Francesco Rossi was the
composer of * Pieta, Signore ! ' although the
authorship is still doubtful. Line 5 from bottom
of same column, add to references, vol. i. p. 6546.
P. 724 a, 1. 6, for 1578 read 1678.
STRAKOSCH. Add dateof death of Maurice,
Oct. 9, 1887.
STRAUS, LuDWiG. Line 12 of article, /or
Prince Czaitoryski read Ober-Finanzrath Baron
von Heintl. Line 9 from end of article, for
settling after a time at Manchester, read divid-
ing his time between London and Manchester.
Line 7 from end add He now lives in London.
Add that in the spring of 1888 he resigned his
post as leader of Mr. Halle's orchestra.
STRAUSS, Johann. Add to list of operas,
*Blindekuh' (1878), * Das Spitzentuch der
Konigin ' (1880), 'Eine Nacht in Venedig '
(1883), 'Der Zigeunerbaron ' (1885), * Sim-
plicius' (1887). Add that Eduaed Strauss
brought his orchestra to the Inventions Exhibi-
tion in 1885, when the daily concerts created a
furore in London.
STREICHER, J. A. Line 7 of article, for
in read Dec. 13. Line 11 of article for in 1794
read Jan, 3, 1796. Line 12, for in 1832 read
May 25, 1833. Line 15/or in read March 28.
STRING. Line i of article for Fr. Chord,
read Fr. Corde.
STROHFIEDEL. Add that the instrument
is more usually called by its other names, Xylo-
phone or Gigelira. A fourth name for the
instrument is Ligneum Psalterium.
STROHMEYER, Carl. Line 4 from end of
article, /or 1870 read 1780.
SUCHER. Add that Frau Sucher gained
great renown by her singing of Isolde at Bay-
reuth in 1 886. In 1887 her husband was ap-
pointed to the post of conductor at the Hofoper
at Berlin, she remaining at Hamburg to fulfil
SWELL- ORGAN.
797
SUSSMAYER. See also Mozart in Appendix.
SULLIVAN. P. 762 a, 1. 24, add that he
conducted the Leeds Festivals of 1883 and 1886,
composing for the latter ' The Golden Legend,'
to words selected from Longfellow's poem.
P. 764 in list of works, add among the dra-
matic works, 'Princess Ida,' 1884; 'The Mi-
kado,' 1885; Ruddigore,' 1887; 'The Yeomen
of the Guard,' 1888 ; all published by Chappell.
Among the vocal works add the cantata ' The
Golden Legend,' produced at the Leeds Festival
of 1886, and published by Novello ; and the trio
* Morn, happy morn,' for soprano, alto and tenor,
with flute obbligato, written for the play of
' Olivia,' by W. G. Wills. Among the incidental
music to plays add Overture and incidental music
to Macbeth, produced Dec. 29, 1888.
SUNDERLAND, Mrs., whose maiden name
was Sykes, was born at Brighouse, Yorkshire,
in 1 8 19. It was as a member of the Halifax
Choral Society that her voice first attracted at-
tention, and she was taken in hand first by
Luke Settle, a blacksmith of Brighouse, and
then by Dan Sugden of Halifax, both renowned
local musicians. Under their training she
became a very prominent member of the old-
fashioned quartet choirs, which then existed in
Yorkshire churches. Her first appearance as a
solo singer was on Feb. 19, 1838, at a concert given
in the Exchange Rooms, Bradford. She at once
became a local celebrity, was styled the * York-
shire Queen of Song,' and for more than a quarter
of a century was the leading vocalist in the
North of England. She was physically robust,
and her voice was a high soprano of great force
and volume, which she managed with much ex-
pression. Her repertoire was chiefly composed
of the principal songs in the Messiah, Judas, and
the Creation ; but she had also some secular
songs, mostly of a popular kind. Her first
appearance in London was in the Messiah
at Exeter Hall, Nov. 2, 1849, and she con-
tinued to sing first soprano for the Sacred
Harmonic Society and other bodies in the Mes-
siah, Creation, Elijah, etc., until 1856. The
directors of the Antient Concerts esteemed her
voice and expression so much that they offered
to send her abroad for further tuition. Indeed
had her early training equalled the quality of
her voice and her natural feeling, there can be
little doubt that she would have risen to very
great general eminence. Her last appearance in
public was in the Messiah, at Huddersfield, June 3,
1864. Mrs. Sunderland married at the age of 19,
and now lives at Calder View, Brighouse. [G.]
SVENDSEN, J. S. Add that in 1888 he
visited England, conducting his Symphony in D
at the Philharmonic Concert of May 31, as well
as the last concert of the season on June 16.
SVENDSEN, Olup. Add date of death,
May 15, 188S.
SWELL-ORGAN. The sentence in lines 5-8
of article is to be corrected, as the Venetian
Swell was not named from the Venetian blind, but
798
SWELL-ORGAN.
the Venetian blind so called because it was worked
on the same principle as the harpsichord swell.
SWEETLAND, W., established an organ
factory at Bath, in 1847. The Church of St.
Cuthbert (Wells, Somerset) and the Wesleyan
Chapel in Cardiff contain instruments of his
making. He also built'a chamber organ in his
own house, for which he has invented a mechanism
whereby the Voix celeste, or tremulant, can be
applied to, or withdrawn at pleasure from, a solo
stop. [V. de P.]
SWINNERTON HEAP. C. Add to Ust of
works a sonata for violin and pianoforte, and a
cantata ' The Maid of Aatolat.*
TESTORE.
SYMPHONY. P. 29 a, 1. 9 from bottom,/or
an Ambrosianischer Lobgesang read the Te
Deum. P. 42 b, 1. 17 from bottom, /or Nor-
wegian read Scandinavian.
SYMPHONY CONCERTS. For continu-
ation see Boston in Appendix, and add that in
the winter seasons from 1886 to 1889, Mr.
Henschel organized a series of orchestral Sym-
phony Concerts in St. James's Hall, on much the
same footing as that of the concerts described
in the Dictionary.
SYNCOPATION. The first note of the
musical example should be E, not C (i. e. on the
highest space of the treble stave).
T.
TACCHINARDI, N. Line 2, /or Florence
in September 1776, read Leghoni, Sept. 3,
1773. Last line of article,/or in i860 read
at Florence, March 14, 1859.
TALLYS, T. P. 54 a, 1. 25, omit the words
Bung upside down. P. 54 c, under * Let the
wicked ' add that • Calvert's list ' refers to his
anthem book, published 1844. P. 54 c?, 1, 4
omit the anthem * 0 thou God Almighty ' as it
occurs again in its right place in the list. For
further information see Byrd in Appendix.
TAMBERLIK, Add date of death. Mar. 1 3,
.1889.
TANNHAUSER. Line 4 of article,/or Oct.
20 read Oct 19.
TANS'UR, W. Add that he was the son of
Edward and Joan Tanzer of Dunchurch, and was
baptized Nov. 6, 1706.
TAR AN TELL A, To the list of works on the
bite of the tarantula given in vol. iv. p. 59 6,
add J. Miiller, De Tarentula et vi musicae in
ejus curatione. Hafniae, 1679.
TAUSIG, Carl. P. 64 J, last line but one, add
that his father, AloysTausig,died March 24, 1885.
TEDESCA, ALLA. P. 67 a, after the musical
example, add that in one of the sketches for this
movement (in Bb) it is inscribed 'AUemande
Allegro.'
TE DEUM. P. 68 5, 1. 2i from bottom, add
that Berlioz's work was performed at the Crystal
Palace, April 18, 1885, and by the Bach Choir,
May 17, 1887. The latter body tang the work
again, with several anthems, etc., in West-
minster Abbey June 28, 1888, the Jubilee of
Her Majesty's coronation.
TELFORD & TELFORD'S organ factory in
Dublin was established in 1830 by William Tel-
ford. His first work was to add German pedals
(till then unknown in Ireland) to the organ of
Christ Church Cathedral, Dublin. Since then
they have built organs for Limerick and Lismore
Cathedrals, and many others in England, Ireland,
and the colonies. [V. de P.]
TEMPERAMENT. P. 70 h, 1. 7, (mif the
words see Appendix.
TEMPUS PERFECTUM, TEMPUS IM-
PERFECTUM. See articles Mode, Notation,
Pbolation, Time.
TENOR. Line 10 from end of article,/or
soprano clef read treble, or G clef.
TENOR VIOLIN. P. 91 a, 1. 1 a from bottom,
for quintet read sextet.
TESTORE, a family of violin-makers at
Milan in the first half of the i8th century, con-
sisting of a father, Carlo Giuseppe (1690-1715),
and two sons. Carlo Antonio and Paolo An-
tonio (i 715-1745). Carlo Giuseppe was the
best of the three. His instruments have often
passed for the work of his master, Giovanni
Grancino. In 1884 the well-known violoncello
called the ' Lindley Grancino ' being under re-
pair, the removal of its spurious Cremona label
revealed the fact that it is the work of the old
Testore, the original label, which was found
well preserved, running thus: 'Carlo Giuseppe
Testore allievo di Gio. Granzino in Contrada
Larga di Milano, 1690.' ^ Sig. Bottesini's famous
double-bass is another well-known specimen of the
old Testore's work. His instruments are strongly
made, and often irregular in design. The model
is generally of medium height, and the finish
varies considerably, many being left very rough,
and extremely plain in appearance. The tone,
however, is usually good, and in exceptional
cases very powerful and telling. The varnish, a
brownish-yellow, sparingly applied, adds little
to the attractions of these instruments, and
vigorous hands are necessary to develop their
tone. The instruments of the sons are less
esteemed : they are lighter in colour, and a
tendency to imitate Joseph Guarnerius is ob-
servable. The Testores worked at the sign of
the Eagle in the same narrow street where the
Grancinos worked at the sign of the Crown.
Alberti, Landolfi, Tanegia, Mantegazza, Giuseppe
i Communicated bj Messrs. W. E. Hill and Sons.
I
TESTOEE.
Guadagnini, Mezzadri, Lavazza, and others,
complete the group of Milanese makers who
followed the Testores in general plainness of
style, aiming at producing instruments rather
useful and lasting than ornamental, [E. J.P.]
THALBEHG, S. P. 966, at the top of
the column, the story concerning Schumann and
his wife occurs in Schumann's * Gesammelte
Schriften,' i. 199, where it is told, not as an
actual occurrence, but as having happened to the
imaginary characters Florestan and Zilia, It
may or may not have had its foundation in fact.
THEATRES IN LONDON. See Vaude-
ville Theatre, vol. iv. p. 23a and the same
heading in Appendix..
THESPIS. Line 4 of article, for Dec. 23
rtad Dec. 26.
THOMAS, Aethur Goring. Add that his
four-act opera ' Nadeschda,' set to a libretto by
Julian Sturgis, was produced by the Carl Rosa
Company at Drury Lane, April 16, 1885. An
orchestral ' Suite de ballet ' was performed by
the Cambridge University Musical Society on
June 9, 1887. (Died Mai*. 20, 1892.)
THOMAS, Chaeles Ambroise. Correct the
statement in 1. 5-6 from end of article, by a
reference to Gounod in Appendix.
THOMAS, Harold. Add date of death,
July 29, 1885.
THOMAS, Theodore. Add that the famous
orchestra formed by him was disbanded in 1888.
THOMASSCHULE. See vol. ii. p. 114&,
and vol. iv. p. 198 a.
THOMSON, George. Line a of article, /or
Edinburgh read Dunfermline, and omit the words
or 1759.
THORNDIKE, Herbert Elliot. Was born
April 7, 1851, at Liverpool, and educated
at Woolwich Academy and Cambridge. As an
undergraduate of the University he competed
successfully at the Crystal Palace National
Music meetings, and gained the first prize.
He then went to Milan, to Francesco Lam-
perti, under whom he studied for four years.
Since his return to England he has studied
oratorio and English singing with Signer Ran-
degger and Mr. Deacon. He made his first
appearance in public March 26, 1878, at the
Cambridge University Musical Society, and has
since then been steadily rising in favour. His
voice is a good full bass of unusual compass, and
he sings with taste and intelligence. Mr. Thorn-
dike has frequently sung at the concerts of the
Bach Choir, the Popular Concerts, the Nor-
wich Festival, etc. At these he has introduced
for the first time in England Schubert's noble
songs, * Waldesnacht ' and * Wehmuth.' He
appeared on the boards of Drury Lane in July
1887. [G.]
THOROUGHBASS. P. 108 b, add that the
first use of a thoroughbass appears to be in a
work by an English composer, Richard Dering,
who published a set of 'Cantiones Sacrae' at
TOY SYMPHONY.
799
Antwerp in 1597, in which a figured bags is em-
ployed. See Dering in A ppendix, voL iv. p. 6 1 2 &.
THREE CHOIRS. The following is a list of
the new works produced at these festivals since
the article was written : —
Worcester, 18S4, Dr. J. F. Bridge's 'Hymn of St. Francis,' and
Mr. C. H. Lloyd's 'Hero and Leander.'
Hereford, 1885, Dr. Joseph Smith's 'St. KeTln,' and Mr. Lloyd's
• Song of Balder.'
Gloucester, 1886, Mr. W. S. Rockstro's 'Good Shepherd," and
Mr. Lloyd's 'Andromeda.'
Worcester. 1887, Mr. Cowen's 'Ruth.'
Hereford. 1888. No new work of importance.
THREE-QUARTER FIDDLE. SeeViOLiNO
Piccolo.
TICHATSCHEK, J. A. Line 15 from end of
article.ybr Hernando read Fernando. Add date
of death, Jan. 18, 1886.
TOEPFER, GoTTLOB, was born in 1792 near
Weimar, received a good education, and be-
came organist of that city. He wrote two
works on organ-building in 1833 and 1843
respectively. [V. de P.]
TONAL FUGUE. From a passage in Aithur
Bedford's 'Great Abuse of Musick' (171 1) it
may be inferred that the invention of tonal
fugue was commonly ascribed, though of course
wrongly, to Purcell. He gives an example in
his appendix of a ' Canon of four parts in one,
according to Mr. Purcell's rule of Fuging, viz.
that where the Treble and Tenor leaps a fourth,
there the Counter and Bass leaps a fifth.' [M.]
TONIC. The name given in modem music
to the Key-note, i. e. the note from which the
key is named. The functions of the tonic are in
all respects identical with those of the final of the
ancient modes. The tonic harmony is the com-
mon chord or triad, major or minor as the case
may be, which is built upon the key-note as its
bass. The rule that every composition must end
with this harmony in some shape or other is pro-
bably the only law of music which has remained
in full force through all the changes fi:om the
ancient to the modern styles. Its application is
so universal that only one exception occurs
readily to the mind, that of a song by Liszt, in
which the effect of the innovation is so unsatis-
factory that it is extremely improbable that it
will often be repeated. [M.]
TORRIAN, Jehan, of Venice, lived at the
end of the 15th century, and built in 1 504 the
organ of Notre Dame des Tables, Montpellier.
A copy of tlie curious contract may be seen in
Roret's * Manuel des Facteurs d'Orgues ' (Paris,
1849). [V.deP.]
TOSTI, F. P. Line 2 of article, /or April 7,
1827, read April 9, 1846. P. 152 a, 1. 11, for
sine read sene.
TOWERS, John. Line 8 from end of article,
for Conell, read Charlton on Medlock.
TOY SYMPHONY (Ger. Kindersinfonie;
Fr. La Foire des Enfants, or Symphonie Bur-
lesque). The English name by which a certain
work of Haydn's is known. A tradition which
there is no reasonable cause for doubting says
that the composer got seven toy instruments at
800
TOY SYMPHONY.
a fair at Berchtesgaden, and taking them to
Esteihdz, summoned some of his orchestra to an
important rehearsal. When they found that
they were expected to play a new symphony
upon these toys (the only real instruments in
the score are two violius and a double bass) the
most experienced musicians in the band failed to
keep their time for laughing. The original
parts are entitled * Sinfonia Berchtolsgadensis ' ;
the toy instruments employed are a * cuckoo '
playing E and G, a trumpet and drum in G, a
whistle, a triangle, and a * quail ' in F. There
are three movements, the last of which is played
three times over, faster and faster each time.
The symphony is in C major, and was written
in 1 788. [See Pohl's* Haydn,' vol. ii. p. 226, etc.]
Andreas Romberg wrote a symphony for much
the same instruments, with the addition of a
pianoforte duet, a r-attle, and a bell. He attempts
more elaborate modulations than Haydnventures
to use, but his symphony lacks the fun and fresh-
ness of the older master's work, although his slow
movement, an Adagio lamentabile, is very hu-
morous. Mendelssohn wrote two — ^the first for
Christmas 1827, for the same orchestra as Hay-
dn's, the second for Christmas 1828. Both seem
to have vanished. [See vol. ii. p. 261.] Mr.
Fjauklin Taylor has written one for piano and
toys which is not infrequently played. [M.]
TRACTULUS. I. A kind of Neuma, used be-
fore the completion of the Stave. [See Neuma].
II. The Guidon, or Sign, used at the end of a
Stave, to indicate the note with which the next
Stave begins. (In English it is called a Di-
rect.) [VV.S.R.]
TRACTUS (Deriv. traho, traxi, to bear;
Eng. Tract). A form of Versicle sung, in the
Roman Church, after the Gradual, between the
Epistle and Gospel. The Graduale and Tractus
owe their names to the primitive custom of sing-
ing the Epistle and Gospel from two Pulpits, or
Amhones, placed on opposite sides of the Choir ;
the Epistle being sung on the south, and the
Gospel on the north side — when the orientation
of the Church was correct. The Graduale was
so called, because it was sung while the Deacon
was ascending the steps, on the Gospel-side.
The Tractus owed its name to the ceremony of
carrying the book from one side to the other.
The Plain-Chaunt Melodies to both are of the
highest antiquity. [W.S.R.]
TRANSCRIPTION. A term which in ils
strict meaning should be the exact equivalent of
Arrangement, but which in practice implies a
different, and in most cases a far less worthy pro-
duction, since the transcriber rarely if ever fails
to add something of his own to the work he
selects for treatment. Among the earliest ex-
amples of the transcription in this sense are the
versions of tunes, sacred and secular, contained
in the Virginal Books, which no doubt were
executed to order, or to show off the skill of some
illustrious performer. It is curious to notice
how constant fashion has been in its adherence
to this form of music. William Babell's harpsi-
TR^SOR MUSICAL.
chord lessons upon the favourite opera airs of
Handel's time are of the same order, artistically
speaking, as Thalberg's ' Home, sweet home,' or
any other piece of the class in modern days.
Earnest musicians seem always to have viewed
these productions with the same disapproval.
Burney's opinion of Babell is followed by a pas-
sage which may most profitably be studied in
this connection (Hist. vol. iv. p. 648). Here and
there, of course, are to be found transcriptions
which consist of something besides unmeaning
runs and brilliant passages, and which even
help to elucidate the intention of the original
composition. Among Liszt's versions of Schu-
bert's songs, there are a few, such as the
*Erlkonig,' of which this may be said, but
in spite of such brilliant exceptions as this
the form cannot be regarded with unmixed
satisfaction. [M.]
TRANSFORMATION OF THEMES. See
Metamorphosis in Appendix, vol. iv. p. 717.
TREE, Anna Maria, the elder sister of Mrs.
Charles Kean (Ellen Tree), born 1802 in Lon-
don, was taught singing by Lanza and Tom
Cooke. She was first engaged at Bath, where
she appeared as Polly in ' The Beggar's Opei*a,'
Nov. 13, 1 81 8. She made her debut at Covent
Garden as Rosina in 'The Barber of Seville.'
Sept. 10, 1819; became a popular actress and
ballad singer, and remained at that theatre, with
the exception of her provincial engagements, until
her retirement, June 1 5, 1 825. She made a great
success as Luciana, Dec. 11, 1819; Viola, Nov.
8, 1820; Julia, Nov. 29, 1821; Imogen, June
19, 1822; Rosalind, Dec. 10, 1824; in Rey-
nolds and Bishop's musical adaptations of Shake-
speare. Her principal new parts were Louison
in * Henri Quatre,' April 22, 1820 ; Zaide in the
younger Colman's ' Law of Java,' May 11, 1822 ;
Lady Matilda in Planches 'Maid Marian,'
adapted from Peacock's novel, Dec. 3, 1822 ;
Clan the Maid of Milan, in Payne's operatic
play, wherein she originally sang * Home, sweet
Home,' May 8, 1823 ; Mary Copp in Payne's
'Charles II.' May 27, 1824 (these last two she
performed at her farewell benefit) ; the Baroness
Matilda in 'The Frozen Lake,' a mutilated
version of Auber's 'Neige,' Nov. 26, 1824, etc.
She married Mr. James Bradshaw, afterwards
member for Canterbury, Aug. 15, 1825, and died
at her residence, Queen's Gate Terrace, Feb. 17,
1862. Chorley described her as a singer with a
cordial, expressive mezzo-soprano voice, and much
real feeling. [A.C.]
TR]&SOR MUSICAL. A collection of music
edited by the learned M. Robert van Malde-
ghem, whose researches in the monasteries and
libraries of the continent, including the Vatican,
have yielded splendid results, and, with the
encouragement of the Belgian Government have
rescued from obscurity many works of the old
Flemish and Belgian composers, under whom
the golden age of counterpoint was reached.
The biographical notices, sometimes accompanied
with portraits, are of interest, but would gain in
I
TRfiSOR MUSICAL.
value were more frequent reference made in
them to the authorities consulted. Every year
since 1S65 has seen the publication, in a mag-
nificent edition, by Musquardt, Brussels, of two
books ('Musique religieuse, musique profane')
of the series, which is not yet complete.^ In
the following index the more usual forms of
certain composers' names are preferred to those
given in Maldeghem's list.
L'honneur . . . 1881 IS
Blen heureux . . . ,, I''
Le corps malseln . . „ 13
SI je me plains . ... 20
Heil aen den Mensch . 1882 3
0 qu'a bon droit .... 8
0 blen heureux .... 10
lb. (transposed) . ,. H
Celuiestfol . .... 12
L'.ame n'endure , . „ 33
Tout ce qui est . . „ 16
Soitqueleciel. • . ,, 18
II est done vrai . . 1883 8
Otropingratl . . „ 4
0 doux printemps . . „ 7
De sin verblijd . . „ 11
SainteBarbe . . . „ 14
Un visage . . . „ 16
Mon coBur couvert. . „ 18
E(5jouissez-vous . ... 20
Vous marchez . . 1884 3
Ah mon Dieu 6
Vfgnons, vignettes . . „ 13
Amor che deggio , . ,, 14
Entree suis . . . 1S86 8
Changier ne veulx . . ,. 21
Plaine de deuil . . ^m 3
H61as seray-je . . . 1888 11
a6:-
Jenedismot . . . „ 1
Aqeicola, ALEXANDEB.
/Sacred.
a4:—
Xobis sancte Spiritus . 1867 19
Sancte Philippe . . „ 21
o5:-
Ilaec dies 25
Secular.
o3:-
Sur tous regrets . 1875 46
o4:-
Si vous m'aimez . . „ 43
Miserable 47
II est bien . . , 188.T ]5
Belle, pour I'amour . 1888 18
Arcadelt, Jacob.
/Sacred.
a4:-
Ave Maria . . . 1866 23
a5:-
0 sacrum . . . 1884 3
Secular.
a3:-
Quand je compasse . . 1874 46
Sinc^rit^ 47
Sij'ai deuxserviteurs . ,, 48
SI I'on pouvait . . „ 49
Tout le d^sir . . . „ EO
Soupirs ardans . , „ 51
Baston, JosQOm.
Secular.
a6:-
D^ploration de Lupus . 1876 3
Baeba. [See Hotin.]
Benedictus. [SeeHEnroons.]
Beechem, Jacob van.
/Sacred.
o4:—
OJesuChrlste . . 1865 12
1 The volume9 are numbered merely by the date of publication,
M In the following list, where the last column of figures indicates
the page of the volume. The division into Sacred and Secular is
nut strictly observed : the words in this list are used for convenience
of reference simply.
TRfiSOR MUSICAL.
AnOKTUOCS OB DOOBTrCL.
Sacred.
a4:-
Are Regina Coelorum
. 1880
29
Pange lingua .
• •>
32
ODulcis .
• If
44
Laus Deo .
45
Beatalmmaculata .
." 1881
35
Felix Anna (2 parts)
. 1884
10
a6:-
Ave Marls Stella .
. 1880
36
/Secular.
Songr.LaBuissonnette
. 3R«3
9
Duet (for 2 basses) .
. 188-2
21
a 3. Partsongs:—
Toutes les nuits .
1877
38
On ne pent .
39
Pour ung jamais .
1887
7
Tous nobles cueurs
„
11
A vous non aultre .
„
13
Va-t-ens regret
„
15
Seje souspere . .
„
]9
Ce povre mendlant
„
21
Od^Vots ....
„
23
L'heura est venue .
„
25
Despitant fortune .
f»
27
Je ne syay plus . .
J'ay mis moncueur
29
1888
5
Tristesuis
„
8
Ne vous chaille .
14
L'hirondelle .
1877
40
Ghequetst ben io .
1878
10
a4:-
Mijnhertken . .
1875
41
11 me suffit
1878
14
Bonhommevleil .
1879
23
Mais qui est celui .
1,
24
Dans son chateau .
2-.
Le mois de Mai
jj
28
De la nuit le doux flam
beau ....
SO
Que serviront grands
thr(5sors
„
38
Soupirs ardents
^
40
Par le moyen .
1880
12
Les forts .
14
Femme de sens
15
O m^re des flatteurs
16
Aussl n'est rien .
16
L'ame est le feu .
18
La m^diocrit^ . . .
19
Qui vers le del . ,
20
Par les sen tiers .
21
Chacun court .
28
Page du rol
• «.'
80
Ce grand Dieu.
,
82
Ortoutplaisir.
• »
34
Lavertupr^cieuse.
.S5
La volupt^
II
37
Aux uns 11 fait
J,
38
Or, quand la mort .
„
40
Tout sceptre .
41
Aussl n'est 11 blason
• •!
42
Le corps malsein .
J,
43
Au fond des bois .
• •>
45
Ou planterai-je .
»
46
Celui nes'aime en rlen
48
Infame
•
50
Quand plus un homme
. 1881
4
Nos Jours
,
5
De pent de blen
6
Biens successifs
,
10
Car il la v^rito
_
12
O bien heureux
IS
Entre mille vertus .
. '..
14
No5 (2 parts) .
Ecclesiam tuam .
Sabbato Sancto
Yeni Sancte Spiritus
/Secular.
aS:-
Datickmocht . . 1875 25
Gynachtegael . . „ 29
a4:—
L'aultrejour . . . 1888 20
Beeghe, vakden. [SeeMoKTE.]
BisscHOP. [See Episcopius.]
Beumel, Anton.
Sacred.
a4:-
O Domine Jesu Christe . IRRG 43
Laudate Dominum . 1875 4
Mass (Kyrie, Gloria,
Credo, Sanctus) . . 1874 35
Agnus Dei of the same 1875 8
1881 S6|PrIncIpts Ausonte flli
„ 4o! (2 parts)
„ 42 CsBsaris haec animo (2
parts)
801
Secular.
Compere, Lotset.
Secular.
aS:-
Venez, ami . . . 1877 30
Va-t-en, regret . . „ 32
Recueillez-vous . ... 84
Sourdes Regretz . . 1837 17
Cornets, Pierre des.
Secular.
o4:-
Keveille-tol . . . 1881 8
Ceecquillon, Thomas.
Sacred.
o4:-
Super montem (2 parts) 1876 32
ai:
Ach, gheldeloos . . 1874
Cabilliad.
Secular.
aix-
L'an et le mois . . 1882
Cladde. [See Le Jeune.;
Clemens, non Papa.
Sacred.
a5:-
AveVerum . . • 1884
Doux Rossignol .
Je preiids en gr^ .
lb. (transposed)
1865 14
1878 30
Cleve, Joannes de.
/Sacred.
a5:-
Mass, Tribulatio . . 1879
aO:-
Ma-is, Dum transisset
Sabbatura . . . 1878
a4:-
Doctor bonus (2 parts) 1877
Ego sum via (2 parts) „
1878
1879
Filias Jerusalem
In nomine Jesu
Miserere mel
Ad juva nos
Convertiminl .
Gregem tuura
Impia . . • • f,
Deus quis simllls (2 parts) „
a5:-
Reginaccell . . • 1877
Tribulatio
Gaudeamus . . . „
Doctor bonus (2 parts) . „
Domine Jesu „ „
Domine ciamavi ,, „
Intematos mulierum (2 I Paternoster
parts) .... 1879 471^ jj jj^
Timete (2 parts) . . 1880 3 '^'"'
Inclina (2 parts) . . „ 8
o6:-
Alma(2parts) . . 1876 47
Dum transisset (2 parts) 1878 8
Ave virgo (2 parts) . „ 27
Dum aurore . , . „ 23
Nigra sum (2 parts) . „ 37
Secular.
o4:-
C'est un grand tort . ^?C^'^ 1"
Je suis conlraint . . 1872 42
En espdrant . . . 1878 Ifi
lb. (transposed) . ,. IS
Quiladira . . ... 17
Si j'ay I'amour . . 188S 20
a5:-
Caroli magnus erat . 1876 15
Quis tevictorem dicat . „ 21
DESPRfcs. [See Pr^s.1
Dncis. [SeeHERTOons.l
Episcopius (or Episcopus),
LUDOVICUS.
o4:—
Antiphon, Salve Begina 1875 9
Faionient, Noe.
Secular.
o4:—
Basciami , . . , 1877 15
Questich'inditio . . „ 18
Fossa, Joannes de.
Sacred.
4:—
LitanisB de B. Maria . 1866 8
GHEEEKIN.
Secular,
ail—
Mon pauvre cceur
Sijel'aimais .
Ton amiti^
Le mois de Mai
Nature a pris .
Het was mij .
GoMBERT, Nicolas.
Sacred.
a4:-
Salve Regina .
35 Ave Sanctissima
39| a5:-
1879
1866
1884
1876
Mirabile . . . .
1865
38
Spes mea ....
1880
15
Kespexit Ellas . .
..
20
Secular.
ai:-
CsBsaris haec animo (2
parts) ....
InDeospem .
1873
1876
16|
34
a6:—
Forti qui celebres .
Carole, sceptrigerl pa-
tris . . . .
Si data conveniunt .
1865
1873
23
7
Genuckelycke dingen
Si je me plains
Force sera
lEnespoir
Page du Rot .
Je n'en puis plus .
Hors, envieux .
I o8.—
Qui me donneralt .
1875
a6.—
Sous I'ombre . . . „
GossB, [See Junckebs.]
802
TRfiSOR MUSICAL.
TR]£SOR MUSICAL.
GOUDIMKL, CLADDf.
Saered.
Domine quid muUlpli-
catl . . . . 1SG7 15
A la volx 18
S choirs, Salve Begina . .. 3
Secular.
aS'.-
II faut aimer ... 1871
Oil planterai-Je . . ..
Si c'est un grand toor-
meut ......
Hellince. [See Lupds.]
IlEBTOGHS, BeNEDICTDS.
Seemiar.
at:—
Musffi. JotIs (2 parU)
MUnhertlten .
Quaiid de NoSl .
Au fond des bols .
De la nature .
Oonsid^rant .
lb. (transposed)
N'allez-Tous pas, troub*>
dour .
lb. (transposed)
On dit bien vrai .
A bien dire .
D'etre palen .
Mon Cher troupean
Heil hem . . .
En esp4rant .
Grootmachtig God I
Petite fleur
11 n'y a qu'un ieul Dleu 1
ait—
Danse, Pavane, La Rote 1
„ ,. LaFasane
Tribulationem (2 parts) 1867 96
Cognovl, Domlne ., . „ 40
lAve Begina Ccelorum . 1876 45
ILaudent Deum
iKeglnaCoeli .
1880 52
1888 2T
3
4
6
*. 6
.. 7
* 7
HOLLANDE, JOANNES DR.
Seeular.
mon
1880 22
„ 23
.. 25
.. 27
o4:-
Le rnsslgnol .
Pu vrai fumeur . . „
O malbeureux . . „
Qui veut nombrer . . „
HONDT. [See Gheerkin.]
HOTIN. or HDTIN.
Baered.
a4:—
Feccantem me . . 1884 IS
JosQOiN. [See Pees.]
Jdnceers. Gossen.
Saered.
o4:-
Misltme . . . . 1885 25
Keble, Jacob de,
o4r—
Uass, Pro defunctls . 1886
„ ReglnaCoBli. . 1887
„ Ut, re. ml, fa, sol. la 1888
a5:—
TeDeum .
Domine quid multlpU-
catl (3 parts)
Venlte ad me (3 parts)
Kgressus Jesus „
Similitudo (2 parts)
Cum autem esset (2 pts.) „
Super omnia ligna „ „
Lambeeto. [See Mohte.]
Lappebdet, Phlips.
Secular.
o4:-
Tant plus un bien . . 1882 19
Laboe. [See RuE.]
Lasso, Orlando di.
Saertd.
o4:-
ATeJesu
1867 S4
o4:—
Lorsquejechante .
Vous qui brillez .
Alma Nemes .
Fertur in conrivils
A ce matin oe seratt
bonne .
Soyonsjoyeux.
SI ^r6s de mol .
Maitre Robin .
Quand mou marl rerient
Ardant amour .
S'acheminant, le lion
0 vins en vlgne
H^las! quel Jour .
Un doux iienny
Le temps paasd .
Avecque vous
amour .
Je I'aime bien . .
Fleur de quinze ans
Or, siu, fllles .
Sije suis brun
Ne Tous solt strange
Si TOUS n'dtes eubon-
point
Madonna mia pieta
Tu sal Madonna .
No giomo .
La cortesia . .
Tu tradltora .
Sto core mio . .
Fuyons tous . .
H&tez-vous
LebonviTant . .
Petite folle . .
Mon Dieu, disalt .
Aspiration
Le temps pent bien
En un lieu
Mas pas comptiSi .
M^chant dfoir
Beau le cristal
pour moi . .
Je ne veux rlen
Ton froid regard .
Bon Jour .
Margot
Ce faux Satan .
Lorsque ma plainte
Per aspro . . .
Non hanno
Errai scorrendo
Ma quel gran Be .
Cosi quel che .
O Toi gia stanchl .
a5:-
Delitise PhoBbl .
Ut radios edit .
Non tenui (2nd part) .
Quis valet eloquium
Forte soporifera
Super flumina
Illic sedimus (2nd part)
Te spectant
Cernere virtutes
Ave color vinl
O quam fragrans (2nd
part)
Animam i
Congregamimt
Quid potest stulto .
Stet quicunque volet
cum transierunt
Si bene perpendi .
Quis mibi quis te te
a4:—
Me miserum (2nd part)
o6:-
Nunc Jurat (3rd part)
a5:-
Ove sei vita mia .
Come sei (2nd part) .
a6:-
Anni nostri .
O Mors, quam amara .
O Mors, bonum (2nd
part) . . .
„ 42
.. 44
877 3
4
.. 6
» 6
tt 7
9
1877 11
., IS
.. 26
Auditellus . . .1868
28
0 Domine . . .
1876
3
a4:—
Ave Sanctlsslma .
••
4
Ubi Plato (2nd part) . ^
SI
o5:—
ait—
Reglnacoeli . . .
1875
40
Dbi David (3rd part) . „
32
Litauiae Lauretanaa
im
6
Ueroum soboles . . „
35
Beeular.
Tityre, tu patulae . . „
38
o4:-
0 Meliboee Deus (2nd
Iclc seg vaerwel
1873
6
part . . . . „
Nunc gaudere licet. . .,
40
42
Monte, Lambertcs de.
Sacred.
o8:—
o4:—
Jamlucis. . . . ^
44
Ma^ificat . . .
1875
16
Qui ponet aquam (2nd
lb
18
part)
48
Laudemus . . .
24
Edite Csesareo . . 1869
3
o6:-
Obscura sub nocte
(2nd part)
7
Magnum trlumphum .
Descendi ....
-
23
27
alO:—
Qudproperas
LE JEDNB, CLADDW.
11
ail—
Magniflcat
MONTB. FHILIPPOS DB.
IS
Secular.
a4:-
Sacred.
Venez, douleurs . . 1884
Le corps malsain . . „
Ces roses • . . . „
9
10
12
a5;—
Mass, Ad televavl: Kyrie,
Gloria, Credo .
1870
82
„ Adtelevavl:8anc-
LEMAITEE. [See Maistre.
tus, Agnus Del .
„ Emitte Domiue .
ICTl
3
7
LOTSET. [See Compere.]
a6:-
., 81 ambulavero .
LUDOTICDS. [See EPISCOPIOS.]
29
Ldpus, Jean.
„ Deus mens .
1CT2
3
Saered.
., Quomodo dilexi .
„
24
a6.—
„ Cum sit omnipo-
Egregie Del martyr . 1884
Miserere mei . . . „
22
25
tens: Kyrie
„ Cum sit omnipo-
"
47
tens : Gloria,
Secular.
Credo. Sanctus,
ait—
Agnus Dei . .
187S
3
Diligence .... 1880
3
„ Benedlcta es .
1874
6
La douceur
a8:-
Comme douleurs . . „
0 quelle mis6ro . . „
„ Confltebor tlbl ;
Des'attendre
Domine
1873
24
Mon pauvre coeur .
11
„ Confltebor tlbl,
Malgrdmol . . . 1888
24
Agnus Dei .
1874
s
Maoqde, Joannes de.
Secular.
o4:—
Saered.
Entre dans mon coeur .
1866
6
a 8 (2 choirs) :—
Espoir ....
36
DeB. Maria V. . . 1865
26
Quand dans I'azur . .
\'
37
I'er divlna bellezz' ,
1866
21
Secular.
a4:-
Da bei rami .
26
Alma ben. . . .
28
0 que la vie . . . 1871
46
•*
Non al suo amante . ,.
48
o6:—
Amor
51
Verde laoro . . .
„
SO
a6:-
ONGUEVAL. VAH.
lo vidi amor . , . 187S
S
Secular.
Maistre, Mattheds lb.
ail—
Sacred.
0 Jours heureuz .
1865
ss
a4;-
Peveenaeoe, Andrea.
Paternoster ... 1866
23
Saered.
Secular.
o4:—
Roofmytoch . . . 1?63
LeSoir .... 1SG5
S2
21
Laude pia Domlnum .
DIgnus es .
1866
1880
S9
61
Kein lleb on leld . . 1876
40
a5:-
Brichnicht
42
Benedlctlo et clarltas .
1866
17
DerFuclisdarffglack . „
43
a9i—
a6:-
Gloria (2 choirs) . .
21
VenlteirllebenGeselln ..
45
Secular.
o7:—
o4:—
Ob Ich schon arm . . „
49
Gloire au combattant .
1886
8
Martelaebe, Joannes de.
Quaiido la voce . .
Cum humllatio (2nd
"
U
Baered.
a6:—
part) ....
^
IS
Ardo, donna .
16
In nomine Jesu . . 1866
20
3 com' e gran martire .
,j
18
MELDERT. Leonard van.
Dolce mio fbco .
..
2S
Secular.
a6:-
o6:-
Au bon vieux temps
1866
19
Cresci ber verd' alloro . 1876
S3
Je veux. Seigneur .
1869
18
Mel, Binaldo del.
Seigneur, J ai conflance .
Sllesouffrlr . .
•t
21
24
Saered.
0 ! Souverain Pasteur .
t>
27
a4:-
P6reEternel . . .
80
OJesuChrUte . . 1865
25
En ce beau mois . .
S3
H«ecdies .... 1875
43
^uand vous verrez . .
w
S6
Magniflcat 4 tent . . .,
44
Toutes les nuits . .
»
89
Magnificat 8 tonl . . .,
49
Bonheur dun Jour. .
2
TRfiSOR MUSICAL.
TROIS COULEURS.
803
Kachel pleuralt
Joseph mettant
II le combla (2e partle)
Kecueillez-vous
Trois fois heureux .
Heureuse (2e partle)
Mis^ricordo .
Fais que je vive
Fais que mon ftme .
Vous qui goatez
Ton gentil coeur .
Ce fut pour vrai .
Lk je viendrai . .
Je suis tenement .
Lapeur .
Si mon devoir .
Certes vous avez tort
Secourez-moi .
Triste fortune
Ton amiti6
Fulsqu' bonnenr .
Gaston
Contenter-voiM
Tout ce qui est a
monde ,
De moins que rien .
D'etre si longtemps
Si vous m'aimez
Recherche qui voudra
Exempt d'ambition
Comme le Chasseur
Pour falre qu'une affec-
tion . .
raut-il, eniant
Les olseaux .
Les rayons
Fais que je vlv»
Savez-vous ,
Sljeplaide .
Du parfum
O ccEur hautaln
Chaque corps .
D'etre paien .
Je suis heureux
Tr6ve au labeur
Dans cet ^tat
partle)
Toujours I'honneur
Bi la douleur .
Sur tons regret!
Sic'estDieu .
Encomium musices
Ernestum cantate .
FIPELABE, MATTH^OS.
Saered.
«7:-
De septem doloribus
M.V 1875
Secular.
aS:-
H^las de vous . . . 1877
Bur tous regrets . . „
o4:—
Quand vers le soir
(20
BICHAFOBT, JEAK.
Sacred.
a4:-
Emendemus (2 parts) . 1881 25
Congratulamial . . „ 29
SufBclebat . .... S3
Veni, Sponsa Cbrlati
Secular.
a4:
La nature ofiFt'e
lb. (transposed)
Chantons le doux .
Sur tous regrets
1879 32
.. 33
87
BoaiEB-PATHTB (ou MaItbc
BOGEE),
Secular.
a4f—
Ce n'est pas tout . 1883 12
EOGIEE, PHILIPPK.
Sacred.
air-
Mass, Inclyta stlrps JeSM 1885 8
BOBE. CiPBIANO DB.
Sacred.
o5:-
Agimus Tib!
Da pacem
1865 18
1876 19
Secular.
. 1875 7
. 1872 44
. 1875 8
. „ 1-2
. 1876 29
Ick weedt
Fors seulement
. 1878
. 1885
PBaiPPES. [See Vebdelot.
FoNTE. Jacob van.
Secular.
a4'.—
Au mols de Mai
1865 30
Tout ce qu'on peut
a4:—
Tu veux quitter
a5:-
Vergine bella .
lb
Hesperie . . . 187(
BOT, BARTH^LfiMY VAN.
Secular.
o6:-
Verdiplaggie . . . 186(
BUE, Pieebe de la.
Sacred.
o3:—
Cum coelum .
In pace (3 parts) .
a4:-
Salve, Beglna .
Gaude Virgo (2 parts)
VexiUaBegis .
Dulces exuviae
Anlma mea .
Fama malum .
Sancta Maria .
Doleo super ta
Salve. Beglna .
o6:—
Maria, mater .
a6:-
Ave Sanctissima .
Proh dolor! .
Secular.
aS:-
II me fait mal .
PBi:8, JOSQDIN DCS.
Saered.
a4:—
Ave Maria . . . li
Cum sancto splrlta . l!
Missus est Gabriel .
o5:—
Stabat Mater . . . U
SectOar.
o4:—
Vivrai-Je . . . . 1!
Mills regrets .
L'homme armd .
Plus nuls regrets .
Plusieurs regrets .
a5:-
D^ploration de J.
Ockeghem . .
1883 12
.. 16
1882 3
7
.. 17
„ ]3
.. 20
1883 3
5
.. 10
» 7
1882 13
ai:-
Vous tous regrets
De rcEll . .
Ce n'est pas Jeu
]2|Begrets
. 1879
. 1884
. 1886
Deull et ennui
Bien plus secret
Ce m'est tout un .
Quand 11 survlent .
Autant en emporte
Pourquoy non
Pour ce que je suis.
Je n'ay deuil .
Mijn hert . . .
Je n'ay deuil .
Du tout plouglet .
Car Dieu voulut .
Soubs ce tombel .
O'est ma fortune .
HSlas . .
Aprez regrets .
.. 21
,. 23
1885 3
.. 5
7
9
.. 11
.. 13
.. 17
.. 19
.. 21
.. 23
.. 27
.. 29
1886 3
,. 12
.. IS
HefauldraO . .
a5:—
Quant 11 advient . . „ 10
Cueuis d^solez . . „ 15
Sale (or Sole), Fbanoiscus.
Saered.
o6:-
Mass, Exultandl , . 1868 3
Antiphona, Asperges me 1865 14
Offices (Int. Grad. Comm.)
for the following feasts:
B. AndresB Ap. . . 186i
prima
S. Nicolai Ep. .
8. Thom» Ap.
Natlvitatis (in
Mlssa) . .
a6:-
Nativltatis (In
Mlssa) . . . . ,
a5:—
S. StephaniM. . . II
S. Joannis Ev. .
a6:—
Circumclsionli . . ,
Eplphani» . . . ,
a5:—
Conversionls S. Paull .
lb. (continued) . . li
Purification's . • . ,
S. MatthisB . . . ,
Anuntiationis . , . ,
De Communi S. Mariae . ,
SCHUEBE, D'ODDE.
Secular.
43
1869 3
Vebdelot, Philippe.
Saered.
1866
1887
a4:
Sancta Maria .
Tanto tempore
Secular.
a6:-
Ick wil de valsche
wereldt. . . . 1875
Vebdonck, CORNELIL'S.
Sacred.
a4:-
Ave gratia . . . 1865
o5:-
Magnlflcat . . . 1866
Secular.
o4 : —
Dame belle
A che piu strali amor .
a6:-
Pro me novas . . . 1CT6
Waelbant, Hcbeet.
Secular.
ait-
Adieu mon frfere . . 1865
Willaeet, Adrian.
Saered.
a4:-
Simulacra gentium . „
Paternoster . . . 1866
Quiadevotis . . . „
O gemma .
Da pacem
Secular.
o4:—
Sasso ch'io ardo
Mon pauvre coeur .
lb. ...
„ (transposed) .
„ 19
1866 25
., 30
., 32
1880 42
1877
1878
Wolf. [See Ldpcs.]
[L.M.M.
a4:-
Mon Cher troupeau . 1883 9
SEBMI3T. [See Le Jeune.]
Vaet, Jacob.
Secular.
a6:-
Hymn (In laudem Flllo-
rum Maxim. II). Cur-
rite felices (3 parts) . 1877 20
TRIO. P. 172 J, 1. 25 from bottom, /or
three read four, and after latest read but one.
TRIPLET. For an addition concerning the
performance of triplets in old music, see Dot in
Appendix, vol. iv. p. 61 8 a.
TRITONE. The interval of the augmented
fourth, consisting of three whole tones, whence
the name is derived. [See Ml contra Fa.]
TROIS COULEURS, LES, is the title of one
of the most popular of the political songs
written after the French Revolution of 1830,
celebrating the fall of the white flag and the
return of the tricolor. It rivalled in popularity
the Parisienne, and at one time, even the Mar-
seillaise itself. It was written in one night by
Adolphe Vogel, grandson of the author of
* D^mophon,' who was born at Lille in 1805,
and had just begun his studies at the Paris Con-
servatoire. The author, who is still living, was
then 25 years of age, and *Les Trois Couleurs/
together with the song * L'Ange dechu,' have
been the greatest successes of his career. The
day after it was written all Paris was singing
Libert^ sainte, aprfes trente ans d'absence
Keviens, reviens, leur trSne est reixvers6.
lis ont voulu trop asservir la France,
Et dans leur main le sceptre s'est bris6.
Tu reverras cette noble banni6re,
Qu'en cent climats portaient tes fils vainqueurs ;
lis ont enfin secou^ la poussi6re
Qui temissait ses brillantes couleurs.
804
TROIS COULEURS.
This popular song, composed to words by
a certain Adolphe Blanc, was sunj; by Chollet
at the lli^Atre des Nouveaut^s (Place de la
Bourse), where Vogel produced in the foUow-
lowing year his first comic opera, 'Le Podestat,'
which was moderately successful, and subse-
quently his grand oratorio, * Le Jugement
dernier,' represented with costumes and scenery.
* La Sihge de Leyde,* a grand opera played at
the Hague in 1847, *La Moissonneuse,* another
work of large extent, produced at the Lyrique
in 1853, an operetta in three acts, *La Filleule
du Roi,' played in Brussels and afterwards in
Paris, in 1875, numerous songs which have been
popular in their day, several symphonies, quar-
tets and quintets for strings, which gained the
Prix Tr^mont at the Academic des Beaux- Arts,
complete the list of this composer's chief works.
He has always striven to attain a success equal to
that which distinguished the opening of his career,
nor does he yet despair of doing so, as he is now
working upon a new opera, in spite of his eighty-
three years. [A. J.]
TROMBONE. At end of article, omit the
uords after Symphony in C ; as the passage in
the ' Manfred ' overture of Schumann is for
trumpets, not trombones.
TROUBADOUR, THE. Grand opera in four
acts ; the words by Francis HuefFer, the music
by A. C. Mackenzie. Produced by the Carl Rosa
Company, at Drury Lane, June 8, 1886. [M.]
TRUMPET. Add the following supplement-
ary notice : —
It is well known that the trumpet parts in the
works of Bach and Handel are written very high
and floridly; so high that they cannot be performed
on the modern slide- trumpet. Praetorius (161 8)
gives for the trumpet in D, the higher range that
shorJdbe produced (a), 1, h»- ■*-
that is to say from the ^°> g*: f: g: 1= 1=
17th to the 2 1st proper ^
P
tones of the instrument.
All these notes are be-
yond the highest limits of the modem trumpet.
[See vol. iv. p. 181.] Bach wrote up to the 20th
of these partial tones, and in his scores, as well
as Handel's (see the Dettingen Te Deum), the
parts for the trumpets are divided into Principal,
an instrument resembling the modem trumpet,
and Clarini, which were probably of smaller bore.
The istclarino began at the 8th proper tone (6),
and ascended to the extreme limit of its compass
(c). The 2nd clarino, beginning at the 6th (d),
very rarely went beyond the 12th (e). Each
required a special trumpeter, who had probably
a particular mouthpiece. The clarini had dig-
appeared before the time of Mozart, who had to
change Handel's trumpet parts to suit the per-
formance of the contemporary trumpeters.
It was the merit of Herr Kosleck of Berlin
to introduce a high trumpet specially to perform
TUNSTED.
Baches trumpet parts in their integrity in the B
minor Mass, which was produced under Joachim's
direction at Eisenach on the occasion of the un-
veiling of the statue of J. S. Bach in Se])tem-
ber 1884. A performance of the same work, in
which Herr Kosleck again took part, was given
by the Bach Choir in the Albert Hall, London,
March ai, 1885. His trumpet is not bent back
but straight, and is corrected by two pistons for
the nth and 13th proper tones, which are
natuially out of tune for our Diatonic scale. It
is an A trumpet with post-horn bore and bell.
HeiT Kosleck's trumpet has been since improved
by Mr. Walter Morrow, a well-known English
trumpeter, who has altered the bore and bell to
that of the real trumpet. Mr. Morrow's trumpet,
which, like Herr Kosleck's, is straight and has
two pistons, measures in length 58^ inches. It
is also an A trumpet. With it he can reach the
20th, and at French pitch the 21st proper tone.
The sacrifices, involving loss of engagements, to
which Mr. Morrow has submitted in order to
gain a command of the Bach trumpet, should not
be passed over without a recognition of the art-
istic devotion which has impelled him to adopt
and improve Herr Kosleck's invention. [A. J.H.]
TSCHAIKOWSKY. P. 183 h, to list of works
add:—
Op. 68. Symphony, 'Nach Byron's j Op. 64. Symphony, No. 6.
Maiitred.' Operas and Ballets;-
"• fforsjoTart :^zs^f '^^^'^rf ^ ^"^^'^ ''>"""^-
orchestra. | Nov. 13. 1887.
62. Pezzo caprlccioso for! Works without opus number :—
vcello. and orchestra. jDleTocbterdes Hauptmann.
Add that the composer visited England in 1888
and 1889, and appeared at the Philharmonic
Concerts of both seasons.
TUCKERMAN, S. P., Mus.D. Line 2, for
Feb. 17 read Feb. 11. Add that he succeeded
Dr. Hodges as Organist of Trinity Church, New
York.
TUDWAY, T., Mus.D. Line 25 of article,
add that the records of Pembroke College, Cam-
bridge, state tliat Dr. Tudway was ' proved
guilty of speaking words highly reflecting upon
Her Majesty and her administration.*
TUNSTED, Simon, the reputed author of the
treatise *De Quatuor Principalibus Musice,*
though himself born at Norwich, derived his
surname from Tunstead in Norfolk, of which
place his father was a native. He became one
of the Fratres Minores of the Order of St. Fran-
cis at Oxford, and it was there that he is said to
have taken the degree of Doctor of Theology.
He appears to have been well versed in all the
seven liberal arts, but, like Walter Odington,
especially in music and astronomy. The only lite-
rary works attributed to Tunsted, besides that
above referred to, are a commentary on the
* Meteora ' of Aristotle and additions to Richard
Wallingford's * Albion ' ; but the work by which
his name has been, rightly or wrongly, handed
down to posterity is the musical one. Of this
there are two MSS. in the Bodleian Library,
numbered Bodley 515 and Digby 90. Owing
to the former MS. being described in the old
i
TUNSTED.
catalogue of 1697 as *De Musica continua et
discreta cum diagrammatibus,' many musical
historians have believed that there are two dis-
tinct works by this author; but the only real
diflference is that the Bodley MS. contains the
prologue beginning * Quemadmodum inter triti-
cum et zizania,' which the Digby MS. omits.
The work itself contains warrant for both titles.
From the colophon to each MS. we learn that
the treatise was written in 1351, when Simon
Tunsted was Regent of the Minorites at Oxford.
He is said to have afterwards become Head of
the English branch of his Order, and to have
died in the nunnery of St. Clara, at Bruisyard,
in Sufifolk, in 1369. The *De Quatuor Princi-
palibus' treats of music in almost every form
then known, from definitions of musical terms
in the * Primum Principale ' down to an account
of 'Musica Mensurabilis ' in the 'Quartum
Principale.' This latter part is perhaps the
most important of the whole work. Tunsted
quotes Philip de Vitry 'qui fuit flos totius
mundi musicorum.' The whole treatise has
been printed by de Coussemaker. In a MS.
at the British Museum (Additional 10,336) there
is an epitome of several chapters of the * Se-
cundum Principale,' written by a Fellow of
New College, Oxford, early in the i6th cen-
tury. [A.H.-H.]
TURCO, IN ITALIA, IL. At end of article,
for 1820 rmd 1821.
TURE-LURE (soft <♦), or Tourb-Louee, a
very ancient lyrical burden or refrain, probably
of Proven9al origin. The old English form is
* tirra-lirra,' Shakspeare, 'The lark that tirra-
lirra chants.' (Compare the French 'Turlut,*
a titlark; * Turlutaine,' a bird-organ.) In old
French music it is also found as * Tur-lu-tu-tu,'
* Tur-lu-ru ' (in a popular air * lo canto tur-lu-
ru *), ' tur-lur-ibo,' etc. It often occurs in the old
French burlesques. The following specimens,
taken from * Les Parodies du Nouveau Th^&tre
Italien,* 1731, will illustrate its use.
1. 'Hoi Hoi toure-louiibo.'
TYLMAN SUSATO.
805
^^^
■pir>e. ohl obt tou-n loo -rl - tool QuaadJ'a-
ohl ton -re lou - ri - bo.
2. VaudevlUe in 'Lea Cahoe.*
tr tr
^1
I's
The term still survives in English popular
music in the forms * tooral-looral-looral,' and
< tol-de-roL' [E.J.P.]
TURLE, James. Line i of article,/or Taun-
ton read Somerton. Line 10, add that from
1840 to 1843 he was part conductor of the
Ancient Concerts.
TYE, Christopher. Add that Tye was in
orders, and held successively the rectories of
Little Wilbraham, Newton, and Doddington-
cum-March. By a brief relating to sequestra-
tions of benefices it appears that he was at Wil-
braham in 1564 ; on Sept. 12, 1567, John Walker
was presented to the living on his resignation.
On March 15, 1570, the rectory of Newton was
conferred on George Bacon on Tye's resignation,
and on March 15, 1572, Hugh Bellet was pre-
sented to the living of Doddington-cum- March
on the death of Tye. His will has not been
discovered. An Agnes Tye, who was possibly
his daughter, was married at Little Wilbraham
on Nov. 20, 1575, to John Horner, and the
register contains several entries of their children's
baptisms. (Coles's Transcript of Bishop Cox's
Register, British Museum ; Register of Little
Wilbraham, kindly communicated by the Rev.
F. C. Marshall.) [W.B.S.]
TYLMAN SUSATO. P. 197 1, 1. 6,/or sweet
little songs read ' Psalter songs.'
VOL. IV. P»i 7.
3G
u.
UN ANNO ED UN GIORNO. Add that
it was produced at the Lyceum Theatre
in 1836, shortly after its production at
Naples.
"UNGER, Cabolinb. Add that the name is
also spelt Ungher.
UNITED STATES. For additional matter,
see Boston, Fosteb, Negro Music, etc., in Ap-
pendix.
UNIVERSITY MUSICAL SOCIETIES. To
the list of important works given by the Cam-
bridge Society add the following :
Bach, J. a St. Matthew Passion; I
Kin' feste Burg.
Bridge, J. F. * Rock of Ages.'
Cowen, F. H. • Symphony in F.
Joachim, J. Hungarian Concerto.
Maclarren. Violin Concerto.
Maclcenzte, A. 0. Violin Concerto.
Parry, C. H. H. Trio in B minor ;
PF. Quartet in Ab ; String
Quintet in Vh; • Symphony
inF.
Schubert. Symphonies, Mos. 8
and 9; ' Song of Miriam.'
Schumann. ' Advent Hymn.'
SUnford. C. V. Elegiac Ode, op.
21; PF. Quartet in F; PF.
Quintet in D minor; 'The
Revenge.'
Thomas, A. Goring. •Suite de
BaUet.
The asterisks indicate first performance in Eng-
land. [M.]
V.
VAISSEAU PANT6ME. P. 213 a, note 1,
add date of death of P. L. P. DiBTSOH,
Feb. 20, 1865.
VALENTINO. Add that he came to London
in 1839, and gave concerts at the Crown and
Anchor Tavern. [See voL iii. p. 40 &.]
VALLERIA. Add that she remained with
the Carl Rosa company until 1886 inclusive, and
created the principal parts on the production of
* Nadeschda ' and * The Troubadour.*
VALLOTTI, P. Fbanoesoantonio, was a
native of Piedmont, where he must have been
bom about the year 1700, since Dr. Bumey, who
saw him in 1770, says that he was then *near
seventy years of age.' * He had long before this
time attained a high reputation as the best
Organist, and one of the best Church Composers,
in Italy. To his skill on the Organ he owed the
appointment of Maestro di Cappella, at the
Church of S. Antony, at Padua, which he held
with honour until his death. His Compositions
for the Church are very numerous. In 1770 he
composed a Requiem for the funeral of Tartini ;
but his magnum opus was a theoretical work,
entitled * Delia Scienza teorica, e pratica, della
modema musica.* The original plan of this
treatise embraced four volumes : Vol. I., treating
of the scientific or mathematical basis of Music ;
Vol. II., of the ' practical elements ' of Music,
including the Scale, Temperament, the Cadences,
and the Modes, both ecclesiastical and modem ;
Vol. III., of Counterpoint ; and Vol. IV., of the
method of accompanying aThorough-Bass. Vol. I.
only was published, at Padua, in 1779; audits
contents are valuable enough to make the loss
of the remaining portions of the work a subject*
of deep regret. In this volume, the mathema-
tical proportions of the consonant and dissonant
Intervals are described with a clearness for
which we seek in vain in most of the older
treatises on the same subject — not excepting
1 'Present State of Music in France and Italy.' By Oharle* Bumey.
Mos* D.. pp. ia>-lS2i (London 177L)
that of Tartini liimself. To the contents of some
of these treatises, and the views set forth in
them, allusion is frequently made, during the
course of the work. Chapter XXXII. contains
a lucid refutation of the theory of the Minor
Seventh propounded by Rameau, whom Val-
lotti characterizes as 'otherwise, a respect-
able and meritorious writer ' ; and, at the close of
the introductory section, which consists of a
series of definitions, given in the form of a
Musical Dictionary, the reader is referred for
farther information to the Dictionary of Rous-
seau, which he is told woidd be still more
valuable than it is were it not adapted to
Rameau's defective system. But the chief
interest of the treatise lies in the fact that it
belongs to a period at which the study of the
Ecclesiastical Modes was combined with that of
the modern scale, for the obvious reason that
the more modem Tonality was not, and could
not possibly be, antagonistic to the older one,
since it was based, not upon the abolition of
the Modes, but upon the employment of the
Ionian and ^olian forms to the exclusion of all
the others. We have shown elsewhere that the
last great teacher who advocated this system of
instruction was Haydn ; and that Beethoven
was the last great pupil to whom Haydn appears
to have imparted it. It would be an interesting
study to trace the influence of the system upon
the work of these two great composers. The
task, we believe, has never been attempted ; but
it is admitted, upon all hands, that the M-t of
developing the resources of a given Key, within
its natural limits, is a far higher and more
difficult one than that of restlessly modulating
from one Key to another — and this is the most
prominent characteristic of the method^ in
question. Vallotti's 'Treatise on Modulation,*
which Dr. Bumey saw in MS." might perhaps
have thrown some light upon the subject ; but
this unhappily has never been published.
I Present StaU of Musio in Fnoce and Italy, p. ISL
VATERLlNDISCHE KUNSTLERVEREIN.
807
An attempt to complete Vallotti's great work
-was made after his death by his disciple and
succesgor, P. Luigi Antonio Sabbatini ; ^ and
his system of teaching was continued by his
talented, but somewhat eccentric pupil, the
Abb^ Vogler. [W.S.R.]
VAN BREE, J. B. Add that he wrote seve-
ral masses and other works beside those men-
tioned in the article.
VAN DER EEDEN, G. See also vol. ii.
p. 450 h, where the date of his death is given as
June 29, 1782.
VAN OS, Albert, called 'Albert the Great,'
is the earliest known organ-builder. He was a
priest, and built the organ of St. Nicholas at
Utrecht in iiao. [V. de P.]
VARNEY, Pierre Joseph Alphonse, bom
in Paris, Dec. i, 181 1, was educated at the
Conservatoire as a violinist, and was a pupil of
Reicha's for composition. He was successively
conductor at the Theatre historique, the Theatre
lyrique, at Ghent, the Hague, Rouen, the BoufFes
Parisiens, and at Bordeaux (1865-78). Several
short operas and operettas of slight construction
by him were brought out at the various places
where he worked. He is best known as having
furnished the music for the celebrated Chant
des Girondins, ' Mourir pour la Patrie,' the
words of which were by Dumas, and which
played so important a part in the revolution of
1848. Varney died in Paris Feb. 7, 1879. [M.]
VATERLANDISCHE KUNSTLERVE-
REIN (Society of Artists of the Fatherland).
A name which has become famous through Beet-
hoven's op. 120. ' The Fatherland' here means
Austria. Schindler (Life of Beethoven, ii. 34)
says that in the winter of 1822-3, the publishing
firm of Diabelli & Co. in Vienna formed a plan
for issuing a collective set of variations for the
pianoforte. No fewer than 51 composers, among
whom were the first Viennese masters of the
time,^ consented to contribute to the collection,
which was published in two large oblong books
(No. 1380-81) under the title of * Vaterlandische
KUnstlerverein, Veranderungen iiber ein vor-
gelegtesThema,componirt von den vorzuglichsten
Tonsetzern und Virtuosen Wiens und der k. k.
oesterreichischen Staaten.' (* Society of Artists
of the Fatherland. Variations on a given theme,
written by the most prominent composers and
performers of Vienna and the Imperial States of
1 Sabbatini, P. Luioi Antonio, was a native of Padua, and a pupil
of P. Martini, under whom he studied, for some time, at Bologna.
He completed his musical education, however, In his native town
under P. Vallotti, whom he succeeded, about the year 17S0, as
Haestro dl Cappella at the Church of S. Antony at Padua ; and
whose system he endeavoured to perpetuate in a vrork entitled
• La vera Idea delle Musicall Numerlche Segnature ' (Venice. 1799).
He also wrote a ' Trattato sopra le Fughe Musicall,' In two vols.
(Venice. 1802), illustrated by an exhaustive selection of Fugal Sub-
jects and Devices culled from Vallotti's Compositions for the
Church : and another theoretical work, entitled, ' Element! teorici
e praticl dl Musica* (Roma. 1790). His best Composition was a
Mass, written for the Funeral of Jommelll. He died at Padua in 1809.
The editor is indebted to Dr. A. L. Peace, of Glasgow, for the use
of a fine copy of the two first-named works, which are now very
difficult to procure, and for that of the rare and perfect copy of
Vallotti's work which forms the subject of the present notice.
2 It is curious that the names of Seyfried and Weigl are not in
the list.
Austria.') It is an indication of the position held
by Beethoven among the musicians of Vienna,
that the whole of the first book is taken up with
his variations, 33 in number, while the other
50 composers are represented by a single varia-
tion each. Beethoven's composition has the
separate title : * 33 Veranderungen iiber einen
Walzer fur das Pianoforte componirt und der
Frau Antonia vonBrentano, gebornen Edlen von
Birkenstock, hochachtungsvoll zugeeignet von
Ludwig van Beethoven. 120 Werk. Wien bey
Cappi und Diabelli.' The work was published in
June 1823. On the i6th of the month the fol-
lowing notice appeared in the ' Oesterreichi.sch
Kaiserliche priviligirte Wiener Zeitung ' : — ' We
offer to the world in this work no variations of
the ordinary kind, but a great and important
masterpiece, worthy of being ranked with the
immortal creations of the classical composers of
past times, and of a kind that could be pro-
duced by none but Beethoven, the greatest living
representative of true art. The most original
forms and ideas, the boldest passages and har-
monies, are here exhausted, all such character-
istic pianoforte effects as are founded upon a
solid style are employed, and a further interest
attaches to the work from the circumstance that
it is founded upon a theme which would not
have been supposed capable of such treatment
as our great master, alone among our contem-
poraries, could give it. The splendid fugues,
Nos. 24 and 32, will delight every lover of the
grave style, while Nos. 6, 16, 17, 23, etc., will
charm brilliant performers; in short all these
variations, by the novelty of ideas, the skill of
their workmanship, and the artistic beauty of
their transitions, can claim a place beside Seb.
Bach's well-known masterpiece in the same kind.
We are proud of the opportunity of presentinjjj
this composition to the public, and have devoted
the greatest care to combining elegance of print-
ing with the utmost correctness.'
The original manuscript of op. 120 is in the
possession of Herr C. A. Spina of Vienna. In-
teresting information concerning the sketches
for the composition is given in Nottebohm's
* Zweite Beethoveniana,' Leipzig, 1887. Beet-
hoven was fond of presenting copies of the
printed work to his friends, and the writer pos-
sesses two such copies with autograph dedica-
tions.
The second book of the variations appeared in
the latter half of 1823 or early in 1824. Anton
Diabelli, the composer and publi-sher, had mean-
while dissolved partnership with Cappi, and the
name of the firm was now * A. Diabelli & Co.'
As in the first book (Beethoven's portion) so here
the theme by Diabelli precedes the variations.
It consists of 33 bars, and, although of slight
importance in itself, is well fitted for variation-
writing. The waltz is followed by 50 variations,
as follows: — (i) Ignatz Assmayer ; (2) Carl
Maria von Booklet; (3) Leopold Eustache
Czapek ; (4) Carl Czerny ; (5) Joseph Czemy ;
(6) Moritz Graf Dietrichstein ; (7) Joseph
Drechsler ; (8) A. Emanuel Forster (• his last
3G a
808
VAUDEVILLE THEATRE.
composition ') ; (9) Jakob Freystaedtler ; (10)
Johann Gansbacher ; ( 1 1 ) Abb^ Gelinek ; (12)
Anton Habn ; (13) Joachim Hoffmann ; (14)
Johann Horzalka ; (15) Joseph Hugelmann;
(16) J. N. Hummel; (17) Anselm Hiitten-
brenner; (18) Frederic Kalkbrenner ('written
during his stay in Vienna'); (19) Friedrich
August Kanne; (20) Joseph Kerzkowsky ; (21)
Conradin Kreutzer; (22) Eduard Baron von
Lannoy ; (23) M, J. Leidesdorf; (24) Franz
Liszt (* a boy of eleven years old, bom in Hun-
gary'); (25) Joseph Mayseder ; (26) Ignatz
Moscheles; (27) Ignatz F. Edler von Mosel ;
(28) W. A. Mozart fils ; (29) Joseph Panny ;
(30) Hieronymus Payer; (31) J. P. Pixis ; (32)
Wenzel Plachy ; (33) Gottfried Rieger; (34) P.
J. Riotte ; (35) Franz Roser ; (36) Johann
Schenk ; (37) Frank Schoberlechner ; (38) Franz
Schubert ; (39) Simon Sechter (' Imitatio quasi
Canon a tre voci') ; (40) S. R. D. ; (41) Abb^
Stadler ; (42) Joseph de Szalay ; (43) Wenzel
Tomaschek; (44) Michael Umlauff; (45^ Ft,
Dionysius Weber; (46) Franz Weber ; (47) Ch.
A. de Winkhler ; (48) Franz Weiss ; (49) johann
Wittassek ; (50) J. H. Worzischek.
(The Graf Dietrichstein, mentioned under
No. 6, was the leading aristocratic musician of
the time. Schubert's * Erlkonig ' is dedicated to
him. The initials S. R. D. under No. 40 pro-
bably indicate the name of some other aristocratic
amateur). A long coda by Carl Czerny is ap-
pended to the variations. The MS. of Schubert's
variation, No. 38, which is in the Imperial
Library of Vienna, bears the date March 182 1.
According to this the later date given by
Schindler for the inception of the plan must be
incorrect. [M.F.]
VAUDEVILLE THEATRE. To list of
London Theatres under this head add : —
Tebby's Theatre ; architect, Walter Emden ;
lessee, Edward Terry. Opened Oct. 17, 1887.
Court Theatre (re-erected on a site near
the former theatre of that name) ; architect, W.
Emden ; lessees, Mrs. John Wood and Mr.
Arthur Chudleigh. Opened Sept. 24, 1888.
Shaftesbury Theatre ; architect, C. J.
Phipps; proprietor, John Lancaster. Opened
Oct. 20, 1888.
Geand Theatre, Islington. Burnt down Dec.
28, 1887. Rebuilt ; arclutect, Frank Matcham ;
lessee, Charles Wilmot. Re-opened Dec. i, 1888.
Ltbio Theatre ; architect, C. J. Phipps ; pro-
prietor, Henry J. Leslie. Opened Dec. 18, 1888.
VAU6HAN, Thomas. Line 7 from end of
article, for He read Vaughan. Line 4 from
end,/or 1826 read 1825.
VECCHI, Orazio. p. 235 o, 1. 13, for Sept.
read Feb.
VEILLONS AU SALUT DE L'EMPIRE,
a political song written by Ad. S. Roy in 1791*
and adapted by him to the popular air ' Vous
qui d'amoureuse aventure,' from Dalayrac's
* Renaud d' Ast ' (produced at the Comddie Ita-
lienne, July 19, 1787). The song, which bears
the sub-title of * Chant de Libert^,* was one of
VENICE.
the first lyrical utterances suggested by the
French Revolution, and it is a great error to
suppose that it was adapted for use under the
first Empire, for the democratic ideas expressed
in Roy's verses were absolutely interdicted under
the first Napoleon. The word * Empire,' which
has given rise to this widely-spread impression,
refers here to the State, not to the imperial
Government. The success of the song was
enormous, and it required nothing less than the
* Marseillaise ' to drive it out of popular favour.
The first three verses alone are by Roy; the
fourth was added in 1840, when the song was
for a time rescued from the oblivion into which
it had fallen. [A.J.]
VENI SANCTE SPIRITUS. A Prose, or
Sequence, sung, in the Roman Church, on Whit-
sunday, and during the Octave of Pentecost,
between the Epistle and Gospel. The text, in
Trochaic Dimeter Catalectic, aiTanged in strophes
of three verses, the two first of which rhyme to-
gether, while the third verse in every strophe
ends in the syllable * um,' was written in the
tenth century, by King Robert of France, and,
in graceful and touching simplicity, has never
been surpassed. Whether or not King Robert
also composed the old Ecclesiastical Melody—
a very fine example of the use of Mode I. — it is
impossible to say. It is, however, quite worthy
of the text, both in sentiment and in graceful
freedom of construction.
Veni Sancte Spiritus has not been so frequently
treated by the Polyphonic Composers as some of
the other Sequences. Palestrina has, however,
treated it more than once, in settings of the
highest order of excellence. [W.S.R.]
VENICE. The frequent and laudatory refer-
ences made by foreigners to the Conservatories
of Venice abundantly prove the reputation which
they enjoyed during the 17th and i8th centuries.
The President de Brosses, in his ' Lettres His-
toriques * (Tom. i.), speaks in the highest terms
of the pleasure he received from Venetian music
generally. * The passion of the nation for this art
is,' he says, 'inconceivable ' ; but 'the music par
excellence is the music of the Hospitals ; . . . the
girls sing like angels ; they play the violin, the
flute, the organ, the hautboy, the violoncello,
the bassoon, in short no instrument is large
enough to frighten them. . . . Nothing can be
more delightful than to see a young and pretty
novice dressed in white with a bunch of pome-
granate flowers behind her ear, conducting an
orchestra and beating the time.' Casotti (Lettere,
July 29, 171 3), assures us that at Vespers in the
Incurabili they do not chant they enchant (non
cantano ma incantano). Rousseau (Confes-
sions, vii.) bears similar testimony to the charm
of the singing in the Venetian Conservatoires ;
and readers of Dr. Bumey's letters will not
have forgotten his extreme delight at the music
which he heard at the Incurabili under Gal uppi's
direction; *I ran away,* he says, 'from the
music at Santa Maria Maggiore, to the Incur-
abili, where Buranello and his nightingales . . ,
VENICE.
VENICE.
809
(
poured balm into my wounded ears.' Finally,
at the close of the last century, Mancini wrote
thus, * I am of opinion that in all Italy there are
no schools of music worthy the name, save the
Conservatoires of Venice and Naples and the
school conducted by Bartolommeo Nucci of
Pescia.'
The Venetians were always a music-loving
race. Not only did the people display a natural
ability for the art in the popular music of the
streets and the songs of the gondoliers, but the
city long possessed schools of cultivated music
in the choir of St. Mark's, in the theatres,
and above all in the four great Scuole or Con-
servatoires, which were attached to the pious
foundations of the Pietk, the Mendicanti, the
Ospedaletto, and the Incurabili. So famous did
these schools become that the greatest masters
of Italy, and even of Europe, applied for the post
of director, and were proud to write oratorios,
motets, and cantatas for the pupils. The
names of Lotti, Galuppi, Scarlatti, Hasse, Por-
pora, Jomelli, Cimarosa, to take a few only,
must always shed a lustre upon the Conserva-
toires over which they presided ; and there is a
tradition that Mozart, when under contract to
produce an opera for the Fenice, promised an
oratorio for the Incurabili choir.
The four hospitals were not, in their origin,
designed as schools of music. They were built
and endowed by the munificence of private citi-
zens, to receive the poor and infirm : their position
as Conservatoires was only gradually developed.
The Pietk at San Giovanni in Bragola, was
founded in the year 1348, by Fra Pierazzo
d'Assissi as a succursal to the Foundling Hos-
pital at San Francesco della Vigna. After the
death of Pierazzo both hospitals were united
at San Giovanni, and placed under the Ducal
supervision. The institution was supplied with
wood and corn free of charge, and enjoyed a
rental of nearly three hundred thousand ducats.
The children of the hospital were taught singing,
among other accomplishments, and the school
of music gradually developed until it came to
enjoy the highest reputation in Venice. At the
time of de Brosses' visit the Pietk possessed the
finest orchestra in the city. The Hospital of
the Pietk was the only one of the Conserva-
toires which survived the downfall of the Re-
public and escaped the financial collapse which
overtook so many pious foundations of Venice.
The Hospital of the Mendicanti was first
founded in the 13th century, for the reception
of lepers. In the year 1225 these unfortunates
were all collected at SS. Gervasio e Protasio;
and in 1262 they were removed to the island of
San Lazaro in the lagoon. As the leprosy
gradually disappeared from Venice, the institu-
tion and its funds were devoted to the assistance
of mendicants and impotent persons. In the
17th century Bartolommeo Bontempelli and
Domenico Biava, two wealthy citizens, built
and endowed the Hospital at SS. Giovanni e
Paolo. — The School of Music at the Mendicanti
sprang up in the same way as the school at the
Pietk had grown ; and, towards the close of the
1 8th century, it had acquired a high repute. In
the year 1775, on May 28, the Emperor Joseph II.
was entertained at the Mendicanti, and a new
oratorio was performed in his honour. The
contemporary account of the visit describes how
* the whole party betook themselves to hear the
new oratorio sung by the girls of the Mendicanti
orphanage. The Emperor's suite occupied places
reserved for them in the tribune opposite the
grille which enclosed the choir where the girls
sang. But the Emperor and his brother, the
Grand Duke of Tuscany, attempted to enter the
choir. They were not recognized at first by the
lady guardians of that door, forbidden to all men
without distinction of person, and admittance
was refused. The Emperor, however, was pre-
sently recognized and admitted. He amused
himself by turning over the leaves of the music,
and by taking part in a full chorus with his own
well modulated voice.' In the year 1777, owing
to financial diflficulties and mismanagement, the
hospital of the Mendicanti was closed, though
the choir continued to take part in concerts and
oratorios for some time longer. The buildings
of the Mendicanti now form part of the great
Civic Hospital of Venice.
The Ospedaletto was founded in 1527, at SS.
Giovanni e Paolo, as a poorhouse and orphan-
age. S. Girolamo Miani was among its early
benefactors, and so too, by report, was Ignatius
Loyola. The Conservatoire of the Ospedaletto
seems to have been the least renowned of the
four Venetian Schools, though Dr. Burney ex-
presses himself much satisfied with the singing
which he heard there, ranking it after the
Incurabili.
The Incurabili, on the Zattere, an hospital
for incurables, was founded in 1522, by two
noble ladies, Maria Malipiero and Maria Grimani,
under the inspiration of San Gaetano Thiene. The
first building was of wood ; but the new church
was begun in 1566 and finished in 1600. The
education of the girls who were admitted to the
hospital was supervised by a committee of
twelve noble ladies. Dr. Burney gives the palm
to the orchestra and choir of the Incurabili.
This Conservatoire was raised to its high position
by the labours of the two famous masters Lotti
and Galuppi. Galuppi, called II Buranello, was
the last maestro of the Incurabili choir, and
wrote for it the last oratorio performed before
the closing of the institution in 1 7 76, the ' Moyses
de Sinai revertens.' Six years later the concert-
room of the Incurabili was opened once more
for a performance ofGaluppi's 'Tobias,' in honour
of Pope Pius IV. The Procurator Manin, at
his own charges, caused the hall to be painted
with scenes from the life of Tobias, and decorated
with mirrors. The oratorio was given by a
picked choir and orchestra chosen from the four
Conservatoires ; and the performers were all
dressed in black silk.
The girls who were admitted to the four great
Conservatories of Venice, were by rule required
to prove poverty, ill-health, and Venetian birth.
810
VENICE.
This rule was sometimes relaxed in favour of ex-
ceptionally pi'omising voices. The state dowered
the girls either for marriage or for the convent.
The pupils were divided into two classes, the
novices and the provette or pupil teachers, whose
duty it was to instruct the novices in the rudi-
ments of music under the guidance of the maes-
tro. The number of scholars in each Conserva-
toire varied from sixty to eighty. Every Saturday
and Sunday evening the choirs performed full
musical Vespers or a motet, usually written by
their own maestro. The churches were crowded,
and the town divided into factions which dis-
cussed, criticized, and supported this or that
favourite singer. The opera-singers attended in
large numbers to study the method of the more
famous voices. On great festivals an oratorio
was usually given. The words of the libretto
were originally written in Italian ; but for
greater decorum Latin was subsequently adopted.
The libretto was divided into two parts, and
printed with a fancy border surrounding the
title-page, which contained the names of the
singers and sometimes a sonnet in their praise.
The libretto was distributed gratis at the door
of the church ; and each of the audience was
supplied with a wooden stool or chair. The choir
sang behind a screen, and was invisible. Ad-
mission to the choir was forbidden to all men
except the maestro ; but Rousseau, by the help
of M. le Blond, French Consul, succeeded in
evading this rule, and was enabled to visit the
choir of the Mendicanti and to make the ac-
quaintance of the young singers whose voices
had so delighted him. Special tribunes, called
Coretti, were reserved for ambassadors and
high state officials. Inside the cliurch applause
was forbidden, but the audience marked their
approval by drawing in the breath and by
shuffling their chairs on the ground.
Authorities.
P. Canal. ' Delia Musica in Venezia." Printed in ' Ve-
nezia e le sue lagxine,' vol. i. part 2, p. 471.
Francesco Caffi. Letter to E. Cicogna. Printed In
Oicogna, ' Iscrizioni Veneziane,' vol. v. p. 326.
E. Cicogna. 'Iscrizioni Veneziane,^ vol. v. p. 297,
where a full list of all the Oratorios performed at the
Incurahili will be found.
Dr. Bumey. 'The Present State of Music in France
and Italy.'
Dr. Bumey. ' History of Music'
De Brosses. ' Lettres historiques,' Tom. i.
Kousseau. ' Confessions,' Lib. vii.
F^tis. ' Biomraphie Universelle des Musiciens.'
Boumet. ' Venise, Notes prises dans la Bibliothfeque
d'un vieux Vdnitien,' p. 275.
Molmenti. 'La Storia di Venezia nella vita privata,*
cap. X.
Tassini. ' Curiosity Veneziane.* 8. ▼. Pieti, Mendi-
canti, Ospedaletto, Incurahili. [H.F.B.]
VENTADOUR. P. 238 5, 1. 3a,/or Dec. 28
read Dec. 8.
VERDE LOT, PfiiLitP. Add that Antonio
(jrardano, the publisher, when introducing in
1541 a collection of six-part madrigals by Ver-
delot, describes them on the title-page as the
most divine and most beautiful music ever heard
(* la piti divina e piti bella musica che se udisse
giammai '). It has long been the question who
is the real creator of the madrigal as a musical
VERDELOT.
form. Adrian Willaert has often been repre-
sented as the first composer of madrigals. But
more recent investigation would seem to prove
that Verdelot has a better claim than Wil-
laert to this position. Besides the fact in-
sisted on by Eitner (* Monatshefte fur Musik-
Geschichte,' xix. 85) that only a very few
of Willaert's secular compositions are properly
madrigals, the most of them being rather in
the lighter style of vilanellas, his first composi-
tion of the kind appeared only in 1538, while
as early as 1536 Willaert himself had ar-
ranged in lute tablature for solo voice and lute
accompaniment twenty-two madrigals by Ver-
delot (' Intavolatura degli Madrigali di Verde-
lotto da cantare et sonare nel lauto . . . per
Messer Adriano,' Venice, 1536). Apart from
the early mention of the name in the 14th cen-
tury, the earliest known volume of musical pieces
described as madrigals bears the date 1533, and
Verdelot is the chief contributor. It is entitled
' Madrigali Novi de diversi excellentissimi Mu-
sic!.' (See Eitner, * Bibliographic der Saramel-
werke,' p. 27.) If any one might dispute the
claim of Verdelot to be the first real madrigalist,
perhaps it is Costanzo Festa, who also appears
as a contributor to this volume, and whose name
otherwise as a composer appears earlier in print
than that of Verdelot. (It should be mentioned
that this first book of madrigals is not perfectly
preserved, two part-books only existing in
the Konigl. Staatsbibliothek at Munich.) From
1537 onwards various collections of Verdelot's
madrigals for four, five, and six voices were made
by enterprising publishers, such as Scotto and
Gardano, but always mixed up with the works
of other composers. Eitner says that no inde-
pendent collection of Verdelot's madrigals is
known to exist. Out of the miscellaneous col-
lections he reckons up about 100 as composed
by Verdelot, although with regard to many of
them some uncertainty prevails, from the care-
lessness of the publishers in affixing names, and
perhaps also their wish to pass off inferior com-
positions as the work of the more celebrated
masters. The feat of adding a fifth part to
Jaimequin's * Bataille ' first appeared in Tylman
Susato's tenth * Book of Chansons,' published at
Antwerp in 1545, and has been reprinted in
modern times by Commer. Besides madrigals,
Verdelot appears as composer of motets in the
various collections made by publishers from 1533
onwards. Forty are enumerated in Eitner's
* Bibliographic,' several of them imperfectly pre-
served. Of the complete works which Ambros
examined, he praises the masterly construc-
tion, and the finely developed sense for beauty
and pleasing harmony. — Only one Mass by
Verdelot is known, one entitled * Philomena,' in
a volume of five Masses published by Scotto,
Venice, in 1544. Fdtis and Ambros say that
several exist in manuscript in the archives of the
Sistine Chapel at Rome ; but Codex 38, to which
F^tis refers, is shown by Haberl's Catalogue
('Katalog der Musik-werke im papstlichen
Archiv,' pp. 18 und 171, 2) to contain only three
VERDELOT.
motets by Verdelot. (See also Van der Straeten,
'Musique de Pays-Bas,' vi. 473.) [J.R.M.]
VERDI. Line 3 of article, f(yr Oct. 9 read
Oct. 10. P. 240 &, omit note i, as there is no-
thing in the mention of * leather ' and * pedals '
which militates against the instrument having
been a spinet, as stated in the text. P. 247 &,
1. 26 from bottom,/or Roger read Royer. P. 248 a,
1. 27 from bottom, /or March 17 read March 14.
P. 348 h, 1. id, for Oct. 26 read Oct. 25. P. 250a,
1. 39> for April 12 read March 24 ; 1. 3 from
bottom, for II read Un. P. 250 &, 1. 18, /or
Dec. 27 read Dec. 24 ; 1. 31, for in read
May 24. P. 251, add that Verdi's latest work,
* Otello,' set to a poem founded on Shakespeare
by Boito, was produced at the Scala, under
Faccio's direction, on Feb. 5, 1887. P. 2526,
1. 2, for Mini read Nini ; 1. 3, for Bouchenon
read Boucheron ; 1. 8, /or Mabollini read Mabel-
lini. P. 254 5, in list of works, for date of
* Macbeth ' read March 14. For ' Stifellio * in
line I of second column and in note 3 read * Stif-
felio.' For date of * Un ballo in Maschera ' read
1859.
VERDONCK, CoENELiTTS, bom at Tumhout
in Belgium in 1563, belongs to the later school
of Flemish composers, influenced from Italy, as
Italy had earlier been influenced from Flanders.
He lived chiefly at Antwerp, in the service of
private patrons, and died there Jnly 4, 1625.
As a musician, he must have been highly ap-
preciated by his contemporaries, as the following
epitaph, inscribed to his memory in the Car-
melite Church at Antwerp shows; a copy of
which we owe to the obliging kindness of M.
Goovaerts, keeper of the Public Archives at
Brussels : —
O. O. M. S.
SISTK GRADUM VIATOR
ITT PBRLEGAS QUAM OB REM HIC LAPIS LITTERATUS SIET
MUSICORUM DELICIAE
CORNELIUS VERDONCKIUS
TURNHOLTANUS HOC CIPPO EHEU J CLAUSUS
PERPETUUM SILET
QUI DUM VIXIT
VOCE ET ARTE MUSICA
MORTEM SURDA NI ESSET FLEXISSET
QUAM DUM FRUSTRA DEMULCET
COBLI CHORIS VOCEM AETERNAM SACRATURUS
ABIT
IV NON. JUL. ANNO MDCXXV AETAT. LXII
AT TU LECTOR BENE PRECARE ET VALB
CLIENTI SUO MOESTUS PONEBAT
DE CORDES.
His compositions consist chiefly of madrigals for
four, six, and up to nine voices, many of which
appear in the miscellaneous collections published
at Antwerp by Hubert Waelrant and Peter
Phalese between 1585 and 16 10. For details,
see Goovaerts' * Histoire et Bibliographic de la
Typographie Musicale dans les Pays-Bas ' ; also
Eitner's * Bibliographic der Sammelwerke.' One
of his madrigals was received into Young's
English collection entitled * Musica Transal-
pina,' published in London, 1588. A few sacred
compositions also appear among the published
works of Verdonck. An Ave Maria of his for
4 voices is printed in the Ratisbon ' Musica Di-
Tina/ Annus, ii. Liber ii, 1874. [J.R.M.]
VESQUE VON PUTTLINGEN. 811
^ VEREENIGING, etc. The list of publica-
tions issued by this society is to be continued as
follows : —
11. Const. Huygens. • Pathodia ^14. J. A. Eelnken
Sacra et Profana* (ed. W. J.
A. Jonckbloet and J. P. N.
Land, 1883).
12. 8U Psalms by Sweellnck, In
4 parts (ed. B. Eitner, 1884),
Partite diverse
sopra I'Aria : ' Schweiget mlr
von Weiber nehmen' (1887).
(Without No.) J. P. Sweellnck,
'0 Sacrum Oonvlvlum,' 5-
part motet.
18. J. A. Relnken's 'Hortus Musi- 15. 3. P. Sweellnck, Cantlo sacra,
cus ' (ed. J. 0. M. van Biems- ' Hodie Christus natus ert,»
dUk. 1886). 6 parts.
The second volume of the society's 'Tijd-
schrift' was completed in 1887.
VERTICAL (or PERPENDICULAR) and
HORIZONTAL METHODS OF COMPOSI-
TION. Two highly characteristic and expressive
terms, used by modern critics for the purpose
of distinguishing the method of writing culti-
vated by modern Composers from that practised
by the older Polyphonists.
The modern Composer constructs his passages,
for the most part, upon a succession of Funda-
mental or Inverted Chords, each of which is
built perpendicularly upwards, from the bass
note which forms its harmonic support, as in
the example on p. 520 of the present Ap-
pendix.
The Polyphonic Composer, on the other hand,
thinking but little of the Harmonies upon which
his passages are based, forms them by weaving
together, horizontally, two or more Melodies,
arranged in contrapuntal form — that is to say, in
obedience to a code of laws which simply provides
for the simultaneous progression of the Parts, with
the certainty that, if they are artistically woven
together, the resulting Harmony cannot fail to
be pure and correct ; as in the example on pp.
580 and 581 of this Appendix. [W.S.R.]
VESQUE VON PUTTLINGEN, Johann,
born of a noble family of Belgian origin, July 23,
1803, at Opole, the residence of Prince Alexander
Lubomirski. His parents went to live in Vienna
in 1804, and at 12 years old he was sent to
the Lowenbiirgische Convict there f(jr about a
year. He began his musical studies in 181 6,
learning successively from Leidesdorf, Moscheles,
and Worzischek. In 1822 he went to the Uni-
versity of Vienna in order to study for the civil
service, which he entered in 1827. As early as
1830 he completed an opera, on the libretto of
Rossini's * Donna del Lago,' which was per-
formed by amateurs in a private house. In 1833
he studied counterpoint, etc., with Sechter, and
in Oct. 1838 a 2-act opera, *Turandot,' was
given with success at the Karnthnerthor Theatre.
In this and his other musical compositions he
adopted the pseudonym of * J. Hoven.' Two
years later a third opera, * Jeanne d'Arc,' in
3 acts, was given in Vienna. The work was
considered worthy of being performed at Dresden
in 1845, with Johanna Wagner in the principal
part. His other operas are * Der Liebeszauber,'
4 acts, 1845; *Ein Abenteuer Carl des II,'
I act, 1850; 'Burg Thayer,' 3 acts, apparently
not performed ; * Der lustige Rath,' 2 acts,
1852, produced at Weimar by Liszt; 'Lips
812 VESQUE VON PtJTTLINGEN.
Tullian,' i act, not performed. In 1872 he
retired from the civil service, and in 1879 re-
ceived the title of ' Geheimrath.' He died at
Vienna, Oct. 29, 1883. He enjoyed the friend-
ship of nearly all the musicians of his time ; he
corresponded with Mendelssohn, Schumann,
Berlioz, Liszt, and many other distinguished
men. His compositions of various kinds reach
the opus-number 58, besides two masses, and
other works unpublished. The above infor-
mation is obtained from a sketch of his life
published by Holder of Vienna, 1887, bearing
no author's name. [M.]
VESTALE, LA. Line 3 of article, for Dec.
16 read Dec. 15. The date given by Clement,
Kiemann, etc., was the date at first announced
for the performance.
VESTRIS, Mme. Add that during her en-
gagements with Elliston, Charles Kemble, etc.,
with their permission, she re-appeared at the
King's Theatre, and played in Rossini's operas on
their production in England, viz. as Pippo (in * La
Gazza'), March 10, 1821 ; Malcolm Graeme (in
* Donna del Lago'), Feb. 18, 1833; Zamira (in
'Ricardo e Zoraide'), June 5, 1823; Edoardo
(in * Matilde di Shabran '), July 3, 1823 ; Emma
(in * Zelmira '), at Mme. Colbran-Rossini's d^but,
Jan. 24, 1824 ; and Arsace, with Pasta as Semi-
ramide, July 15, 1824. She played there also in
1825, and as Pippo at Fanny Ay ton's d^but in
1827. This last year she played in English at
Covent Garden, George Brown in 'The White
Maid' (*La Dame Blanche'), Jan. 2, a part
played in Paris by the tenor Ponchard, and
Blonde in ' The Seraglio,' a mutilated version of
Mozart's * Entfiihrung,' Nov. 34. [A.C.]
VLA.DANA, LoDOVioo. Corrections as to
his name and place of birth will be found in
vol. iv. p. 314, note 3.
VIANESI, AuGUSTB Charles L^onabd
rBAN90is, bom at Leghorn Nov. 2, 1837, na-
turalized a Frenchman in 1885, had been for
many years the conductor of various Italian opera
companies before finally becoming first conductor
at the Op^ra in Paris. He is the son of a mu-
sician, and was taught music by the advice of
Pacini and Dohler, and became a chorus master
in Italy. In 1857 he came to Paris furnished
with a letter of introduction to Rossini from
Pasta, and in Paris he completed his musical
education. In 1859 ^® w*^ called to London to
conduct the orchestra at Drury Lane. He then
went to New York, and was afterwards engaged
at the Imperial Theatre at Moscow. He made
a short stay in St. Petersburg, and then for
• twelve years conducted the Italian opera at
Covent Garden. Besides this he has wielded
his baton in many other towns, as Vienna,
Trieste, Barcelona, Madrid, Manchester, Liver-
pool, Glasgow, Dublin, CMcago, Philadelphia,
etc. He has a talent for conducting those Ita-
lian opera companies which are got together for
a month or six weeks, where the singers have
neither time to rehearse nor to become ac-
quainted with each other's methods. On July
VIOLIN-PLAYING.
1, 1887, M. Vianesi, who was naturalized just in
time, was chosen by the directors of the Op^ra
to replace Altfes [see Alt^s in Appendix] as con-
ductor. He fills the post with much exuberance
of gesture, but with scarcely more authority than
his predecessor. [A.J.]
VIARD-LOUIS, Jenny. See vol. iv. p. 343,
where, last line of article,/or 1844 read 1884.
VICTIMiE PASCHALI. A Prose, or Se-
quence, sung, in the Roman Church, on Easter
Sunday and during its Octave, immediately after
the Gradual, which intervenes between the
Epistle and Gospel. The text, written in a
very irregular metre, with unexpected rhymes
marking the caesura and close of verses of
constantly varying rhythm, is attributed, by
Rambachius, to the nth century. The old
Ecclesiastical Melody, in Modes I. and IL, is
probably of equal antiquity, and may well have
been composed by the author of the text, since it
adapts itself, with never-failing facility, to the
rhythmical change in the verse.
The Sequence was a great &vourite with the
Polyphonic Composers, most of whom have
treated it with marked success. The finest ex-
amples are the well-known settings by Pales-
trina. [W.S.R.]
VIEUXTEMPS. The date of birth is pro-
bably to be corrected to Feb. 30, on the authority
of Paloschi and Riemann.
VIOLETTA MARINA. Add that the in-
strument was invented by Castrucoi.
VIOLIN-PLAYING. P. 287 a, I. 7 from
bottom of text, ybr Cortigniano read Cortegiano.
P. 289, in the table of violinists, the follow-
ing corrections are to be made. In Group I
the date of Leclair's birth should be given as
1687; that of De Beriot as 1802; that of Jos.
Hellmesberger as 1828. Add date of death of
Alard, 1888.^ In Group II,/or Jn. Linley read
Th. Linley. In Group III, Kalliwoda's date is
to be read 1800, and that of A. Stamitz as 1755.
In Group IV, J. Becker's date should be 1833.
In Group V the date of Baltzar's death is 1663.
In Group VI, Barthelemon's date is 1741, and
that of the death of Aubert le vieux, 1753.
P. 290 a, 1. 31, add that the Ciaccona here
attributed to G. B. Vitali, is the composition of
Antonio Vitali. The article on p. 3136, of
this volume refers to this latter composer, not to
G. B. Vitali. P. 290 6, 1. 7, after the words see
that article, add in Appendix. P. 292 a, 1. 27
from bottom, /or about I'jooread 1676. P. 2926,
1. 20 from bottom, the last word belongs to the
line above. Line 19 from bottom, for about
1700 read 1687. P. 293 a, line 26 from bottom,
for 1 801 read 1861. Line 6 from bottom, /or
1700 read 1698. P. 296 a, 1. 19 from bottom,
for 1836 read 1833. I^i^e ^3 ^'^om bottom, add
date of Alard's death, 1888. P. 2976, line 8,
for born 1822 read 1822-1887 ; 1. 16, after
Dont, add dates, 1815-88. P. 298 a, 1. 25
from bottom, for 1796 read 1797 ; 1. 7 from
1 The news of the death of Jean Delphin Alabd, on Feb. 22. 1888.
airlved after the earlier sheets of this Appendix were in type.
VIOLIN-PLAYING.
bottom, ybr 1801 read 1800 ; 1. 4 from bottom,
for 1874 read 1875. P. 298 &, 1. 24 from bottom,
/or about 1640-1700 read 1630-1679 ; 1. 19 from
bottom, for died about 1742 read 17 14-1742;
1. 7 from bottom, /or about 1780 read 1773.
VIOLINO PICCOLO iduart-geige, Halh-
geige, Dreiviertel-geige, Three-quarter fiddle). A
violin of small size, but of the ordinary parts
and proportions, differing in this respect from
the pochette or kit. It was usually tuned
a minor third higher than the ordinary violin,
its highest string having the same pitch as the
highest string of the Quinton. Leopold Mozart
says the Quart-geige is smaller than the ordinary
violin, and is used by children. 'Some years
ago,' he continues, 'Concertos were written for
these little violins, called by the Italians Violino
Piccolo : and as they have a much higher com-
pass than the ordinary violin, they were fre-
quently used in open-air serenades {Nacht-
stiicke) with a flute, harp, and other similar
instruments. Now, however [1756], the small
violin can be dispensed with. Everything is
played on the common violin in the higher
positions.' (• Violinschule,' p. 2.) The ' Three-
quarter Fiddle* is still used by children, but is
always abandoned as early as possible. Whether
the * Violino piccolo' of Bach's first Cothen
Concerto was of different pitch from the ordinary
violin is doubtful. The term here possibly de-
signates a violin somewhat smaller, and strung
with thinner strings, but of the ordinary pitch.
[See Violoncello Piccolo.] [E.J.P.]
VIOLONCELLO PICCOLO. A violonceUo
of the ordinary pitch, but of smaller size and
having thinner strings. According to Quantz
(* Flotenschule,' p. 212), it was generally used
for solo-playing, the ordinary violoncello being
employed for concerted music. Similarly, the
Viola da Gamba used for solo-playing was of
smaller size than the six-stringed * concert-bass.'
Bach introduces the Violoncello piccolo in the
cantatas * Jesu nun sei gepreiset,' and * Ich geh*
und suche mit Verlangen.' The parts have the
usual violoncello compass. The well-known
obbligato part to * Mein glaubiges Herz ' is en-
titled * Violoncello Piccolo,' though it is probable
from its construction that it was originally
written for the Viola da Gamba. [E. J.P.]
VIRGINAL MUSIC. P. 306 h, note 2, for
Cromwell read Cornwall. P. 3106, L 16 from
bottom, correct the statement that the book has
always been in the possession of Lord Aber-
gavenny. It formerly belonged to Burney, and
was sold at his sale for £11 os. 6d. According
to Rimbault, it was at one time in his (Rim-
bault's) library. [W.B.S.]
VISETTI, Albert Anthony, was bom (of
an English mother) at Spalato in Dalmatia,
May 13, 1846, and studied composition under Al-
berto Mazzucato at the Conservatorio of Milan,
where he gained two scholarships. His
exercise for his degree was a cantata to words
by his friend Arrigo Boito. His first engage-
VULPIUS.
813
ment was as conductor at Nice. He then
went to Paris, where A. Dumas prepared speci-
ally for him a libretto for an opera from his
'Trois Mousquetaires.' The score was hardly
completed when it was burnt in the siege of the
Commune. Mr. Visetti then came to London,
where he has since resided, and has devoted him-
self chiefly to teaching singing. He is Pro-
fessor of Singing at the Royal College of Music,
at the Guildhall School, the Watford School, and
various other institutions. He is also director
and conductor of the Bath Philharmonic Society,
to which he has devoted an immensity of time,
money, and ability. Mr. Visetti has published
translations of Hullah's 'History of Modem
Music,' of Dr. Hueffer's * Musical Studies,' and
of other works. The King of Italy in 1880 con-
ferred on him unsolicited the order of the Corona
d' Italia. [G.]
VOCAL CONCERTS. Line 12 from end of
article, /or 1821 read 1822.
VOGLER, Abt. . Line 1 2 from end of article,
add that Prof. Schaf hautl has recently published
a monograph on 'Abt Georg Joseph Vogler'
(Augsburg, 1888), which supersedes all other
works on the subject.
VOICES. P. 3345, 1. 15 from bottom, /or
1773 read 1764.
VOLKMANN, F. R. Add date of death,
Oct. 29-30, 1883.
VOPELIUS, Gottfried, bom at Herwigs-
dorf, near Zittau, in 1645, became cantor at St,
Nicholas, Leipzig, and died at Leipzig in 1715.
He wrote some original tunes to hymns pre-
viously set to other music, but is chiefly known
as a harmonizer of older melodies in four voice-
parts. He adopts the more modern form of
regular rhythm (generally 3-2), and freely uses
the subdominant and major dominant even in
minor keys, and the accidental $ and Q. He
published in 1682 ' Neu Leipziger Gesangbuch,'
which contains besides other tunes 100 hymns
from Schein's * Cantional oder Gesangbuch ' of
1627. [R.M.]
VORAUSNAHME. See Anticipation.
VORHALT. See Suspension.
VOSS, Charles. See vol. ii. p. 731 J, and
add date of death, Aug. 29, 1882.
VOWLES, W. G., organ-builder in Bristol, is
the present owner of the business established in
1814 by John Smith. The latter died in 1847,
and was succeeded by his step-son Joseph Mon-
day. On the death of Monday in 1857 he was
succeeded by his son-in-law Vowles. Smith
built the organ in Bath Abbey, and Vowles
those of the Cathedral and St. Mary Redcliffe
in Bristol. [V. de P.]
VUILLAUME. P. 341 b, 1. 3 from bottom,
for brother read father.
VULPIUS, Melchiob, born at Wasingen, in
the Henneberg territory, about 1560, became
cantor at Weimar in 1600, and held this position
814
VULPIUS.
till his death in 1616. He composed some
chorales, notably ' Jesu Leiden, Pein und Tod,'
* Christus der ist mein Leben,' and * Weltlich
Ehr und zeitlich Gut,' the melodies of which are
bold and charming; but accomplished much
more in harmonizing tunes for many voices, in
which he shows himself a sound contrapuntist.
He is addicted to the old style in the use of the
major and minor chords close together, even the
dominant having often the minor third, and in
the employment of chords without thirds. He
uses syncopation so freely that it is often difficult
to decide whether triple or quadruple rhythm is
intended. His contrapuntal skill is exhibited in
love of notes suspended as discords and after-
wards resolved. In the free use of the first in-
WALTHER.
version of the common chord he is rather in
advance of his age. His chief works are ' Can-
tiones Sacrae cum 6, 7, 8 vocibus,' Jena, 1602;
* Caution es Sacrae 5, 6, et 8 vocum,' 2 pts., Jena,
1603-4; * Kirchengesange und geistliche Lieder
D. Lutheri und Anderer mit 4 und 5 Stimraen,*
Leipzig, 1604, of which the second enlarged
edition bears the title * Ein schon geistlich Ge-
sangbuch,' Jena, 1609, and has the melody in
the discant, whereas most of his settings have it
in the tenor ; * Canticum B. V. Mariae 4, 5, 6
et pluribus vocibus,' Jena 1605 ; • Opusculum
novum,' 1610 ; and a Passion oratorio from the
four Gospels, in which the narrator has a tenor
voice. [R.M.]
¥.
WAGNER, H. Johanna. P. 346 o, 1. 19,
for at (second time) read of. Line 30,
for Walkure and Norn read Schwertleite
and First Norn.
WAGNER, W. Richard. P. 346 a, last line
but one, for 1811 read 1813. P. 365 a, 1. 20,
for is announced to be given again, etc, read
was repeated in 1886 and 18S8. P. 372 h, in
the chronological list, under Die Walkure, for
June 26 readJxme 25. To the number of books
on the subject of Wagner should be added M.
Jullien's admirable * Richard Wagner : sa vie et
ses ceuvres ' (Librairie de I'Art), Paris and Lon-
don, 1886. Add that Wagner's early opera,
* Die Feen ' (see vol. iv. p. 349), was produced at
Munich on June 29, 1888.
WAINWRIGHT. Line 7 of article, /on 797
read 1766. P. 375 a, 1. 16, for him read Ro-
bartt, since Schnetzler's remark was made on
him. See vol. iii. p. 542 a.
WALDMADCHEN, DAS. Line 6 of article,
for in October read until December. Concern-
ing its being used up in * Silvana,' see vol. iv.
p. 412 h.
WALKELEY, Antony. Line 3 of article,
for 1700 read 1698.
WALLACE, W. Vincent. Line 2-3 of ar-
ticle,/or about 1812 or 1814 read July i, 1814.
I*- 377 *. !• 10 from bottom, for Nov. 16 read
Nov. 3.
WALLISER, Christoph Thomas, born at
Strasburg about 1568, died there 1648. His
chief work is ' Ecclesiodae, das ist Kirchengesang,
nemblichen die gebrauchlichsten Psalmen Davids
so nicht allein viva voce, sondern auch zu musik-
alischen Instrumenten christlich zu gebrauchen,
mit 4, 5, 6, Stimmen componirt,' Strasburg 161 4.
It consists of 50 German psalms set in the old
contrapuntal style on the melodies to which they
were wont to be sung in the Protestant services in
Strasburg. Two of these psalms are republished
in Schoberlein and Riegel's * Schatz des liturg-
ischen Chorgesangs,' and one (• Ein* feste Burg,*
Luther's verson of the 46th psalm) in Kade'a
Notenbeilagen to Ambros's • Geschichte der Mu-
sik.' In 1625 Walliser published * Ecclesiodae
Novae, darin die Catechismusgesang, andere
Schrift und geistliche Lieder samt dem Te Deum,
und der Litania .... mit 4, 5, 6, 7 Stimmen ge-
setzt.' Winterfeld also mentions a setting by him
of a chorus from the ' Clouds ' of Aristophanes,
and 3, 4, 5 to lo-part choruses to a drama on the
subject of * Elias,' and to a tragi-comedy
' Chariclea.' [J.R.M.]
WALMISLEY, T. A. Add that a tablet
has recently (1888) been erected to his memory
in Trinity College Chapel, Cambridge.
WALTHER, Johann Jacob, violinist and
composer, was born in 1650 at Witterda, a
village near Erfurt in Thuringia. The name of
his teacher is unknown, but as he styles himself
on the title of one of his works ^Italian Secretary
to the Elector of Mayence,' it appears probable
that he had acquired his knowledge of the lan-
guage in Italy, and therefore had some connection
with the school of violin-players of that country.
We find him first as a member of the band of
the Elector of Saxony at Dresden, and later on
attached to the court of the Elector of Mayence.
The place and date of his death are unknown.
Two sets of violin compositions of his have been
preserved :
1. Scherzt da VloUno solo, con U
Basso Contlnuo per I'Organo
0 CImbalo, accompagnabile
auche con una Viola 6 Liuto,
di Giovanni GlacomoWalther,
Primo Violtnista di Camera
di sua Altezza Elettorale di
Passonia mdclxxvi.
2. Hortulus Chelicus, uni Vlollno,
duabus, tribus et quatuor
subinde ohordls simul sonan-
tlbus harmonla modulanti.
Studiosa varletate consitus a
Johanna Jacobo Waltbero,
Emlnentiss. Celsitud. Elec-
tor. Maffuntin. Secretarlo
Italico. Maguntiae, sumptN
bus Lud. Bourgeat. Academl.
Bibliopol. 1688.
The musical interest of these compositions is
but small. They consist chiefly of short preludes,
pieces in dance-forms (gavottes, sarabandes, etc.),
and sets of variations. In some respects they
remind us of the works of Fabina (see that
WALTHER.
article), who was his predecessor at Dresden.
Like Farina he appears fond of realistic tone-
pictures — he imitates the cuckoo, the nightingale,
the crowing of the cock, and other sounds of
nature. In a set of variations we meet with
imitations of the guitar by pizzicatos, of pipes
by passages going up to the sixth position on
the first string, of the trumpet by fanfares on
the fourth string; further on he introduces echo-
effects, the lyre, the harp, and winds up with a
* Coro ' in full chords. Besides these childish
efforts, it is true, we find some more serious
pieces, which, as far as invention, harmonic and
metrical treatment go, are decidedly an advance
on Farina's style. Still they are extremely
climasy and altogether inferior to the better pro-
ductions of Walther's Italian contemporaries.
Walther's importance for the history of the de-
velopment of violin-playing consists exclusively
in the advanced claims his writings make on
execution. While the technique of the Italians
of the same and even a later period was still
very limited — even Corelli does not exceed the
third position — some Germans, especially Biber
(see that article), andWalther — appear as pioneers
of execution on the fingerboard. Walther ascends
to the sixth position, frequently employs diffi-
cult double-stoppings, and uses a variety of
bowing. [P.D.]
WALTZ, GuSTAVUS. Line 8 of article, for
1832 read 1732.
WALTZ. The paragraph (p. 385 a) beginning
* Crabb Robinson's account,' was inadvertently
inserted by the editor in the wrong place. It
should come in at p. 385 6, after 1. 8 from bottom,
and should read 'Crabb Robinson's account of the
way in which he saw it danced at Frankfort
in 1800 agrees with the descriptions of the
dance when it found its way to England. The
man, etc' At the end of the article the minims
should be dotted minims. [W.B.S.]
WANDERING MINSTRELS. An amateur
orchestral society, founded in the year i860. It
is probably the only 'purely amateur full orches-
tra in existence in this or any other country.
Capt. the Hon. Seymour J. G. Egerton, ist Life
Guards (now Earl of Wilton), was the first
president and conductor, which post he held
until 1873, when he was succeeded by Lord
Gerald Fitzgerald, who in 1881 resigned in
favour of Mr. Lionel Benson. The society has
devoted its efforts chiefly to charitable objects in
various parts of the country, a nett sum of
nearly £15,000, the result of concerts, having
been handed over to various charities up to the
beginning of 1887. The meetings of the society
for the first twenty years took place at Lord
Gerald Fitzgerald's house, to which he added a
concert room with orchestra for the exclusive
use of the Society. The first ' smoking concerts '
in London were instituted by the Wandering
Minstrels. [M.]
WANHAL. Add that it seems, from the
fact that some compositions of his were pub-
lished at Cambridge, that he may have visited
WEBER.
81&
England. Further information concerning such
a visit is not forthcoming.
WARNOTS, Elisabeth (Ellt), bom atLifege,
1862, not 1857, made her ddbut Sept. 9, 1879,
as Anna (Dame Blanche). She remained there
two years and upwards, and gained great ap-
plause both as a comedian and as a bravura
singer. Among her parts were Catarina (Les
Diamans), Giralda, Prascovia, Denise (L'ifepreuve
Villageoise), etc. Her compass ranges from A
below the line to F in alt. Miss Warnots is now
or was lately at the Op^ra Comique, Paris.
WARTEL, P. F. Add date of death, August
1882. Line 6 from end of article, for Patti
read Piatti. Add tliat Mme. Wartel died
Nov. 6, 1865.
WAYLETT, Harriett, whose maiden name
was Cooke, born in 1797 at Bath, was taught
singing by Loder. She married Mr. Waylett in
1819, and made her d^but at Drury Lane as
Madge in ' Love in a Village,' Nov. 4, 1824, was
well known as an actress and ballad singer at the
' patent' theatres, at the Strand, and elsewhere.
She married a second time Alexander Lee the
singer and composer, and died at Kennington,
April 26, 1 851. [A.C.]
WEBER, C. M. VON. P. 403 a, \. 12 from
bottom,/or 1881 read 1818. P. 427 in list of
compositions, under No. 7 of the operas, 'Die
Drei Pintos,' add that it has recently been
completed by the composer's grandson, C. von
Weber, and August Mahler, of Leipzig, and
was produced at Leipzig, Jan. 20, 1888. The
following certificate of Weber's death was among
the papers of Sir Julius Benedict: — 'On ex-
amining the body of Carl M. von Weber we
found an ulcer on the left side of the larynx.
The lungs almost universally diseased, filled with
tubercles, of which many were in a state of sup-
puration, with two vomicae, one of them about
the size of a common egg, the other smaller,
which was a quite sufficient cause of death.
(Signed) F. Tencken, M.D.; Chas. F. Forbes,
M.D.; P. M. Kind, M.D. ; Wm. Robinson,
Surgeon. 91 Great Portland Street, June 5,
1826, 5 o'clock.'
WEBER, Gottfried, Doctor of Laws and
Philosophy, composer, theorist and practical
musician, was bom in 1779 at Freiesheim near
Mannheim, and studied and travelled until, in
1802 he settled in Mannheim as a lawyer and
holder of a Government appointment. It was
here that his namesake, Carl Maria von Weber,
sought a refuge after his banishment from Wiir-
temberg (18 10), that, in the house of Gottfried's
father an asylum was found for old Franz Anton
until his death in 181 2, and that a lasting friend-
ship was formed between Gottfried Weber, then
aged 31, and Carl Maria, eight years his junior.
A year previously the lawyer, proficient on the
piano, flute, violoncello, and well versed in the
scientific branches of musical knowledge, had
founded, out of two existing societies, the
* Museum,* a band and chorus of amateurs who,
under his able direction and with some professional-
816
WEBER.
help, did excellent work. Gottfried's influence
gained for the young composer a hearing in
Mannheim, and the artists and amateurs, carried
away by the spirit and fire of their conductor,
did much towards establishing Carl Maria's fame
in their city. For a lengthy account of the
relations, both lively and severe, between these
distinguished men, their influence on each other's
work, their pleasant wanderings in company with
other choice spirits, singing their newest songs
to the guitar as serenades; their establishment
of a so-called secret society (with high aims)
of Composer-literati, in which Gottfried adopted
the pseudonym of Giusto ; and of their merry
meetings at the ' Drei Konige ' or at Gottfried's
house — the reader may be referred to Max v.
Weber's life of his father (Carl Maria). When
circumstances had parted them, constant corre-
spondence showed the strength and quality of
their mutual sympathy. Some of Gottfried's
best songs had been inspired by this intercourse,
and were no doubt exquisitely interpreted by
his (second) wife, nie v. Dusch. Besides these
flongs, strophic in form and sometimes provided
with guitar accompaniment, Weber's composi-
tions include three Masses, other sacred music,
sonatas, and concerted pieces for various in-
struments. In the intervals of founding the
Mannheim Conservatoire, superintending the
Court Church musical services, and doing oc-
casional duty as conductor at Mainz, the genial
lawyer laid the basis of his reputation by
& profound study of the theory of music, the
result of which appeared in the ' Versuch einer
geordneten Theorie ' (about 1815), of which
translations have since appeared in French,
Danish and English (Warner, Boston, 1846, and
J. Bishop, London, 1851); 'AUgemeine Musik-
lehre'; and other volumes, and articles published
in * Caecilia,' the musical periodical published
by Schott in Mainz, and edited by Gottfried
Weber from its beginning in 1824 until his death,
September 21, 1839.^ L^^e vol. i. 294.] Weber's
examination of musical theories led to his work
on time-measurements and the 'tempo-inter-
preter' [see vol. ii. 319 a], and his study of
Acoustics to certain improvements or inventions
in wind-instrument making. A full list of
his writings and compositions is given in Men-
del's Lexicon xi. 297. [L.M.M.]
WEBER'S LAST WALTZ. In the second
bar of the musical example, the fourth note
should be F, not Db.
WEHLI, Kael. Add that he died Jan. 2^,
1887.
WEINLIG, C. T. Line 8 of article, for he
was followed by Hauptmann read he was fol-
lowed by Pohlenz, who in September of the
same year was succeeded by Hauptmann.
WEITZMANN, Karl Fbiedrich, a learned
and excellent writer on musical subjects, born
at Berlin, Aug. 10, 1808, was a pupil of Henning
Klein, Spohr and Hauptmann. He rose by
1 It appears that vol. xx. of July 1830 was followed only In 1842 by
vol. zzi., the first edited by Dehn.
WHYTE.
various posts and labours, till in 1848 he esta-
blished himself as a teacher and writer in Berlin,
where he resided till his death, Nov. 7, 1880.
His publications are various : — * History of
Harmony' (1849); 'The Diminished Seventh'
(1854) ; * History of the Chord of the Seventh *
(do.) etc; but especially 'History of Clavier-
playing and Literature* (ist ed. 1863, and do.
much enlarged, and with a history of the in-
strument itself, 1880), a very valuable and
interesting work. For further details see Rie-
mann's 'Musik Lexikon,' 1887. [G.]
WELCH, J. B. Add date of death, July i,
1887.
WELSH MUSIC. P. 441 a, second musical
example, the first bar-line should be between
the second and third sets of triplets, not before
the first set. P. 441 h, note 3, for Ottoman)
Luscinio read Othmar Lusciniua.
WENNERBERG, Gunnar, a Swedish poet
and composer, born 181 7, in Lidkoping, and
educated at the Upsala university. For several
years past he has been a member of the Swedish
legislature. As a musician he was entirely self-
taught, and he published his first composition
* Frihetssanger ' (Songs of Freedom), in 1847.
This was followed by several works of which
the best known is * Gluntarne ' (recollections of
student life in Upsala). He subsequently wrote
an oratorio entitled * The Birth of Christ ' ; and
set the * Psalms of David ' in a simple and
melodious form for soli and chorus with accom-
paniment. These Psalms are universally popu-
lar in Sweden, and they are sung both in North
Germany and Scotland. [A.H.W.]
WESLEY, Charles. Add that he wrote
a hymn on the death of Dr. Boyce, beginning,
' Father of Heroes, farewell.' P, 446 b, in list of
S. Wesley's compositions, for Antiphons read
Motets, and add an asterisk (showing publica-
tion) to ' Omnia Vanitas.'
WESLEY, S. S., Mus. D. P. 447 5, 1. 30,
for in April read April 19. Line 33, for at
Exeter read in the old cemetery at Exeter.
WHITE, or WHYTE, Robert. See
vol. iv. p. 451. Add that he died at West-
minster between Nov. 7 and Nov. ii, 1574.
The family seem to have been probably visited
by the plague, which raged with great severity
that year. White made his will on Nov. 7,
1574. In it he is styled 'Bacheler of Musicke
and Master of the Queristers of the Cathedrall
Churche of St. Peter in the Cittie of West-
minster.' He directs that he shall be buried
at St. Margaret's, Westminster * nere vnto my
children.' Amongst the bequests is one to his
daughter Margerj' White of * six syluer spones
and a mazer w^'*' was her late graundmothers,'
and to his father, Robert White * the some of
three poundes . . . and all such his household
stufe and goodes w«^ he did bringe unto me at
or before his cominge to me.' He also mentions
two other daughters, Anne and Prudence White,
and his wife, Ellen. He also mentions some
WHYTE.
property he possessed called Swallowfield, at
Nuthurst, Sussex, and leaves *to every of my
Bkollera to eche of them 1111^.' The registers of
St. Margaret's show that White * M"" of the
singing children' was buried on Nov. ii, and
the will was proved on Dec. 8, the widow having
died in the meantime. Prudence White, the
daughter, was buried on the day that her father's
will was made, viz. Nov. 7. The will of Ellen
White, the widow, was made on Nov. 21. In
it she directs that she shall be buried in the
churchyard of St. Margaret's, near her husband
and children. The names mentioned by the
testatrix are her mother, Katherine Tye (prob-
ably a relation of Dr. Christopher Tye), her
aunt Anne Dingley, her sisters Susap Fulke
and Mary Rowley, her daughters Margery and
Anne (both minors), her brother-in-law, Thos.
Hawkes, citizen and pewterer of London, Mr.
Gravener *my husband's deere freinde,' and
Richard Gran wall * one of the gentlemen of the
Queenes Chappell.* The list of debts owing to
her and her husband includes * xxxvi* vin^ * from
Edward Parston, Esq. ; £6 from Gabriel Cawood,
* citizen and stacyoner of London,' and * she
hathe in pawne a Jewell of golde.' Mrs. White
was buried on Nov. 30, 1574, and the will was
proved on Dec. 8 following. It has been suggested
with great probability that the large sum owing
to White from Gabriel Cawood the printer was
in payment for some of his musical compositions.
(Registers of St. Margaret's, Westminster ; wills
at Somerset House.) [W.B.S.]
WHYTHORNE, Thomas. At end of article,
for Mr, Julian Marshall read Mr. W. H. Cum-
mings.
WIDOR, C. M. Add that in 1888 he visited
England and conducted his * Music to a Wal-
purgis Night* at the Philharmonic Concert of
April 19.
WILD, Feanz. p. 456 a, 1. 10 from bottom,
for vol. iii. read vol. iv.
WILHELM, Carl. Line 4 of article, for
Aug. 26, 1875, read Aug. 16, 1873.
WILHEM, G. L. B. P. 4586, 1. 12, for
vol. ii. read vol. iii.
WILSON, John. The date of birth has been
established by Mr. James Love, who has found
an entry in the Canongate Records of Edinburgh,
to the effect that the singer was the son of John
Wilson, a coach-driver, and was bom Dec. 25,
1800, and baptized Jan. 4, 1801. Line la of
article,/or Creselli read Crivelli.
WIND-BAND. P. 4646, fourth stave of mu-
sical example, in the second bar a group of
descending notes F, E, D, is to be inserted
between the first and second groups of semi-
quavers and demisemiquavers, in order to com-
plete the bar. P. 465 a, note i, for p. 385
read 358.
WINGHAM, Thomas. Add that he has
been Choirmaster at the Oratory, Brompton,
since October 1882.
WYDOW.
817
WINN, William. Add date of death, June
I, 1888.
WORKING-OUT. P. 489 a, 1. 14, read or a
figure extracted from a subject, to change, etc.
WULLNER, Franz. Add among his works,
a Stabat Mater for chorus.
WYDOW, Robert, Mus.B. (also spelt We-
dow. Widows, Wydewe, etc., and latinized into
Viduus). According to Leland he was born
at Thaxted, in Essex. He was educated by
his step-father, the master and proprietor of a
school at Thaxted, who ultimately sent him to
Oxford to complete his studies. While there he
distinguished himself in literature and the arts,
especially in poetry and music, finally taking the
degree of Bachelor of Music. After his step-
father's death Robert Wydow succeeded him as
master of the school, and is said to have turned
out several illustrious pupils. Among his
patrons, Wydow numbered Edward IV ; and, as
Edward had some connection with Thaxted,
being lord of a third of the manor, it is not
unreasonable to suppose that it was owing to
that monarch's good offices that he obtained
the presentation to the vicarage of Thaxted
on Dec. 22, 1481. This living, which was
then worth about £28, Wydow resigned on
Oct. I, 1489. It was probably at this period
that he travelled in France and Italy for the
purposes of study, and added to those stores of
learning which gained him the appellation of
* Grammaticus '; and it was perhaps on his return
from the Continent that he was made * Peni-
tentiarius* in St. Paul's Cathedral, if, as is
generally believed, he really held that post.
On Nov. 19, 1493, he was collated rector of
Chalfont St. Giles, in Buckinghamshire, a place
afterwards associated with the more illustrious
names of John Milton and William Penn.
After enjoying that living for rather more than
three years, he was installed by proxy Canon and
Confrater of Comba II. in Wells Cathedral, on
March 27, 1497 ; and a few months later (Sept.
10) was appointed Succentor in the place of
Henry Abyngdon [vol. i. p. 6]. On Sept. 21,
1499, he obtained the vicarage of Chew Magna,
in Somersetshire, which he held till his death.
In 1499-1500 he was made one of the resi-
dentiary canons, and on May 25 in the latter year
was installed Sub-Dean and Prebendary of Hol-
combe Burnell, in Devonshire. About the same
time Robert Wydow was made deputy for the
transaction of affairs between the Pope and the
Cathedral and Chapter of Wells ; he was also
granted the advowson of Wookey, in Somerset-
shire, the rectory and vicarage of which were
together worth about £15. He also held about
this time the offices of ' Scrutator Domorum ' and
Librarian in the Chapter House. On Sept. 21,
1502, Wydow was made Seneschal, and shortly
after Auditor, of the Chapter House. On Oct. i,
1503, he was presented to the perpetual vicarage
of Buckland Newton, in Dorsetshire, which is
the last event recorded in his life, for he died
818
WYDOW.
Oct. 4, 1 505. He was a man of some wealth, if
we may judge from his benefactions to the Car-
thusian Priory of Henton, near Bath, which were
BO considerable that a Requiem was ordered to
be sung for his soul in every house of the Order
throughout the kingdom. Edward Lee, Arch-
bishop of York, who in his younger days had met
Wydow, called him * facile princeps' among
the poets of his day. Holinshed speaks of him
as an 'excellent poet,* and classes him among
the celebrities of Henry VII.'s reign. ^ Wydow's
chief poetical work was a rhythmical life of
Edward the Black Prince, to which Leland
refers in these words : —
Contulit Hectoreis arguta voce triumphis
Ednerdom Viduus doctissimus ille Nigellum
Et facti pretium tulit immortale poeta.
This work is said to have been written by
Wydow at the instigation of his royal patron.
He also wrote a book of epigrams. No musical
composition by this author is extant. [A.H.-H.]
WYNNE, Sarah Edith, born March 11,
1842, at Holywell, Flintshire, was taught sing-
ing by Mrs. Scarisbrick of Liverpool, and by
Pinsuti, at the Royal Academy of Music, where
she was Westmorland Scholar, 1863-64. She
was subsequently taught by Romani and Van-
nuccini at Florence. She first sang in the pro-
ZUR MUHLEN.
vinces, and made her ddbut in London (St.
James's Hall), at Mr. John Thomas's Welsh
concert, July 4, 1862. She sang with great
success in the following year at Henry Leslie's
Welsh concert, Feb. 4, at the Crystal Palace,
April 25, at Mr. Thomas's concert in his cantata
* Llewellyn,' June 29, and as the heroine on the
production of Macfarren's * Jessy Lea,' at the
Gallery of Illustration, Nov. 2. Chorley was
one of the first to draw attention to her talent.
She became a great favourite at the above con-
certs, at the Philharmonic, the Sacred Harmonic,
the Popular, Ballad, and other concerts, and
later at the Handel and provincial Festivals, etc.
She sang in the United States with the Pateys,
Cummii^gs, and Santley, in 187 1-2, and at the
Boston Festival of 1874. She played a few
times in English opera at the Crystal Palace in
1869-71 as Arline, Maritana, Lady Edith (in
Randegger's * Rival Beauties *) : but she was
chiefly noted for her singing of songs and bal-
lads, and was remarkable alike for her passionate
expression and the simplicity of her pathos. Since
her marriage with Mr. Aviet Agabeg, at the
Savoy Chapel, Nov. 16, 1875, she has sung less
frequently in public, but has devoted herself prin-
cipally to giving instruction to young professional
singers in oratorio and ballad singing. [A.C.]
X. Y, Z.
XYLOPHONE. See Stbohpiedbl.
YANKEE DOODLE. P. 494 a, in bar 8 of
musical example, the first note should be C,
not E.
YEOMEN OF THE GUARD, THE : or.
The Merbyman and his Maid. Opera in two
acts ; the words by W. S. Gilbert, music by Sir
Arthur Sullivan. Produced at the Savoy Theatre
Oct. 3, 1888. [M.]
YONGE, Nicholas. Line 10 from end of
article, ybr Bodenham read 'A. B.', since Mr.
A. H. BuUen, in his recent re- issue of 'Eng-
land's Helicon' (1887), proves conclusively that
the * A. B.' by whom the original work was
edited cannot be Bodenham, as was formerly
ZAUBERFLOTE, DIE. Last line but one
of article, /or 1883 '•«»^ 1833.
ZULEHNER. See Mozart, in Appendix.
ZUR MUHLEN, Raimund von, was bora
Nov. 10, 1854, on the property of his father in
Livonia. He received his education in Germany,
and in his twenty-first year began to leani sing-
ing at the Hochschule, Berlin, and continued the
study under Stockhausen at Frankfort, and
Bussine in Paris. His specialty is the German
Lied, particularly the songs of Schubert and
Schumann, of the latter of which he has made
a special study with Madame Schumann. His
voice is peculiar and sympathetic; but what
gives Zur Miihlen's singing its chief charm is
the remarkable clearness of his pronunciation,
and the way in which he contrives to iden-
tify the feeling of the words with the music,
to an extent which the writer has never heard
equalled. He sang in London first in 1882, and
has been a frequent visitor since. The writer
regrets not to have beard him in a work of
Beethoven. [G.]
PINAL ADDITIONS.
{TJie following were too late for insertion in the earlier sheets of this Appendix.)
ALARD, J. D. Add date of death, Feb. 22,
1888.
ALKAN, C. V. Add date of death, March
29, 1888.
BACH-GESELLSCHAFT. Add to the lists
given under this heading, and Kirchen-Can-
TATEN, in Appendix, the following catalogue of
the contents of two volumes published in 1889 : —
V0I.XXXTV. 1884.
K&mmermusik fur Gesang;.
Serenata, ' Durchlauchster Leo- 171.
pold.' 172.
Cantata, ' Schwingt freudlg euch 173.
empor,' and 'Die Freude 174.
regt s!ch.' (Two versions 175,
ofthe same work.) 176.
Dramma, (Die Wahl des Hercules)
' Lasat uns sorgen.' 177.
Dramma, ' TOnet Ihr Fauken.'
Cantata gratulatoria, and ' Preise 178.
dein Giacke ' (appx.)
Dramma, 'Angenehmes Wie- 179.
derau.'
Dramma, 'Aut Khmettemde 180.
Tone." I
Vol. XXXV. 1885.
Church cantatas.
Oott wie dein Kame.
Erschallet, ihr Lieder.
ErhOhtes Fleisch und Bint.
Ich liebe den HOchsten.
Er rufet seinen Schafen.
Es ist ein trotzig und verzagt
Ding.
Ich ruf zu dlr, Herr Jesu
Christ.
Wo Gott der Herr nicht bei
uns hfilt.
Siehe zu, dass deine Gottos-
furcht.
Schmilcke dich, 0 liebe Seele.
BENOIT. Add that his ' Lucifer ' was given
for the first time in London at the Albert Hall,
April 3, 1889.
BRAHMS,
works, vol. iv.
Add the following to the list of
p. 562 :—
Op. 103. ZIgeunerlieder for 4 voices
and PF. acct.
104. 5 Songs, a capella for
mixed choir.
106. 6 Songs.
106. 5 Songs.
107. 6 Songs.
108. Sonata for violin
piano in D minor.
BREITKOPF & HlRTEL. Add date of
death of Raymund Hartel, Nov. 10, 1888.
BRIDGE, J. P. Add that his cantata
*Callirhoe,' to words by W. Barclay Squire, was
produced at the Birmingham Festival of 1888,
BUCK, Dudley. Add that his 'Light of
Asia ' was given for the first time in England at
Novello's Oratorio Concerts, March 19, 1889.
DAVIDOFF, Carl.
Feb. 26, 1880.
Add date of death,
DITSON, OLIVER & Co. (in Appendix).
Add date of death of Oliver Ditson, Dec. 21,
1888.
DVOIRIK. Add the following to the list of
works vol. iv. p. 624 : —
Op. 81. Quintet forPF. and strings.
82. 4 Songs.
ELLA, John. Add date of death, Oct. 3,
1888.
FLORIMO (in Appendix). Add date of death,
Dec. 18, 1888.
GOW. Add that the Christian name of the
elder Gow should be spelt * Niel' (on the authority
of J. Cuthbert Hadden, Esq.).
GRIEG. Add to list of works in appendix.
Op. 44, 6 Songs, and Op. 46 the 'Peer Gynt*
music arranged for orchestra. Also that he and
Mme. Grieg came to England again early in
1889, appearing at the Philharmonic, the
Popular Concerts, and elsewhere.
GUNG'L. Add date of death of Josef Gungi,
Jan. 31, 1889.
HUEFFER (in Appendix),
death, Jan. 19. 1889.
Add date of
JAHNS, F. W.
1 888.
Add date of death, Aug. 8,
JULLIEN, J. L. A. (in Appendix) Add to list
of works his biography of Berlioz, the companion
volume to his * Richard Wagner,' 1888.
LIND, Jenny. Add the following to the cor-
rections in Appendix : — Vol. ii. p. 1 40 5, 1. 1 5 from
bottom, /or April 18 read April 22. P. 142 a,
1- ^5) for May 18, read May 10. Add that she
sang in April and May, 1849, ^^^ Lumley, as
farewell appearances, at one concert (Flauto
Magico), and in six operatic performances, viz.
April 26, Sonnambula; 28, Lucia; May 3,
Figlia ; 5, Sonnambula ; 8, Lucia ; 10, Roberto
(her last appearance on the stage).
Lumley, in his book, mentions four, meaning
perhaps four diflferent parts, or possibly with
820
FINAL ADDITIONS.
the idea of undervaluing her assistance, which,
according to Nassau Senior, was gratuitously
given to Lumley.
According to L^n Pillet and Arthur Pougin
(Le Mdnestrel, Nov. 20, 1887), the 'hearing' of
Mile. Lind (1842) by Meyerbeer, of which so
much has been said and written, had no refer-
ence whatever to an engagement at the Op^ra
at Paris. It seems to have been altogether
private, and unconnected with any question of
the sort. [J.M.]
MACKENZIE, A. C. Add to list of works
*The Dream of Jubal,' cantata, performed by
the Liverpool Philharmonic Society, Feb. 5, and
at Novello's Oratorio Concert, Feb. 26, 1889.
MONK, W. H. Add date of death, March i,
1889.
MURSKA, Ilma di. Correct date of birth
to 1836, and add date of death, Jan. 14, 1889.
She married (i) Dec. 29, 1875, Alfred Anderson,
at Sydney; and (2) May 15, 1876, J. T. Hill
at Otago.
MUSICAL PERIODICALS. Add that the
Tonic Sol-fa Reporter was issued bi-monthly till
1878, and that it has been called 'The Musical
HeraJd' since Jan. 1889.
OUSELEY, Sib F. A. G.
April 6, 1889.
Add date of death,
RHEINBERGER. Add to list of works in
appendix a Singspiel, * Das Zauberwort,' op. 153,
and a twelfth organ sonata, op. 154.
ROSA, Carl. Add date of death, April 30,
1889, at Paris. To works mentioned, iv. 775 &,
add In 1888 'Robert the Devil,' 'The Puritan's
Daughter/ ' The Star of the North,' and ' The
Jewess' were produced ; and on Jan. la, 1889,
Planquette's 'Paul Jones' at the Prince of
Wales's Theatre, London.
STEIN WAY & SONS. Add date of death
of Theodore Steinway, March 25, 1889.
VIRGINAL MUSIC. Vol. iv. p. 307 a.
The account of the younger Francis Tregian
(based upon that given in Polwhele's Cornwall,
iv. 88-90) is incorrect. He was educated at
Eu, and entered Douay Sept. 29, 1586. On the
occasion of the visit of the Bishop of Piacenza,
Aug. 14, 1 591, he was chosen to deliver a Latin
address of welcome. He left Douay on July ii,
1592, and was afterwards for two years chamber-
lain to Cardinal Allen, upon whose death in
1594 he delivered a funeral oration in the church
of the English College at Rome. In a list of
the Cardinal's household drawn up after his
death, which is preserved in the Archives of
Simancas, Tregian is described as ' molto nobile,
di 20 anni, secolare, di ingenio felicissimo, dotto
in filosofia, in musica, et nella lingua latina.*
He returned to England, bought back his father's
lands, and in 1608-9 was convicted of recusancy
and committed to the Fleet. He died there,
probably in 1619, owing the Warden above £200
for ' meate, drinke and lodging.' In his rooms
at the Fleet a contemporary record states there
were many hundred books. If it were not for
the date of 'Dr. Bull's Jewel,' it might be con-
jectured that the Fitzwilliam Virginal Book was
written by the younger Tregian while a prisoner
in the Fleet. If this is impossible, there can be
but little doubt that it was written by some of
his associates, possibly by one of his sisters, who
were in England with him.
Morris, 'Troubles of our Catholic Forefathers,'
first series ; State Papers, Domestic, James I.,
xli. No. 116, cxvi. No. 12; 'The Oeconoiny of
the Fleete,' ed. Jessopp, Camden Soc, p. 140 ;
Records of the English Catholics, vols. 1,2.
[W.B.S.]
THE END.
OXFORD*. HORACE HART, PRINTER TO THE UNIVERSITY
DICTIONARY
OF
MUSIC AND MUSICIANS
(A.D. 1450—1889)
BY EMINENT WlUTEllS, ENGLISH AND FOREIGN.
WITH ILLUSTRATIONS AND WOODCUTS.
EDITED BY
SIR GEORGE GROVE, D.C.L.
SOMETIME DIRECTOR OF THE KOYAL CuLLEGE OF MLSIC, LONDON.
INDEX TO THE FOUR VOLUMES
AND
CATALOGUE OF ARTICLES CONTRIBUTED BY EACH WRITER:
BY
MRS. EDMOND R. WODEHOUSE.
MACMILLAN AND CO., Limited
NEW YORK : THE MACMILLAN COMPANY
1900
[The Rhiht of Translation and Reproduction is reserved.]
This Dictionary was oriyinaUij published between the dates 1877 aiid 1889, and the Patis
have since heen reprinted from plates^ with corrections as required.
OXFORD : HORACE HART, PRINTER TO THE UNIVERSITY
PREFACE.
Lest a Dictionary of articles arranged in alphabetical order should be
thought to require no Index, it is necessary to remind readers of the
Dictionary of Music and Musicians, not only that it makes mention of very
many persons and things to which no separate articles are devoted, but also
that with regard to names and subjects which have their own articles
further information and illustration are supplied in other articles. Articles
also occasionally occur out of the order of strict alphabetical sequence. The
object, therefore, of the present Index is to enable readers to find with ease
all the information which the Dictionary affords upon any specific point of
inquiry or study.
A few remarks explanatory of details in the arrangement of the Index
will facilitate its use.
1. When a heading in the Index is immediately followed by a reference
to volume and page (as Aaron, P., i. id), the reader will understand that the
heading has an article to itself in the Dictionary. Succeeding entries under
the heading indicate other articles where it is spoken of; and "etc."
appended to a reference signifies that the article contains further allusions to
the heading. If, on the other hand, a heading is not immediately followed
by a reference to volume and page (as Aalst J. A. van ; Hist, of Mus., iv.
6746), the subject has no article of its own, but information about it may
be gathered from the articles to which the entries point.
2. So many musicians have borne the same surnames, and there is so
much uncertainty about their Christian names and initials that it is often
impossible to identify them with precision, and thus perfect accuracy cannot
be ensured in the indexing of names. But, — subject to the condition of
invariably making the headings in the Index identical with headings of
articles in all cases where there is a separate notice of a musician, — the rule
obsei-ved in the present Index is to state Christian names or initials, when-
ever known, in the headings. In the entries Christian names and initials
are not stated, except to avoid confusion when the same surname has been
borne by more than one musician mentioned in the Dictionary. Where,
however, one musician has been indisputably more eminent than all others
of the same name, it has not been deemed necessary to insert his initials in
the entries. Again, in cases where musicians are known under different
names (as Genet, alias II Carpentrasso), or their names are spelt in different
ir PREFACE.
ways (as Escobedo and Scobedo), cross-references are given in the Index, but
the entries will be found under the most usual form of the name, — subject,
of course, to the above-mentioned condition of securing correspondence of
headings in the Index with headings of articles. And this last observa-
tion equally applies to names with prefixes (as De Muris or Muris) and to
double names (as Bourgault-Ducoudray).
3. With respect to the various Forms of music, it would be impossible
to refer to all the composers who have employed them, without uselessly
swelling the bulk of the Index. For instance, Beethoven wrote an Oratorio,
but he made no special mark on the Oratorio form of music, and the article
on Beethoven contains nothing of interest in regard to that form. Thus no
good purpose would be served by a reference to Beethoven under the heading
of Oratorio ; but the names of Animuccia and Mendelssohn will be found
under that heading, because the former wrote the first Oratorio, and in the
article on the latter this form is instructively noticed. In short, as to Forms
of music, references are only given in the Index to such articles as contain
matter of interest respecting them.
4. It is hoped that the catalogue of articles contributed by the various
writers will be of service.
To these explanatory remarks the undersigned would only add that she
is very sensible of the imperfections of the Index, but ventures to hope that
it may be of some use in rendering the valuable information contained in the
Dictionary more readily and fully accessible to students of music.
ADELA H. WODEHOUSE.
June, 1890.
INDEX
A, i. la; Alphabet, i. 57a.
Aalst, J. A. van; Hist, of Mus.,
iv. 6746.
Aabon, p., i, I a; Catelani
(A.), i. 3236; Hexachord, i.
735a; Isaac, ii. 23a; Jos-
quin Despr^s, ii. 41 a ; Mus.
ficta, ii. 413a; Mus. Lib,, ii.
,,42 1 a, etc. ; Obrecht, ii. 489 6 ;
Strict Counterpoint, iii. 740 h ;
Zarlino, iv. 502 a ; Mus. Lib.,
iv. 725 h.
Abaco, E. F. dair, i. i a.
A Battuta, i. I J ; Battuta, i.
157 «•
Abbatini, a. M., i. I 5 ; Baini,
i. 288J; Colonna.i. 3786.
Abbe, P. P. de St. Sevin, i. 1 6.
Abbey, J., i. 2 a.
Abbreviations, i. 2 a\ B. i.
108 a ; Dot, i. 457 a ; Clarinet,
iv. 591 h.
Abegg, iv. 517 a; Schumann,
iii. 408 a.
Abeille, J. C. L., i. 46; PF.
Mus., ii. 725 h ; Benedict, iv.
543 «•
Abel, C. H., i. \b.
Abel, F. L.; Mason (L.), ii.
225a!.
Abel, K. F., i. 46 ; Adagio, i.
276; Banti, i. 1 35 6 ; Baryton,
i. 147a; Cramer, i. 4x36;
Gamba, Viola da, i. 580 a, etc. ;
Hanover Square Rooms, i.
66ia; Linley, ii. 1446; Mus.
School, Oxford, ii. 437 a ;
Schroeter (J. S.), iii. 3186;
Symphony, iv. 14a; Cornelys,
iv. 5986.
Abel, L. A., i. 5 a.
Abele, H. ; Hist, of Mus., iv.
676 i.
Abell, J., i. 5 6 ; iv. 517 a.
Abella ; Sterling (A.) , iii. 7 ii J.
Abellimenti ; Improperia, ii.
2a; Miserere, ii. 336 &, etc.;
Sistine Choir, iii. 5226.
Abert, J. J., i v. 51 7 a ; Wilder
(J.), iv. 457 a.
Abos, G., i. 5 6 ; Ifigenia, i. 765 & ;
Latrobe, ii. 102 6 ; Paisiello,
ii. 633 b ; Sala (N.), iii. 217*;
Scarlatti (A.), iii. 239 a.
Abraham, Dr. ; Peters, ii. 695 J.
Abrams, The Misses, i. 6a; iv.
5176; Ancient Concerts, i.
64 a ; Handel, Commemoration
of, i. 657b.
Abranyi, K. ; Magyar Mus., ii.
199a; Hist, of Mus., iv.
675 J.
Abt, F.,i. 6 a; iv. 5176; Kiick-
en, ii. 75a; Orpheus, ii. 613;
Part-song, ii. 659 a ; Song, iii.
623 a.
Abu Hassan, iv. 5 i 7 « ; Weber,
iv, 396 a, etc,
Abyngdon, H., i. 6&; Wydow,
iv. 817I/.
Academic Gazette; Mus, Perio-
dicals, iv. 7266.
ACADEMIE DB MUSIQUE, i. 6 J,
iv. 517 J; Grand Opera, i.
6166; Habeneck, i. 643 a;
Lulli, ii,i72 &; Opera.ii. 531 &.
Academy op Ancient Music,
i. loa; iv, 5176; Arnold (S.),
i. 86a; Astorga, i. 100 a;
Concert, i. 384 a; Pepusch, ii.
684 b ; Steffani, iii, 698 h.
Academy OP Music, New York,
i. 10 b.
A CAPELLA, i, IO&; Alia breve,
i- 53& ; Capella, i. 306 b ; Cheru-
biniji. 343 b ; Schools of Coihp.,
iii. 312a; Time, iv. 118 a.
A CAPRiccio, i. 10 5.
AccADEMiA, i. 10 &; iv. 5i7&;l
Bologna, i. 2590; Este, 1.
496 a ; Ferrara, 1,5126; Flor-
ence, i. 533a; Milan, ii.
329a; Padua, ii. 6276; Rome,
iv. 774&.
Accelerando, i. 12 a; Tempo,
iv. 846. •
Accent, i, 1 2 a; iv. 51 7&; Acciac-
catura, i. 18 b ; Arsis and
Thesis, i. 95 b; Bar, i. 1366;
Beat, 1,1586; CommonTime,i.
381a; Metre, ii, 3166; Phras-
ing, ii. 706 b ; Rhythm, iii.
123a; Song, 111.63205; Syn-
copation, iv. 44 a ; Tempo
rubato, iv. 85 b ; Time, iv.
120 a; Triple Time, iv. 174a.
Accent ; Agr^mens, i. 43 a ;
Nachschlag, ii. 442 a.
Accents, i. 17 a; Gregorian
Modes, i. 627 a; Mass, ii.
232 «; Micrologus, ii. 3276;
Monotone, ii. 355a; Notation,
ii. 468a ; Plain song, ii. 764a,
etc.; Requiem, iii, 109 a; Re-
sponse, iii. 1 16 6.
AcciACCATURA,i. 18 J; Agrdmens,
i.44a; Appoggiatura, i. 75 6 ;
Arpeggio, i. 87 J ; Beat, i.
158a; Grace-notes, i. 615a;
Martele, ii. 221 &; Mordent,
ii, 363 b ; Notation, ii. 477 a.
Accidentals, i, 18 5 ; iv, 517 6 ;
Alpliabetji, 57 a ; B. i. 107a;
Bemol, i. 221a; Chromatic,
i. 355 J ; Flat, i. 532 a; H., i.
643 a; Harmony, i. 6716;
Key, ii, 52a; Mus. ficta, ii.
413a; Natural, ii. 447 J ; Sig-
nature, iii, 4926; Thorough-
bass, iv. no a; Part- writing,
iv. 7416.
Accolade ; Score, iii. 427a.
Accompaniment, i. 20a; iv.
5176; A capella, i. 106;
B
2
Additional Accompaniments,
i. 306 ; iEolian Mode, i. 406 ;
Anthem, i. 71a; Arpeggio,
i. 87 a ; Baccusi, i. io8a ; Ca-
valieri, i. 327*; Figure, i.
521 a ; Figured Bass, i. 522 a ;
Jomraelli, ii. 38 a; Motet, ii.
376a; Nanini (G. B.), ii.
443 h ; Recitative, iii. 85 a ;
Schubert, iii. 3666 ; Schumann,
iii. 4120; Song, iii. 621a, etc.
Accordion, i. 25*; Molina, i.
405 ; Instrument, ii. 6 a.
ACH GOTT VOM HiMMEL, iv.
517 J ; Zauberflote, iv. 503 J.
Acis AND Galatea, i. 26 a ;
Handel, i. 649 6; Mendelssohn,
ii. 261 b.
Ackers ; Orpheus, ii. 613 ft.
Acoustics ; Airy (SirG.), i. 47 ft ;
Analysis, i. 636 ; Chladni, i.
348 a; Diesis, i. 446 &; Drum,
i. 465ft; Kircher (A.), ii.
61 a; Metronome, ii. 318ft;
Mus. Assoc., The, ii. 417a;
Partial Tones, ii. 654 ft; Pitch,
ii 757a ; Sarti (G.), iii. 229a ;
Savart (F.), iii. 231a; Sech-
ter, iii. 456 a ; Siren, iii.
517 ft; Tartini, iv. 62 ft ; Tem-
perament, iv. 70 ft, etc.;Tiersch,
iv. 114 6; Timbre, iv. 116?);
Tone, iv. 141 6 ; Tromba ma-
rina, iv. 1756 ; Mahillon (V.),
iv. 708 a; Weber (G.), iv.
8i6a.
Act, i. 26a.
AcT-TUNE (see Tune, iv. 187 a).
Action, i. 26 a.
Acuteness, i. 26 ft ; Arsis and
Thesis, i. 95 ft ; Bass, i. 147 ft ;
Pitch, ii. 757 a.
Adagietto, i. 27 a.
Adagio, i. 27a; Abel (F. K.),
i. 5a; Langsam, ii. 90a;
Tempo, iv, 83 a.
Adam, A. C, i. 276; iv. 518a;
Auber, i. 1026; Ballet, i.
132ft; Boieldieu, i. 257a;
Cecilia, i. 329ft; Chalet, Le,
i« 332 a; Conservatoire de
Mus., i. 392 ft ; Giselle ou les
Wilis, i. 597 a; Harold, i
732ft; Lef^bure - Wely, ii.
112a; Opera, ii. 523 a;
Orph^on, ii. 612 a; Pedals,
ii. 6826; Poise (F.), iii. 7a;
Postilion de Longjumeau, iii.
22a; Pougin (A.), iii. 236;
Prince de la Moskowa, iii.
31a; Paget (Loisa), iii. 45 ft ;
St. Georges (Marquis de), iii.
213ft; Scribe, iii. 453a; Song,
iii. 621a; Zemire et Azor,
iv. 505 ft ; Delibes, i v. 6 10 ft ;
INDEX.
Garcin, iv. 645 ft ; Saxophone,
iv. 780 ft.
Adam, C. F. ; Orpheus, ii. 613 a.
Adam ; Lamoureux (C.),iv. 696 a.
Adam, L,, i. 29a; iv. 518ft;
Chaulieu (C), i. 340 ft ; Con-
servatoire de Mus., i. 39 2a, etc.;
Harold, i. 731a; PF.-music,
ii. 725 a ; PF.-playing, ii.
744 ; Banz des Vaches, iii.
76 a; Benoist (F.), iv, 5436.
Adamberger, v., L 29a ; iv.
5186; Curioso indiscrete, II,
i. 424a,
Adami da Bolsena, i. 296;
Milan, ii. 329 a; Palestrina,
ii. 635 a; Sistine Choir, iii.
522a.
Adams, C. R. ; Strakosch, iii.
735 «.
Adams, T., i. 296; ApoUoni-
con, i. 75a ; Interlude, ii. 7ft ;
May (E. C), ii. 240 a ; Men-
delssohn, ii. 274a; Peace, ii.
677 ft, ^ote; Voluntary, iv.
3396 ; Lambeth, iv. 695 ft.
Adaptations ; Cooke (T. S.), i.
398a; Lachnith, ii. 82ft;
Lacy (M. R.), ii. 83 a.
Adcock, J., i. 30 a.
Addison, J., i. 30a.
Addison ; London Violin Ma-
kers, ii. 163 ft.
Additional Accompaniments,
i. 30ft; Accompt., i. 25ft;
Franz, i. 560 ft ; Handel, i.
653ft; Hiller (F.), i. 738a;
Messiah, ii. 3156; Oratorio,
ii, 545 ft ; Orchestra, ii. 563 a;
Orchestration, ii. 570a; Perry,
ii. 693 ft; Schools of Comp.,
iii. 291 a, note.
Adenez ; Chanson, i. 336a.
A deux Mains, i. 376.
Adler, V. ; PF.-playing, ii.
745 a.
Adlgasser, a. C, i. 37 ft;
Haydn (Mich,), i. 702 a, note.
Ad libitum, i. 37 ft ; Accompani-
ment, i. 20 a; A tempo, i.
looa; Piacere, A, ii. 709 a;
Tempo, iv. 85 a.
Adlung, J., i. 376; Agricola (J.
F.), i. 44ft ; Cembal d'amore, i.
330a; Walther (J. G.), iv.
381ft.
Adolf ATI, A, , i. 37 6 ; Quintuple
Time, iii. 61 a.
Adriano ; Ricercare, iii. 127 a.
Adrien, F., i. 38 a.
Adrien, M., i. 38 a; Conserva-
toire de Mus., i. 392 a.
Adson; Este (T.), i.496a.
A Due, i. 380.
Aelsters, G. J., i. 38 a.
Aengstlich, i. 38 a; Mass, ii.
2346; Timidamente,iv. 1276;
Tramidamente, iv. 159 a.
^^ol-Harmonica ; Seraphine,
iii. 466 ft.
jEolian Harp, i. 38 a; Instru-
ment, ii. 7a ; Musurgia uni-
versalis, ii. 439 a.
*Eolian Mode, i. 396; Gre-
gorian Modes, i. 6266 ; Modes
Eccles.,ii. 341a; Tetrachord,
iv. 94 ft,
iEoLiNA, i. 40 ft ; Accordion, i.
25ft; Harmonium, i. 667 a.
^olsklavies ; ^olodion, i.
40 ft.
^OLODiON, i. 4oZ> ; Harmonium,
i. 667 a.
^olopantolon ; .^Eolodion, i
41a.
.^rschodt ; Carillon, i. 311a.
Aerts, E,,i. 41a.
Aevia, iv. 5186.
Affettuoso, i. 41 a.
Affilard, M. L., i. 41a.
Afranio, i. 41a; Bassoon, i,
151ft.
Africaine, L', iv. 5186;
Meyerbeer, ii. 3236.
Afzelius, a. a., i. 41 ft; Ar-
widsson, i. 96 6 ; Song, iii.
6106, etc.
Agazzari, a., i. 41 ft ; Boden-
schatz, i. 2536; Mus. Divina>
ii. 411ft, etc.
Agitato, i. 41 ft ; iv. 518 ft.
Agincourt; Song, Iii. 601 a;
Mus. Lib., iv. 723a.
Agnesi, L. F. L., iv. 5186;
Philh, Soc.,ii. 700 a ; Rossini,
iii. 176 a.
Agnesi, Maria T., i. 41 h.
Agnus Dei; Mass, ii. 2266;
Plain song, ii. 767 a; Re-
quiem, iii. 109 a.
Agostini, L., i. 42 a.
Agostini, p., i. 42 a ; iv. 519 a ;
Agostini (P. S.), i. 42 a, note;
Baini, i. 2886; Foggia (F.),
i. 539a; Mus. Divina,ii. 4116;
Saggio di Contrappunto, iii.
212a; Mus. Lib., iv. 726a;
Rome, iv. 774 a.
Agrell, J., i. 42 ft.
Agb^mens, i. 42 ft ; Couperin, i.
409 ft; Grace-notes, i. 615 a;
Manier, ii. 206a; Mordent,
ii. 362 ft ; Nachschlag, ii.
442a; Notation, ii. 477ft;
Portamento, iii. i8ft ; Battery,
iv. 532 ft.
Agricola, A., i. 44 a ; iv. 519a;
Josquin Desprfes, ii. 40 ft, etc. ;
Lamentations, ii. 88 a; Ma-
drigal, i88a ; Motet, ii. 373 ft;
INDEX.
Obrecht, ii, 489 h ; Schools of
Comp.jiii. 260 i ; Part books,
iv. 739 5; Sistine Chapel, iv.
794 a ; Tr^sor Mus., iv. 801 a.
Agricola, G. L., i. 44a.
Agbicola, J., i. 44J.
Agricola, J. F., i. 446; Ad-
lung (J.), i. 37 J ; Bach (J. S.),
i. 1 16 a, etc.; Bedos de Celles,
i, 162a; Ifigenia, i. 7656;
Silbermann, iii. 4946; Tosi
(P.F.), iv. T51J.
Agricola, M. i. .44 S ; Appog-
giatura, i. 75 5; Bar, i. 1366;
Mus. Lib., ii. 4236; Prse-
torius, iii. 26b ; Song, iii.
6215 ; Syntagma Mus., iv.
45 a; Tablature, iv. 48 a;
Violin, iv. 2756; Chorale, iv.
589a.
Agricola, Rud. ; Barbireau
(J.), i. 1386.
Agricola, W. C, i. 45 a.
Agthe, C, i. 45 a.
Agthe, W. a., i. 45a; KuUak
(T.), ii. 76 J ; Plaidy, ii. 763 a.
Aguado, D.,i. 45a.
Aguilab, E. ; PF. Mus., ii.
733*.
Aguilera de Heredia, S., i.
450; Eslava, i. 494&.
Agujari, L., i. 45 a ; Banti, i.
1356; Compass, i. 382a;
Mozart, ii. 382 J; Pantheon,
ii. 6456; Singing, iii. 506 a;
Soprano, iii. 635 b ; Voice, iv.
332*.
Agus, H.,i. 46a.
Ahle, J. G., i. 146 a.
Ahle, J. R., i. 46 a; Song, iii.
621a.
AhlstrOm, a. J. E., i. 46 a;
Song, iii. 610 J.
Ahna, H. de; Violin-playing, i v.
297 J.
Aiblinger, J. C, i. 46 a.
Aichinger, G., i. 466; Boden-
schatz, i. 253 J ; Mus. Divina,
ii. 411 i ; Schools of Comp., iii.
267 a,
AiiDA, iv. 519a ; Verdi, iv. 2506.
Aiguino ; Mus. Lib., ii. 42 1 a.
AiMON, P. L. F., i. 465.
Air, Aria, i. 46 5 ; Arietta, i.
83 a; Arioso, i. 83 a; Ballad,
i. 129a; Cantata, i. 305 a;
Cavatina, i. 328a; Melisma,
ii. 2486; Opera, ii. 509 a, etc. ;
Song, iii. 621a; Subject, iii.
7516 ; Cavalli, iv. 583 J.
AiRETON, Ed. ; London Violin
Makers, ii. 1645.
Airy, G. B., Sir, i. 47 a.
AiUTON ; Clagget (C), i, 360 a ;
iv. 591 b.
A'Kempis, F., i. 47 6.
Akeroyde, S., i. 476.
Ala, G. B., i. 476.
Alabief ; Song, iii. 6135,
Alard, D., i. 47 J; iv. 819a;
Becker (J.), i. 161 5; Con-
servatoire de Mus., i. 392 J ;
Etudes, i. 497 a ; Franchomme,
i. 5586; Habeneck, i. 643 a;
Halle, i. 646 b ; Locatelli, ii.
156a ; Nardini,ii.446i ; Philh.
Soc, ii. 699 b ; Rosenhain (J.),
iii. 162a; Sarasate, iii. 2276;
Schubert, iii. 35 7 b ; Stradivari,
iii. 728 a; Violin-playing,
iv. 296 a; Vuillaume (J. B.),
iv. 341 i; Garcin (J. A.), iv.
645a; Plants (F.), iv. 749 J;
Pollitzer(A.),iv. 750 a; Violin-
playing, iv. 8126.
Alba; Song, iii. 585a.
Albani, Mme., iv. 519 a. (See
Lajeunesse, ii. 85 a. )
Albani, Mat., i. 476; Violin,
iv. 2825.
Albeniz, p., i. 48a.
Albeniz, p., i. 48 a.
Albergati, a.; Bologna, i.
259a.
Albergati, P. C, i. 48 a.
Albero, S. ; Mus. Lib., iv. 726a.
Albert, H., i. 48 a ; Song^ iii.
6206; Zachau, iv. 4986.
Albert, Prince, i. 49 a; Men-
delssohn, ii. 280 a.
Albebtazzi, Emma, i. 496;
Costa (A.), i. 406a ; Laporte,
ii. 91 &; Philh. Soc, ii. 6996.
Alberti; Testore, iv. 7986.
Alberti, Dom. ; Arpeggio, i.
87 a; Horn, i. 7486; Latrobe
ii. 1026; Lotti, ii. i68a;
Sonata, iii. 566 a; Alberti
Bass, iv. 5195.
Alberti Bass, iv. 519&.
Albertin; Bachofen, i. 121 &.
Albertini, Mme. ; Strakosch,
iii. 734a.
Albinoni, T., i. 50 a ; iv. 520 a ;
Farinelli, i. 504 6 ; Sonata, iii.
5586; Zenobia, iv. 506a.
Alboni, Marietta, i. 50 a; iv.
520a; Auber, i. 102&; Con-
tralto, i. 396 a; Covent Garden
Theatre, i. 413a; Philh. Soc,
ii. 699 J; Rossini, iii. 173 J,
etc. ; Singing, iii. 509 a.
Albrecht,J.L. ; Adlung, 1.376.
Albrechtsbebger, J. G., i. 506;
Auswahl, i. 105 a; Beethoven,
i.i66&,etc.; Choron, i. 354a;
Chrismann,i. 355a; Ecclesias-
ticon,i.482a; Eybler,ii.500a;
Fugue, i. 569 h ; Gansbacher,
i. 575a; Gelinek, i. 5870;
Haydn, i. 718 J; Hummel, i.
7576; Kalkbrenner, ii. 46a;
Kreutzer (Conradin), ii. 71 &;
Lortzing, ii. 166 & ; Moscheles,
11.3696 ; Mozart (W. A., jun.),
ii. 406a; PF. Mus., ii. 724 J;
Pract. Harmony, iii. 24 a;
Preindl (J.), iii. 28a ; Reicha,
iii. 98a ; Ries (F.), iii. 1306 ;
Stein (F.), iii. 709 a; Strict
Counterpoint, iii. 7406; Tresor
desPianistes,iv. i68a; Violin,
iv. 2796; Weigl(J.),iv. 432 a;
Part-writing, iv. 742 a, note.
Albujo; Marchesi(L),ii. 214 a.
Albumblatt, i. 51a.
ALCESTE,i. 5ia;'Gluck,i. 6016,
etc.
Alchymist, Der, i. 516 ; Spohr,
iii. 659 J.
Alcock, J., i. 51a; iv. 520a;
Catch Club, i. 3226; Part-
Music, ii. 6566.
Alday, i. 5 i J ; Wallace (W. V.),
iv. 377 a.
Aldighiebi; Lamperti, ii. 89 a.
Aldovrandini, G. a. V., i. 51 6.
Aldred; London Violin Makers,
ii. 163 &.
Aldrich, Dean., i. 516; iv.
520a; Anthem, i. 72a; Arnold
(S),i. 866; Carissimi, i. 315 a;
Creed, i. 415 6 ; Henry VIIL,
i. 729a; Lamentations, ii. 88 6;
Lassus, ii. 976; Mus. Lib.,
ii. 4196, etc. ; Page, ii. 632b;
Schools of Comp., iii. 2866;
Service, iii. 4726; Tudway,
iv. 1986; Vocal Scores, iv.
3196.
Alessandri, F. ; Guadagni, i.
635 &.
Alessandri, Giulio d' ; Oratorio,
ii. 5376.
Alessandro, R, della Viola, i.
52a. (SeeRoMANO, iii. 148a.)
Alexander Balus, i. 526;
Handel, i. 657 a.
Alexander, J., i. 526.
Alexander's Feast, i. 526;
Aragoni, i. 806 ; Clark, (J.), i.
365 a; Handel, i. 6506.
Alexandre Organ, i. 526;
American Organ, i. 61 a.
Alexis, W. ; Schumann, iii.
3866.
Alfieri, Abbate P., iv. 520 a;
Faux Bourdon, i. 5096; Im-
properia, ii. 2a; Lamenta-
tions, ii. 88 a; Miserere, ii.
336 b; Mus. Lib., ii. 4216;
Mus. printing, ii. 437a; Pales-
trina, ii. 637a, note; Raccolta
generale, iv. 766 a.
Al Fine, i. 526.
B2
INDEX.
Alfonso und Estrella,!. 536;
Rosamunde, iii. i6ia; Schu-
bert, iii. 335 a.
Alford, J., i. 525.
Aliani, F., i. 53a.
Ali Bab a, i. 53 a; Cherubini,
i. 342a; Bottesini, iv. 557 a.
Aliprandi, F., i. 53 a.
Aliquot-Piano; P.F., iL 733a.
Alizard, a. J. L., i. 53 a.
ALKAN,C.H.V.,i.53a;iv.8i9a;
Etudes, i. 496 b, etc. ; Klind-
worth, ii. 646; Pedalier, ii.
6786 ; PF.Mus.,ii. 731 a; PF.
playing, ii. 743 &; Schubert,
i"- 357 & ; ^^' Mus., iv. 7486;
PF. playing, iv. 749 a.
Alla Breve, i. 536; A Capella,
i. 106; Breve, i. 2746; C, i.
3896; Notation, ii. 4756,
note ; Tempo, iv. 83 a ; Time,
iv. ii8a.
Allacci, L., i. 53 &; Abbatini,
i. i&; Stradella, iii. 7226.
Allanson ; Mus. Lib., ii. 419 a.
All' Antico, i. 535.
Alla Zoppa. (See Zoppa, iv.
514a.)
Allchin ; University Soc, iv.
206 a.
Allegrantt, Madalena, i. 53 S ;
iv. 521a.
Allegretto, i. 55 a.
Allegri, G., i. 54a; iv. 521a;
Bai,i. 125a; Baini, i. 288J ;
Lamentations, ii. 876 ; Mass,
ii. 231a; Miserere, ii. 336a,
etc.; Motet, ii. 376 a; Mozart,
ii. 383a; Mus. Divina, ii.
411 6; Nonet, ii. 464 a; Pales-
trina, ii. 6416; Prince de la
Moskowa, iii. 31a; Rochlitz,
iii. 141 6; Schools of Comp., iii.
265 a; Sistine Choir, iii. 521a;
Alfieri, iv. 520 a, note ; Rome,
iv. 774a ; Sistine Chapel, iv.
794rt.
Allegro, i. 546 ; Canzona, i.
3066 ; Tempo, iv. 83a ; Vi-
vace, etc., iv. 3165.
Alleluia. (See Hallelujah, i.
646 J.)
Allemande, i. 55a; Coiirante,
i. 410J; Form, i. 5446, etc.;
March, ii. 212b; Orchdso-
graphie, ii. 560 a; Redoute,
iii. 89a; Subject, iii. 751 J;
Suite, iii. 755 a, etc. ; Teutsche,
iv. 95 a; Waltz, iv. 385 5.
Allen, E. H. ; Violin, iv. 2865 ;
Hist, of Mus., iv. 6766.
Allen. H. R., iv. 521a.
Allgembinb Musikalische
Zeituno, i. 55 i; iv. 521a;
Breitkopf, i. 373a; Fink, i.
527 J; Leipzig, ii. 115a, etc.;
Mus. Periodicals, ii. 431a;
Rochlitz, iii. 141a.
Allison, Richard, i. 56 a; Este
(T.), i. 4955 ; Hymn, i. 762 5 ;
Vocal Scores, iv. 3 196 ; Psalter,
iv. 7606.
Allison, Rob., i. 56a.
All' ottava, i. 56 a; Loco, iv.
705 a.
All unisono, i. 56 a.
Allwoode ; Hawkins (Sir J.),
i. 700a ; Mus. Lib., ii. 422 a.
Almanes; Suite, iii. 755 a;
Virginal Mus., iv. 308 b.
Almenrader ; Bassoon, i. 152a.
AlOISIUS, J.P. (SeePALESTRINA,
ii. 635 a, note.)
Alpenhorn, i. 56 a; Ranz des
Vaches, iii. 75 5.
Alphabet, i. 56 J ; A, i. la;
B, i. 108 a; C, i. 289a; D, i.
426a; E, i.478a; F, i. 500a;
Gr, i. 571 a; H, i. 643a.
Alsageb, T. M., i. 57a ; Rous-
selot, iii. 182 b; Sainton, iii.
216J; Sivori, iii. 5346.
Alt, i. 57 5.
Altaemps, G. a. ; Otthoboni, ii.
615&.
Altenburg, J. C, i. 57 b.
Altenburg, J. E., i, 575.
Altenbueg, M. ; Chorale, iv.
589&.
Alternativo, iv. 521a; Trio,
iv. 173 a.
Alt^s, E. E., iv. 521 5; Tulou
(J. L.), iv. 1 86 5; Concei-t
Spirituel, iv. 596a; Garcin,
iv. 645 J; Hainl, iv. 662a;
Vianesi, iv. 812&.
Althorn, i. 57 &; Saxhorn, iii.
233*.
Altnikol ; Art of Fugue, i. 96 5 ;
Bach (J. S.), i. 11 6 a.
Alto, i. 57 ^ ; Contralto, i.
395 &; Counter tenor, i. 409 J;
Falsetto, i. 502 a; Mean, ii.
242 J ; Voice, iv. 332 J.
Alto, i. 58 a; Tenor-violin, iv.
88 J.
Altra Volt a, i. 58 a.
Altus ; Motet, ii. 371 5; Voices,
iv. 333 J.
Alvsleben. (See Otto, Melita,
iv. 737a.)
Amadino, R ; Notation, ii. 4746.
Amadio ; Strakosch, iii. 734a.
Amadobi, G. ; Bemacchi (A.), i.
2345 ; Rome, iv. 774a.
Amati, i. 58a ; Albani (M.), i.
48 a; Belly, i. 2 2oi; Cremona,
i. 416 a; Grancino, i. 616 b ;
Guarnieri (A), i. 6366; Rug-
gieri, iii. 2036 ; Soundholes,
iii. 641 J; Stradivari (A.), iii.
724J, etc. ; Tenor Violin, iv.
89 J; Violin, iv. 382a, etc.
Ambassadrice, L', i. 59 a;
Auber, i. 1026.
Amber Witch, The, i. 59 a;
Wallace(W. V.),iv. 377*.
Ambrogetti, G., i. 59 a;
Baryton, i. 147a; Singing, iii.
511a; Vocal Concerts, iv.
319*.
Ambeos, a. W., i. 59 a; iv.
521 J; Isaac, ii. 23a; Jos-
quin Desprfes, ii. 426; Kiese-
wetter, ii. 56 a; Lassus, ii,
946; Notation, ii. 468 a;
Obrecht, ii. 489 b ; Plain Song,
ii. 763 a; Schools of Comp.,
iii. 260a, etc.; Schumann, iii.
4206; Song, iii. 5856, note,
etc. ; Sumer is icumen in, iii.
7686; Hist, of Mus., iv. 674 J.
Ambrose, J.; Mus. Antiqua,
ii. 411a.
Ambrosian Chant, i. 59^; Plain
song, ii. 7636.
Amen, i. 606; Response, iii.
n8a.
Amendola; Isouard, ii. 24a.
American Organ, i. 60 6 ; Har-
monium, i. 6666 ; Forsyth, iv.
6376.
Ameyden, C. ; Sistine Chapel,
iv. 794 a.
Amicis, A. L. de, i. 6ia; Pac-
chierotti, ii. 625 a; Tesi Tra-
montini, iv. 94 a.
Amicis, D. de', i. 616.
Amilie, i. 61 J ; Rooke, iii. 157a.
Ammerbach; Fingering,i.5256;
Tuning, iv. 1876; Sciieidt, iv.
782 a.
Ammonis. (See Amon, B.)
Amner, J., i. 61 b; Accompani-
ment, i. 206; Mus. Lib., ii.
422 J; Tudway, iv. 1986;
Carol, iv. 581a.
Amner, R., i. 62 a.
Amodio; Strakosch, iii. 734 a.
Amon, B. ; Berg (A,), i. 230J;
Bodenschatz, i. 253 a.
Amor,F.; Sainton, iii. 217 a.
Amoeevoli, a., i. 62 a.
Amps ; University Soc, iv. 204 &.
Amyot, p.; Hist, of Mus., iv.
6746.
Anacker, a. F., i. 62 a; Becker
(C. J.), i. 161 a; Brendel, i.
273J; Orpheus, ii.613 a jVolk-
mann, iv. 336 a.
Anacreon, i. 62a; Cherubini,
i. 342 a.
Anacreontic Society, i. 62 J.
Analysis, i. 62b; iv. 521 J;
Ella, i. 486 a; Hall^, i.
6468; Mus. Union, The, ii.
432 5; Pole (W.), in. 7&;
Keid Concerts, iii. loi h, note ;
Schools of Comp., iii. 313 J;
Thomson (J.), iv. 1075;
Bennett (Jos.), iv. 543 b ;
Davison (J. W.), iv. 609 a;
Ella, iv. 626 J.
Analysis of Compound Mu-
sical Sounds, i. 63 5; Har-
monics, i. 664a, etc.; Helm-
holtz, i. 726 a.
Anandale, Miss ; Strakosch,
iii. 735 a.
Anap^st, iv. 52x5; Accent,
i. 12a; Metre, ii. 3j8a.
Ancient Concerts, i. 64a ; iv.
522 <i; Abrams, Misses, i.
6a; Addison, i. 30a; Albert,
Prince, i. 49a ; Bartleman, i.
146a; Bates (Joah), i. 155a;
Bellamy, i. 211 a ; Billington,
i. 242 a; Birchall, i. 2436;
Bishop, i. 245 J; Concert, i.
384a; Cramer, i. 413 J ; Cros-
dill, i. 419 &; Greatorex, i.
623a ; Handel Commem. i.
657 & ; Hanover Square Rooms,
i. 66ia; Mus. Lib. ii. 418a;
Vaughan(T.),iv, 233a; Vocal
Concerts, iv. 319 a.
Andacht, MIT, iv. 522 a.
Andamento, i v . 5 2 2 a ; Soggetto,
iv. 794^.
Andante, i. 65 a; Beethoven, i.
1 67 J; Tempo, iv. 83a.
Andantino, i. 65a; iv. 522 5;
Tempo, iv. 83 a.
Andeb, a., i. 656; Staudigl
(J.), iii. 6915; Strauss (J.),
iii. 738 a.
Anders ; Revue et Gazette Mus.,
iii. 121 5.
Anderson, G. F. ; King's Band
of Music, ii. 58 a.
Anderson, Mrs., i. 65 ft ; iv.
522ft ; Goddard (Arabella), i.
604 & ; Loder (Kate), ii.
159a; Philh. Soc, ii. 699a;
PF.-playing, ii. 744 ; Royal
Soc. Female Mus. iii. 187ft;
Euy Bias, iii. 206 ft; PF.-
playing, iv. 748 &.
Andb^, a., i. 666 ; Mus. Lib.,
ii. 427 a.
Andr^, Joh., i. 66a; Ent-
fuhrung, i. 490 a; Song, iii.
622a.
Andb^, Joh. A., i. 66 a ; Ab-
breviations, i. 4ft; Erk (L.),
i. 492 a; Fugue, i. 569 ft;
Mendelssohn, ii. 257a; Mozart,
ii. 405a; Requiem, iii. iioft;
Riotte, iii. 1 36 a ; Schmitt
(A.), iii. 254ft; Speyer, iii.
INDEX.
650 ft; Wacht am Rhein, iv.
343a ; Weber, iv. 3956.
Andre, Joh. B., i. 66 ft ; iv.
523a.
Andre, Jul., i. 66b; iv. 523a;
A quatre mains, i. Soft;
Nachspiel, ii. 442 a.
Andre, K. A., i. 666.
Andrew, F. C. ; Mus. Divina, ii.
412ft.
Andredi ; Milan, ii. 329 a.
Andreoli, C, i. 67a; PF.-
playing, ii. 745 a.
Andreoli, E., i. 66 ft.
Andreoli, G., i. 666; iv. 5230.
Andreoli, Giuseppe, i. 66ft.
Andreoni, i. 67 a.
Andreozzi ; Olimpiade, ii. 496 ft.
Andrevi, F., i. 67 a.
Andrew ; Roy. Acad, of Mus.,
iii. 185 a.
Andrien. (See Adbien, i. 38 a.)
Androt, a. a., iv. 523a; Gr.
Prix de Rome, i. 618 ft.
Anerio, F., i. 67 a ; Boden-
schatz, i. 254 a ; Costantini
(F.), i. 407a; Madrigal, ii.
189ft; Magnificat, ii. 196 ft;
Mass, ii. 230ft ; Miserere, ii.
336a; Motet, ii. 375ft; Mus.
Divina, ii. 411 ft ; Oriana,
ii. 611 6 ; Palestrina, ii. 637 ft ;
Part-Mus., ii. 656 ft; Plain-
song, ii. 769 a ; Prince de la
Moskowa, iii. 31a; Rochlitz,
iii. 141 ft ; Schools of Comp.,
iii. 26^b; Sistine Choir, iii.
521a; Stabat Mater, iii. 684ft >
Te Deum, iv. 68a; Vespers,
iv. 257ft; Mus. Lib., iv. 726a;
Rome, iv. 774a; Sistine
Chapel, iv. 794 a.
Anerio, G. F., i. 6 7 ft ; Costantini,
i. 407a ; Madrigal, ii. 190a;
Miserere, ii. 336 a; Motet, ii.
375 ft; Requiem, iii. 109ft;
Schools of Comp., iii. 264 ft >
Dies Irse, iv. 614 a; Sistine
Chapel, iv. 794 a.
Anet, B.,i.67ft. (See Baptistb,
i. 136 a.)
Anfossi, v.; Isouard, ii. 24a.
Anfossi, P., i. 67ft; iv. 523a;
Curioso indiscreto, II, i. 424a;
Haydn, i. 707 a; Mazzinghi,
ii. 242 a ; Olimpiade, ii. 496 ft ;
Piccinni, ii. 748 a ; Zenobia,
iv. 506 a.
Anfossi; Howell (Jas.), i. 754ft;
Roy. Acad, of Mus,, iii. 185 a.
Anqeleri ; Lamperti, ii. 89 a.
Angelesi; Fumagalli (A.), iv.
643*.
Anglaise, i. 68 a ; Redoute, iii.
89 a.
Anglebert, J. H. D', 1. 68 a;
Chambonniferes, i. 3326;
Tresor des Pianistes, iv. 168 ft.
Anglus, p. P. ; Mus. Lib., ii.
419 a.
Angri, Mme. D' ; Strakosch, iii.
734«-
Angrisani, C, i. 68 a; Garcia,
i. 582 a.
Animato, i. 68a; iv. 523a;
Tempo, iv. 83 a.
Animuccia, G. i. 68ft; Goudi-
mel, i. 61 2 rt ; Laudi Spirituali,
ii. 105 a ; Magnificat, ii.
196 a; Martini, ii. 222ft;
Mus. Lib. ii. 423 ft; Pale-
strina, ii. 636 a; Saggio di Con-
trappunto, iii. 212a; Schools
of Comp., iii. 263a ; Soto,
iii. 639ft ; Burney, iv. 5706;
Rome,iv. 773ft; Sistine Chapel,
iv. 794 a.
Animuccia, P., i. 69 a; Barr^
(A.), i. 142 ft.
Anna Amalia, Duchess of Saxe-
Weimar, i. 69 a.
Anna Amalia, Princess of
Prussia, i. 69 a ; Bachgesell-
schaft, i. 119a.
Anna Bolena, i. 69ft; iv.
523a; Donizetti, i. 453a.
Annibali, D., i. 69 ft.
Ansani, G., i. 69ft ; (Garcia (M.),
i. 581ft ; Maccherini, ii. 185 a;
Singing, iii. 511a.
Anschlag ; Agrdmens, i. 42 ft.
Anschutz ; Wednesday Concerts,
iv. 431ft.
Answer, i. 6gh; Countersub-
ject, i. 409 a; Fugue, i. 567 a;
Risposta, iii. 136ft ; Tonal
Fugue, iv. 135a; Comes, iv.
.595^-
Anteri-Manzocchi; Schools of
Comp., iii. 301b.
Antegnati, iv. 523a; Mus.
Lib. iv. 726a.
Anthems, i. 70 a; iv. 523a;
Accompt.ji. 24a; Antiphon,i.
74a; Cathedral Mus.,i. 324a,
etc. ; Clifford, i. 374ft; Este
(T.), i. 496 a ; Israel in
Egypt, ii. 25a ; Kirchen Can-
taten, ii. 59 ft ; Motet, ii. 375 ft ;
Mus. Antiqua, ii. 410 ft ; Mus.
Antiq. Soc. ii. 416ft; Mus.
Lib. ii. 417 ft, etc. ; Page,
ii.632ft; Ritornello, iii.1376;
Sacred Harmonic Soc, iii.
2ioft; Schools of Comp., iii.
270ft, etc.; Verse, iv. 257a;
Burney, iv. 571a.
Anticipation, i. 73 a; Har-
mony, i. 678 ft; Wechselnote,
iv. 430 a.
INDEX.
Antigone op Sophocles, i. 73 8 ;
Mendelssohn, ii. 2796, etc.
Antinobi, L., i. 73 &.
Aktiphon, i. 736; Anthem, i.
70a; Cantoris, i. 306a; De-
cani, i. 438 J; Imperfect, i.
767a; Improperia, ii. la; Ini-
tials, absolute, ii. 3 J ; In No-
mine, ii. 3*; Intonation, ii.
13 a; Introit, ii. 15a; Lauds,
ii. 105& ; Magnificat, ii. 196 a,
note; Matins, ii. 2386; Me-
diant, ii. 2446; Modes Eccle-
siast., ii. 343 a; Participant, ii.
656 a ; Plain song, ii. 763 b,
etc. ; Salve Regina, iii. 3226;
Subject, iii. 747 b ; Vesperale,
iv. 357 a; Vespers, iv. 257a,
etc. ; Gregorian Tones, iv.
656 J; Invitatorium, iv. 685 J.
Antiphonaridm : Chant, i. 3376 ;
Gradual, i. 6155; Notation,
ii. 468 b ; Palestrina, ii. 6396 ;
Plainsong, ii. 764 a.
Antiquis, G. D', i. 74 a; Vil-
lanella, iv. 264b, note.
Antoine le Riche. (See Di-
viTis, i. 45^ a.)
Antonelli; Baini, i. 2886.
Antonio da Bologna; Mus.
Lib.jii. 4256.
Antoniotti ; Violoncello-Play-
ing, iv. 2996.
Antony, J. ; Hist, of Mus. iv.
676 a.
Apelles ; Chorale, iv. 590a.
A PiACERE, i. 74 a ; Tempo, iv.
85 a.
APOLLONICON, i. 74 a; Adams
(T.), i. 296 ; Barrel Organ, i.
143a; Flight, i. 532 6.
Appassionata, i. 75 a; Beet-
hoven, i. 187 a.
Appenzelders, Benedictus ; Du-
els, i. 4676, note; Mus. Lib.,
ii. 419 a.
Appiano, D', S. ; Lamperti, ii.
88 J.
Applicatio, i. 75a; iv. 5230;
Fingering, i. 525 a.
AppoGGiATDBA,i. 75a; iv.523a;
Acciaccatura, i. 186; Agr^-
mens, i. 44 a; Arpeggio, i.
88 &; Grace notes, i. 615 a;
Nachschlag, ii. 441a; Nota-
tion, ii. 477 a ; Recitative,
iii. 836; Shake, iii. 480 a;
Thoroughbass, iv. 1106, etc. j
Vorschlag, iv. 340 a.
Appoggiatura, Double, i. 79a;
Vorschlag, iv. 339 J.
Aprile, G., i. 796; iv. 523a;
Abos, G., i. 5*; Crivelli, i.
4186; Kelly, ii. 496; So-
prano, iii. 636 a.
A PRIMA VISTA, i. 796 ; Pinto
(T.), ii. 754a.
Aptommas ; Hist, of Mus., iv.
676 J.
A PUNTA D'ARCO, i. 79 &.
Aqujbgranbnsis, L. ; Dode-
cachordon, iv. 616 a.
A QUATRE MAINS, i. 796.
Aquila, dal"; Mus. lib., ii.
419a.
Arabesque, i. 80 J.
Abaooni, i. Sob.
Aranaz, p., i. 80&; Eslava, 1.
495 «.
Arban ; Conservatoire de Mus.,
i. 3926.
Arbbau, T., i. 806; Branle,
i. 289a ; Matassins, ii. 3366 ;
Morris Dance, ii. 369 a;
Orch^sographie, ii. 560 a ;
Passamezzo, ii. 663 a; Pa-
van, ii. 676a; Sink-a-pace,
iii. 5176 ; Tabourot, iv. 51a;
Waltz, iv. 385 a; Dance
rhythm, iv. 606 a.
Abcadelt, J., i. 81 a; Barre
(L.), i. 142 b ; Echos du
temps passd, i. 482 a ; Gardane
(A.), i. 5826; Lamentations,
ii. 88b; Lassus, ii. 94a;
Madrigal, ii. 188& ; Maestro,
ii. 1956; Mass, ii. 228 J;
Motet, ii. 373a; Mouton, ii.
379a; Polyphonia, iii. 136;
Prince de la Moskowa, iii.
31a; Schools of Comp., iii.
361 bf etc. ; Sistine Choir,
iii. 521a; Bumey, iv. 571a;
Dance Rhythm, iv. 606 a;
Mus. Lib., iv. 726a ; Rome,
iv. 773 & ; Sistine Chapel, iv.
794 a ; Tresor Mus., iv. 801 a.
Archer, F., iv. 523a.
Abchicembalo ; Trasuntino, iv.
162 a; Vicentino, iv. 261a.
Abchlutb, i. 810; Chitarrone,
i. 3476; Lute, ii. 1776;
Theorbo, iv. 100 a.
Arciliuto ; Chitarrone, iv. 587 b.
Arco, i. 8ii; Col Arco, i.
377«-
Arditi, L., i. 81 &; iv. 5236;
Opera, ii. 5306; Tiiomas
(Theod.), iv. 105 J; Valleria,
iv. 314ft; Bottesini, iv. 556 J.
Aresti ; Cazzati (M.), i. 3285.
Abetino, Guido. (See GuiDO,
iv. 659 a.)
ARGENTiL,C.de; Sistine Chapel,
iv. 794 a.
Argyll Rooms, i. 83 a; Har-
monic Institution, i. 6655;
Hawes, i. 699 a; Welsh (T.),
iv. 444&.
Abia, i. 82 6 ; Form, i. 541 h, etc. ;
Jommelli, ii. 38 a; Monodia,
ii- 354* ; Opera, ii.5026, etc. ;
Oratorio, ii. 537 a; Recita-
tive, iii. 86a j Scena, iii. 240 b ;
Schools of Comp., iii. 279?);
Song, iii. 588 J; Suite, iii.
759*-
Aria all* unisono; Opera,
ii. 511a ; Oratorio, ii, 544 a.
Aria cantabile; Opera, ii.
509 a, etc. ; Oratorio, ii. 543 h.
Aria concertata ; Opera, ii.
511 a ; Oratorio, ii. 544 a, etc.
Aria da capo ; Air, i. 47 a.
Aria di bbavuba, i. 83 &;
Opera, ii. e^iob ; Oratorio,
ii. 544a ; Schools of Comp.,
iii. 287 a.
Aria di chiesa ; Stradella,
iii. 723 J.
Aria d' imitazione ; Opera, ii.
511a, etc. ; Oratorio, ii. 544a.
Aria di mezzo cabattere ;
Opera, ii. 511 J ; Oratorio, ii.
543*.
Aria di portamento; Opera,
ii. 509 b, etc. ; Oratorio, ii.
5435, etc.
Aria grande; Air, i. 47 a.
Aria parlante. (See Arioso,
i. 83 a.)
Arietta, i. 83 a; Chanson, i.
Arioso, i. 83a; Melody, ii.
250a; Opera, ii. 510a; Ora-
torio, ii. 5436 ; Schools of
Comp., iii. 286 a.
Ariosti, a., 1. 83a ; Handel, i.
648a, etc.; Haym, i. 7236;
Opera, ii. 512 a; Pasticcio, ii.
669 a; Roy. Acad, of Mus.,
iii. 184*; Bumey iv. 571a.
Arlbeeg; Song, iii. 6106.
Abmand, Mme. ; Spontini, iii.
667a ; Taskin, iv. 63a.
Armes, p., iv. 723a, note;
Organ, ii. 593b, note; Schools
of Comp., iii. 308a; Mus.
Lib., iv. 723a.
ARMiDE,i. 836; Gluck, i. 6026;
Jommelli, ii. 376; Traetta, iv.
157*.
Armingaud, J. ; Violin-playing,
iv. 289.
Armourer op Nantes, The, i.
83 J; Balfe, i. 127 J.
Arne, M., i. 83 J; iv. 5236;
Battishill, i. 156a; Madrigal
Soc, ii. 1936; Marylebone
Gardens, ii. 224a; Panto-
mime, ii. 646a ; Vernon (J.),
iv. 256 a.
Abne, T. a., i. 84a ; iv. 5236;
Abrams (Misses), i. 6a; Ar-
taxerxes, i. 96 a ; Bates (W.),
i. 155a; Burney, i. 284a;
Catch Club, i. 3226; Cibber
(Susanna), i. 357a; Drury
Lane, i. 4666; Eng. Opera,
i. 489 a ; God save the King,
i. 606 a; Haldvy, i. 645 a,
note ; Judith, ii. 44a ; Kla-
vier Mus., Alte, ii. 636;
Lowe (T.),ii. 170a; Madrigal
Soc, ii. 1936; Manzuoli, ii.
208a; Mountier, ii. 377 &;
Mus. Lib., ii. 42o5 ; Olim-
piade, ii. 4965; Opera, ii.
5236; Oratorio, ii. 549 a;
Pantomime, ii. 646 a; Part-
Mus., ii. 6566, etc. ; Pur-
cell (H.), iii. 49a; Kanelagh
House, iii. 746 ; Royal Soc. of
Brit. Mus., iii. 187 a; Rule,
Britannia, iii. 203S; Salomon,
iii. 221 a; Schools of Comp.,
iii. 291 a ; Sonata, iii.
563 h ; Song, iii. 606 6 ; Sym-
phony, iv. 14 b ; Tenducci
(G.), iv. 856; Vauxhall Gar-
dens, iv. 233 J ; Vocal Scores,
iv. 319 &, etc.; Voices, iv.
3346 ; Walsh (J., jun.), iv.
3806; Brent (Charlotte), iv.
563 a-
Arnold, C, PF. Mus,, ii.
7286; Wiillner, iv. 491 J.
Arnold, F. W., Jalu-bticher,
ii. 30 J ; Volkslied, iv. 3375.
Arnold, J. G., i. 85 J.
Arnold, S., i. 85*; iv. 5236, •
Acad, of Ancient Mus., i. 10 5;
Accidentals, i. 20 a; Accom-
paniment, i. 246 ; Ancient
Concerts, i. 24b; Ayrton (W.),
i. 107 a; Beale, i. 158a; Call-
cott, i. 298 a ; Cutler (W.), i.
4246; Eng. Opera, i. 489a;
Glee Club, i. 599 a; Jacob (B.),
ii.28a;Knyvett(W.),ii.67i;
Linley (Th., sen,), ii. 143^;
Loder(E.), ii. 1586; Lyceum
Theatre, ii. 180&; Maryle-
bone Gardens, ii. 224?) ; Mus,
Lib., ii. 421 J; Opera, ii.
524&; Page (J.), ii. 6326;
Pinto (T.), ii. 754 a; Rim-
bault,iii. 135a; Russell (W.),
iii. 205 b ; Salomon, iii.
221 a; Schools of Comp., iii.
291a; Scott (J.), iii. 4526;
Service, iii. 474 6 ; Smart (Sir
G.), iii. 537a; Song, iii. 606 6.
Arnold, S. J. ; Bamett (J.),
i. 40& ; English Opera, i. 489^;
Lyceum Theatre, ii. 181 a,
Arnold, Y. von ; Hist, of Mtis.,
iv. 6766.
Abnodld, Sophie, i. 866; Horn,
i. 748 &.
INDEX.
Arnoult, Mme. ; Phillips, iv.
747 &.
Aron. (See Aaron, i. la.)
Arpeggio, i. 87 a ; Agr^mens, i.
44a; Henselt, i, 730a; PF.-
playing, ii. 741 a.
Arpeggione, i. 89 a; Schubert,
iii. 3416; Violin, iv. 274J ;
281a, note.
Arrangement, i. 89 a ; iv.523J;
Score, Arranging from, iii.
435* ; Vivaldi, iv. 318 a, note;
Transcription, iv. 800a.
ARRHiiN, V. K. ; Song, iii. 6iob.
Arriaga, J. C. d', i, 95 a.
Arrigoni, C, i. 95 a.
Arrigoni,L,; Mus. Instruments,
Collections of, iv. 7226.
Arsis and Thesis, i. 95 J ;
Accent, i. 12 a; Beat, i. 159 a;
Thesis, iv. loia; Time-Beat-
ing, iv. 122 5.
Art ARIA, i. 95 J; iv. 5 23 J;
Beethoven, i. 182 a; Diabelli,
i. 442a; Haydn, i. 707 J;
Schubert, iii. 345 a.
Artaxerxes, i. 96a; iv. 523 J;
Gluck, i. 600 &,
Arteaga, S. i. 96 a; Fork el, i,
540 J ; Song, iii. 591a; Hist,
of Mus., iv. 675 J.
Art op Fugue, The, i. 96 a ;
Biach (J. S.), i. 117a; Fugue,
i. 5696; Kunst der Fuge ,
ii. 77a; Tonal Fugue, iv.
136a.
Artot, a. J., iv. 5236 ; Damor-
eau-Cinti, i, 4286; Phil. Soc,
ii. 700 a ; Violin-playing, iv.
289 ; Osborne (G. A.), iv.
737«.
Artot, M., iv. 524a; Lamperti,
ii. 8ga; Viardot Garcia, iv.
260 a.
Artusi, G, M,, i. 966; Monte-
verde, ii, 358 a; Zinke, iv.
511a; Mus. Lib. iv. 7256,
Arwidsson, i. 96 6 ; Afzelius,
i, 416; Song, iii, 610 J,
Asantschewsky, M, von, i.
966; iv. 5246; P. F. Mus,, ii.
735&.
Ascanio in Alba, i. 97 a;
Mozart, ii. 402 b.
Ascending Scale, i. 97 a ; Scale,
iii. 2366.
AscHER, J., i. 976; iv. 524S ;
PF. Mus. ii. 734 &.
AsHDOWN & Parry, iv. 524^.
(See Wessel, iv. 448 J.)
Ashe, A., i. 97 6 ; Philh. Soc, ii.
698 a.
Asheb, Clara; Philh. Soc, iv.
7466.
Ashley, C. J., i. gSb; Glee
Club, i. 599 a; Philh. Soc, ii.
698 a; Secco Recitative, iii,
^ 455*.
Ashley, G., i. 986 ; iv. 5246.
Ashley, J., i. 98 S.
Ashley, J., 98 a; iv. 5246;
Salomon (J. P.), iii. 221 &.
Ashley, J. J., i. 986; iv. 5246;
Salmon (Mrs.), iii. 220a;
Smith (Chas.), iii. 539 a.
Ashley, R., i. 98&; iv. 5246.
Ashwell, T., i. 99 a ; Mus. Lib.,
ii, 41 7 &, etc. ; Part-Books, iv.
740a.
AsiOLi, B,, i, 99 a ; iv. 524 J ; In
questa Tomba oscura, ii. 4a;
Milan, ii, 329a; Pasta, ii.
6676; Song, iii. 590 J,
AsiOLi, G. ; Catelani (A,), i.
323?>-
Asola, G, M,, i. 99 a ; Mus. Di-
vina, ii. 411a; Oriana, ii.
61 1 6 ; Requiem, iii. 109 & ;
Dies Irse, iv. 614a; Mus.
Lib., iv. 726a.
Asperges; Plainsong, ii. 7676.
AsPULL, G., i. 99a; iv. 5246.
Assai, i. 996 ; Tempo, iv. 83a.
Assandri ; Laporte, ii. 91 b.
AssMAYER, L, i. 996; Eccle-
siasticon, i. 482 a; Vater-
landische Kiinstlerverein, iv.
8076.
Aston, H., 1.996; Mus.Antiqua,
ii. 411a; Mus, Lib,, ii,
422 a.
AsTORGA,E. d', i.996; iv, 525a;
Auswahl, i. 105a; Cantata,
i. 305 a; Latrobe, ii. 1026;
Rochlitz, iii, 142 a; Stabat
Mater, iii, 685 a.
A Tempo, i. 100 a ; A battuta, i.
16; Battuta, i, 157a.
Athalia, i. 100 a.
ATHALiE,i. 100&; Mendelssohn,
ii. 281a, etc.
Attacca, i, 100 h ; Segue, iii.
457 a,
Attacco, iv. 525 a; Subject, iii.
7486; Andamento, iv, 522a;
Soggetto, iv, 7946.
Attack, i, 1006.
Attaignant, P,, i, 1006 ; Leroy,
ii. 123a; Motet, ii. 3746;
Mus.-printing, ii, 435&; Nota-
tion,ii. 4746; Schools of Comp.,
iii. 267a.
Atterbury, L., i. J 00 6; iv.
525a; Catch Club, i, 3226;
Glee Club, i, 599 a ; Mus. Lib.,
ii, 420a ; Part-Mus., ii. 6566,
etc.
Attey, J., i. loia; iv, 525a;
Este (T,), i. 496 a.
ATTWood, T., i. loia; iv. 525a;
8
Anthem, i. 72 a ; Bridgetower,
i. 275&; Concentores Sodales,
i. 3836; Cooper (G.), i. Z9^b;
Ella, i. 486 a; English Opera,
1.4890; Glee, 1.5990; God
save the King, i. 607 a ; Goss
(Sir J.), i. 610J ; Hart (J.),
L 693 a; Haydn, i. 708 3;
Kelly, ii. 49 &; Mendelssohn,
ii. 2636,etc.; Mozart, ii. 3916,
etc. ; Page (J.), ii. 632 6 ; Pan-
tomime, ii. 646 a; Philh. Soc.
ii. 698 a ; Pierson (H. H,), ii.
752 a; Potter(Cip.), iii. 23a;
Koy. Acad, of Mus., iii. 185 a ;
Schools of Comp., iii. 308 h ;
Service, iii. 473 6 ; Steibelt,
iii. 701a; Walmisley (T. F.),
iv. 378a.
AuBADE, i. loiJ; Chanson, i.
335*.
Adber, D. F. E., i. 101 5; iv.
5256; Acad^mie de Mus.,
i. 9& ; Ambassadrice, L', i.
59 a; Barcarole, i. 1386;
Bassoon, i. 1546; Batton, i.
157a; Bayaderes, i. 1576;
Chaperons blancs, i. 339 fi;
Cheval de Bronze, i. 3446;
Circassienne i. 359 a ;Con-
serv. de Mus., i. 392a; Crown
Diamonds, i. 42 1 a, 442 h ;
Damoreau, i. 428 & ; Diamants
de la Couronne, i. 442 b ;
Domino Noir, i. 452 6 ; Evers,
L 498a ; Fra Diavolo, i. 5576 ;
Goulding and Dalmaine, i.
6126; Grand Opera, i. 617 a;
Gustave trois, i. 641 6 ; Hay-
d^e, i. 7006 ; Herold, i.
7316; Jenny Bell, ii. 336;
Lac des F^es, Le, ii. 816;
Leocadie, ii. 121a; Lucca,
ii. 171a; Ma9on, Le, ii.
187a; Masaniello, ii. 2246;
Massd, ii. 235 6 ; Mendels-
sohn, ii. 2576; Muette de
Portici, La, ii. 4076; Mus.
Lib., ii. 424a; Neige, La, ii.
451 a; Opei-a, ii. 5230, etc;
INDEX.
Overture, ii. 622 & ; Parisienne
La, ii. 6496 ; Part du Diable,
ii.653a; Philtre, Le,ii. 706a;
Pitch, ii. 758a, note; Pleyel
(Mme.), iii. 3 b ; Roger (G. H.),
iii. 144 & ; Kossini, iii. 170&;
St. Georges (Marquis De),
iii. 2136; Schools of Comp.,
iii. 303a, etc. ; Scribe, iii.
453a; Sedie (E. delle), iii.
4566; Sirfene, La, iii, 518 &;
Spontini, i. 6816 ; Tarantella,
iv. 59 J; Templeton (J.), iv.
82a;Thillon (Anna), iv. 102a;
Zanetta, iv. 4996 ; Zerline, iv.
506 J; Bazin, iv. 5326; Levey
(W. C), iv. 700 J.
AuBERT,J.,i. 103J; Violin-play-
ing, iv. 289, 8126.
AUBERT, L., i. 1036; Violin-
playing, iv. 289.
AuBERT, P. F. O., i. 1036.
AuDBAN, E., iv. 525 J.
AuEB, L., i. 1035 ; Miiller (The
Brothers), ii. 4086; Philh.
Soc.,ii. 700 a; Violin-playing,
iv. 298 a.
AuGARTEN, i. 104a; iv. 525 J;
Mozart, ii. 389 a.
AuGENER & Co., iv. 525 J ; Mus.
printing, iv. 7276.
Augmentation, i. 1046; Amen,
i. 606; Canon, i. 304 a; Coun-
terpoint, i. 409 a ; Imitation, i.
766a; Tonal Fugue, iv. 137 J.
Augmented Interval, i. 1046 ;
Harmony, i. 6826; Interval,
ii. 12a; Italian sixth, ii. 26 a ;
Ninth, ii. 459 a; Octave, ii.
4916; Root, iii. 1586; Penta-
tonon, iv. 745 b.
Auletta; Metastasio, ii. 316 a.
Aubenhammer, Josepha ; P. F.-
playing, ii. 744.
Austen ; Mus. Lib., ii. 417 J.
Austin, Mrs. ; Cooke (T. S.), i.
398a; Mendelssohn, ii. 2'jgb,
302 &, note.
AUSWAHL VORZtJGLICHER Mu-
sik-Wbrke, i. 105 a.
Authentic, i. 105 a; JEolian
Mode, i. 39 J; Cadence, i.
291a; Dorian, i. 4546; Gre-
gorian Modes, i. 626 a; Hy-
per, i. 764 J; Modes Eccles.,
ii. 341 b ; Participant, ii. 655 b ;
Plagal Modes, ii. 760a.
Auxcousteaux, a. d', i. 105 J.
Auxiliary-note; Appoggiatura,
i. 75 a.
Avery, J., i. 1055; Organ, ii.
598*.
AviA ; Alfieri, iv. 520a, note.
AvisoN, C, i. 106a; iv. 526a;
Ancient Concerts, i. 646;
Hayes (W.), i. 723a; Ross
(J.), iii. 162 5; Shield (W.),
iii. 487 a.
AvoGLio, Signora, i. 106 a;
Handel, i. 651a; Messiah, ii.
315 «•
Avvertimento ai Gelosi, i.
106 J; Balfe, i. 127a.
Ayleward, R.; Mus. Lib., ii.
421a.
Aylwabd, T., i. 106& ; iv. 526a;
Adcock (J.), i. 30 a ; Clark
(R.), i. 365 a; Glee Club, i.
599 a; Gresham Mus. Pro-
fessorship, i. 6276; Madrigal
Soc, ii., 1936; Oxford, ii.
6246.
Ayrer, J. ; Singspiel, iii. 516&.
Ayrton, E., i. 106 6 ; Arnold
(S), i. 866 ; Attwood, i. loia;
Carnaby(\V.),i.3i6a; Schools
of Comp., iii. 286 b, note ; Smart
(SirG.), iii. 537a; Smith(C.),
iii. 539 a.
Ayrton, W., i. 107 a; Har-
monicon, i. 6636 ; Philh. Soc.,
ii. 698 a ; Harmonious Black-
smith, iv. 667 a.
Ayton, Fanny, iv. 526 a.
AzoR AND Zemira, i. 1076;
Spohr, iii. 664 J. (See Zb-
MIRE.)
AzzoPARDi, F. iv. 5266; Imi-
tation, i. 766 a ; Liversion, ii.
16 &; Isouard, ii. 24a.
B.
B> !• 107 a ; Accidentals, i.
19 a, etc. ; Alphabet, i. 57a ;
B molle, B dur, i. 107&; H.
1.6430; Hexachord.i. 734 a;
Notation, ii. 474 a; Si, iii.
490 a ; Transpos. of Eccles.
Modes, iv. 161 6 ; Zacconi, iv.
497 ?>.
Baadsb, C. ; Zeugheer, iv. 507 a.
Baban, G., i. 108 a; Eslava, i.
4946.
Babbini, M., i. 108a; iv. 526a;
Rossini, iii. 1646 ; Tacchinardi,
iv. 51 6 ; Tadolini, iv. 516.
Babell, W.,i. 2870; Transcrip-
tion, iv. 800 a, etc.
Baccusi, I., i. 1 08 a; Oriana,
ii. 611 &; Mus. Lib., iv.
726 a.
Bach, A. W. ; Commer, 1. 3806;
Haupt, i. 6975.
Bach, Christoph, i. no a.
Bach, C. P. Emanuel, i. 113 o;
Agr^mens, i. 42 & ; Appoggia-
tura, i. 75 b; Appoggiatura,
double, i. 79 a; Arpeggio, i.
876; Auswahl, i. 105 a; Be-
bung, i. 160&; Beethoven, i.
i7o&;,Briegel,i. 276a; Btilow,
INDEX.
L 380 b; Burney, i. 284 a;
Cario, i. 314& ; Clavichord, i.
367b; Dussek, i. 473b; Fan-
tasia, i. 503b; Fasch, i. 508 a;
Fingering, i. 526b; Form, i.
546a; Haydn, i. 704a; Ha-
rold, i. 730 b ; Klavier Mus.
Alte, ii. 63 b ; Latrobe, i. 102 b;
Lobkowitz, ii. 155 a ; Meister,
Alte, ii. 247b; Mordent, ii.
363 b; Nachschlag, ii. 441a;
Pedals, ii. 682b; PF.,ii, 714a,
etc.; PF. Mus., ii. 724a:
PF.-playing, ii. 737 a; Poel-
chau, iii. 5 a ; Pract. Harmony,
iii. 24 a; Programme Mus.,
iii. 36 b; Kochlitz, iii. 142a;
Rust, iii, 206a ; Scherzo, iii.
245 b; Schools of Comp., iii.
288b; Shake, iii. 48ott; Sil-
bermanu, iii. 494 b; Sonata,
iii. 564b; Song, iii. 621b;
Sordini, iii. 636a; Specimens,
Crotch's, iii. 650a; Swieten,
iv. 9a; Symphony, iv. 14a;
Tangent, iv. 57a; Tempera-
ment, iv. 72 a; Tr^sor des
Pianistes, iv. 168 a; Tuning,
iv, 1 88b; Turn, iv. 191b;
Bitter, iv. 548 a; Giovannini,
iv, 647 b.
Bach, Dr. O. ; Mozarteum of
Salzburg, ii. 406 b; Sechter,
iii. 456 a.
Bach, Georg Chr., i. no a.
Bach, Hans, i. 109 a.
Bach, Hans, i. 109 a.
Bach, Heinrich, i. 109b.
Bach, Johannes, i. 109 b.
Bach, Joh. ^gidius, i. nob.
Bach, Joh. Arabrosius, i.
iioa.
Bach, Joh. Bernhard, i. nob;
Walther, iv. 381b.
Bach, Joh. Bernhard, i. 1106.
Bach, Joh-, Christian, i. nob.
Bach, Joh. Christian, i. 112 a;
Abel, i. 5a; Accademia, i.
12a; Amicis, i. 61 a; Aus-
wahl, i. 105 a; Bennett (W.),
i. 224b; Fischer, i. 529a;
Form.i. 545 b; Grassi, i.62oa;
Guadagni, i. 635b; Guarducci,
i. 636 a ; Hanover Square
Rooms, i. 661 a; Klavier Mus.
Alte, ii. 63 b; Mazzinghi, ii.
242 a ; Meister, Alte, ii. 247 b;
Mozart, ii. 380b, etc. ; Mus.
Lib., ii. 423a; Olimpiade, ii.
496 b; Opera, ii. 513b; PF.,
ii, 7i4rt, etc,; PF. Mus,, ii.
724b; Schools of Comp., iii.
288b; Schroeter, iii, 318b;
Specimens, Crotch's, iii. 650 a;
♦Symphony, iv. 14 a; Tr^sor
des Pianistes, iv. i68b ; Cla-
rinet, iv, 591b; Cornelys, iv.
598 b; Notot, iv. 732 b.
Bach, Joh. Christoph, i. iioa.
Bach, Joh. Christoph, i. iioa.
Bach, Joh. Christoph, i, nob.
Bach, Joh. Christoph, i. nob;
Kirchen Cantaten, ii. 60 a;
Motet, ii. 376 a; Rochlitz, iii,
142 a ; Vocal Scores, iv, 319b.
Bach, J. C. F., i. n2b ; Klavier
Mus. Alte, ii. 63 b; Pract.
Harmony, iii. 24a ; Tresor des
Pianistes, iv. 168 a.
Bach, Joh. E., i. 1 11 b ; Adlung,
i, 37b; Fantasia, i. 503b;
Klavier Mus. Alte, ii. 63b;
Pract. Harmony, iii, 24a ;
Sonata, iii, 565 a.
Bach, Joh. M,, i. 1 1 1 b; Kirchen
Cantaten, ii, 60 a.
Bach, Joh. M., i. 112a.
Bach, Joh. N., i. 112 a.
Bach, W. F., i. i i 2 b ; Auswahl,
i. 105 a; Fantasia, i. 503 b;
Graun, i. 621a; Jahrbiicher,
ii. 30b ; Klavier Mus, Alte,
ii, 63 a ; Meister, Alte, ii, 247 b ;
Pract. Harmony, iii. 24a ;
Rust, iii. 206 a; Sonata, iii.
564 a; Tresor des Pianistes, iv.
i68a.
Bach, W. F. E., i. 113a.
Bach, Veit, i. 109 a.
Bach, J. S., i. 114a; iv. 526b;
Abel (K. F,), i. 4b; Acci-
dentals, i. 20a; Accompani-
ment, i. 23a; Act, i, 26a;
Additional Accompaniments,
i. 30b, etc; ^olian Mode, i.
40 b; Agricola (J. F.), i.
44b; Albert Prince, i. 49 a;
Albinoni, i. 50 a ; Allemande,
i. 55b; Ancient Concerts, i.
64b; Appoggiatura, i. 76 a,
etc. ; A quatre mains, i.
80 a; Arpeggio, i. 88 a; Ar-
rangement, i. 89 b, etc.;
Art of fugue, i. 96 a ; Aus-
wahl, etc., i. 105a; Ballets,
i. 133a; Bassoon, i. 153b;
Beethoven, i. 163 a, etc.;
Bernhard (W. C), i. 235b;
Bifaria; i. 241a; Bourrde, i.
264a ; Biilow, i. 280b ; Burla,
i. 283 b; Buxtehude, i. 286a;
Canon, i. 304b; Cantata, i.
305 a; Canto Fermo, i, 306 a;
Canzona, i. 306b; Cario (J.),
i. 314b; Cembalo, i. 330b;
Chaconne, i. 331b; Chorale,
i. 350 a; Chrysander, i. 356 b;
Clavichord, i. 367 b; Concerto,
i. 387a, etc.; Couperin, i.
409 b; Courante, i. 410b;
Credo, 1. 415 b; Dehn, i.
439 a; Dorian, i. 455 a;
Double Concerto, i. 459 a;
Doubles, i. 460 a; Ecclesias-
ticon, i. 481b; Ein' feste
Burg, i. 484 a; Etudes, i.
497 a ; Extempore playing, i.
498 b; Fantasia, i. 503 b;
Field, i. 520a; Figure, i.
521a, etc.; Fingering, i.
526a, etc.; Flute, i. 537a;
Forkel, i. 540 b; Forlana, i.
540b; Form, i. 542b, etc.;
Frederic the Great, i. 561b;
Fugue, i. 569 b; Gamba,
Viola da, i. 580 a; Gerber, i.
589 a ; Gewandhaus Concerts,
i, 592 b ; Gigue, i. 595 b ; Gold-
berg, i, 607 b; Grand Piano,
i. 617b; Graupner, i. 622a;
Griepenkerl, i. 631 a ; Ground-
Bass, i, 634 b; Handel, i.
654 b, etc, ; Harmony, i.
682a, etc; Harpsichord, i.
688a; Hassler, i, 697a; Haw-
kins, i. 700 a; Hiller (Ferd.),
i, 737 a; Homilius, i. 745 b;
Horn, i. 748 b; Hymn, i.
761a; Imitation, i. 766 a;
Instrument, ii. 6b, note; lu'
terval, ii. lib; Intonation, ii.
13 a; Invention, ii. 15 b; In-
version, ii, 15b; Isaac, ii. 23b;
Jacob, ii, 286; Jahx'bucher, ii.
30b; Joachim, ii, 35b; Kirchen
Cantaten, ii. 59 b; Kirnberger,
ii. 62 a ; Kittel, ii. 63a; Krebs
(J. L.),ii. 71 « ; Kroll, ii. 73 b ;
Kiihmstedt, ii. 75 a ; Kunst
der Fuge, ii. 77a; Kyrie, ii.
78 b; Leading-note, ii. 109 a;
Legrenzi, ii. ii4rt; Leipzig,
ii. 115 a, etc.; Leit-Motif,
ii. ii8b; License, ii, 131a;
Lute, ii, 175b; Magnificat,
ii. 197a; Marchand, ii. 213b;
Ma.ss, ii, 233b ; Melody, ii.
250a; Mendelssohn, ii, 256 a,
etc. ; Minuet, ii. 333 b ;
Mitzler, ii. 339 b-; Modula-
tion, ii. 348 b; Mordent, ii.
363 a; Mosewius, ii, 371b;
Motet, ii. 376a; Mozart, ii.
392 b; Musette, ii. 410b;
Mus. Lib, ii, 418b, etc.;
Mus. printing, ii. 436b; Mu-
sikalisches Opfer, ii. 438 a;
Niederrheinische Musikfeste,
ii. 456 a ; Non Nobis, ii. 464a ;
Nottebohm, ii. 479 a; Oboe,
ii. 488 a; Oboe d'amore, ii.
489a; Oboe di caccia, ii.
489a; Oratorio, ii, 540b, etc.;
Orchestra, ii. 563 a, etc.;
Orchestration, ii. 567 b; Organ,
10
ii. 586a; Overture, ii. 6236;
Partie, ii. 656a ; Passacaglia,
ii. 661 a; Passepied, ii. 662 6 ;
Passion-Music, ii. 666 a, etc. ;
Pastorale, ii. 6706 ; Peace, ii.
6776; Pedalier, ii. 6786;
Pedal-point, ii. 679 b ; Peters
(C. F.), ii. 6956; PP., ii.
713a, etc.; PP.-playing, ii.
736 a, etc. ; Polonaise, iii.
106, note, etc.; Postilions,
iii. 22a; Practical Harmony,
iii. 24a; Prelude, iii. 286;
Prince de la Moskowa, iii.
31 a; Programme Music, iii.
36 b ; Quodlibet, iii. 62 a ; Real
fugue, iii. 80 & ; Reay, iii.
81 a; Recitative, iii. 85 b;
Reinken, iii. 103a; Rellstab,
iii. 1066 ; Ricercare, iii. 1266;
Rietz (J.), iii. 133a; Rink,
iii. 136a; Rochlitz, iii. 142a;
R. Soc, of Musicians of Great
Britain, iii. 1876; Rust, iii.
205 &; St. Anne's Tune, iii.
212 a; Sanctus, iii. 224a;
Scherzo, iii. 2456; Schicht, iii.
249a; Schlesinger, iii. 2536;
Schneider (J. G.), iii. 255 b;
Schools of Composition, iii.
288 a, etc. ; Schumann, iii.
386a, etc.; Scordatura, iii.
4266 ; Score, iii. 430a ; Silber-
mann, iii. 4946; Singacade-
mie, iii. 516a; Sketches, iii.
5266; Sonata, iii. 558 b, etc. ;
Song, iii. 621 5; Specimens,
Crotch's, iii. 650 a; Spitta, iii.
6566; Spontini, iii. 679a;
Subject, iii. 749 b, etc. ; Suite,
iii. 757 b, etc.; Symphony,
iv. 13 a, etc. ; Temperament,
iv. 74 a; Thematic Catalogue,
iv. 99 b; Toccata, iv. 130a;
Tonal fugue, iv. 136a, etc.;
Touch, iv. 152b; Tr^sor des
Pianistes, iv. 168 a; Trio, iv.
171b; Trombone, iv. 178a;
Trumpet, iv. 181 a, etc. ; Tun-
ing, iv. 188 b; Turini, iv.
1906; Variations, iv. 219a,
etc. ; Viardot-Garcia iv. 260b;
Viola poraposa, iv. 267 b;
Violin, iv. 278b, etc.; Violin-
playing, iv. 296 b, etc. ; Violon-
cello-playing, iv. 300 a ; Vi-
valdi, iv. 317b; Vogler, iv.
327b; Volumier, iv. 339a;
Voluntary, iv. 339 b ; Vorspiel,
iv. 340 b; Walmisley, iv. 379 a;
Walther (J. G.), iv. 381b;
Weber, iv. 394b; Wesley (S.),
iv. 446 a; Wind-band, iv.
464 b ; Wohltemp. Klavier, iv.
482 a ; Zelter, iv. 505 a; Zinke,
INDEX.
iv. 511a; Andamento, iv.
522 a; Bitter, iv. 548 a;
Chorale, iv. 588 b; Concerto
grosso, iv. 596 b; Doles, iv.
6i6b; Giovannini, iv. 647 b;
Lamoureux, iv. 696 a; Part-
writing, iv. 741 a ; Passion
Mus., iv. 744b; Schicht, iv.
785a ; Schiitz (H.), iv. 7906;
Trumpet, iv. 804a.
Bach, W.; Fesca (F.), i. 515a.
Bach Choir, i v. 528b; Concert,
i. 384a; Goldschmidt (O.), i.
608a; Lind,ii. 142b; Schools
of Comp., iii. 308 b ; Stanford,
iv. 796 b.
Bach-Gesellschaft, i. 1 1 8 b ;
iv. 529 a and 819a; Bach
(J. S.), i. 117b, etc.; Becker
(C. F.), i. 161 a; Breitkopf &
Hiirtel, i. 273a; Cantata, i.
305 a ; Gamba, Viola da, i.
580a; Kirchen Cantaten, ii.
60b ; Kroll, ii. 73 b ; Mendels-
sohn, ii. 261a; Mus. printing,
ii.436b; Rust (W.), iii. 206b;
Wohltemp. Klavier, iv. 483 b ;
Dorffel, iv. 616 b.
Bach Society, The, i. 120a;
Bach (J. S.),i. ii8b; Bennett
(Stemdale), i. 225b.
Bach- Verein ; Vierling, iv.
262 a.
Bache, F. E.,i. i2oa; iv. 529b;
Hauptmann. i. 698 a; PF.
Mus. ii. 734b; PF.-playing,
ii. 745; Song, iii. 608 a.
Bache, W., iv. 5296; Leipzig,
ii. 115b; Liszt, ii. 149 a;
PF. -playing, ii. 745; Liszt,
iv. 702 b.
Bachelor op Music, i. 1206;
iv. 529b; Degree, i. 439 a;
Doctor of Mus., i. 451 b ; Lon-
don, ii. 163 a ; Oxford, ii. 623 b.
Trinity Coll. Dublin, iv. 170 b.
Bachelor. (See Batchelar.)
Bachmann ; Blaes, i. 246 b.
Bachmann, S. ; Mozart, ii.
382 a.
Bachmetief ; Song, iii. 614a.
Bachofen, J. C, i. 121 b.
Bacilly, de; Mus. Lib. ii.
418a.
Back, i. 121b; iv. 529b; Violin,
iv. 271a, etc.
Backers, A. ; Broadwood, i.
278a ; Grand Piano, i. 6i8a ;
PF., ii. 715b; Stodart, iii.
7166.
Backfall ; Agr^mens, i. 43 6.
Bacon, R. M. i. 288a ; iv. 529 b;
Quarterly Mus. Mag. iii. 56 b.
Bader ; Spontini, iii. 6726;
Weber, iv. 3966.
Badiali, Cesare, i. 122a; iv.
Bahr; Mozart, ii. 393b.
Barmann, H., i. 122a; Basaet-
hom, i. 151a; Lang (J.), ii.
89 b; Mendelssohn, ii. 269 a,
note, etc.; Weber, iv. 396a,
etc.
Barmann, K., i. 122b.
Barm ANN, K.,i. 122 b.
Barmann, K., i. 122 J; iv.
530a; PF.-playing, ii. 745a.
Baffo ; Spinet, iii. 652 a.
Bagatella, A; Violin, iv.
285 b, note.
Bagatelle,!. 122b; Beethoven,
i. 195b.
Bagge, S., i. 123a; Mus.
Periodicals, ii. 430a; Sechter,
iii. 456 a.
Bagnius, B. ; Bodenschatz, i.
254a.
Bagnolesi, a., i. 123a.
Bagpipe, i. 123a; iv. 530a;
Burden, i. 283 b; Chaunter,
i. 341a; Comemuse, i. 403 a;
Drone, i. 463 a; Ecossaise, i.
483 a; Glen, i. 599 b; Hurdy
Gurdy, i. 758 b; Instrument,
ii. 6a; Lish Mus,, ii. 20a;
Lilt, ii. 139a; Loure, ii.
169b; Mouthpiece, ii. 378b;
Musette, ii. 410a; Organ, ii.
574a; Pibroch, ii. 746 b;
Piffero, ii. 753a; Ranz des
Vaches, iii. 75 b ; Scotish Mus.,
iii. 443b, etc.; Shawm, iii.
485 b ; Shepherd's Pipe, iii.
486a ; Song, iii. 614b ; Sounds
and Signals, iii. 644a; Wind-
band, iv. 464 a.
Bai, T., i. 125a; Baini, i. 288b;
Miserere, ii. 336 b; Mus.
Divina, ii. 411b; Mus. Lib.,
ii. 420 a; Sistine Choir, iii.
521a; Rome, iv. 773b; Sistine
Chapel, iv. 794 a.
Baif, M. ; Lejeune, ii. 119 a.
Baildon, J., i. 125a; iv. 530a;
Catch Club, i. 322 b; Page
ii. 632 b.
Baillot, p., i. 125a; Alard, i.
47 b ; Arriaga, i. 95 a ; Beriot,
i. 231b; Bessems (A.), i.
238b; Bigot, i. 241b; Boc-
cherini,!. 251b; Briard (J. B.),
i. 275a; Conservatoire, i.
392 a; Cuvillon,i. 425 a; Ha- 1
beneck, i. 643 a; Hamilton, J
i. 647 a; Haydn, i. 715 a;
Hiller, i. 737a ; Kreutzer (R.),
ii. 72 b, etc. ; Maurer, ii.
239b; Mazas, ii. 241b; Men-
delssohn, ii. 257 a, etc. ;
Panofka, ii. 6446; Positions,
iii. 21 5; Sauzay, iii. 23o5;
Scordatura, iii. 426 5; Speyer
(W.). iii. 650 b ; Stradivari
(A.), iii. 733 a, etc. ; Urban, iv.
209 a; Vidal (J. J.), iv. 2616;
Violin-playing, iv. 289, etc.;
Viotti, iv. 302 &; Zeugheer,
iv. 507 a; Dun,.iv. 619 a.
Baillot, Rend ; Conservatoire, i.
393&-
Bainbkidge ; Flageolet, i. 5310.
Baini, G., i. 288a; JEolian
Modes, i. 40 &; Bai, i. 125a;
Carissimi, i. 315 a; Chelard,
i. 341a; Frescobaldi, i. 563 a;
Hiller (Ferd.), i. 7376;
Jannaconi, ii. 31a; Kandler,
ii. 476; Klein, ii. 636; La
Fage, ii. 83 &; Lamentationa,
ii. 88 a; Lassus, ii. 93 &;
L'Homme armd, ii. 126b;
Mendelssohn, ii. 268 a; Mise-
rere, ii. 336&; Mus. Lib., ii.
426 a; Nicolai, ii. 453 a;
Obrecht, ii. 489 b ; Okeghem,
ii. 495 a; Palestrina, ii. 635 a,
etc.; Pitoni, ii. 759a; Re-
quiem, iii. 109 b ; Ruffo, iii.
203 a ; Sistine Choir, iii. 5216;
Sistine Chapel, iv. 793 a, etc.
Baistroochi ; Verdi, iv. 241 a.
Baker, G., i. 126a; iv. 530a.
Baker, Sir H. W. ; Hymns
Anc. and Mod. i. 764 a.
Balakirew, M. a. ; Cui, iv. 6oib.
Balalaika ; Frets, i. 563 b ;
Lute, ii. 175b.
Balbatre; Maltrise, ii. 200 a;
Rameau, iii. 72 a; Ruckers,
iii. 193 b ; Ruckers, iv. 777 a.
Balbi, L., i. 126a; Bodenschatz,
i 253b; Oriana, ii. 611 b;
Schools of Comp., iii. 266 a;
Mus. Lib., iv. 726a.
Baldanza ; Strakosch, iii. 735 a.
Baldassarri, B., i. 126a.
Baldenecker, C, PF.-playing,
ii. 745.
Baldenecker, N., i. 126 a.
Baldi, i. 1266.
Balducci, La; Lebrun (F.), ii.
109 b.
Balelli, i. 126b.
Balfe, M. W., i. 126b; iv.
530a; Armourer of Nantes,
i. 83 J; Avvertimento ai
Gelosi, i. io6b; Benedict,
i. 222 b; Biauca, i. 240a;
Blanche de Nevers. i. 247 b;
Bohemian Girl, i. 255 a; Bunn,
i. 282 b; Catherine Grey, i.
325 b ; Comet, i. 403 b ; Daugh-
ter of St. Mark, i. 431b;
Diadeste, i. 442 b ; Eng.
Opera, i, 489 b; FalstafF, i.
INDEX.
502 a; Joan of Arc, ii. 35 b;
Keolanthe, ii. 51a; Lyceum
Theatre, ii. 181 a; Maid of
Artois, ii. 199a; Maid of
Honour, ii. 199a; Melodists*
Club, ii. 349 a; Mus. Lib. ii.
419 b; National Concerts, ii.
447 a; Opera, ii. 524b; Philh.
Soc. ii. 699 b ; Promenade
Concerts, iii. 40 b ; Puritan's
Daughter, iii. 53b; Quatre
fils Aymon, iii. 59 a; Rooke,
iii. 157a; Rose of Castile,
iii. 161 b ; Satanella, iii. 229b ;
Schira, iii. 252 a; Schools
of Comp., iii. 306a ; Sicilian
Bride, iii. 491b; Siege of
Rochelle, iii. 492 a; Song, iii.
608a; Talismano, iv. 52 b;
Temple ton, iv. 82 b; Thalberg,
iv. 95 b; Thillon, iv. 102 b;
Weiss (W. H.), iv. 433b;
Zingara, iv. 508 a.
Baling. (See Fabrt, i. 500 b.)
Balins ; Pons (J.), iii. 14b.
Ball, W., i. 128a; iv. 530a;
Bartholomew, i. 145 b.
Ball, W. C. ; Greatheed, iv.
654b.
Ballabene, G. ; Mus. Lib. ii.
418 b ; Pisari, ii. 756a; Bene-
voli, iv. 543 a.
Ballabile, i. 128a; Billow,
i. 281b.
Ballad, i. 128b; iv. 530a;
Ballet, i. 130a; Beggar's
Opera, i. 209 b; Burden, i.
283 a, etc.; Chanson, i.
335 b; Eng. Opera, i. 489 b;
Form, i. 541b; Loewe, ii,
i6oa; Opera, ii. 523b; Pop.
ancient English Mus., iii. 1605;
Schools of Comp., iii. 291b;
Schumann, iii. 417a; Scotish
Mus., iii. 439a, etc.; Song,
iii. 585 a, 601 a, etc. ; Zumsteeg,
iv. 514b; Carol, iv. 580 a;
Melodrama, iv. 716 b.
Ballad Opera. (See English
Opera, i. 489b, etc.)
Ballade, i. 129 b.
Ballard, i. 129 b; Gando, i.
581a; Lamentations, ii. 88 b;
Leroy, ii. 123a; Motet, ii.
374b ; Mus. printing, ii.
435 b, etc. ; Notation, ii. 474b ;
Philidor, ii. 703 a, note ; Schools
of Comp., iii. 267 a; Song, iii.
593b; Harmonious Black-
smith, iv. 667 a.
Ballerina, i. 130 a.
Ballet, i. 130a; Ballad, i.
129a; Baltazarini, i. 133a;
Beethoven, i. 180 a; Co vent
Garden Theatre, i, 41 2 a ;
11
Entrde, i. 490 a ; Figurante,
i. 520b; Gallenberg, i. 577a;
Harold, i. 731 b ; Intermezzo, ii.
9 b ; Lanner (K.) , ii. 9 1 b ; Lulli,
ii. i72a,etc.;Mozart,ii.386a;
Noverre, ii. 483 a; Opera, ii.
505 b, etc. ; Pantomime, ii.
646a; Passepied, ii. 662 b;
Pastorale, ii. 670a; Philidor,
ii. "jo^a; Prometheus, iii.
41a; Quadrille, iii. 55 a;
Spontini, iii. 669 b; Vestris,
iv. 258a; Vigano, iv. 263 b;
Vingt-quatre Violons, iv.
266 a; Volumier, iv. 339 a.
Ballets, i. 132b; iv. 530a;
Ballad, i. 129a; Este (Th.),
i. 496a; Fa-La, i. 501a;
Gastoldi, i. 584 a; Morley,,
ii. 367 b; Mus. Antiquarian
Soc, ii. 416 b; Part-Song, ii.
658a; Schools of Comp., iii.
266a; Song, iii. 587a; Villa-
nella, iv. 264 b; Burney, iv.
571 «.
Ballionus, H. ; Bodenschatz, i.
253 &.
Ballo in Maschera, II, i. 1 33 a ;
iv. 530a ; Verdi, iv. 250a.
Baltagebini. (See Baltazarini,
i. i33«.)
Baltazarini, i. 133a; Ballet,
i. 130a; Score, iii, 429 b;
Trumpet, iv. 182 a; Burney,
iv. 571a.
Baltiferri; Imitation, i. 766 a.
Baltzar, T., i. 133a; iv. 530b;
Hawkins, i. 700 a; King's
Band, ii. 58 a; Mell (Davis),
ii. 248 b; Violin-playing, iv.
289, etc. ; Violin-playing, iv.
812b.
Banchieri, a., i. 1 33 b ; Virginal^
iv. 303 b.
Banck, C; Schumann, iii, 390 b^
etc.
Band, i. 134a; iv. 530b; Band-
master, i. 134a; Chinese
pavilion, etc., i. 346a; God-
frey, i. 605 a ; Kapelle, ii. 47 b ;
Kneller HaU, ii. 66 b ; Or-
chestra, ii. 561b; Zavertal,
iv. 504a.
Banderali, D., i. 134a; iv.
530b ; Alizard, i. 53 a; Con-
servatoire de Mus.,i.392 b; La-
lande, ii. 86 a; Pellegrini (G.),.
ii, 684a; Sinclair (J,), iii.
496 a ; Wartel, iv. 383 b.
Bandini, U., iv. 530b.
Bandini ; Burney, iv. 571a.
Bandolon; Bandora, i. 134 a.
Bandora, i. 134a; Calascione,.
i. 297 b; Mandoline, ii. 204b^
Banddbists; Song, iii. 613 a.
12
Banester,G.; Schools of Comp.,
iii. '270&.
Banister, H. J. ; Melophonic
Soc, ii. 253 a.
Banister, J., i. 134& ; iv. 530 b ;
Britten, i. 277?^; Concert, i.
384a; English Opera, 1.4890;
Hawkins, i. 700a; King's!
Band, ii. 58a; Mus, Lib., ii.
418 a ; Song, iii. 6036 ; Violin-
playing, iv. 298&; Grabu, iv.
653 &.
Banistbe, J. Qun.), i. 135a;
iv. 530 &; Division Violin,
the, i. 451a; Finger, i. 5246;
Needier, ii. 450b.
Banjo, i. 135a; Bandora, i.
134& ; Instrument, ii. 6&.
Banks ; Page, ii. 632 b.
Banes, Ben. ; London Violin
Makers, ii. 164 a ; Tenor
Violin, iv. 91 J.
Bannelier, C. ; Revue et Gaz.
Mus., iii. 121 b.
Bannister, C. j Glee Club, i.
599 »•
Bannister, Mrs, J. ; Maryle-
bone Gardens, ii. 2246.
Bannds, J. A. ; Hist, of Mus.,
iv. 674a.
Banti, Brigitta G., i. 135& ; iv.
530b; Abel (K. F.), i. 5a;
Dragonetti, i. 461 b ; Georgi,
i. 596 a ; Haydn, i. 708 h, etc. ;
Morichelli, ii. 365 b ; Mount-
Edgcumbe, ii. 377 b; Pan-
theon, ii. 645 b ; Singing, iii.
506 b ; Soprano, iii. 635 b.
Baptie, D., iv. 530 b.
Baptiste, Anet, i. 136a; Co-
relli, i. 401a; Violin-playing,
iv. 292 b.
Baptiste; Hurdy Gurdy, i.
758b.
Baptistin, J., i. 136 b.
Bar, i. 136b; Accent, i. 12 a;
Beat, i. 158b; Common Time,
i. 381a; Dot, i. 455 b; Mea-
sure, ii. 243 a ; Metre, ii.
316b; Notation, ii. 475a;
Rhythm, iii. 123b; Time, iv.
118a.
Barbaja, D., i. 1 37 b ; iv. 530b ;
Bellini, i. 212 a; Fierrabras,
i. 520a; Gallenberg, i. 577a;
Lablache, ii. 81 a; Rossini,
iii. 1 66 b, etc. ; Rubini (G.
B.), iii. 189b ; San Carlo, iii.
223J; Schubert, iii. 335b;
Tamburini, iv. 56 b; linger,
iv. 202 a; Weber, iv. 407 b.
Barbedette, H. ; Mdnestrel,
Le, ii. 311b; Schubert, iii.
37o»-
Bahbblla, E., i. 138a ; Scorda-
INDEX.
tura, iii. 426 a; Bumey, iv.
571a.
Barbereau: Bourges (J. M.),
i. 264 a ; Conservatoire, i.
393 a; Gr. Prix de Rome, i.
6 1 8 J ; Reicha, iii. 98 b ; Thomas
(C. A.),iv. 103b.
Barber of Seville, the, i.
138a; iv. 530 b; Rossini, iii.
167a.
Barbers op Bassora, the, i.
138 b ; HuUah, i. 756 a.
Barbioe, C; Part music, ii
Barrier ; Libretto, ii. 130a.
Barbiera, La ; Bertinotti, i.
236 a.
Barbiebi; Prince de la Mos-
kowa, iii. 31a; Saggio di
Contrappunto, iii. 212 a.
Barbieri, F. a., i. 138b; iv.
530b; Song, iii. 632 a; Hist,
of Music, iv. 676a.
Barbieri, L. ; Garcia, i. 582 a.
Baebireau, Maltre J., i. 138b;
Schools of Comp., iii. 260a.
Barbot ; Conservatoire de Mus.,
i. 393 a.
Barcarole, i. 138 b.
Barcrofte, T.,i. 139a; Motett
Society, ii. 376 b; Tudway,
iv. 198 a.
Bard; Parry (J.), ii. 651a;
Song, iii. 600b; Welsh Mus.,
iv. 435 &.
BARDELLA,i. 139 a; Theorbo, iv.
loi a.
Bardi, G., i. 139a; Caccini, i.
290b; Cavalieri, i. 327a;
Florence, i. 533a; Inter-
mezzo, ii. 8a; Monodia, ii.
354a; Opera, ii. 498 a, etc ;
Peri, ii. 690b.
Barezzi, M. ; Verdi, iv. 241 b.
Bargaglia, S., i. 139a.
Bargheer, C. L. ; Spohr, iii.
663 b; Violin-playing, iv. 289.
BARGiEL,W.,i. 139a ; iv. 530b;
Leipzig, ii. 115 b; PF. Mus.,
ii. 734 a; Quartet, iii. 58 b;
Rudorff, iii. 201b; Schu-
mann, Clara, iii. 422 b ; Suite,
iii. 761a ; Vierling, iv. 262 a;
Wieck, iv. 454b.
Bari, L. ; Palestrina, ii. 636a.
Barilli, a.; Patti, ii. 673b;
Strakosch, iii. 734a ; Patti,
iv. 745 a.
Baritone, i. 139b; Althom, i.
57 b; Saxhorn, iii. 233 b;
Wind-band, iv. 4696.
Barker, C. S., i. 139b; Ca-
vaill^, i. 327a ; Daublaine et
Callinet, i. 431a; Electric
Action, i. 485 a; Oi^an, ii.
599 a, etc ; Pneumatic Action,
iii. 4b.
Barlani-Dtni ; Tenor, iv. 88 a.
Barley, W. ; Music-printing,
ii. 435 «.
Barnard, Charlotte, iv. 531*.
Barnard, Rev. J., i. 140a; iv.
531a; Anthem, i. 72a ; Dens
Misereatur, L 441b; Music
Lib., ii. 418a; Music- print-
ing, ii. 435 a; Schools of
Comp., iii. 2730, etc. ; Ser-
vice, iii. 474b; Venite, iv.
237 &.
Barnby, J., i. 145a ; iv. 531a;
Hymn, i. 764 a ; Oratorio, ii.
558 a; Part-Song, ii. 659a;
Purcell Society, iii. 53 a;
Schools of Comp., iii. 308a;
Singing, iii. 513 b; Song, iii.
608 b ; London Mus. Soc, iv,
705 &.
Barnekow ; Song, iii. 611 a.
Barnes, R.; London Violin
Makers, ii. 164b.
BARNETT,J.,i. 140b; iv. 531a;
English Opera, i. 489 a, etc ;
Fair Rosamond, i. 501a;
Farinelli, i. 504a ; Lindley,
ii. 143 a; Mountain Sylph,
The, ii. 377 b; Opera, ii. 5246;
Schools of Comp., iii. 306 a.
Barnett, Jos.; Soc of British
Mus. , iii. 544a.
Barnett, J. F., i. 141b; iv.
531a; Leipzig, ii. 115 b;
Paradise and the Peri, ii.
648b; Philh. Soc, ii. 700a;
PF. Mus., ii. 735a; PF.-
playing, ii. 745; Schools of
Comp., iii. 308a; Song, iii.
608 b ; R. College of Mus., iv.
159a; Wylde, iv. 492 b;
Lalla Rookh, iv. 695 a.
Barni; Fayolle, i. 510a,
Barni ; Song, iii. 590 b.
Baron, E. J., i. 142a; Lute, iu
176 b, etc. ; Theorbo, iv,
1 00 a; Hist, of Music, iv.
676b.
Baroness, The, i. 142 a ; Robin-
son (A.), iii. 139b; Valentini
(V. W.), iv. 213b.
Baroni; Saggio di Contrap-
punto, iii. 212 a.
Baboni-Cavalcabo, J. von j PF.
Mus., ii. 729b.
Barra. (See Hottinet.)
Barre ; Strakosch, iii. 734b.
Barre; Banjo, i. 135a; Capo
Tasto, i. 306 b.
Barr6 ; Vogt, iv. 332a,
Barre, A,, i. 142 b.
Barre, L., i. 142b; Sistine
Choir, iii. 521a.
Babbel Obgan, i. 143 a; Piano
mecanique, ii. 745 a.
Barret, A. M. R., i. 144& ; iv.
531 &; Boehiii (T.), i. 2546;
Crozier, i. 421a; Oboe, ii.
487 a.
Barrett, J., i. 1446; Mus.
Lib., ii. 424a.
Barrett, T. : London Violin
Makers, ii. 164&.
BARRETT,W.A.,iv. 5316; Diet,
of Mus., i. 446?) ; Mus. Peri-
odicals, ii. 428 a; Hist, of
Mus., iv. 674 J; Mus. Peri-
odicals, iv. 726 a.
Barrington, D. Hon., i. 144&;
Crotch, i. 4206 ; Crwth, i.
4226; Mornington, ii. 368 J;
Mozart, ii. 380 J.
Barry, C. A., iv. 5316; Mus.
Periodicals, iv. 727 a.
Barsanti, F., i. 145a; Raw-
lings, iii. 79 a.
Barsotti; Reyer, iii. 122a.
Bartei, G., i. 145 a.
Barth, K. H.,iv. 531 6; Philh.
Soc, ii. 700S; PF. -playing,
ii. 745 a.
Bartha; Magyar Mus., ii.
igSh.
Barthe ; Grand Prix de Rome,
i. 6i8h.
Barthel, J. C, i. 145 a; Doles,
iv. 617 a.
Barthelemon, F. H., i. 145 a;
iv. 532 a ; Ashley (G.), i. 98^ ;
Haydn, i. 711 a ; Jephthah, ii.
33 & ; Marylebone Gardens, ii.
2245; Sonata, iii. 566 a;
Violin-playing, iv. 289, etc. ;
Violin -playing, iv. 812&.
Bartholdy, J. S., i. 145 &.
Bartholinus, C. ; Hist, of Mus. ,
iv. 6766.
Bartholomew, W., i. 1455 ; iv.
532 a; Elijah, i. 486 a ; Men-
delssohn, ii. 283 &; Moun-
sey, ii. 377a; Naaman, ii.
4^0 a.
Bartlemak, J., i. 146a; An-
cient Concerts, i. 65 a ; Bary-
ton, i. 147 a; Bellamy, i.
211 a; Callcott, i. 2986;
Concentores Sodales, i. 383 h ;
Glee Club, i. 599 a; Greato-
rex, i. 623a; Jacob, ii. 28b;
Kny vett (C), ii. 67 h ; Madri-
gal Soc, ii. 193& ; Philh. Soc,
ii. 698 a; Singing, iii. 512 a;
Vocal Concerts, iv. 319 a.
Bartlett, J., i. 146a.
BaBTNANSKI. (SeeBOBTNIANSKI,
i. 261a.)
Bartoh C. ; Verdelot (P.), iv.
3396.
INDEX.
Bartolini, v., i. 1466 ; Handel
Commemoration of, i. 6576.
Babtolini ; Pacini (G.), ii. 627 a.
Babtsch; Haydn, i. 716 J.
Baryton, i. 146 &; Franz (K.) i.,
,559 a; Haydn, i. 705 Z) ; Pichel,
ii. 75 1 J ; Soundholes, iii. 641 a ;
Viola Bastarda, iv. 267 a;
Viola di Bordone, iv. 2675 ;
Violin, iv. 270 a, etc. ; Zeug-
heer, iv. 507 a.
Baryton (Voice), i. 147a ; Bass,
i. I486; Bass Clef, i. 150a;
Singing, iii. 5106, etc. ; Tenor,
iv. 87a; Voice, iv. 3326.
Barytone. (See Baritone, i.
139M
Basadona ; Seyfried, iii. 478 h.
Basevi, a., i. 147 a ; iv. 532 a ;
Mus. Lib., ii. 4256.
Basili, D., i. 147 J.
Basili, J., i. 147 & ; Jannaconi,
ii. 31a; Rainiondi, iii. 6'ja;
Schira, iii. 251 &; Vaccaj, iv.
212a; Verdi, iv. 243 a ; Botte-
sini, iv. 5566.
Basiron, G. ; Motet, ii. 372 a.
Basiron, p. (See Bassibon, i.
151a.)
Basnage ; Diet, of Mus., i. 4446.
Bass, i. 1476; Bass Clef, i.
150 a.
Bass, i. 148 a; Bass-voice, i.
148 a; Basso profondo, i.
148 &; Basso cantante,i. 148 &;
Compass, i. 382 a; Finale, i.
524a; Singing, iii. 506 a,
etc.; Voice, iv. 3326 ; Voices,
iv. 333?'-
Bass-Bar, i. 1496; Violin, iv.
285 a, etc.
Bass-Clarinet,!. 1496; Clari-
net, i. 3626, etc; Orches-
tra, ii. 5666; Sax, iii. 232a.
Bass-Clep, i. 150 a.
Bass-Drum, i. 15005; Drum, i.
4636; Instrument, ii. 7a;
Piatti, ii. 7466; Tonnerre, iv.
150&; Wind-band, iv. 468 a,
etc.
Bass- Flute, i. 15005.
Bass-Horn, iv. 532 a; Ophi-
cleide, ii. 531 h.
Bass-Lute; Orchestra, ii. 562 a.
Bass-Pommer. (See Bombar-
don, i. 2596.)
Bass-Saxhorn. (See Baritone,
i. I39&-)
Bass-Taille. (See Taillb, iv.
526.)
Bass-Trumpet. (See Trombone,
V. 176 a.)
Bass-Tuba, i. 1506 ; Instru-
ments, ii. 6a; Orchestra, ii.
566&.
13
Bass- Viol; Violin, iv. 270a.
Bassani ; Lotti, ii. 168 a.
Bassani, G. B., i. 1506; Ca-
rissimi, i. 3146; Corelli, i.
400 &; Kent, ii. 51 a ; Latrobe,
ii. 102 7; ; Mus. Lib., ii. 4226;
Part Mus. ii. 6566; Burney,
iv. 571a; Dies Ir8e,iv. 614a;
Violin- playing, iv. 289.
Bassano, Miss ; Philh. Soc, ii.
6996 ; Wade (J. A.), iv.344a.
Bassanus; Bodenschatz,i.253a.
Basselin, 0.; Song, iii. 5926,
note; Vaudeville, iv. 231a.
Basse-Taille ; Taille, iv. 526.
Basset-Horn, i. i5o&;'Bar-
mann (H. J.), i. 1226; Clarinet,
i. 3626 ; Corno di Bassetto, i.
4046; Instrument, ii. 6a;
Keys, ii. 56 a ; Notation, ii.
478 a; Wind-band, iv. 469a.
Bassett; Horn, 1. 7496; Pis-
ton, ii. 757 a; Trumpet, iv.
1826.
Bassevi. (See Cervetto, i.
331 a-)
Bassi, L., i. 151a.
Bassi, N. ; Bassi (L.),i. 151 a.
Eassi, V. ; Bassi (L.), i. 151 a.
Bassini, De; Strakosch, iii.
734&.
Bassiron, Ph., i. 151a ; Schools
of Comp., iii. 260a; Sistine
Chapel, iv. 794 a.
Basso ; Sistine Choir, iii. 521 &.
Basso Continuo, i. 151 &;
Albert, i. 48 h ; Banchieri, i.
1336; Cavalieri (E. del), i.
3276; Continuo, i. 395^ ; Har-
mony, i. 6736; Porta (F.
della), iii. 18 &; Recitative,
iii. 835 ; Thorough-Basg, iv.
108 a; Viadana, iv. 2586.
Basso di Camera, i. 151 J;
Double Bass, i. 458 a.
Basso ostinato, i. 151 &;
Ground-Bass, iv. 658 h.
Bassoon, i. 151 &; iv. 532 a;
Afranio, i. 41 a ; Barmann (K.),
i. 1 2 2 & ; Bass-Clarinet, i. 150a;
Bass-Flute, i. 150&; Basset-
Horn, i. 151a; Besozzi (H.),
i. 2386; Boehm (F.),i. 2546;
Bombardon, etc, i. 2596;
Crook, i. 4196 ; Embouchure,
i. 488 a; Fagotto, i. 501a;
Harmonics, i. 665 a ; Instru-
ment, ii. 6b; Keys, ii.
55 &; Mackintosh ii. 187a;
Mouthpiece, ii. 378 h ; Nota-
tion, ii. 478 a ; Oboe, ii.
486 a, etc ; Oboe di Caccia, ii.
48905; Orchestra, ii. 564 a,
etc ; Orchestration, ii. 567 a ;
Organ, ii. 595 b ; Reed,
14
iii. 90a; Sax (0. J.)» "i-
232 a; Saxophone, iii. 2336;
Shawm, iii. 485 b ; Tenoroon,
iv. 886; Timbre, iv. 117a;
Tri^bert (C. L.), iv. 169b;
Wind-band, iv. 4676, etc.;
Wotton, iv. 489&.
Bassus; Voices, iv. 333b.
Bastabdella. (See Aqujabi,
i. 45 a.)
Bastido ; Mus. Lib., ii. 421b.
Bastien et Bastienne, i. 154b;
Eroica, L 493 a; Mozart, iu
382 a.
Baston, J., i. 154b; Mus.
Lib., ii. 419 a ; Tresor mus.,
iv. 801 a.
Batchelab, D. ; Dowland (R.),
i. 4606 ; Mus. Lib., ii. 417 b.
Bates, J., i.^ i54&; iv. 532a;
Accompaniment, i. 22b; An-
cient Concerts, i. 64 a; Ashley,
i. 98a ; Bridgetower, i. 275 b ;
Charity Children, i. 340 b ;
Greatorex, i. 622b; Handel
Commemoration, i. 657 b ;
Madrigal Soc, ii. 193 b ; Pur-
cell, iii. 51b; Worgan, iv.
486a; Ancient Concerts, iv.
522a.
Bates, Mrs. ; Singing, iii. 512 a.
Bates, W., i. 155a; Catley, i.
326a.
Bateson, T., i. 155a; iv.
532 a; Este (T.), i. 496 a;
Hawkins, i. 700 a ; Madngal,
ii. 191b; Mus. Ant. Soc, ii.
416a; Oriana, ii. 611 a;
Schools of Comp., iii. 278b;
Trin. Coll. Dublin, iv. 170 b.
Bathe, W., i. 289b; iv. 532a.
Batiste, A. E., iv. 532 a ; OfFer-
torium, ii. 494a ; Solfeggio,
iii. 549 a.
Baton, C, i. 155b; Hurdy
Gurdy, i. 758 b.
Baton, i. 155 b ; Argyll Rooms,
i. 82 b; Beat, i. 158b; Con-
ductor, i. 390 a; Orchestra,
ii. 564a, no^e; Rest, iii. 119a;
Spohr, iii. 659 a ; Symphony,
iv. 30 b; Time-beating, iv.
122a.
Battaille, M.; Conservatoire, i.
392 b; Garcia (M.), i. 582 b.
Battaille; Jannequin, ii. 32a.
Battement; Shake, iii. 479 b.
Batten, A., i. 1556 ; iv. 532b ;
Barnard i. 140 b ; Boyce, i.
268a; Chant, i. 336 J; Holmes
(J.), i. 744b; Magnificat, iu
197a; Schools of Comp., iii.
277a; Tudway, iv, 198b j
Mus. Lib., iv. 723b.
Batteby, iv. 532 b.
INDEX.
Battestini ; Erba, i. 491 b.
Battishill, J., i. 156a; iv.
532b; Anthem, i. 72 a; Arne,
i. 83b; Blewitt, i. 249b;
Busby, i. 285 b; Glee, i.
599a; Madrigal Soc, ii. 193b;
Mus. Lib., ii. 418 a; Page,
ii. 632 b; Pantomime, ii.
64.6a; Schools of Comp., iii.
278b; Vocal Scores, iv. 320a J
Voluntary, iv. 339 a.
Battle op Pbague, the, i.
156b; iv. 532b; Kotzwara,ii.
69 a; Programme-Mus., iii.
37 &•
Battle Symphony, i. 156b;
Beethoven, i. 184a; Mass, ii.
234b; Programme-Mus., iii.
38 a.
Batton, D. a., i. 156b; Gr.
Prix de Rome, i. 61 8 b.
Battuta, i. 157 a.
Bauck, W. ; Hist, of Mus., iv.
674 a, etc.
Baudelaibe, C. ; Wagner, iv.
374&.
Baudet, H. C. ; Piano Mdcan-
ique, ii. 746 a.
Baudiot; Conservatoire, i. 392 b;
Rousselot, iii. 182b; Violon-
cello-playing, iv. 300 b.
Baudouin. (See Baulduin, L
Bauebnfeld; Schenk (S.), iii.
245 a; Schubert, iii. 343 a,
etc.
Baulduin, N., i. 157a; Sistine
Chapel, iv. 794 b.
Baumann ; Lalo, iv. 695 a.
Baumfelder, F. a. W. ; PF.
Mus., ii. 735 a.
Baumgabt, E. F. ; PF. Mus.,
ii. 724a; Reissmann, iii. 104 a.
Baumgabten, C. T., i. 157a;
Parke (J.), ii. 650a ; Welsh
(T.), iv. 444b; Z^mire et
Azor, iv. 505 b.
Baumgabtneb, a. ; Hist of
Mus., iv. 677 a.
Baub, G. W. ; Orpheus,ii.6i3a.
Bay, R. ; Song, iii. 611 a.
BayadIibes, Les, i. 157 b; Au-
ber, i. 102b ; Catel, i. 323a.
Bayeb ; Sontag, iii. 634 a.
Bayley, W. ; Gadsby, i. 574b;
Stainer (Dr.), iii. 688 a.
Bayly, Haynes; Knight, ii.
67 a; Song, iii. 607 a,
Bayly, Rev. A., i. 157b.
Baynes, Sir T. ; Gresham Pro-
fessorship of Mus., i. 627 b.
Bazille ; Hal^vy, i. 645 b.
Bazin, F., iv. 532b; Conserva-
toire de Mus., i. 392b; Gr.
Friz de Rome, i. 6i8b; Ha-
l^vy, i. 645 b ; Orphdon, iL
612a, etc.; Alt^s, iv. 5216;
Catalani, iv. 583a; Delibes,
iv. 6iob; Garcin, iv. 645b;
Massenet, iv. 714a; Plants,
iv. 749 b; Salvayre, iv. 779 a.
Bazzini, A., i. 157 b; iv. 533a;
Joachim, ii. 34 b ; Rossini, iii.
177a; Verdi, iv. 252a; Vio-
lin-playing, iv. 289; Junck
iv. 687 b.
B^, G. le; Ballard, i. 1296;
Leroy, ii. 123a; Mus. print-
ing, ii. 435 &•
Be ALE, J., i. 157 b.
Beale, T. F. ; S. James's Hall,
iii. 214b.
Beale, Th. ; Singing, iii. 513 a.
Beale, W.,i. 158a; iv. 533a;
Madrigal Soc, ii. 193 b.
Beanon, L. de; Sistine Choir,
iii. 520b.
Beard, J., i. 158a; Dibdin, i.
443 a; Galliard, i. 579a;
Ranelagh House, etc., iii. 74 a;
Wesley, iv. 445 b.
Beabdmobe, Mrs.; Parke (M.
H.), ii. 650b.
Beabe, Maby; Philh. Soc, iv.
747 «:
Beat, i. 158 a; Agr^mens, i.
43 b; Mordent, ii. 364 a.
Beat, i. 158b; Accent, i. 12 a;
Arsis and Thesis, i. 95 b;
Baton, i. 155b; Common
Time, i. 381a; Metre, ii.
3166; Notation, ii. 475b;
Solfa, iii. 546 a ; Time, iv,
II 8 a ; Time-beating, i v. 1 2 2 b,
Beatbice di Tenda, i. 159a;
Bellini, i 213 a.
Beats, i. 159a; Dissonance, i.
449 a ; Resultant Tones, iii.
1 20 a; Temperament, iv. 70 b ;
Tone, iv. 142 a.
Beaudoin ; Lamoureux, iv.
696 a.
Beaujoyeulx. (See Baltaza-
BiNi, i. 133 a.)
Beaulieu; Baltazarini,i. 133a;
Opera, ii. 506 a ; Song, iii. ^
593&. i
Beaulieu, M. D., i. i6oa ; iv. ||
533 «; Grr. Prix de Rome, i. ^
6i8b; Festivals, iv. 635b.
Beaumabchais ; Malbrough, i
ii. 201 a ; Nozze di Figaro, ii, J
Beaumavibllb, 1. 1 60 a. ■
Beaumont, Mdlle. ; Strakosch, ^
iii. 734&-
Beauplan, A. de: Song, uu
595 &•
Bbauquieb, C. ; Revue et Ga-
zette Mus., iii. I2ib.
Beaussekon, J. ; Sistine Chapel,
iv. 794 a.
Bebung, i. 160 a; Agrdmens, i.
426; Cembal d'Amore, i.
330 a; Clavichord, i. 368 a;
Dot, i. 457 a; Tangent, iv.
57a ; Tie, iv. 113&.
Becarre; Accidentals, i. 19 a.
Beche ; Solfeggio, iii. 547 h.
Becher, a. J., i. 160 i.
Bechgaard ; Song, iii. 611 a.
Bechstein, F. W. K., i. 160&;
Pianoforte, ii. 713&.
Beck, F., i. 161 a; Blanchard,i.
247a ; Bochsa, i. 252a; Garat,
i. 581a; Gaveaux, i. 585 a.
Beck, J. N., iv. 533a.
Becker, i. 161 a; Wrestplank,
iv. 490&.
Becker, V.; Orpheus, ii. 613&.
Becker, C. F,, i. 161 a; Bach
(J. S.), i. 117a; Bach-Gesell-
schaft, i. 118S; Forkel, i.
540 & ; Leipzig, ii. 115& ; Lute,
ii. 175&; Mendelssohn, ii.
282a; Programme-Mus., iii.
35 a; Riedel, iii. 1296; Song,
iii. 631a; Volkmann, iv. 336 a;
Volkslied, iv. 337 &; Hist, of
Mus., iv. 675 a.
Becker, C. J., i. 161 a; iv. 533a.
Becker, D., i. 161 &.
Becker, G. ; Mus. Lib., ii.
425 a; Hist, of Mus., iv. 676 a.
Becker, J., i. 1616; iv. 5336;
Philh. Soc, ii. 700 a ; Violin-
playing, iv. 289 ; iv. 812&.
Beckwith, J. C, i. 161 6; iv.
533 & ; Norwich Festival, ii.
466 a ; Perry, ii. 693 a ; Taylor
(Ed.), iv. 66 a ; Vaughan,
iv. 233 a ; Voluntary, iv.
339 &; Buck, iv. 568 a.
Becourt ; Ca ira, i. 297 a.
Beczwarzowsky ; Mus. Lib., ii.
427 a ; Pohl, iii. 5a.
Bedos de Celles, Dom. F., i.
162 a; Adlung, J., i. 37 &;
Organ, ii. 574 a, note, etc.
Beer, J. M. (See Meyer-
beer.)
Beer, Jos., i. 162a.
Beethoven, L. van, i. 162 a ;
iv* 533^ > Accademia, i. 12 a;
Accent, i. 13 a ; Air, i.
47 a; Albrechtsberger, i. 51a;
Allegretto, i. 55 a ; AUemande,
i. 556; Alpenhorn, i. 566;
Alsager, i. 57 & ; Anacker
i. 62 a; Ancient Concerts,
i. 646; Andante, i. 65 a;
Anticipation, i. 73 & ; Appas-
sionata, i. 75 a; Appoggiatura,
i. 76a, etc.; Appoggiatura,
Double, i. 796; A quatre
INDEX.
mains, i. 80 a ; Arrangement,
i. 906, etc. ; Artaria, i.
95 b; Augarten, i. 104 a;
Bagatelle, i. 1226; Ball, i.
128a; Ballet, i. 132&; Bar,
i. 137&; Barcarole, i. 139a;
Bassoon, i. 1536 ; Bastien et
Bastienne, i. 154 J; Battle
Symphony, i. 156 J ; Battuta,
i. 157a; Beklemmt, i. 210&;
Benedict, i. 2226; Bigot, i.
241 b ; Birchall, i. 243 b ;
Blahetka, i. 247a; Booklet,
i. 2526; Bouche fermde A,
i. 263 a; Bridgetower, i.
275&; Biilow, i. 280J ; Ca-
denza, i. 2946 ; Canon, i.
304 a; Cantabile, i. 426;
Cantata, i. 305 a ; Cavatina,
i. 3286; Chamber Music, i.
332 &; Cherubini, i. 3426;
Choral Fantasia, i. 351 &;
Choral Symphony, i. 352 a;
Clarinet,i.3636; Clement (F.),
i. 372 a, etc. ; Coda, i.
376 b ; Composition, i. 382 J ;
Con brio, i. 383 5 ; Concerto,
i. 387a, etc.; Conductor, i.
3906; Consecutive, i. 391&;
Contredanse, i. 396 b ; Cor
anglais, i. 400 a; Cramer, i.
4136; Crescendo, L 416a;
Czerny, i. 425 S; Dannreu-
ther, i. 4306 ; Dash, i. 431 a ;
Deux Journ^es, Les, i. 441 ?> ;
Development, i. 441 & ; Dia-
belli, i. 442 a ; Double Bass,
i. 45 7 h, note ; Double Bassoon,
i. 459a; Dragonetti, i. 462 a ;
Drum, i. 464a, etc. ; Duport
(J. L.), i. 470 a; Duschek,
i. 473 a; Dussek (J. L.), i.
4766; Dvvight's Journal of
Mus., i. 4786; Eberl, i.
4796; Eberwein, i. 481a;
Egmont, i. 483 b; Elegy, i.
485 b ; Emperor Concerto, the,
i. 488 a; Eroica, i. 493 a;
Ertmann, i. 4936; Extem-
pore playing, i. 498 J, etc.;
F., i, 500 a; Fantasia,
i. 5036; Fasch, i. 5086;
Fidelio, i. 519a; Figure, i.
521 J, etc. ; Mnale, i. 523 J;
Fischer (G.), i. 529 a ; Fisch-
hoff, i. 629&; Flute, i. 537 J ;
Forster, i. 539a; Form, i.
541 a, etc. ; Gansbacher, i.
575a; Galitzin, i. 576a, etc.;
GaUenberg, i. 577a; Gar-
diner (W.), i. 582 h ; Gebauer,
i. 5866; Gelinek, i. 587 a;
GesellschaftderMusikfreunde,
i. 591 a ; God save the King,
i. 607a; Gretry, i. 6286;
15
Guicciardi, i. 6^8h ; Gyro-
wetz, i. 6426; H., i. 643 a;
Habeneck, i. 643 a; Ham-
merklavier, i. 647 b ; Har-
monica, i. 663 a ; Harmony,
i. 682a, etc.; Haslinger, i.
693 J ; Haydn, i. 71 1&, etc. ;
Hiller (Ferd.), i. 737a; Him-
mel, i. 740 S; Hoffmann (E.
T. W.), i. 741 &; Hoffmeis-
ter, i. 742 6 ; Holz, i. 744 6 ;
Horn, i. 7506, etc. ; Hiit-
tenbrenner, i. 755 a; Imita-
tion, i. 766a ; Improvisation,
ii. 2a; Innig, ii. 36; In
questa Tomba, ii. 4a; Inter-
mezzo, ii. 9&; Introduction,
ii. 14 b, etc. ; Irish Music,
ii. 22a; Jahn, ii. 30a; Jalir-
biicher, etc., ii. 306; Joa-
chim, ii. 34b ; Jullien, ii. 45 b ;
Kalkbrenner, ii. 46 a, note ;
Kauka, ii. 48a; Key, ii. 52b;
Kinsky, ii. 58 S, etc. ; Knecht,
ii. 66 a; Kraft, ii. 69 b; Krenn,
ii. 71b; Kreutzer, ii. 72 b;
Kreutzer Sonata, ii. 73 a;
Krumpholz (W.), ii. 74 b ;
Kuhlau, ii. 75 b ; Kyrie, ii.
78b; Lablache,ii. 81 a; Land-
ler, ii. 83 b; Lang (R.), ii.
90 a; Leipzig, ii. 114b; Lenz,
ii. 1206; Leonore, ii. 122b;
Leonore Prohaska, ii. 122b;
License,ii. 131 «; Lichnowsky,
ii. 132a; Liederkreis, ii. 135b;
Lincke, ii. 139b; Liszt, ii.
145 a; Lobkowitz, ii. 155 a;
Lorenz, ii. 166 b ; Louis
Ferdinand, Prince, ii. 16SJ),
etc.; Macbeth, ii. 183 a;
Maelzel, ii. 194 b ; Malbrough,
ii. 201 a ; Malinconia, La, ii.
2036; Mandoline, ii. 205 b;
March, ii. 213a; Marschner,
ii. 219a; Marx, ii. 223a;
Mass, ii. 234a; Mayseder, ii.
241b; Meeresstille und Gluck-
liche Fahrt, ii. 245 a; Melo-
drama, ii. 249 b; Mendelssohn,
ii. 257a, etc.; Metronome,
ii. 319 a ; Milder-Hauptmann,
ii. 330 b; Minacciando, ii.
331b; Minuet, ii. 335 a; Modu-
lation, ii. 347 a, etc. ; Moli-
nara, La, 3516; Moonlight
Sonata, ii. 360 b; Mortier de
Fontaine, ii. 369 a ; Moscheles,
ii. 370 a ; Mount of Olives,
ii. 378 a; Mozart, ii. 397 a,
etc. ; Miiller (The Brothers),
ii. 408a ; Mus. Lib., ii. 419b,
etc. ; Mus. Periodicals, ii.
427a; Mute, ii. 4396; Na-
geli,ii. 442 a; Neate,ii. 450a;
16
Neefe, ii. 4506; Nel Cor
piii, etc., ii. 451 &; Nicolai,
iL 453 &; Nohl, ii. 4636;
Notation, ii. 4766; Notte-
bohm, ii. 479 a ; Oboe, ii.
488 a ; Octet, ii. 492 a ; Opera,
ii. 519&; Oratorio, ii. 553a;
Orchestra, ii. 5656; Orchestra-
tion, ii. 5706; Orpheus, ii.
613a; Oulibicheff, ii. 6i6&;
Oury, ii. 617a; Overture, ii.
622 a; Paisiello, ii. 634 b;
Palffy (Count), ii. 643 a ;
Partie, ii. 656 a ; Pasqualati,
ii. 6606; Pastorale, ii. 670a;
Pastoral Symphony, ii. 6716,
etc.; Pathetique, ii. 6726;
Pause, ii. 6*^6 a ; Pedal Point,
ii. 6786, etc.; Pedals, ii.
682 &; Philh. Soc, ii. 698?) ;
Pianoforte, ii. 723 &; PF.
Mus., ii. 726a; PF.-playing,
ii. 739a, etc.; Piccolo, ii.
7506; Pizzicato, ii. 760a;
PoUedro (G. B.), iii. 9a;
Polonaise, iii. 106; Ponti-
cello, iii. 15 ^; Postilions, iii.
22a; Potter, iii. 226; Pro-
gramme, iii. 33S; Programme
Mus., iii. 38 a; Prometheus,
iii. 41 a ; Quartet, iii. 57?), etc. ;
Quintet, iii. 61 a; Kadziwil,
iii. 63 b; Ramm, iii. 72?);
Rasoumowsky, iii. 766; Reci-
tative, iii. 85 h ; Redoute, iii.
89/); Reicha, iii. 98 a; Rell-
stab, iii. 106&; Richard Coeur
de Lion, iii. 127a; Ries, iii.
130a; Ries (F.), iii. 1306;
Rietz (J.), iii. 133a; Roch-
litz, iii. 141a ; Rode, iii.
143a; Roeckel, iii. 143b;
Romantic, iii. 149 J, etc.;
Romberg, iii. I53rt; Rossini,
iii. 169b; Rousselot (S), iii.
182 b ; R. Society of Mus. Gt.
Britain, iii. 1875; Rudolph,
Archduke of Austria, iii. 200 b,
etc. ; Ruins of Athens, iii.
203b; Rule Britannia, iii.
204a; Rust, iii. 206a; Sain-
ton, iii. 216b; Salieri, iii.
219b; Salomon, iii. 221b;
Sanctus, iii. 224a; Scena, iii.
241a; Schebest, iii. 243 a;
Schelble, iii. 244a; Schenk,
iii. 244b; Scherzo, iii. 246a;
Schindler (A.), iii. 251a;
Schnyder v. Wartensee, iii.
256 a ; Schoberlechner, iii.
256 b; Schools of Comp., iii.
291b; Schroder- Devrient, iii.
316a ; Schubert, iii. 320b,
etc.; Schulz (Ed.), iii. 383b;
Schuppanzigh, iii. 424 a, etc. ;
INDEX.
Schwarzspanierhaus, The, iii.
425a; Score, iii. 430b; Scot-
ish Mus., iii. 451b; Sebald,
iii. 454 a; Sechter, iii. 456 a;
Sehnsucht, iii. 458 a ; Septet,
iii. 463 b ; Serenata, iii. 468 h ;
Sestet, iii. 475 b; Seyfried,
iii. 478 a; Sharp, iii. 485 a;
Siboni, iii. 491a; Side-drum,
iii. 492 a ; Simrock, iii. 495b ;
Sketches, iii. 528b; Smart,
iii- 537«» Sonata, iii. 571a,
etc. ; Sonatina,iii. 584a; Song,
iii. 624b; Sonnleithner, iii.
633 a; Sontag, iii. 634 a; Sos-
tenuto, iii. 639a; Spohr, iii.
658b; Spontini, iii. 679a;
Staudenheim (J. von), iii.
691a; Steibelt, iii. 701b;
Stein (J. A.), iii. 708b; Stein
(Nanette), iii. 709a; Sterkel,
iii. 711b; Stich, iii. 714a;
Storm, iii. 720b ; Stutterheim
(J.), iii. 747 a; Subject, iii.
750b; Swieten, iv. 9b; Sym-
phony, iv. 24a, etc. ; Synco-
pation, iv. 44 a; Tattoo, iv.
64a; Tempo, iv. 83a ; Tenera-
mente, iv. 86 b ; Tenor Violin,
iv. 91a; Tenth Symphony, iv.
92 b; Thayer, iv. 98 b; The-
matic Catalogue, iv. 99 b;
Thomson (G.), iv. 107 a; Tie,
iv. 114a; Tiedge, iv. 114a;
Timidamente, iv. 127b; 'Tis
the last Rose, etc., iv. 129a;
Tomaschek (VV.), iv. 132b;
Touch, iv. 153a ; Trauer-
Waltzer, iv. 162 b ; Treitschke,
iv. i66a ; Trdsor desPianistes,
iv. i68a; Trio, iv. 172a;
Trombone, iv. 178b; Trumpet,
iv. 182 b; Tune, iv. 187 a;
Turca, Alia, iv. 190b ; Turkish
music, iv. 191a; Umlauf (M.),
iv. 201 b; Unger, iv. 202 a;
Van den Eeden, iv. 216a;
Variations, iv. 225b, etc.;
Viardot Garcia, iv. 260 b;
Vieuxtemps, iv. 262 h ; Viganb
(S.), iv. 263 b ; Violin-play-
ing, iv. 296 b, etc. ; Violon-
cello-playing, iv. 301a; Vog-
ler, 326 b; Vogt (G.), iv. 331 b;
Voigt (C), iv. 3355 ; Wagner,
iv* 354 ^> ^^^- '■> Waldstein,
iv. 375b; Wallace (Lady),
iv. 376b; Waltz, iv. 386a;
Weber, iv. 391a, etc. ; Weigl
(Jos., jun.), iv. 432b; Weiss
(F.), iv. 433 a ; Weissenbach,
iv. 433 b; Welsh Music, iv.
443b; Wild (F.), iv. 456b;
Willmann, iv. 460 b; Wind-
band, iv. 473 a; Woelfl, iv.
477b ; Working-out, iv. 487a,
etc. ; Zambona, iv. 499 a;
Zeugheer, iv. 507 a; Zopf, iv.
513b; Z wischenspiel, i v. 5 1 5 b ;
Breuning, iv. 563 a; Dance
Rhythm, iv. 608 a; Dream
of S.Jerome, iv. 618 b; Har-
monious Blacksmith, iv. 667 b ;
Humorous Music, iv. 682 a;
Kozeluch, iv. 692 b; Kuhlau
(F.), iv. 693 h ; Mendelssohn,
iv. 717a; Mosel, iv. 720a;
Pasqualati, iv. 744b ; Rudolph,
Archduke, iv. 777b; Vallotti,
iv. 806 b; Vaterlandische
Kunstlerverein, iv. 807 a, etc,
Beeveb, Dr.; Glee Club, i.
599 «•
Beffara, L. F., i. 209 a.
Beggar's Opera, i. 209a ; Bal-
lad, i. 129b; Barrett, i. 144b;
Burletta, i. 284a; Gibber, i,
357 b ; English Opera, i. 4896 ;
Fenton, i. 511b; Lancers'
Quadrille, The, ii. 89 a; Lie-
derspiel, ii. 136a; Lincoln's
Inn Fields Theatre, ii. 140a;
Linley (T.), ii. 144a; Melo-
drama, ii. 249 a; Opera, ii.
523b; Opera (United States),
ii. 529b; Pasticcio, ii. 670a;
Pepusch, ii. 684 b ; Pianoforte,
ii. 716 a; Polly, iii. 9b; Pur-
cell, iii. 49 b ; Reed (T. G.), iii.
91 b ; Rinaldo, iii. 135b; Song,
iii. 604 b.
Begnis, G. de, i. 209b ; Ronzi,
iii. 157a; Vauxhall Gardens,
iv. 234rt.
Begnis, Signora R. de, i. 210a;
iv. 542 rt.
Begrez, p. T., i. 2ioa; iv.
542 a ; F«^tis, iv. 636 a.
Begue, N. le; Auswahl, i. 105a;
Chambonniferes, i. 332 b.
Behr, F. ; PF. Mus., ii.
736 a.
Behrens, S. ; Strakosch, iii.
735«.
Beiden Neffen, Die, i. 210b;
Mendelssohn, ii. 256 a.
Beiden PADAGOGEN,I)ie,i. 210b;
Mendelssohn, ii. 308 b, etc
Beklemmt, i. 2iob.
Bela, S. ; Violin, iv. 284a.
Belcher, J. ; Hist, of Mus., ir,
676b.
Belcke, F. a., i. 2iob.
Belcke ; Orpheus, ii. 613 b.
Beldomandis, p. de. (See Pbo-
DOSCIMUS.)
Belgratzky; Baron (E. T.),
i. 142a.
Belisaeio, i, 2iob; Donizetti,
i. 454«-
Belisonius, p. ; Harpsichord, i.
688 b.
Bell, i. 2106; Bassoon,!. 152a.
Bellaigue, C. ; Hist, of Mus.,
iv. 675a.
Bellamy, K., i. 211a; Handel,
Commemoration of, i, 658 a.
Bellamy, T., i. 211a; Singing,
iii. 512 a.
Belle HelIine, La, i. 211a;
Offenbach, ii. 494 a.
Bellekmann, C, i. 2iia.
Bellermann, H., i. 211 6 ; Fux,
i. 5706; Jahrbiicher, etc., ii.
306; Mus. Lib., ii. 424a.
Bellermann, J. F., i. 211 6;
iv. 542 a; Breve, i. 2746;
Mus. Lib., ii. 424a; Hist, of
Mus., iv. 675 a, etc.
Bellermann, J. J., i. 21 1&.
Belletti, G., i. 211 &; Lumley,
ii. 174a; Philh. Soc. , ii. 700 a ;
Singing, iii. 511 &.
Belleville, N. von. (See Oury,
ii. 617 a.)
Bellini, V., i. 212a ; iv. 542a ;
Barbaja, i. 138a; Beatrice di
Tenda, 1. 159a; Capuletti
ed i Montecchi, I, i. 307 a;
Chopin, i. 350&; Grisi, i. 632 h;
Laporte, ii. 91 &; Naples, ii.
446 a; Norma, ii. 465 a ; Opera,
ii. 525a; Pasta, ii. 668 ?>;
Petrella, ii. 695 h ; Pirata,
II, ii. 755 &; PoUini, iii. 96;
Pougin, iii, 236; Puritani,
I, iii. 536 ; Ricci (F.), iii.
126&; Romani, iii. 148a;
Romeo and Juliet, iii. 154a;
Rousselot, iii. 182 &; Rubini,
iii. 189&; SanCarlo, iii. 2236;
Schools of Comp., iii. 301a;
Sonnambula, La, iii. 6326;
Straniera, La, iii. 735 a; Tem-
pleton, iv. 82a; Unger, iv.
202a; Zaire, iv. 499a; Zin-
garelli, iv. 510 a.
Bellmann, C. M. ; Song, iii.
610 &.
Belloc, T., i. 314& ; iv. 5426.
Bellochi; Vocal Concerts, iv.
3196.
Belloli; Milan, ii. 329a.
Bellows, i. 2146; Abbey (J.),
i. 2a; Barrel Organ, i. 144a;
Organ, ii. 574a, etc.
Bells, i. 216a; Call changes,
i. 297 b; Campanology,!. 300 &;
Carillon, i. 3106; Change, i.
333&; Chiming, i. 346 a ; Dou-
bles, i. 460a ; Falling a Bell,
i. 501a; Firing, i. 5286;
Gheyn (Van den), i. 593a;
Partial Tones, ii. 654a; Rud-
hall, ill. aooa; Tenor, iv.
INDEX.
88 a ; Touch, iv. 154a; Chimes,
iv. 586 b; Glockenspiel, iv.
6486; Hist, of Mus., iv. 676 a.
Bellus, J. ; Bodenschatz, i.
Belly,!. 220a; Back, i. 121b;
Guai-nieii (J. del Gesu), i.
637a; Stradivari, iii. 725b;
Violin, iv. 271a, etc.
Belly, i. 220b ; Soundboard, iii.
640 a.
Belmonte und Constanza, i.
221 a; Mozart, ii. 403a.
Belocca, Anna di ; Sti-akosch,
iii. 735 a.
Belshazzar, i. 221 «; Handel,
i. 651b.
Bemetzrieder, i. 221a.
Bemol, i. 221 a; Accidentals, i.
T9a.
Bencini, A. ; Jommelli, ii. 37 b ;
Sistine Chapel, iv. 794a.
Benda, a., i. 221 b.
Benda, C, i. 221 b.
Benda, E., i. 221b.
Benda, F., i. 221a.
Benda, F. L., i. 221b.
Benda, Franz, i. 221a; Abel
(L. A.), i. 5 b ; Fasch, i. 508a ;
Fodor, i. 538a; Franciscello,
i> 559«; Rust, iii. 206a;
Sonata, iii. 560a, etc.; Violin-
playing, iv. 289 ; Vivaldi, iv.
317&.
Benda, Georg, i. 221b; iv.
543 a; Duodrama, i. 469 b;
Klavier-Musik, Alte, ii. 63 b;
Meister, Alte, ii. 247 b ; Melo-
drama, ii. 249 b; Mozart, ii.
386b, etc.; Opera, ii. 519a;
PF. Music, ii. 724a; Rust,
iii. 206 a; Sonata, iii. 566 a,
etc.; Steibelt, iii. 704b; Tr^sor
des Pianistes, iv. 168 a.
Benda, H. G., i. 221a.
Benda, Joh., i. 221b.
Benda, Jos., i. 221b.
Bendel, F. ; PF. Mus., ii. 735 a.
Bender ; Sax (A. J.), iii. 232 a ;
Wind-band, iv. 470 a.
Bendl, Carl ; Song, iii. 614b ;
Dv6r^k, iv. 622a.
Bendler, S., i. 221 b.
Benedetti, i. 2220.
Benedicitb, i. 222a; Service,
iii. 472 a.
Benedict, Sir J., i. 222b; iv.
543a; Beethoven, i. 170a,
note; i. 196a ; Bride of Song,
i. 275a; Brides of Venice, i.
375a; Bunn, i. 282b; Co wen,
i.4i3a; Dohler,i. 452 a; Eng-
lish Opera, i, 489 b; Gipsy's
Warning, i. 596 b ; Gold-
Bchmidt, i. 608 a ; Lily of Kil-
17
larney, ii. 139 b; Lind, ii.
142 a; Melodists' Club, ii.
249 a ; Mendelssohn, ii. 266 b,
etc. ; Mendelssohn, Scholar-
ship, ii. 310b; Mus. Soc. of
Lond., ii. 431b; Norwich
Festival, ii. 466 a; Oberon, ii.
485b; Opera, ii. 524b; Ora-
torio, ii. 558a; Orpheus, ii.
613b; Part-Mus., ii. 656b;
Part-Song, ii. 659 b; Peter,
St., ii. 695b; Philh. Soc, ii.
699b; PF. Mus., ii. 729a;
PF. playing, ii. 744 ; Royal
Acad, of Mus., iii. i86b;
Schools of Comp., iii, 3060;
Society, The Mus, Artists, iii.
544b; Symphony, iv. 42 b;
Trinity Coll., Lond., iv, 171b;
Un Anno ed un Giorno, iv.
201 b; Undine, iv. 201b;
Vocal Assoc, iv. 318 b; Weber,
iv. 404b, etc. ; Ewer and Co.,
iv, 630a; Philh, Soc, iv. 746b;
PF. Mus.,iv. 748b; PF. -play-
ing, iv. 749 a; Weber, iv. 815 b.
Benedictus. (See Appenzel-
DERS.)
Benedictus. (See Ducis, i.
467 b.)
Benedictus, i. 223b; Intona-
tion, ii. 12 b; Mass, ii. 226b;
O salutaria Hostia, ii. 614b;
Plain Song, ii. 767 b; Service,
iii. 472 a, etc.
Benelli, a. p., i. 223b; King's
Theatre, The, ii. 58 b ; Rossini,
iii. 170 a.
Benevoli, O., iv. 543 a; Baini,
i. 288 b; Colonna (G. P.), i.
378b; Fasch, i. 508b; Festi-
vals, i. 516a ; Fugue, i. 569a ;
Mass, ii. 231a; Mus. Lib., ii.
423 a ; Prince de la Moskowa,
iii. 31a; Rochlitz, iii. 142a;
Saggio di Contrappunto, iii.
212a; Te Deum, iv. 68 b.
Benfratelli ; Strakosch, iii.
7.H&.
Benigni, T. ; Palestrina, ii. 640 b.
Benincori, a. M., i. 224a ; iv.
543 b; Beaulieu, i. i6oa ;
Isouard, ii. 24 b.
Benini, Signora, i. 224a; Men-
gozzi, ii. 311b.
Bennet, J., i. 224a; Hawkins,
i. 700a; Hopkins (E. J.), i.
746 b; Hymn, i. 762 b; Madri-
gal, ii. 191 a ; Mus. Anti-
quarian Soc, ii. 416b ; Oriana,
ii. 611 a; Part-Mus., ii, 656b;
Ravenscroft (T.), iii. 78 b;
Schools of Comp., iii. 277a;
Vocal Scoresjiv. 320 a; Psalter,
iv. 762 b.
18
Bennet, S., i. a 24b.
Bennett, A., i. 224b.
Bennett, Jos., iv. 5436; Mus.
Periodicals, ii. 4276, etc. ; Pur-
cell Soc, iii. 53a; Mus. Period-
icals, iv. 7266; Philh. Soc.,
iv. 7466.
Bennett, Sir William Sterndale,
L 2246; iv. 543&; Bach Soc.,
The, i. 120a; Bache (E.),
i, 1 20 b; Barcarole, i. 1386;
Bind, i. 243 a ; Cantata, i.
305 b; Capriccio, i. 307 a;
Cusins, i. 424b ; Goldschmidt,
i. 608 a; Holmes (W. H.),
i. 744 h ; Hymn, i. 764 a ;
Lalla Rookh, ii. 86 a; Leeds
Mus. Festival, ii. 1 1 1 b ; May
Queen, The, ii. 240a; Melo-
dists' Club, ii. 249a ; Mendels-
sohn, ii. 257b, etc.; Minuet,
ii. 335 « ; Mus. Lib., ii. 423b ;
Ode, ii. 492 a; O'Leary, ii.
496b; Oratorio, ii. 558b; Or-
chestration, ii. 570b; Over-
ture, it 623b; Para'dise and
the Peri, ii. 648 b; Parisina,
ii. 65Qa; Parry (Jos."), ii.
652a; Part-Music, ii. 657a;
Part-Song, ii. 65 9a ; Philh. Soc,
ii. 699b, etc.; Phillips (W. L.),
iL 705 b ; PF. Mus., ii. 732 a ;
PF.-playing, ii. 742 b ; Pizzi-
cato, ii. 760a; Programme
Mus., iii. 39 b; Rea (W.), iii,
79 a; Romantic, iii. 151b;
Royal Academy, iii. i86b ;
Schools of Comp., iii. 295 a,
etc. ; Schumann, iii. 391 b,
etc.; Sestet, iii. 475b; Shake-
speare, iii. 4846; Sketch, iii.
525a; Soc. of British Musi-
cians, iii. 544a; Sonata, iii.
580b ; Song, iii. 608a ; Spohr,
iiL 659 a, note ; Steggall, iii.
699 b; Sullivan, iii. 761b;
Symphoniques, Etudes, iv.
10 b ; Symphony, iv. 33 b ;
Tenor-Violin, iv. 91 a ; Thomas
(H.), iv. 104 b ; Violoncello-
playing, iv. 301 a ; Vocal
Scores, iv. 320a; Waley, iv.
376 a ; White, Meadows, iv.
451b; Wingham, iv. 475 a;
Wohltemp. Klavier, iv. 483 a;
Davison, iv. 609 a; Faning
(E.), iv. 632 a.
Bennett, T., i. 224b; iv. 543b;
Voluntary, iv. 339 b.
Bennett, W., i. 224 b.
Benoist, F., iv. 543 b; Adam
(A. C), i. 27b; Conservatoire
de Mus., i. 392 b ; Gr. Prix de
Rome, i. 618 b ; Saint-Saens,
iii. 215b; Salvayre, iii. 222b;
INDEX.
Silas, iii. 493 a ; Delibes, iv.
6iob; Franck (C. A. J.), iv.
639b; Salvayre, iv. 779a.
Benoit, p. L. L., iv. 544a and
819a; Score, iii. 432.
Benoni ; Sechter, iii. 456a.
Benser ; Cramer (J. B.),i. 413b.
Bendcci, i. 229b; Mozart, ii.
391 «.
Benvenuti; Haydn, i. 706 b.
Benvenuto Cellini, i. 229b;
Berlioz, i. 234a.
Beralta, i. 229b.
Beraneck ; Ecclesiasticon, i.
482 a.
Berardi, A. ; Recte et Retro, iii.
88 a.
BiRAT ; Song, iii. 597 a,
Berbiguier, B. T., i. 229 b.
Berceuse, i. 229 b.
Berchem, J. van, i. 2 29 b ; Wert,
iv. 445 a; Mus. Lib., iv. 726a;
Tresor Mus., iv. 801 a.
Berens, E. ; PF. Mus., ii. 736a.
Berens, H. ; PF. Mus.,ii. 734a;
PF.-playing, ii. 745.
BERENSTADT,G.,i. 230a; Royal
Academy of Mus., iii. 184b.
Beretta; Baini, i. 288 b.
Berg ; Lind, ii. 140 b.
Berg, A., i. 230a; Lassus,
ii. 97 b, etc. ; Patrocinium
Musices, ii. 673b.
Berg, C. ; PF. Mus., ii. 727a.
Berg, G., i. 230 b; Catch Club,
i. 332b; Part Mus., ii. 656b,
etc.
Berg, J., i. 230b.
Bergamasca, i. 230 b ; Mid-
summer night's dream Music,
ii. 328a,
Berger, a. ; Bodenschatz, i,
253&.
Berger, F. ; PF. Mus., ii. 736a;
Philh. Soc., iv. 746 b.
Berger, L., i. 231a; iv. 545 a;
dementi, i. 373 a; Dorn, i.
455a ; Mendelssohn, ii. 254b ;
Nottebohm, ii. 479 a; Philh.
Soc, ii. 698a; PF. Mus.,ii.
724b; PF.-playing, ii. 744a;
Rellstab, iii. 106 b, etc. ; Schu-
mann, iii. 389 a ; Song, iii.
623 a, etc.; Taubert, iv. 64a;
Voigt, iv. 335 b ; Loeschhom,
iv. 705 a.
Bbrggeist, Der, i. 231a; Spohr,
iii. 659 b.
Berggreen, a. P., iv. 545 a;
Gade, i. 574a; Song, iii. 611 a.
Berghe, Van den. (See Monte,
ii. 356b.)
Bergholt, E. ; Mus. Periodicals,
iv. 726b.
Bergmann, C. ; Opera, ii. 530a ;
Philh. Soc. New York, ii.
702 a; Thomas (T), iv. 105 b.
Bergner, F. ; Thomas (T.), iv.
105 b.
Bergonzi, B.,i. 231a.
BERGONZi,C.,i. 231a; Cremona,
i. 416a; L'ibs, iii. 125b;
Stradivari, iii. 732 b.
Bergt, C. ; Orpheus, ii. 613 a.
Beringer, O., iv. 545 a; PF.-
playing,. ii. 745; Philh. Soc,
iv. 747 a.
Berini ; Dragonetti, i. 461b.
Beriot, C. a. de, i. 231a; iv.
545 b ; Fayolle, i. 510 b ; Giar-
dini, i. 593 b; Lauterbach, ii.
105 b; Malibran, ii. 202 a;
Mendelssohn, ii. 263 a; Os-
borne, ii. 615a; Philh. Soc,
ii. 699a; Sauret, iii. 230a;
Scordatura, iii. 426 f>; Svend-
sen, iv. 6b ; Viardot-Garcia,
iv. 259a; Vieuxtemps, iv.
262 a ; Violin-playing, iv. 289,
etc; F^tis, iv. 636a; Leonard,
iv. 699b; Osborne, iv. 737a;
Violin-playing, iv. 812 b.
Berk A ; DiabeUi, i. 442 a.
Berlioz, H., i. 232 a ; iv. 545 b;
Academic de Mus., i. 9b ; Ba-
ton, i. 155 b ; Becher, i. i6ob;
Becker (C. J.), i. 161 b ; Bee-
thoven, i. 208 b; Benvenuto Cel-
lini, i. 229 b; Charity Children,
i. 340b; Chelard, i. 341a;
Cherubini, i. 344a ; Chopin, i.
350 b; Claus (Miss), i. 366 a;
Conductor, i. 390b; Conser-
vatoire, i. 393 b; Dragonetti,
i. 462a ; Drum, i. 464a, etc. ;
Freischiitz, Der, i. 562 b ; Gou-
nod, i. 613a; Grand Opera, i.
617a; Gr. Prix de Rome, i.
6i8b; Guitar, i. 640b; Habe-
neck, i. 643 a; Harold en
Italic, i. 685 a ; Harp, i. 687 b ;
Hiller (Ferd.), i. 737 a; Jul-
lien, ii.45a,«o<e; Key, ii.53a;
Kreutzer (R.), ii. 72b, note;
Kiicken, ii. 75 a; Laub, ii.
103b; Leit-Motif,ii. 116 b; Le-
sueur, ii. 125b ; Liszt, ii. 147 b;
Lubeck (E.), ii. 171b; Lwoff,
ii. i8ob; Magyar Music, ii.
198b; Mendelssohn, ii. 267b,
etc. ; New Philh. Soc, ii. 452 b;
Opera, ii. 525b ; Orchestra, ii.
566b; Orchestration, ii. 572a,
etc ; Osborne, ii. 615a;
Overture, ii. 622b; Paganini,
ii. 629b; Piccolo, ii. 750 ^;
Pitch, ii. 758a, note; Pro-
gramme-Music, iii. 34 b, etc. ;
Reichardt (A.), iii. 99";
Revue et Gazette Mus., iii.
121 6; Romantic, iii. 152b;
Romeo et Juliette, iii. 154a;
Rossini, iii. 176&; Sax (Adol-
phe), iii. 232a; Scherzo, iii.
2486; Schools of Comp., iii.
304a, etc. ; Schroder-Dev-
rient, iii. 318 a ; Schumann,
iii. 392a, etc.; Score, iii. 432 ;
Serpent, iii. 470a ; Side drum,
iii. 492a; Song, iii. 596a;
Sordini, iii. 637 b, etc. ;
Spontini, iii. 668 a; Stock-
hausen, iii. 716 a; Storm,
iii. 7206; Symphony, iv. 38?),
etc. ; Te Deum, iv. 686 ; Tenor
Violin, iv. 91a; Treatment of
Organ, iv. 1636; Troy ens, Les,
iv. i8oa; Variations, iv. 230a;
Ventadour Theatre, iv. 2386;
Viardot-Garcia, iv. 260 a;
Wagner, iv. 352 a, etc. ; Wind-
band, iv. 4696, etc. ; Zukunfts-
musik, iv. 514&; Colonne,
iv. 595 a; Demeur, iv. 611 6;
Dies irae, iv. 614a; DorfFel
(A.), iv. 6166; Jullien, iv.
687a; Pleyel, iv. 750& ; Re-
quiem, iv, 770& ; Reyer, iv.
771a; Saxophone, iv. 7806;
Te Deum, iv. 798a; Vesque
von Piittlingen, iv. 812 a.
Bermudo, J., i. 234a.
Bernabei, E. ; Steffani,iii. 694 a,
etc.
Bernabei, G. A. ; Bernacchi,
i. 234&; Faux Bourdon, i.
5096 ; Mus. Divina, ii. 411 6 ;
Plain Song, ii. 769 a ; Rochlitz
iii. 142a; Saggio di Contrap-
punto, iii. 212a; Benevoli,
iv. 543 a.
Bernacchi, A., i. 234a ; Fabri,
i. 501a; Farinelli (C. B.),
i. 504 &, etc. ; Guarducci, i.
636 rt; Hasse (Faustina), i.
696ft; RaafF, iii. 626; Sene-
sino, iii. 4616; Singing, iii.
506 a; Soprano, iii. 636 a.
Bernadotte ; Beethoven, i.
178a.
Bernal, a, ; Eslava, i. 4946.
Bernard; Beethoven, i. 171&.
Bernard, Gentil; Cl^ du Caveau,
iv. 593 &.
Bernard, P. ; Revue et Gazette
Mus., iii. 121 6.
Bernard (II Tedesco), i. 234 b ;
Schools of Comp., iii. 265 a,
note,
Bernardel; Lupot, ii. 175a;
Violin, iv. 284a.
Bernardi. (See Senesino, iii.
461b.)
Bernart db Vbntadoub ; Song,
iii. 585 b.
INDEX.
Bernasconi, a. ; Olimpiade, ii
4966; Mus. Lib,, iv. 726a.
Bernasconi, Antonia, i. 234b;
Pacchierotti, ii. 625b.
Berner, F. W., i. 235a; iv.
545 b; Hesse, i. 733*; Part
Mus., ii. 657a; Weber, iv.
392a.
Bernhard, C, i. 235b.
Bernhard, W. C, i. 235 b.
Bernier ; Maitrise, ii. 199 b;
Song, iii. 593 b; Lalande, iv.
694 b.
Bernouilli; Pipes, ii. 755b.
Bernsdorf, E., i. 235 b ; Diet, of
Mus., i. 446 a; Mus. Period-
icals, ii. 431 a ; Schladebach,
iii. 253a; Signale, etc., iii.
492 b.
Berr, F. ; Gymnase de Mus.
militaire, i. 642 a ; Rossini, iii.
171a.
Berselli, M., i. 236a.
Berta, i. 236a; Smart (H.),
iii. 538 a.
Bertali; Draghi (A.),i. 461 a.
Bertanelli, M. a. ; Merulo,
ii. 3i50f.
Bertani, L. ; Marenzio (L.),
ii. 215 b; Mus. Transalpina,
ii.4i6a; Oriana, ii.6iib; Mus.
Lib., iv. 726a.
Bbrteau ; Violoncello-playing,
iv. 300 a.
Bertelsmann ; Orpheus, ii.
613a.
Berthaume ; Concert spirituel,
i. 385 a; Grasset, i. 6196;
Lafont, ii. 84a; Violin-play-
ing, iv. 289.
Berthaut ; Duport (J.), i. 470a.
Berthelemy; Vogt, iv., 332a.
Bertholusius, v.; Bodenschatz,
i. 253b.
Berti, M. a. ; Baryton, i. 147 a.
Bertin, Louise A., i. 236a;
Nourrit, ii. 480 a.
Bertini, B. a., i. 236a.
Bertini, G., i. 236a.
Bertini, H., i. 236a; iv. 545b;
Etudes, i. 497a ; PF. Mus., ii.
728b; PF.-playing, ii. 744.
Bertinotti, T., i. 236a.
Bertoldi, Signora, i. 236 b.
Bertoletti, Mme. ; Alboni, i.
50a; Mattel (S.), ii. 239a.
Bertolini ; Mazzinghi, ii. 242a.
Bertolli, F., i. 236 b ; Boschi,
i. 261b.
Berton, F., i. 237 a,
Beuton, H., i. 237a; iv. 545 b;
Academic de Mus., i. 9a;
Blanchard, i. 247 b ; Cherubini,
i- 343 « > Conservatoire de
Mus., L 392a, etc.; Hall4 i.
19
646 b ; Ldfebure - W%, iu
112a; Opera, ii. 523a; Pan-
sei-on, ii. 645 a; Schimon, iii.
250 a; Song, iii. 595 b; Kast-
ner, iv. 688 a.
Berton, H. M., i. 237a; Con-
cert spirituel, i. 385 a; Trifil
(J. C), iv. 168 b.
Bertoni, F. G., i. 238a; iv.
545 b; Ifigenia, i. 7656;
Mattel (C), ii. 238 b; Mayer,
ii. 240b; Olimpiade, ii. 496a;
Pacchierotti, ii. 625 a ; Trento,
iv. 1676; Mus. Lib., iv.
726a.
Bertrand ; Song, iii. 592 b.
Bertrand, G., i. 238 a; M^nes-
trel, Le, ii. 311 b.
Bertuch; Haydn,i, 715a.
Berwald, F., iv. 545 b.
Berwald, J. F., i. 238a; iv.
545 b; Nilsson, ii. 458 b.
Berwillibald, G. G., i. 238 b.
Berwin; Rome, iv. 775 a.
Besardo, J. B. ; Dowland, i.
460 b; Lute, ii. 177b; Polo-
naise, iii. 10 a; Mus. Lib., iv.
725 b.
Beseda ; Song, iii. 614 b.
Besekirsky, V. ; Philh. Soc, ii.
700 a.
Besler, S., i. 238 b.
Besozzi, Aless., i. 238 b.
Besozzi, Antonio, i. 238 b.
Besozzi, C, i. 238b.
Besozzi, Erba, i. 491 b.
Besozzi, G., i. 238 b.
Besozzi, H., i. 238b.
Besozzi, H., jun., i. 238 b; Con-
cert spirituel, i. 385 b.
Besozzi, L. D., i. 238b; iv,
545b; Lecocq, ii. nob; Le-
sueur, ii. 125b.
Bessems, a., i. 238b.
Besson, G. A.jiv. 545 b.
Best, W. T., i. 239a; Schools
of Comp., iii. 309 b; Spinet,
iii. 653 b; Swinnerton Heap,
iv. 9b; Voluntary, iv. 339b;
Whiting, iv. 453 b.
Beswick. (See Fbnton, i
511b.)
Bettelheim; Philh. Soc, ii
700 a.
Bettini ; Goudimel, i. 6iaa;
Sistine Chapel, iv. 794a.
Bettini; Trebelli, iv. 165b.
Betts, J. and E. ; London
Violin Makers, ii. 165 a.
Betz, F., iv. 546 a; Wagner, iv.
362 b.
Beutler, B., i. 239 a.
Beuttner; Volkslied, iv. 337b.
Bever, Dr. T. ; Urio, iv. 209 b.
Bevin, E., i. 239 a; Barnard,
C 2
80
i. 140b; Boyce, i. 268 a;
Child, i. 345 & ; Creed, i. 4156 ;
Hawkins, i. 700 & ; Magnificat,
ii. 197a; MuB. Lib., ii. 4326;
Part Mus., ii. 656 b ; Schools of
Comp., iii. 277a; Service, iii.
472 &; Tudway, iv. 199 a;
Virginal Mus,, iv. 3I3«-
Bevington & Sons ; iv. 5466.
Bewsher ; Gray & Davison, i.
622b.
Bexfield, W. Ti., i. 239&; iv.
546 b ; Schools of Comp., iii.
308 a.
Beyer; Lute, iL 175b.
Beyer, F., i. 2396; PF. Mus.,
ii. 729a.
Beyland, a. ; Gamble, i. 580b.
Beza, T. ; Chorale, i. 351b;
Goudimel, i. 612 5; Hymns,
i. 761 J; Le Jeune, ii. 119b;
Mus. Lib., ii. 423b; Old Hun-
dredth Tune, ii. 495 b ; Schools
of Comp., iii. 267 a, etc. ; Song,
iii. 592b ; Bourgeois, iv. 558 b;
Franc (G. le), iv. 639a; Psal-
ter, iv. 755 a.
BiANCA, i. 240a ; Balfe, i.
127b.
BiANCA E Faliero, i. 240 a;
Rossini, iii. 177b.
BiANCHi, E. ; IvanofF, ii. 26a.
BiANcni, F., i. 240 a ; Haydn, i.
706b; Singing, iii. 511a.
BiANCHi, F., i. 240a ; Billington,
i. 242 a; Bishop, i. 245a;
Lacy, ii. 82 b; Marchesi, ii.
214a; Zenobia, iv. 506a.
BlANCHi, Signora, i. 240 J.
BiANCHiARDUSjF.; Bodenschatz,
i. 253a.
BiANCHiNi, F. ; Hist, of Mus.,
iv. 676a.
Bianchoys, E. (See Binchois,
i. 242 b.)
Bianco; Mus. Lib., iv. 726a.
BiBER, H. J. F. von, i. 240b;
Paganini, ii. 631 b ; Scor-
datura, iii. 426 a; Sonata, iii.
555 a, etc. ; Violin - playing,
iv. 289, etc. ; Dance-rhythm,
iv. 607 b; Walther, iv. 815 a.
BiBL, A., i. 241a.
BiBL, R., i. 241 a ; Sechter, iii.
456 a.
Bicci ; Musica Transalpina, ii.
416 a.
BiciNiUM, iv. 546 b.
Bienaime; iieicha, iii. 98 b;
Jullien, iv. 686 b.
BiEREY, G. B., i. 241 a ; Haydn,
i. 715a; Programme-Music,
iii. 37 b.
Bifaria, i. 241a. 1
BiFFi, A.; Lotti, ii. 1676.
INDEX.
BiFFi, G. ; Schools of Comp., iii.
266a.
BiGONSi, i. 24I a.
Bigot, M., i. 241 h ; Haydn,
i. 715 a; Mendelssohn, ii.
2546, etc.
Bijuga ; Cither, i. 359 a.
BiLHON, J. de, i. 241 b ; Sistine
Chapel, iv. 7940.
Billet, A. P. ; PF. Mus., ii.
732 a; PF. -playing, ii. 745;
Davison, iv. 609 a; Goddard,
iv. 6500.
Billington, E., i. 242a; iv.
546a; Abel (K. F.), i. 5a;
Ancient Concerts, i. 64b;
Banti, i. 136a; Bianchi (P.),
i. 340 a; Catalani, i, 320a,
etc. ; Grassini, i. 620b ; Porto-
gallo, iii. 19b; Shield, iii.
487 b; Singing, iii. 5066;
Soprano, iii. 635 b; Vocal
Concerts, iv. 319 a.
Billington, T., i. 242 b; iv.
547a.
Binchois, E., i. 242 b ; Caron,
i. 316 b; Mass, ii. 226 b;
Motet, ii. 372 a; Okeghera,
ii. 494b; Schls. of Comp., iii.
260 a ; Fay (G. du), iv.
634J.
Bind, i. 242 b ; Dot, i. 455 b ;
Notation, ii. 477 a; Tie, iv.
113b.
BiNi, P., i. 243 a; Barbella, i.
138a; Tartini, iv. 6 lb.
BiONi, A., i. 243b; Siroe, Re di
Persia, iii. 534a.
BiORDi, G. ; Lamentations, ii.
87b; Mus. Divina, ii. 411b;
Pisari, ii. 756 a; Sistine
Chapel, iv. 794 a.
Birch, Charlotte A., iv. 547 a;
Philh. Soc, ii. 699 b; Royal
Soc. of Female Musicians, iii.
1 88 a; Singing, iii. 513a.
BiECH, E., iv. 547a.
Bibch-Pfeiffeb; Santa Chiara,
iii. 225 b.
Birchall, R., i. 2436; Walsh
(J., junr.), iv. 380b.
Birmingham Festival, i. 243 b ;
iv. 547 a ; Costa, i. 406 b ; Fes-
tivals, i. 516b; Mendelssohn,
ii. 277 b ; Neukomm, ii. 452 b ;
Stimpson, iv. 46 b.
Bibnbach; Kraft (A.), ii. 70a;
Kiicken, ii. 75 a.
Bis, i. 244b; Abbreviations, i.
3b; Encore, i. 488a.
Bisaccia; Foli, iv. 637 a.
Bisohofp ; Bodenschatz, i. 253a;
Tr^sor Mus., iv. 801 b.
BISCHOFF, Dr. L. F. C, i. 244 b;
Mus. Periodicals, ii. 430 b;
Niederrh. Mus. Feste, ii.455b;
Zukunftsmusik, iv. 514 b.
BiscHOFF, D. ; Festivals, i.
516a; Niederrheinische Mu-
sikfeste, ii. 455 b.
BiscHOFF, K. ; Quintuple Time,
iii. 61 b.
Bishop, Ann, iv. 547 a; Opera,
ii. 529b; Vocal Soc, iv.
320b.
Bishop & Son, iv. 547 b; Bel-
lows, i. 2 16 a; Comp. Pedals,
i. 383 a; Organ, ii. 598 b.
Bishop, J,, iv. 547 b ; Tudway,
iv. 199b; Vocal Scores, iv.
319J.
Bishop, J., i. 246a; Barnard,
i. 140b; Mus. Lib., ii. 419a.
Bishop, Sir H. R., i. 245 a;
iv. 547 b; Ancient Concerts,
i. 64a; Bianchi (F.), i. 240b;
Bochsa, i. 252b; Concentores
sodales, i. 383b ; Conductor, i.
390 a ; Covent Garden Theatre,
i. 412a; Drury Lane, i. 467 a ;
Ediiib. Professorship of Mus.,
i. 483 a; English Opera, i.
489a; Fawcett (J., jun.), i.
510a; Glee, i. 599 a; Home,
sweet Home, i. 745 b ; Irish
Mus., ii. 22a; Jullien, ii.
45 a ; Longhurst (J. A.),
ii. i66a; Mainzer, ii. 199a;
Melodists' Club, ii. 249 a ;
Mus. Lib., ii. 419b; Opera,
ii. 524a ; Philh. Soc, ii. 698a ;
Professor, iii. 32b; Reid, iii.
looa; Royal Acad, of Mus., iii.
185 a; Schools of Comp., iii.
305 b ; Sinclair, iii. 495 b ;
Song, iii. 607 a; Thomson (G.),
iv. 107a; Thoroughbass, iv.
109 b; Vauxhall Gardens, iv.
234tt; Bishop (Ann), iv. 547 a;
Home, sweet Home, iv. 6796;
Philh. Soc, iv. 746 b.
Bitter, K. H., iv. 548 a; Bach
(J. S.), i. ii8a; Jahrbiicher,
ii. 30 b; Hist, of Mus., iv. 676 a.
BiTTNEB ; Violin, iv. 284a.
Bizet, G., i. 2466; iv. 548 b;
Gr. Prix de Rome, i. 618 b;
Haldvy, i. 645 b; Lecocq, ii.
nob; Libretto, ii. 129a;
Malbrough, ii. 201a; PF.
Mus., ii. 735 a; Schools of
Comp., iii. 304a ; Seguidilla,
iii. 457b; Song, iii. 597 ^i
Farandole, iv. 633 a ; Hal^vy»
iv. 662 b.
Bizot; Demeur (A.), iv. 611 a.
BizzABBi ; Cherubini, i. 341 b.
Black Domino, The, i. 246 b
Auber, i. 102 b.
Black, Dj Irish Mus., ii. 19 «►
Blackball, A.; Scotish Mus.,
iii. 441a.
Blackwell; Mus.Lib.,ii.4iS&,
Bi;AES, A. J., i. 246b.
Blaes, Mme. E., i. 2465.
Blagrave, T. ; Music School,
Oxford, ii. 437 a.
Blagrove, H. G., i. 2466; iv.
548 h ; Dandoji. 429 & ; Norwich
Festival, ii, 466 a; Philh.
Soc, ii. 6990. ; Pinsuti, ii.
753^; Spohr, iii. 663?); Ste-
phens (C. E.), iii. 711a;
Thomas (H.), iv. 104?;; Vio-
lin-playing, iv. 289, etc. ;
Mendelssohn, iv. 7166.
Blagrove, R; Concertina, i.
387 a.
Blahetka, L., i. 247a; PF.
Mus., ii. 730 &; PF.-playing,
ii. 744 ; Schubert, iii. 355a.
Blaise; Gr^try, i. 628a.
Blaithwait ; Mus. School, Ox-
ford, ii. 437 a.
Blake; Baumgarten, i. 157a.
Blake, Rev, Ed., i. 247a; iv.
548 b; Page, ii. 6326.
Blake, W.; Philh. Soc, ii.
698a.
Blanchard, H. L., i. 247a;
Beck, i. 161 a; Maitrise. ii.
200 a ; Reicha, iii. 98 h ; Revue
et Gazette Mus., iii. 121b;
Vaudeville, iv. 232 a.
Blanche, i. 247 b ; Minim, ii.
332 b.
Blanche de Nevers, i. 247 J;
Balfe, i. 127b.
Blanchet, E. ; Taskin, iv. 62 b.
Blanchinus ; Instrument, ii. 5 h.
Blanckenburgh, G. van, i. 247 h.
Blancks, E., i. 247 b ; Este (T.),
i. 495 b; Hymn, i. 762 b;
Psalter, iv. 761a.
Bland; Carillon, i. 311a, note.
Bland; Haydn, i. 708*.
Bland, Maria T,, iv. 648 b;
Vauxhall Gardens, iv. 233 b,
Blangini, G. M. M. F., i. 247 b;
Gras (Dorus), i. 619 a; Song,
iii. 590 6, etc. ; Willmann (C) ,
iv. 462 a.
Blankenburg, Q. van, i. 248 a ;
Blanckenburgh, i. 247 b.
Blasis, C. ; Hist, of Mus., iv.
676b.
Blasius ; Conservatoire de Mus.,
i. 392 a.
Blason, T. de; Musica Antiqua,
ii. 4iirt.
Blassman, S. ; PF.-playing, ii.
745-
Blavet; Vaudeville, iv. 231b.
Blaze, F. H. J. Castil, i. 248 a ;
iv. 5490 ; Acad^mie de Mus.,
INDEX.
i. 9a: Ballet, i. 130a; Diet.
of Mus,, i. 445 b; Harold, i.
732'*; Marseillaise, ii. 220b;
Mus, Periodicals, ii, 429b;
Odeon, ii. 492 b; Ortigue, ii.
614a ; Robin des Bois, iii.
139a; Hist, of Music, iv.
6750.
Blaze de Bury, 1.2490 ; Mdnes-
trel, ii. 311b; Ortigue, ii.
614a.
Blewitt, Jonas, i. 249 a; iv.
549 «
Blewitt, J., i. 249a; Melo-
dists' Club, ii. 249 a; PF,
Mus., ii. 727 «; Vauxhall
Gardens, iv. 234a.
Blidberg ; Song, iii. 6iob.
Blitheman, W., ii. 2426, note;
iv. 549a ; Bull, i. 281 b ; Haw-
kins, i. 700a ; Mean, ii. 242 b ;
Virginal Mus.,iv. 308 b.
Bloc ; Reicha, iii. 98 b.
Bloch, Anna; Rossini, iii. 176a.
Blome ; Mus. Lib., ii. 418 a.
Blondel ; Chanson, 1. 336a ;
Song, iii. 585 b.
Blondeau, a. L. ; Gr. Prix de
Rome, i. 618 b; Hist, of Mus.,
iv. 674a.
Blow, J., i. 249 b ; iv. 549 a ;
Anthem, i. 71a; Barrett (J.),
i. 144b ; Bass, i. 148a ; Boyce,
i. 268 a; Carissimi, i. 315 a;
Cathedral Mus., i. 325 b; Ce-
cilia (St.), i. 329a ; Chant,
i. 337&; Clark (J.), i. 365a;
Creed, i. 415 b ; Croft, i.
419 a ; Heseltine (J.), i.
733 b; Hingston, i. 741a;
Hiimfrey, i. 757 a; Hunt
(A.), i. 758 a; King (C),
ii. 57a; Leveridge, ii. 126b;
Motett Soc, ii. 376 b; Mus.
Antiqua, ii. 411 a ; Mus. Lib.,
ii. 419a, etc. ; Non Nobis,
ii. 464b ; Page, ii. 632 i ; Part
Mus., ii. 656b ; Playford (H.),
iii. 2 b ; Purcell, iii. 46 b ;
Reading (J.), iii. 79b; Rich-
ardson (V.), iii. 127b ; Robin-
son (J.), iii. 139b; Round, iii.
i8ob ; Schools of Comp., iii.
282 b, etc.; Service, iii. 4726,
etc ; Song, iii. 603 b ; Speci-
mens, Crotch's, iii. 650 a ;
Suite, iii. 756 a; Symphony,
iv. lib; Te Deum, iv. 68b;
Turner (W.), iv. 195a; Tud-
way, iv. 199a; Variations,
iv. 219a; Voices, iv. 334b;
Burney, iv. 571a.
Bluethner, J. F., i. 250a;
PF., ii. 722a.
Blum, K.; Orpheus, ii. 6x30.
21
Blume; Spontini, iii. 672b.
Blume, a. ; Schott (A.), iiL
315 a; Song, iii. 630 b; Royal
College of Mus., iv. 776b.
Blumenroedeb ; Turandot, iv,
190 b.
Blumenthal, J., i. 250b; PF.
Mus., ii. 734 b.
Blumner, M. ; Singakademie,
iii. 516 a.
Blundevile ; Mus. Lib.,ii. 419 a.
Bob, i, 250 b ; iv. 549 a ; Change,
i. 334a.
BocAN. (See Cordieb (J.), i.
400 b.)
Boccabadati, a., i. 250 a ; Scal-
chi, iii. 235 a.
Boccabadati, L., i. 250b ; Grisi,
i. 632 b.
Boccapadule, a. ; Palestrina, ii.
640b ; Sistine Choir, iii. 52o5.
Boccherini, L., i. 250 b ; iv. 520b.
549 b ; Agus, i. 46 a ; Boucher,
i. 263a; Brunetti, i. 280a;
Cambini, i. 300 a; Haydn, i.
708 b ; Latrobe, ii. 102 J ;
Puppo, iii. 46 a ; Quartet, iii.
57 a ; Quintet, iii. 60 b ; Rode,
iii. 142 J ; Sextet, iii. 475 b;
Specimens, Crotch's, iii. 650 a ;
Violoncello-playing, iv. 300a.
BocHSA, R. N. C, i. 252a; iv.
549b; Beck, i. 161 a; Chat-
terton, i. 340 b; Dibdin, i.
444b ; Lavenu, ii. 106 a ; Mila-
nollo,ii. 330 a; Parish- Alvars,
ii. 649a; Parry (J. 0.), ii.
651 a ; Royal Academy of
Mus., iii. 185a; Bishop (Ann),
iv. 547 a.
Booklet, C. M, von, i. 252 b;
iv. 549b ; Blumenthal, i.
250 b; Marxsen, ii. 223b;
Schubert, iii. 348 ((, etc. ;
Tomaschek, iv. 133b ; Vater-
landische Kiinstlerverein, iv.
807 b.
BocKSHORN, S., i. 252b.
BoDDA, F. ; Pyne, iii. 54b.
Bode, J. J. C.^ i. 252 b.
Bodenschatz, i. 252 b; Flori-
legium Portense, i. 534 b;
Portense, iii. 18 b; Schools of
Comp., iii. 267 a, note.
Boeckh; Knecht, ii. 65 b;
Mendelssohn, ii. 279 b.
Boehm, i. 254a; Bach (J. S.),
i. 114b.
Boehm, Briider; Rochlitz, iii.
141b.
Boehm, Elizabeth, i. 254a.
Boehm, H., i 254a.
Boehm, Jos., i. 254a; iv. 549b;
Ernst, i. 492 a ; Hellmesberger
(G.), i. 725b J Joachim, ii.
S3
34& ; Rappoldi (E.), in. 76& ;
Rem^nyi, iii. 107 a ; Rode, iii.
143 h ; Schubert, iii. 350 ;
Straus, iii. 737 a; Violin-
playing, iv. 289, etc ; Hauser,
iv, 670a ; Pollitzer, iv. 750a.
BoEHM, T., i. 254&; iv. 549?);
Bass-Flute, i. 150&; Clarinet,
i. 361a; Flute, L 536a, eta ;
Gordon (W.), i. 6iob; Keys,
ii. 556; Oboe, ii. 487a; PF.
ii. 720 &; String, iii. 745 &,
note ; Tone, iv. 144a; Tulou,
iv. 1866.
BoEHME, F. M. ; Noel, ii. 462 a,
note; Song, iii. 61 6 a, note,
etc.; Volkslied, iv. 3376;
History of Mus., iv. 675a.
BoEHMER, C; Ries (A. & F.),
iii. 133 a.
BoEHNBR, J. L., iv. 549& ; PF.
Mus., ii. 7376; PF.-playing,
ii. 744.
Boely; Maltrise, ii. 200 a;
Sauzay, iii. 2 30 J.
BoEMO ; Tartini, iv. 60 a.
BoEB. (See Beer, i. 162 a.)
BOESENDORFEK, L., i. 2546;
Pedals, ii. 683 &.
BoESSET, A., i. 255 a; Maitrise,
ii. 1996; Song, iii. 5936.
BoESSET, C. J. B., i. 255a.
BoESSET, J. C, i. 255a.
BoETHius ; Mus. Lib., ii. 421a.
BoGNER, B. ; Frohlich, i. 565 b.
BoHEMTAN Girl, The, i. 255 a;
Balfe, i. 127a.
BoHN, E. ; Mus. Lib., iv. 724a.
BOHBER, A., i. 255a; Violin-
playing, iv. 289 ; Violoncello-
playing, iv. 301 a.
BoHREB, C, i. 225a.
BoHRER, M., i. 225a; Violon-
cello-playing, iv. 301a.
BoHRER, W. ; Frickenhaus,
iv. 643 a.
BoiELDiEU, A., i. 258 a.
BoiELDiEU, F. A., i. 255 a; iv.
5496; Acaddmie de Mus., i.
ga; Accent, i. 15a; Adam
(A. C), i. 28 a; Auber,
i. 102&; Bassoon, i. 153ft;
Berton, i. 2376, etc. ; Bort-
niansky, i. 261a; Calife de
Bagdad, i, 297 h ; Cherubini, i.
343 a ; Conservatoire de Mus.,
i. 392 a ; Dame blanche. La, i.
438a ; F^tis, i. 517a ; Harold,
i« 731 «> Isouard, ii. 34?);
Jean de Paris, ii. 32 5; Mai-
trise, ii. 200 a ; Opera, ii.
5226; Pougin, iii. 236 ; Rode,
iii. 1426; Schools of Comp.,
iii. 304a; Scribe, iii. 453 a;
Bpeyer, iii. 6506; Weber,
INDEX.
iv. 409 a; Zimmermann, iv.
508 a ; Quintuple time, iv.
766 &.
BoiLLT; Gr. Prix de Rome, i.
6186 ; Reicha, iii. 98 &.
BoissARD, J. ; Roi des Violons,
iii. 146 a.
BoissELOT; Gr. Prix de Rome,
i. 618&; Lesueur, ii. 125b;
Sloper, iii. 5366.
BoiTO, A., iv. 5496; Schools of
Comp., iii. 301 b, etc. ; Sing-
ing, iii. 510a; Siraone Bocca-
negra, iii. 5336; Sol-Fa, iii.
545 J ; Verdi, iv. 250a ; Faccio,
iv. 631a; HuefFer, iv. 681 a;
Mefistofele, iv. 715 a ; Obertas,
iv. 733a; Otello, iv. 737a.
Bolero, i. 258a; Cachucha, i.
2906; Fandango, i. 502 a;
Song, iii. 5986; Specimens,
Crotch's, iii. 649a.
Bolla, Signora, i. 258 J.
Bolles ; London Violin Makers,
ii. 163 ft.
BoLLOFPi; Mus. Lib., ii. 421 &.
Bologna, i. 259a ; Accaderaia, i.
ii?>; Hist, of Mus., iv. 6756.
Bologna, A. da. (See Antonio
DA Bologna.)
BoLOGNiA, M. ; Haydn, i. 706 &.
Bolsena, a. da. (See Adami
DA Bolsena, i. 29&,)
Bolsetti, i. 259 &.
Bolzoni ; Bandini, iv. 5305.
Bombardon, i. 2596 ; Bass Tuba,
i. 150ft; Bassoon, i. 151 &;
Contrabass Tuba, i. 395 ft;
Instrument, ii. 66; Lute, ii.
1 76 ft ; Oboe, ii. 486a ; Organ,
ii. 601 ft; Saxhorn, iii. 2336;
Tuba, iv. 183&; Wind-band,
iv. 465 6, etc.
BoMBABDT ; Virdung, iv. 303 ft.
BoMTEMPO, J. D., i. 259ft.
Bona, Cardinal G.; Hist, of Mus.,
iv. 676 ft.
BoNANNi, F. ; Hist, of Mus., iv.
676 a.
BoNABELLi, G. ; Ferrara, i. 513 a.
Bond, C; Birmingham Festival,
i. 244a.
Bond, H., i. 260 a; Baker,
i. 126a; Bennett(W.),i. 2246.
B0NE8I; Choron, i. 353 ft.
BONINI, P. A. ; Oriana, ii. 6 lib.
Bonnehj^e; Rossini, iii. 176 a.
Bonnet, J. ; Stradella, iii. 721 6 ;
Hist, of Mus., iv. 674a.
BoNNO, G., i. 260a ; Ditters-
dorf, i. 449 b; Fitzwilliam
Coll., i. 530b; Friberth (K.),
i. 564ft; Haydn, i. 704b;
Metastasio, ii. 316a; Mozart,
ii. 396b; Mus. Lib., iv. 726a.
Bonny-Boots, i. 260a; Ballafl,
i. 129a; Holborne (W.), i.
743a; Hohnes (J.), i. 744ft;
Oriana, ii. 6iia.
Bono. (See Bonno, i. 260a.)
BoNONCiNi. (See Buononcini, L
649b, note.)
BoNPOBTi, F. A., i. 260b.
BoNTEMPi, G. A. ; Rossi Scotti,
iii. 164a; Schiitz, iv. 46a;
Burney, i v. 571a; Mus. Lib.,
iv. 726a; Schiitz, iv. 789b.
Boom, J. van, i. 260b.
Boom, J. van, i. 260b.
BoosEY & Co., i. 260ft.
Booth, J. ; Organ, ii. 599 b.
BoBA, D. C. ; Merulo, ii. 315 a.
Bobd, a., iv. 554b; Pianette,
ii. 709a.
BoBDOGNi, Mile.; Un Anno,
etc., iv. 201 b.
BoBDOGNi ; Balfe, i. 127a ; Con-
servatoire, i. 392 b; Graa, i.
619 a; Kiicken.ii. 75a;Mario,
ii. 217a; Panofka, ii. 644b;
Reinthaler, iii. 103 b; Ru-
dersdorff, iii. 199a; Rummel
(F.), iii. 205 a; Thillon, iv.
102 a; Zerr, iv. 506 b; Cas-
tellan, iv. 582 b; Falcon, iv.
632a; Goldberg, iv. 650ft.
Bobdone; Baryton, i. 146 b.
Bobdone; Lute, ii. 176 b.
BoBDONi, Faustina. (SeeHASSE,
i. 696 a.)
Bobe; Basset-Hom, i. 150b;
Clarinet, i. 361 6, etc. ; Double
Bassoon, i. 458b; Flute, i.
536a; Horn, i. 747 ft; Oboe,
ii. 4866 ; Sax, iii. 231ft ; Bes-
son, iv. 546a.
Bobetti, G. a.; Zenobia, ir,
506a.
BoBGHi, Adelaide, iv. 554b.
BoRGHT, L., i. 260b; Olimpiade,
ii. 496 b.
BoBJON, C. E., i. 261a.
BOBN, B. de ; Song, iii. 585 b.
BoBNEiL, G. de; Song, iii.
585 b.
BoBODiN ; Song, iii. 614a ; Rim-
sky-Korsakow, iv. 772b.
BoROSiNi, F., i. 261a; Singing,
iii. 511a.
BoROSiNi, L., i. 261 a.
BoRRANi ; Pyne (L.), iii. 54b.
BoRRi, B. ; Latrobe, ii. 1026.
BoRROMEO, S. C. ; Laudi Spiri-
tuali, ii. 105a; Palestrina, ii.
636 b, etc.
BoRRONi ; Mus. Lib., ii. 431ft.
BoRSARUS, A. ; Bodeuschatz, i.
253&-
BoRSELLi, i. 261a; Portogallo,
iii. 196.
INDEX.
23
BoBTNiANSKT, D., i. 26ia; ir.
555 a; Song, iii. 614a.
Bosanquet; Key, ii. 546; Tem-
perament, iv. 706, note.
BoscHETTi, Signora, i. 261 &.
BoscHETTUS ; Bodenschatz, i.
3530.
BoscHi, Gr., i. 2616; Bass, i.
148 a; Lotti, ii. 167 b; Royal
Acad, of Mus., iii. 184& ; Sing-
ing, iii. 506a, etc.; Vanini,
iv. 217a.
B08IO, A., i. 262a; Pinsuti, ii.
754 a; Singing, iii. 508 a.
Bosselet; Agnesi, iv. 5186.
Boston Mus. Society, iv. 555 a ;
Harvard Mus. Assoc, iv.
6696; Henschel, iv. 6716;
Mendelssohn Quintette Club,
iv. 717a.
Bote und Bock, iv. 556b.
BoTT; Philh.Soc.,ii.7ooa; Spohr,
iii. 663b; Violin-playing, iv.
289.
Botte, a. ; Revue et Gazette
Mus., iii. 121 b.
BoTTEE de Toulmon, i. 262 b;
Cherubini, i. 341 h, note ; Con-
servatoire, i. 393 b.
BoTTESiNi, G., iv. 556 b; Double
Bass, i. 458 a ; JuUien, ii. 45 a ;
Opera (United States),ii. 530a;
Philh. Soc, ii. 700a ; Schools
of Comp., iii. 301 b ; Testore,
iv. 798 b.
BOTTOMLEY, J., i. 263a.
BoucHABDON, C. de ; Roi des
Violons, iii. 146 a.
BOUCHE FEBMEE, A, i. 263 a.
Boucher, A. J., i. 263 a; iv.
557a; Mendelssohn, ii. 257b;
Navoigille, ii. 449 b; Violin-
playing, iv. 289, etc. ; Weber,
iv.4o6a; Zeugheer, iv. 507 a.
Bouchebon; Verdi, iv. 252 b.
BouFFONS, Guerre des ; Mercure
de France, ii. 313 a; Mondon-
ville, ii. 353 a; Rameau, iii.
71b; Rousseau, iii. i8ii.
BouFFONS, Les. (See Matas-
siNS, ii. 236b.)
BouiLLET, J. B. ; Song, iii. 598a.
Bouilly; Beethoven, i. 184b.
BouiN ; Hurdy Gurdy, i. 758 b.
Boulangeb, E. ; Conservatoire,
i- 393 «; Gr- Prix de Rome,
i. 6i8b; Lesueur, ii. 125b;
Orpheon, ii. 612 b.
Boulangeb, Mme., i. 263 b;
Garat, i. 581 b.
BouLANGEB-KuNzi ; Choron, i.
354«-
BouLLANGiEB ; London Violin
maker, ii. 165b; Violin, iv.
284a.
BoULLABD ; Soc. de Musique,
iii. 543 b.
BouBDEAU ; Soc. de Musique,
iii. 543 b.
BouBDELOT ; Stradella, iii. 721 0;
Hist, of Music, iv. 674a.
BouBDON. (See Faux-Boubdon,
i. 509&-)
Boubgault-Ducoudbay, L. a.,
iv. 557a; Gr. Prix de Rome,
i. 6i8b; Jannequin, ii. 32a.
BouBGEOiS, L., i. 263 b ; iv,
557 b; Hymn, i. 761b; Nota-
tion, ii. 479 a ; Old Hundredth
Tune, ii. 495 b; Chorale, iv.
589a ; Franc (G. le), iv.
638 b; Old Hundredth Tune,
iv. 734 b ; Psalter, iv. 755 a.
BouBGEOis, L. T., i. 264a.
BouBGEOis; Lesueur, ii. 125b.
BouBGES, Clementine de, i. 264 a.
BOUBGES, J. M., i. 264a ; Revue
et Gazette Mus., iii. 121b.
BouBB^B, i. 264a ; Form, i.
544b; Song, iii. 592 b; Speci-
mens, Crotch's, iii. 649 a ;
Subject, iii. 751b; Suite, iii.
759&-
BousQUET, G., i. 264a; Gr.
Prix de Rome, i. 618 b.
Bouteilleb; Gr. Prix de Rome,
i. 6i8b.
Bouvabde ; Strakosch, iii. 734a.
Bow, i. 264b; Arco, i. 8ib;
Instrument, ii. 6b; Lupot
(F.),ii. 175a; Nut, ii. 485b;
Rosin, iii, 162b; Tartini, iv.
61 b ; Tourte, iv. 1 55 b ; Violin-
playing, iv. 291 h.
Bowing, L 265 b; Spicato, ni.
650 b.
Bowley, R. K.,i. 266b; Handel
Festival, i. 658 a.
Bowman, H., i. 267 a; Tud-
way, iv. 199 b.
BoYCE, W., i. 267a; iv. 5606;
Accompaniment, i. 22 b, etc. ;
Anthem, i. 71a, etc. ; Arnold
(S.), i. 86a; Ashley (J.), i.
98b ; Bassoon, i. 153b ; Battis-
hill, i. 156a; Callcottji. 298 b;
Cathedral Mus., i. 325 b; Ce-
cilia (St.), i. 329b ; Dupuis, i.
470b; Greene (M.), i. 625a;
Henry VIII, i. 729a ; King's
Band, ii. 58a; Linley (T.), ii.
144a; Litany, ii. 152b; Lock,
ii. 157^; Macbeth-music, ii.
184a; Mus. Lib., ii. 417 b,
etc. ; Mus. School, Oxford,
ii. 437 a; Novello (V.), ii.
481a; Overend, ii. 6i8a;
Page, ii. 632 b; Part Mus.,
ii. 656b, etc. ; Pepusch, ii.
685 a; Royal Soc. of Mus.
Great Britain, iii. 187a;
Schools of Comp., iii. 286 ?>;
Service, iii. 473 b, etc. ;
Smith (J. S.), iii. 540 b ; Song,
iii. 606b; Sons of Clergy, iii.
6336; Te Deum, iv. 68 a;
Thoroughbass, iv. io8b;
Three Choirs, iv. 112b; Voices,
iv. 334b ; Voluntary, iv. 339b;
Walsh (J., jun.), iv. 380b;
Wesley (S.), iv. 445b.
Boyle, F. ; Singing, iii. 513a;
Philh. Soc, iv. 746 b.
Bozi, P. ; Oriana, ii. 6 lib.
BozzANO; Song, iii. 591a.
ERABAN90NNE, La, i. 268b;
Campenhout, i. 300 b.
Brace, i. 268 b; Score, iii.
427 a.
Brachmann ; Stark, iii. 690 b.
Brack, A. ; Parisienne, La, ii.
649 b.
Brade, W., i. 269 a; iv. 560 b.
Bradley, R. ; Hawkins, i. 700a.
Beady ; Psalter, iv. 765 b.
Brah-Muller ; Song, iii. 630 b.
Braham, J., i. 269a; iv. 560b
and 819 a; Ancient Concerts, i.
65 a; Ashley (J .), i. 98 b; Dus-
sek (J. L.), i. 474b; English
Opera, i. 489a, etc. ; Hanover
Square Rooms, i. 661 b;
Jullien, ii. 45 b ; Knight, ii.
67a; Luther's Hymn, ii. 179b ;
Melodists' Club, ii. 249a;
Moorehead.ii. 362 a ; Opera, ii.
524a; Rauzzini, iii. 78a;
Robin Adair, iii. 139 a ; Rooke,
iii. 157a; Salomon, iii. 221 bj
Schools of Comp., iii. 305 b ;
Singing, iii. 512a; Song, iii.
607 a ; Storace,iii. 720a; Tenor,
iv. 88 a; Vauxhall Gardens;,
iv. 234 a ; Vocal Concerts, iv.
319 b; Weber, iv. 4096.
Brahms, J., i. 270a; iv. 5606;
Accent, i. 14b; A quatre
mains, i. 80 a; Arrangement,
i. 92 b, etc.; Ballade, i,
129b; Cantata,!. 305b; Con-
certo, i. 389a; Couperin, i.
410a ; Figure, i. 521 b ; Form,
i. 552 a; Gesellschaft der Mu-
sikfreunde, i. 591a; Giound
Bass, i. 634b; Harmony, i.
683b; Holmes (W. H.), i.
744b; Horn, i. 752a; Inter-
mezzo, ii. loa ; Jaell, ii. 30a ;
Lied, ii. 133 a ; Magyar Mus.,
ii. 197b, etc. ; Marxsen, ii.
223b; Modulation, ii. 350 a;
Mus. Periodicals, i 430 a;
Paganini, ii. 632a ; Part-
Song, ii. 659 a ; PF. Mus., ii.
735 «; PF.-playing, ii. 743a;
24
Quartet, iii. 58b; Requiem,
iii. 112 a; Romantic, iii. 152a;
Scherzo, iii. 248 a; Schools of
Comp., iii. 295 a, etc. ; Schu-
bert,iii. 333 a, etc. ; Schumann,
iii. 391 6, etc. ; Score, iii. 432 ;
Sestet, iii. 475 h ; Sonata, iii.
579&, etc.; Song, iii. 630a;
Stockhausen, iii. 716a; Sub-
ject, iii. 7506; Symphony, iv.
40?); Tenor- Violin, iv. 91a;
Trio, iv. 1726; Variations, iv.
229a; Waltz, iv. 3866;
Dance Rhythm, iv. 608 a;
Dietrich, iv. 614&; Dvof^k,
iv. 6226; Naenia, iv. 727a;
Niederrheinische Musikfeste,
iv. 731 ; Passacaglia, iv. 7446 ;
Rhapsody, iv. 772 a.
Brambach, W., Hist, of Mus.,
iv. 674 a.
Bbambilla, M., i. 371a; iv.
562 a; Contralto, i. 396a;
Lamperti, ii. 89 a ; Philh. Soc,
ii. 6996; Ponchielli, iii. 14a;
Singing, iii. 508a.
Bran CHE ; Violin-playing, iv.
289.
Braxchu, Mme. Chevalier-;
Garat (P.), i. 5816.
Bbandes, Emma, iv. 562 a;
Philli. Soc., ii. 700a; Schmitt
(G. A.), iii. 255 a.
Brandi ; Dando, i. 4296.
Brandl, J., i. 271a.
Brandt; Weber, iv. 397a.
Brandt, Marianne, iv. 562 a;
Viardot- Garcia, iv. 260a ;
Wagner, iv. 365 a.
Bkaxdt, S. ; Song, iii. 6 16 a.
P.handus, M. M. ; Troupenas,
iv. 1796.
Branle, i. 271 &; iv. 562?);
Cotillon, i. 407 ft; Form, i.
542 h, etc. ; Hornpipe, i.
753 ^ » Orch^sographie, ii.
560a; Suite, iii. 755a; Tri-
horis, etc., iv. 169& ; Rosalia,
iv. 775?).
Bbasart; Motet, ii. 373 a;
Okeghem, ii. 495 a; Schools
of Comp., iii. 260 a.
Brass Band, i. 271 &; Wind-
band, iv. 471a.
Brass Instruments; Double
Tongueing, i. 4596; Har-
monics, i. 665 h ; Harmonic,
i. 666 a; Orchestra, ii. 565?);
Piston, ii. 756 b ; Valve, iv.
215 a ; Wind- band, iv. 4656,
etc.
Brassetti; Latrobe, ii. 102 &;
Part-mus., ii. 656 ft.
Brassin, G., iv. 5626.
Beassin, L., iv. 5626.
INDEX.
Bbassik, Louis, iv. 562 h ; Con-
servatoire, Brussels, i. 592b;
PF. -playing, ii. 7456; Rum-
mel (F.), iii. 205 a; PF.-play-
i»g» i^- 749 «•
Bbatsch, J.G. j Lauterbach (J.),
ii. 1056.
Bratschk, iv. 5626; Tenor-
Violin, iv. 88 &.
Brauchle, E. ; Oberthiir, ii.
485 &.
Bravo, i. 27 ib.
Bravo, J. de T. M. ; Eslava, i.
495 a.
Bravura, i. 2716,
Breath, i. 272a.
Bretdenstein,H.; Bruch,i.279a.
Breitkopf & Hartel, i.
272a; iv. 5625, and 819a;
Bach-Gesellschaft, i. 118&;
Beethoven, i. 1876; Gando, i.
5810; Handel-Gesellschaft, i.
659a; Leipzig, ii. 114&, etc. ;
Mozart, ii. 405 &; Mus. -print-
ing, ii. 435?), etc. ; Palestrina,
ii. 642 a ; Reinecke, iii. 102 & ;
Requiem, iii. nob; Rietz (J.),
iii. 133 a; Schubert, iii. 346a;
Thematic Catalogue, iv. 99 J ;
Handel-Gesellschaft, iv. 665 a.
Breitner, L. ; Philh. Soc, ii.
700 S.
Bremner, R., i. 2 73 J.
Brendel, D. K. F„ i. 273/);
Leipzig, ii. 115b; Mus. Peri-
odicals, ii. 431a; Ramann,
iii. 68 a ; Schumann, iii. 390 a ;
Wagner, iv. 357 J ; Zopff, iv.
5136 ; Zukunftsmusik, iv.
514a; Hist, of Mus,, iv. 674 a.
BRENT,C.,iv.563a; Marylebone
Gardens, ii. 224b; Pinto (T.),
ii. 754a.
Brequin, C. du; Roi des Violons,
iii. 146 a.
Brereton, W. H. ; Philh. Soc,
iv. 747a; Welch, iv. 434b.
Breslaur,E. ; PF.Mus.,ii. 735 a.
Bressant ; Conservatoire, i.
392 fc.
Breuning, E., iv. 563b; Bee-
thoven, i. 171a, etc.
Breuning, L., iv. 564a.
Breuning, M., iv. 564a ;
Schwarzspanierhaus, iii. 425 a.
Breuning, S., iv. 563b; Bee-
thoven, i. 1 73 a, etc. ; Eroica,
i. 493a; Schindler, iii. 251a;
Stutterheim, iii. 747 a.
Breunung, F. ; Bruch, i. 279a;
Niederrheinische Musikfeste,
ii- 457-
Breval; Violoncello-playing, iv.
300 a.
Bbeve, i. 274a; iv. 564 b ; Alia
breve, i. 53 b ; Common Time,
i. 381 b ; Dot, i. 455 b ; Nota-
tion, ii. 471a; Tempo, iv.
85a; Tempo ordinario, iv.
85 b ; Franco, iv. 641 a.
Brewer, T., i. 2750 ; iv. 5,646.
Briant; Attaignant, i. 100 b.
Briard, J. B., i. 275 tt.
Briarde, i. 275a; Granjon (R.),
i. 619a.
Bbidault,T. ; Programme-Mus.,
iii. 37 a.
Bride of Dunkerron, The, i.
275a ; Smart (H.), iii. 538a.
Bride of Song, The, i. 275a;
Benedict, i. f^^a.
Brides of Venice, i. 275a;
Benedict, i. 222 b.
Bridge, i. 275a; Ponticello, iii.
15 b; Stradivari, iii. 730 «;
Violin, iv. 271a, etc.
Bridge, J. F., iv. 564b, and
819a; Purcell Soc, iii. 53a;
Schools of Comp., iii. 308a,
etc. ; Royal Coll. of Mus., iv.
159a; Turle (J,), iv. 191a;
Western Madrigal Soc, iv.
449 a; Madrigal Soc, iv.
708 a.
Bridge, J. Cox, iv. 564b.
Bridge, R., iv. 565 a; Organ,
ii. 597«.
Bridgetoweb, G. a. p., i. 275 b ;
iv. 565 a; Augarten, i. 104a;
Beethoven, i. 182 b; Haydn,
i. 712 b; Kreutzer Sonata,
ii. 73 a; Philh. Soc, ii. 698 a;
Violin-playing, iv. 289, etc
Bridson; Welch, iv. 434b.
Briegel, W. K., i. 276 a.
Brighenti, M., i. 276 a.
Brighetti. (See Brighenti, L
276a.)
Brignoli ; Strakosch, iii. 734a ;
Goldberg, iv. 650 b.
Brimle, R. ; Hymn, i. 762 a;
Psalter, iv. 757 b.
Brind, R., i. 276a; iv. 565 a.
Brindisi, i. 276 b.
Bbinsmead, iv. 565 a; Piano-
forte, ii. 722a ; Hist, of Mus.,
iv. 676a.
Bbiscoli, D. ; Programme-Mus.,
iii. 37 b.
Bbtsee; Agr^mens, i. 43 a;
Turn, iv. 191b.
Brissac, J. ; PF.-Mus., ii. 736a.
Bkissio, G. F.; Mus. Divina,
ii. 412 a.
Bristol Festival, iv. 565 a.
Bristol Madrigal Society, i.
276 b.
Bristow, G. ; Opera, ii. 530a.
British Bandsmen ; Mus. Pe-
riodicals, iv. 726b.
British Concerts, i. 277 a.
British Orchestral Society,
i. 277rt; iv. 5656.
Brito, E. de, i. 277 &.
Britton, T., i. 2776 ; iv. 5656 ;
Baltzar, i. 133b; Concert, i.
384a ; Dubourg (M.), i. 467 a ;
Song, iii. 603 &.
Brivio; Frasi, i. 561a.
Broadhouse ; Mus. Periodicals,
iv. 726 &.
Broad wood, i . 2 7 7 6 ; Beethoven,
i. 171 &, etc. ; Bennett (Stern-
dale), i. 225a; Cabinet Piano,
i. 290a; Ferrari, i. 513&;
Grand Piano, i. 6 1 7 6 ; Harpsi-
chord, 6896 ; Key, Keyboard,
ii. 54a; Kirkman, ii. 61 &;
Pedals, ii. 682 6 ; Pianoforte,
ii. 7 14 J, etc. ; Riickers, iii.
1936 ; Shudi, iii. 488a, etc. ;
Sordini, iii. 637 a; Spinet, iii.
656 a; Stodart, iii. 'ji6h;
Temperament, iv. 72 a; Trans-
posing Instruments, iv. 160&;
Tuning, iv. 189a; Wrestplank,
iv. 490 & ; Mus. Instruments,
Collections of, iv. 723a.
Broche ; Boieldieu, i. 2556.
Brockhoven, J. ; Negro Mus.,
iv. 730 a.
Brod, H., iv. 565 b; Vogt, iv.
332 a.
Broderip & Longman; Grass-
hopper, i. 6196.
Broderip, J., iv. 5656.
Broderip, J. G., iv. 5656.
Broderip, R., iv. 565 b.
Broderip, W., i. 278a; iv.
5656; Harington, i. 6916;
Tudway, iv. 199 5.
Broeck, van der; Lemmens
(N.), ii. 1 20a.
Bronsart, H. von, i. 2786; iv.
566 a; Leipzig, ii. 115 6;
Starck, iii. 690 & ; Tausig, iv.
65 a; Zukunftsmusik, iv.
514a.
Brooks, Shirley ; Mus. Periodi-
cals, ii. 427?).
Bros, J., i. 278b; Eslava, i.
495 a.
Broschi, C. (See Farinelli, i.
504 a.)
Brosig, M. ; Jadassohn, ii.
29rt.
Brossard, S. de, i. 2786; iv.
566 a ; Diet, of Mus., i. 444b ;
iv. 613a; Grassineauji. 620a.
Broutin; Gr. Prix de Eome,
iv. 654 b.
Brown-Borthwick, Rev. R. ;
Nay lor (J,), iv. 728 b.
Brown, J. D., iv. 566 a.
Brown, A.; Felton, i. 511a.
INDEX.
Browne, T. ; Gresham Mus. Pro-
fessorship, i. 627 J.
Browne, von ; Beethoven, 1.
178 a ; Galitzin, i. 576 a.
Brownsmith, J. L., i. 279 a.
Bruch, Max, i. 279a; iv.
566 a ; Hiller (Ferd.), i. 737* ;
Libretto, ii. 129 J; Loreley,
ii. 166 5; Schools of Comp.,
iii. 2995; Score, iii. 432;
Song, iii. 630b ; Scotish Mus.,
iv. 791b.
Bruchmann ; Sembrich, iii.
458 J.
Bruck, a. von ; Song, iii. 620 a ;
Chorale, iv. 589 a.
Bruckner, A., iv. 566 a; Rein-
hold (H.), iii. 102 5; Sechter,
iii. 456 a.
Bruckler, H., iv. 566 a; Song,
iii. 630 a.
Bruggemann ; Schubert, iii.
351 a-
Bruehl ; Spontini, iii. 671 a, etc.
Brull, I., iv. 5665; PF. Mus.,
ii. 736 a; PF.-playing, ii.
745a; Philh. Soc, ii. 7006;
Schools of Comp., iii. 298b.
Bruges, P. de ; L'Homme arm^,
ii. 127a.
Bruguiere; Song, iii. 5956.
Bruhns, N. ; Buxtehude, i.
286b.
Brulez, G. ; Chanson, i. 336 a ;
Musica antiqua, ii. 41 1 a.
Brumel, a., i. 279b; Josquin
Despr^s, ii. 40 b; L'homme
arm^, ii. 127a ; Madrigal, ii.
i88a ; Mass,ii. 228b ; Motett,
iJi- 373^) Schools of Comp.,
iii. 260b; Burney, iv. 570b;
Dodecachordon, iv. 616 a;
Part-books, iv. 739 b ; Sis-
tine Chapel, iv. 794 a ; Trdsor
Mus., iv. 801 b.
Brumel, J. ; Wert, iv. 445 a.
Brumen, J. ; Sistine Chapel, iv.
794 a.
Brummer. (See Bombardon, i.
259 b.)
Brunelli; Song, iii. 588 a.
Brunei, J. ; Sistine Chapel, iv.
794a.
Brunette; Chanson, i. 335b;
Song, iii. 593 b, note.
Brunetti, G., i. 280a; Mozart,
ii. 3876.
Bruni, i. 280a.
Bruni, a. B.,i. 280a; iv. 567 a;
Pugnani, iii. 45 b ; Tenor
violin, iv. 92 a.
Brunner, C. T. ; PF. Mus., ii.
728a.
Brunot; Tulou, iv. i86b.
Brusa; Mus. Lib., iv. 726a.
25
Brussels Consebvatoibe. (See
GEVAJiRT, i. 592 a.)
Bruster ; Schls. of Comp., iii.
273 a, note.
BliUYANT; Vogt, iv. 332 a.
Bryan; Arnold (S.), i. 86b;
Tudway, iv. 199a.
Bryceson, Brothers, iv. 567 a;
Barrel Organ, i. 143a; Electric
Action, i. 485 a ; Organ, ii.
607 b, etc.
Bryne, a., iv, 567a.
Buccinelli ; Milan, ii. 329a.
Buchwieser, Mme. Lacsny ;
Schubert, iii. 331a, etc.
Buck, D,, iv. 567a and 819a;
Eddy, iv. 625 b ; Hist, of Mus.,
iv. 676 a.
Buck, Z., iv. 568 a ; Beck-
with,i. 162a; Bexfield,i.2 39b;
Norwich Festival, ii. 466 a.
BucKLAND, H.; Charity Children,
i. 340 b.
Buddeus ; Philh. Soc, ii. 699b.
BuEL, C. ; Bodenschatz, i. 253b.
BuLOW, Hans von, i. 280b;
iv. 568a; Arabesque, i. Sob;
Ballabile, i. 128b; Bar, i.
137 b; Conductor, i. 390b;
Cornelius, i. 403 a ; Cossmann,
i. 406 a; Cramer (J. B.), i.
414a; Draeseke, i. 4606,
etc.; Fingering, i. 527b;
Goetz, i. 607 a ; Hauptmann,
i. 698 a; Key, ii. 55 a;
Klind worth, ii. 64 a; Liszt,
ii. 146 b; Meistersinger von
Niirnberg, ii. 248 a; Peabody
Concerts, ii. 677 b; Philh.
Soc, ii. 700b; PF. Mus.,
ii. 734b; PF.-playing, ii.
743a; Popper (D.), iii. 15b;
Programme Mus., iii. 35a;
Ratt, iii. 64a; Rappoldi (L.),
iii. 76 b ; Repetition, iii. 108 b;
Sauret, iii. 2 30 b ; Scarlatti (D.),
iii. 240 a ; Schools of Comp.,
iii. 311b; Schott (A.), iii.
314b; Signale, iii. 492 b;
Stark (L.), iii. 690 b ; Tau-
• sig, iv. 65 a ; Tonkiinstlerve-
rein, iv. 150b ; Truhn, iv.
i8oa; Verdi, iv. 252b; Wag-
ner, iv. 358 b; Wieck, iv.
454b; Wind-band, iv. 470a;
Wiillner, iv. 492 a ; Zukunfts-
musik, iv. 514 a ; Bache (W.),
iv. 529b; Barth, iv. 531b;
Hartvigson (F.), iv. 669 a;
Liszt, iv. 702 a; Raff, iv.
766 a.
Burde-Ney, Jenny, iv. 568a;
Philh. Soc, ii. 700a.
BuRGEL, C; PF. Mus., ii. 735 a;
PF.-playing, ii. 745.
BUFFARDIN ; Quantz, iii. 560.
Bugle, i. 280a; Fliigel Horn,
i. 535b; Horn, i. 748 a; In-
strument, ii. 6a; Kent-
Bugle, ii. 51a; Key-Bugle, ii.
56a; Sax, iii. 232a; Sounds
and Signals, iii. 646 b; Trum-
pet, iv. 181 a ; Wind-band, iv.
468 a, etc.
Buhl, J. D., i. 281b; Sounds
and Signals, iii. 6466.
BuLACHOP; Song, iii. 614 a.
Bull, Dr. John, i. 281b; iv.
568 h ; Barnard, i. 140 b ; Boyce,
i. 268b; Cathedral Mus., i.
325a; Clark (R.), i. 365b;
Gibbons, i. 594b; God save
the King, i. 606 a; Gresham
Professorship, i. 627 a; Haw-
kins, i. 700a ; Klavier-mus.,
Alte, ii. 636; Leighton,
ii. 114a; Mean, ii. 242 b,
note ; Mus. Antiquarian Soc,
ii. 416b; Mus. Lib., ii. 422b;
Mus. School, Oxford, ii. 437 a;
Parthenia, ii, 653a; Riickers
(H.), iii. 195b, note; Schools
of Comp., iii. 277a ; Suite, iii.
756 a; Tudway, iv. 198a;
Variations, iv. 217b ; Virginal
Mus., iv. 308a, etc.; Blithe-
man, iv. 549 a; Burney, iv.
570b; Byrd,iv.574a; Psalter,
iv. 759b.
Bull, Ole, iv. 568b; Men-
delssohn, ii. 268 b; Opera, ii.
529b; Philh. tSoc, ii. 699b;
Stradivari, iii. 727a; Violin-
playin^S iv. 289.
BuNN, A., i. 282b; iv. 570a;
Drury Lane,i. 467 a ; Libretto,
ii. 130a; Malibran, ii. 202a;
Schira, iii. 252 a; Schroder-
Devrient, iii. 317 a.
Bunting, E., i. 282 b; Irish
Mus., ii. 19a, etc. ; Moore, ii.
36 1 a ; Scotish Mus., iii. 448 a ;
Hist, of Music, iv. 674b.
BuONAVENTUBA ; Oratorio, ii.
535^.
Bdoncompagni, G. ; Palestrina,
ii. 639 b.
BuoNONCiNi, i. 649b, note; Ari-
osti, i. 83a ; Carissimi, i. 314b ;
Clegg, i. 370b ; Colonna, i.
378 b; Do, i. 451b; Epine
(Francesca de V), i. 490 a;
Fitzwilliam Collection, i. 530b;
Greene, i. 624b ; Handel, i.
648 a; Haym, i. 723a; Lotti,
ii. i68a; Mus. Lib., ii. 420a,
etc.; Nicolini, ii.454a; Opera,
ii. 505a, etc.; Pasticcio, ii.
669 a ; Prince de la Moskowa,
iii. 31a; Robinson (M.), iii.
INDEX.
139b; Royal Acad, of Mus., iii.
184b; Thoroughbass, iv. 108 b.
BuoNTEMPi, G. ; Rome, iv. 774a.
BuRANELLO, II. (See Galuppi, i.
579a.)
BuBBURE, Chev. L. de ; Hist, of
Mus., iv. 676 a.
Burden, i. 283a ; Faux Bourdon,
i. 509 a; Form, i. 541a; Re-
frain, iii. 93 b ; Song, iii. 605 b ;
Ture-lure, iv. 805 a.
BuBG ; Wind-band, iv. 470 a.
Bubgk, J. ; Eccard, i. 481 a.
BuBGMULLBR, i. 283b; Nieder-
rheinische Musikfeste, ii. 457 b.
BUBGMULLER, F., iv. 570 a;
Lady Henriette, ii. 83 a; PF.
Mus., ii. 729a.
BuRGMULLER, N., i. 283b ; Haupt-
mann, i. 698 a.
BuRKHARDT, S. ; PF. Mus., ii.
729a.
BUBLA, i. 283b.
BuBLESCA. (See Bubla, i. 2836.)
BUBLETTA, i. 283 b.
BuBMEiSTEB ; B., i. 107a.
BuBNETT, A. ; Sainton, iii. 217a.
BuBNET, Dr. C, i. 284a ; iv.
570a; Accademia, i. lib;
^olian Mode, i. 39 b ; AUegri,
i. 54a ; Alsager,i. 57 a ; Amicis,
i. 6ib; Bach (J. C), i. 112b;
Bach (J. S.), i. 117a, note;
Ballad, i. 129a; Barbella,
i. 138a; Bode, i. 252b; Bo-
logna, i. 259 « ; Broadwood
and Sons, i. 278a ; Cantata, i.
305a; Crotch, i. 420b; Diet,
of Music, i. 445 «, etc. ; Du-
bourg(M.), i, 467b ; Fantasia,
i. 503 a; Farinelli (C. B.), i.
504a, etc.; Felton, i, 511a;
Festa, i. 5i5« ; Form, i. 553b ;
Foundling Hosp., i. 5570;
Francesino, i. 558a ; Frasi,
i. 561a; Gamba (Viola da), i.
580a; Guadagni, i. 635a;
Handel, i. 655 b; Handel,
Commemoration of, i. 658 a;
Hawkins, i. 699 b; Haydn, i.
704b, etc. ; Improperia, ii. i b ;
Isaac, ii. 23b; Jannequin, ii.
31b; Key, Keyboard, ii. 54a ;
Kirkman, ii. 61 b; Lassus,
ii. 94b ; Laudi Spirituali, ii.
105 a; Lawes (H.), ii. 106 b;
L'homme armd, ii. 126b;
Martini, ii. 222a ; Matteis, ii.
239b; Metastasio, ii. 316a;
Mingotti, ii. 332 a; Miserere,
ii. 336a ; MonticelU, ii. 360a ;
Mus. liib., ii. 419a; Mus.
School, Oxford, ii. 437 a ; Non
Nobis, ii. 465 a ; Nuances,
ii. 483b; Opera, U. 512a;
Pacchierotti, ii. 625 b; Pales-
trina, ii. 641b; Philipps (P.),
ii. 705 a ; PF., ii. 71 1 a ; Pisari,
ii. 756 a; Plain Song, ii.
769a; Programme Mus., iii.
35 a ; Purcell, iii. 46 a ; Rane-
lagh House, iii. 74b ; Rauzzini,
iii. 78 a; Ricercare, iii. 126b;
Rousseau, iii. 182a; Riickers,
iii. 193b; Sacchini, iii. 207a,
etc.; Scarlatti, iii. 238b; Scho-
bert,iii.257b; Schools of Cornp.^
iii. 260b, etc. ; Schroeter (J.
S.), iii. 318b ; Scotch Snap, iii.
437 b ; Sheppard (J.), iii, 486 b ;
Shudi, iii. 489 a ; Silbermann,.
iii. 494 b; Sirmen, iii. 518b;
Sonata, iii. 554b; Song, iii.
585 b, note, etc. ; Spinet,,
iii. 651a; Stabat Mater, iii.
684 b; Stamitz, iii. 689 a;.
Stanley (J.), iii. 690a; Stef-
fani, iii. 698 b ; Sumer is
icumen, iii. 765 a ; Symphony,
iv. 14a; Tallys, iv. 53b;.
Tartini, iv. 60b; Tenebrse,
iv, 86 J; Tesi Tramontini,.
iv. 94 a ; Thematic Cata-
logue, iv. 99 a; Tinctoris^
iv, 128a; Tower Drums, iv.
156b; Transposing Instru-
ments, iv. 160 a ; Turin!,
iv. 190b; Turk, iv. 191a;
Violin-playing, iv. 290 a ;
Violoncello-playing, iv, 300 b ;
Virginal Mus., iv. 307 b ; Vox
humana, iv. 340b ; Wagenseil,
iv. 345a; Wanhal, iv. 382b;
Wind-band, iv. 465a, note;
Zacconi, iv. 497 b; Benevoli,
iv. 543 a ; Guido d'Arezzo, iv.
660 b; Hist, of Mus., iv, 674 a j
Psalter, iv, 754b, etc, ; Venice,
iv, 808 b ; Virginal Music, iv.
813a.
BuBONi ; Clementi, i. 372b;
Siroe, Re di Persia, iii. 534 a,
BuBROWES, J., i. 285a; Philh.
Soc., ii. 699a; PF. Mus., ii.
727b.
Bubton; Harrison (S.), i. 692 a.
BuBTON, A., i. 285 b ; Mus. Lib.,
ii. 422 a.
Bubton, R. S. ; Naylor (J.), iv.
728b.
Bubton, J., i. 285 b.
BuBTius,N.; Mus. Lib,,ii.423bj
Mus.-printing, ii. 433b; Mus.
Lib., iv. 725 b, etc.
BuBZOLLA ; Mus. Lib., iv. 726 a.
BuSAUN ; Virdung, iv, 303 b.
Busby, Dr., i. 285b; iv. 571a;
Adams (T.), i. 29b; Cecilia
(St.), i. 329b ; Diet, of Mus.,
i. 446 b; Page, ii. 632 b;.
Burner is icumen in, iii. 765 b ;
Hist, of Mus., iv. 674a.
BUSCHMANN ; Terpodeon, Iv. 93a.
BusNOis, A., i. 285b ; L'homme
Armt?, ii. 127a ; Madrigal, ii.
1 88 a; Polyphonia, iii. 13a;
Schools of Comp., iii. 260 a;
Sistine Chapel, iv. 794 a.
Busse; Orpheus, ii. 613&.
BussiNE ; Conservatoire, i, 393 a ;
ZurMiihlen, iv. 818&.
Butler, T. H., i. 286a; Pro-
gramme Mus., iii. 37 &.
Butlee; Ballad, i. 129a; Bar,
i. 1365.
BuTTSTEDT, F. V.; Tr^sor des
Pianistes, iv. 168 a.
Buds, J. de ; Berchem (J.), i.
230a; Merulo, ii. 314b, note;
Wert, iv. 445 a.
Buxtehude, D., i. 286a, iv.
571 &; Bach (J. S.), i. 114&;
Kirchen Cantaten, ii. 60 a;
Organ, ii. 5866; Passacaglia,
ii. 661 a; Programme Mus.,
iii. 36 a; Spitta, iii. 656 b;
Suite, iii. 757a; Theile (J.),
iv. 99a ; Variations, iv. 220a;
Bach (J. S.), iv. 527a.
Buxton, E. ; Ewer & Co., iv.
630 a.
BuYTEN, M. van; Mus. -print-
ing, ii. 4360.
INDEX.
BuzTAU ; Philh. Soc., ii. 700 a.
BuzzoLA, A.; Verdi, iv. 253a.
Byfield, J., iv. 571 b ; Organ, ii.
5966.
Byfield, J., jun., iv. 571b.
Byfield, Jordan and Bridge,
iv. 571b.
Bylinas ; Song, iii. 612 b.
Byrd, T., iv. 574a; Bull, i.
282a.
Byrd, W., i. 286b; iv. 571b;
Ambrosian Chant, i, 60 a;
Anthem, i. 70b; Barnard, i.
140 a ; Boyce, i. 268 a ; Bull, i.
282 b; Canon, i. 304b; Carman's
Whistle, i. 315 b; Case (J.),
i. 318b; Cathedral Mus., i.
325 a; Creed, i. 415b; Este
(T.), i. 495 b, etc. ; Ferrabosco
(A.), i. 512a; Gibbons (O.),
i. 594b ; Glee Club, i. 599 a;
Harmony, i. 672a; Hawkins, i.
700 a ; Haym, i. 7 2 3b ; Horsley,
i. 753 b; Hymn, i. 761a;
Klavier Mus., AJte, ii. 63b;
Kyrie, ii. 79 b; Leighton, ii.
114a ; Lesson, ii. 1 24a ; Litany,
ii. 152a; Madrigal, ii. 191a;
Magnificat, ii. 197a ; Mass, ii.
230b; Morley, ii, 367 b; Mo-
tett, ii. 375b, etc.; Motett
Soc, ii. 376b; Mundy (W.),
ii. 409a; Mus. Antiqua, ii.
27
411b; Mus. Transalpina, ii.
416 a ; Mus. Antiquarian
Soc, ii. 416 b; Mus. Lib.,
ii. 417b, etc; Music-printing,
ii. 435 a ; Non Nobis, ii.
464a; Parthenia, ii. 653a;
Part Mus., ii. 657a; Passa-
mezzo, ii. 662 a; Plain Song,
ii. 769a; Programme Mos.,
iii* 35 &; Recte et Retro, iii.
87b; Sanctus, iii. 224b;
Schools of Comp., iii. 272 b,
etc.; Service, iii. 472b; Sounds
and Signals, iii. 644 a ; Speci-
mens, Crotch's, iii. 649b ; Sub-
ject, iii. 750a; Suite, iii. 755 b,
etc; Tally s, iv. 53b; Te
Deum, iv. 68 a ; Tomkins
(T.), iv. 134b; Tudway, iv.
198a; Variations, iv. 2175;
Versicle, iv. 257 a; Vespers,
iv, 257 b; Virginal Mus., iv.
307 a, etc. ; Vocal Scores, iv.
319b, etc. ; Watson (T.),
iv. 387a; Burney, iv. 570b;
Cantiones sacrae, iv. 578 o ;
Carol, iv. 580b ; Mass, iv.
713a; Mus. Lib,, iv, 723b;
Part books, iv. 740 a; Tally s,
iv, 798 a.
Byrne, D. ; Irish Mus., ii.
19 a,
Byron ; Strakosch, iii, 735 a.
C.
Q^, i. 289a; iv. 574a; Canto,
i. 306 a ; Common Time, i.
381 a.
Cabaletta, i. 289b; Pacini (G.),
ii. 627b; Rossini, iii. 176a.
Caballero, M. F. ; Eslava, i.
495 «•
Cabel, E., iv. 574b.
Cabel, Marie J., i. 2896; iv.
574 a.
Cabinet Piano, i. 290a; iv.
574b; Cottage Piano, i. 407 b.
Cabo, F. J. ; Eslava, i. 495 a.
Cabrera, F. ; Eslava, i. 495 a.
Caccini, G., i. 290 a; Bardi, i.
139a; Cantata, i. 304b ; Cava-
lieri, i. 327a; Figured bass,
i. 522a; Florence, i. 533b;
Harmony, i. 673 b; Inter-
mezzo, ii. 86; Monodia, ii.
354b; Opera, ii. 498 a; Per-
gola, La, ii. 686 a; Peri, ii.
690 b; Rochlitz, iii, 142a;
Schools of Comp., iii. 278b;
Shake, iii. 480 a ; Singing,
5046, etc.; Song, iii. 587b;
Theorbo, iv, loia ; Thorough-
bass, iv. 108 b; Trill, iv. 169b;
Burney, iv. 571a; Mus. Lib.,
iv. 726a.
Cachucha, i, 290 b; Seguidilla,
iii. 457a.
Cadeac, p., i. 290b.
Cadence, i. 290 6 ; Close, i. 375 a;
Form, i. 546 b, etc. ; Harmony,
i. 674a, etc ; Imperfect, i.
766 b ; Inganno, ii. 3a; In-
terrupted cadence, ii. 1 1 a ;
Mixed cadence, ii. 338b; Per-
fect, ii. 686 a ; Plagal cadence,
ii. 760a; Radical cadence, iii.
63 b; Seventh, iii. 477 a;
Part-writing, iv. 741 b.
Cadence ; Agr^mens, i. 43 a.
Cadent ; Agrdmens, i. 436.
Cadenza, i, 293b; iv. 574b;
Bar, i. 1376; Concerto, i.
387b, etc. ; Extempore play-
ing, i. 499 b; Fioriture, i.
5286; Melisma, ii. 248 b;
Mendelssohn, ii. 272 b ; Peri-
elesis, ii. 691 6 ; Point d'Orgue,
iii. 6 b.
Caecilia, i. 294 b; iv. 574b;
Mus. Periodicals, ii, 4306,
Caecilian Society, i. 295 a; iv.
574&-
Caecilien - Verein ; Balde-
necker, i, 126a; Hiller (F.),
i. 737 b; Schelble (J.N.)j iii.
244a ; Schools of Comp., iii.
312a.
CiESAR, i. 295 b.
CiESAR, J., i. 295 b ; iv. 574 b.
CiESURiE; Metre, ii. 317 a;
Modulation, ii, 347 a.
Cafaro, p., i. 295 b; iv. 574b ;
Catiarelli (G.), i. 295 b;
Fitzwilliam Coll., i. 530 b;
Latrobe, ii. 102 b ; Naples,
ii. 446 a ; Olimpiade, ii. 496 b;
Sala (N.), iii. 217b; Solfeggio,
iii. 547bj Mus. Lib., iv. 726a.
Caffarelli, G. M., i. 295 b;
Cafaro, i. 295b; Gizziello, i.
597b; Leo, ii. 121 a; Majo-
rano, ii. 200 b; Pacchierotti,
ii. 625 b; Porpora, iii. 17 b;
Singing, iii. 505a, etc.; So-
prano, iii. 636 a.
INDEX.
Caffabo. (See Cafabo, i. 295 b.)
Caffi, F. ; Hist, of Mus., iv.
6756.
Cagnoni, a., iv. 574 J.
Cahdsac, L. de ; Hist, of Mus.,
iv. 6766.
Caimo, G. ; Schools of Comp., iii.
266a.
Ca iba, i. 2966 ; Song, iii. 594 J.
<Jaiboni; Marchesi(L.),ii. 214a.
Calah, J., i. 297a; iv. 575a.
Calando, i. 297a.
Calascione, i. 297a; iv. 575a;
Bandora i. 1346.
Calcan ; Organ, ii. 6036.
Caldaba, a., i. 297 h ; iv. 575 a ;
Astorga, i. looa ; Auswahl,
i. 105a; Handel, i. 6546;
Ifigenia, i. 765 h ; Latrobe, ii.
102 b; Metastasio, ii. 315 b;
Olimpiade, ii. 496 b ; Opera,
ii. 505 a ; Oratorio, ii. 537 b ;
Rochlitz, iii. 142 a.
€aldeba; Melopiano, ii. 252 b;
Repetition, iii. 108 b.
Caldicott; Schools of Comp., iii.
308 a.
Caletti-Bbuni. (See Cavalli,
i. 328a.)
Calife de Bagdad, i. 297b;
Boieldieu, i. 256a.
Calkin, J. B. ; Part-song, ii.
659 b; Soc. Brit. Musicians,
iii. 544 a; Western Madrigal
Soc, iv. 449a.
Call, L. de, i. 297b ; Orpheus,
ii. 613 a; Part Mus., ii. 657 a.
Call-Changes, i. 297 b.
Callcott, Dr., i. 297b; iv.
575a; Catch, i. 322b; Catch
Club, i. 322b; Concentores
Sodaies, i. 383b ; Glee, i.
598 b; Haydn, i. 716b; Hors-
ley, i. 753 b; Mordent, ii.
364b; Mus. Lib.,ii. 419b, etc.;
Overend,iL 6 18 a; Part Mus.,
ii. 656 b; Potter, iii. 23 a;
Vocal Concerts, iv. 319 a;
Vocal Scores, iv. 319b.
Callcott, W. H., i. 299 a; iv.
Callinet, i. 299 a. (See Dau-
blaine, i. 431a.)
Calls; Horn, i. 748b.
Calonoba, R. ; Eslava, i. 495 a.
Calori, a., i. 299a.
Calvaby, i. 299a; iv. 575b;
Spohr, iii. 660 a.
Calvesi, i. 299 a.
Calvisius, S., i. 299a; Boden-
schatz, i. 253 a; Leipzig,
ii. 115a; Chorale, iv. 589 a;
Hist, of Mu8.,iv. 674a; Schein,
iv. 784 b.
Calvo; Roses, iii. 162 b.
Calzolabi ; Lumley, ii. 174a.
Camacho, i. 299 b. (See Wed-
ding of Camacho, iv. 431a.)
Camabgo, i. 299 b; Eslava, i.
494 b.
Cambebt, R.,i. 299b; iv. 575b;
Acaddmie de Mus., i, 6b;
Ballet, i. 130a; Bassoon, i.
153a; Beaumavielle, i. 160 a;
King's Band, ii. 58 a ; LuUi,
ii. 172b; Maltrise, ii. 199b;
Mus. Lib., ii. 421b; Opera,
ii. 506a; Pastorale, ii. 670a;
Perrin (I'Abb^), iL 693 a ;
Weckerlin, iv. 431a.
Cambini, G. G., i. 299 b; iv.
Cambio, p. ; Bumey, iv. 571 a ;
Mus. Lib., iv. 726a.
CAMBBroGE-QUAETERS, iv. 575b.
Cambridge, i. 300 a; Bacof Mus. ,
i. 121 b; Bennett (W. S.), i.
2256 ; Macfarren (G. A.), ii.
186 a; Mus. Lib., ii. 417b;
Professor, iii. 33 a ; Stanford,
iii. 690a ; University Soc., iv.
204b ; Degrees, iv. 609b.
Cameba, i. 300 a; Sonata, iii.
557a; Suite, iii. 756a, etc.
Camidge, J., i, 300a; iv. 676a.
Camidge, J., i. 300 a ; Chant, i.
338 a.
Camidge, M., i. 300a; Organ,
ii. 599 b.
Campagnoli, B., i. 300b; Scor-
datura, iii. 426 a ; Tartini,
iv. 61 a ; Tenor- violin, iv. 92 a.
Campana, F., iv. 576 a.
Campanint, L, iv. 576 a ; Lam-
perti, ii. 89 a; Singing, iii.
511a; Strakosch, iii. 734b;
Tenor, iv. 88 a.
Campanology, i. 300b, (See
Change, i. 333 b; also Cam-
bbidge Quarters, iv. 575 b.)
Campbell, A., i. 300 b; iv.
576b.
Campenhout, F. van, i. 300b;
iv. 576b; 33raban9onne, La, i.
268 b.
Campioli, a. G., i. 301 a ; Gua-
landi, i. 636 a.
Campion, T., i. 301 a ; iv. 576* ;
English Opera, i. 488 b ; Este
(T.), i. 496 a; Lupo, ii. 174b;
Lute, ii. 177b; Masque, ii.
2 2 5 b ; Mus. Antiqua, ii. 4 11 a ;
Play ford (J.), iii. 2a; Synip-
son, iv. 43 b.
Campobese, V, i. 301b; iv.
576b; Vocal Concerts, iv.
319b; Fetisjiv. 635 b.
CAMPBA,A.,iv. 576b ; Acaddmie
de Mus., i. 7b ; Idomeneo, Rd
di Creta, i. 765 a; Maltrise,
ii. 199b ; Mus. Lib., ii. 423a,
etc.; Opera, ii. 506b; Phili-
dor (F. A. D.), ii. 703 b;
Rameau, iii. 70 b ; Telemann,
iv. 69a ; Desmarets, iv. 612b;
Lalande (M. R. de), iv. 694 b.
Campba, J., iv. 577a, note.
Camus, Le ; Mus. Lib., ii. 421b.
Canal, Prof. P. ; Mus. Lib., iv.
725b.
Canabie, i. 303 a ; Oratorio, ii.
534b; Orch^sographie, 11.5605,
Canas ; Song, iii. 599 a.
Canavasso; Violoncello-play-
ing, iv. 300 a.
Cancan, i. 302 b.
Canceizans, i. 302 b; Canon,
i. 304a; Inscription, ii, 4b;
Rovescio, al, iii. 183 b.
Cange, Du; Diet, of Mus., L
444 b.
Canis, C, Schools of Comp., iiL
261b; Burney, iv. 571a.
Cannabich, C.,i. 303a; Cramer,
i. 413 b; Holzbauer, i. 745 a;
Mozart, ii. 385 b, etc. ; Ramm,
iii. 72b; Violin-playing-, iv.
293 &•
Cannabich, K., i. 303 a.
Canniciabi, Don P., i. 303 «.;
Mus. Divina, ii. 411b.
Canninha-Vebde; Song, iii,
600 a.
Cannissa, Mme. ; Strakosch, iii.
734&.
Canon, i. 303b; Answer, i. 70a;
Arsis and Thesis, i. 95 b ; Aug-
mentation, i. 104 b ; Can-
crizans, i. 302b; Catch Club,
i. 322b ; Fugue, i. 567a ; Glee
Club, i. 599 a; Hoftmann (E.
T. W.% i. 742 a; Imitation,
i. 765 b; Inscription, ii. 4a;
Inversion, ii. 16 a; Kuhlau.ii,
76a; Mass, ii. 227b, etc.;
Menilelssolm, ii. 300b; Motet,
ii. 372b; MusikalischesOpfer,
ii. 438a; Musurgia, ii. 438 b;
Nodus Salomonis, ii. 461b;
Non Nobis, ii. 464 a ; Notation,
ii. 474 b ; Pammelia, ii. 643 a;
Presa, iii. 29 a ; Proposta, iii.
43 a; Real Fugue, iii. 80 b;
Recte et Retro, iiL 87 b;
Round, iii. 179b; Schools of
Comp., iii. 259b, etc. ; Sechter,
iii. 456a; Subject, iii. 748b,
etc. ; Valentini, iv. 213a;
Zacconi, iv. 497 b; Bumey,
iv. 570 b.
Canongia; Clarinet, i. 362 a.
Cantabile, i. 426 b.
Cantata, i. 304 b; iv. 577b;
Act, i. 26 a; Carissimi, i
314 b; Chamber Mus., u
332 a; Ferrari (B.), j. 513 a;
Kirehen-Cantaten, ii. 60 a ;
Libretto, ii. 130 a ; Mass, ii.
2336; Meeresstille und Gliick-
liche Fahrt, ii. 245 a ; Opera,
ii. 498 h, etc ; Recitative, iii.
83a; Serenata, iii. 4676;
Sonata, iii. 554a; Song, iii.
588 a, etc. ; Weber, iv. 4226.
Cantate Domino, i. 305 h ; Ser-
vice, iii. 472a, etc.
Cantelo ; Handel, Commemora-
tion of, i. 657&.
Canterbury Pilgrims, iv.
577?>; Stanford, iii. 689 J.
Canti ; Sacchini, iii. 2076.
Canti carnasoialeschi ; Song,
iii. 586 &.
Canticle, i. 305 & ; Antiphon, i.
73?); Benedicite, i. 222 a;
Benedictus, i. 223b ; Cathed.
Mus., i. 324a ; Intonation,
ii. 12 a; Nunc Dimittis, ii.
4845; Schools of Comp., iii.
265 a; Vesperale, iv. 257 a.
Cantilena, iv. 578a; Ballad, i.
128b; Ernst, i. 492 &; Motet,
ii. 371&; Neruda, ii. 451&;
Paganini, ii. 631a; Rode, iii.
142 h ; Song, iii. 587 a ; Burney,
iv. 570&.
Cantiones sacrae, iv. 578a;
Este (T.), i. 496a; Tallys,
iv. 53a; Byrd, iv. 572a.
Canto, i. 306 a ; Plain song, ii.
763a; Voices, iv. 333b.
Cantoni ; Bodenschatz, i. 253a.
Canto Fermo, i. 306 a ; Chant,
i. 336b; Counterpoint, i. 407 b ;
L'Horame arme, ii. 126b;
Madrigal, ii. i8Sa; Mass, ii.
226b; Mus. Ficta, ii. 412b;
Plain song, ii. 763 a; Schools
of Comp., iii. 259b, etc. ; Sub-
ject, iii. 747 b, etc. ; Tonal
fugue, iv. 140 a.
Cantor, iv. 578a ; Leipzig, ii.
114b; Mendelssohn, ii. 282 a.
Cantoris, i. 306 a; Decani, i.
438 b.
Cantus fictus ; Mus. Ficta, ii.
412b.
Cantus mensurabilis. (See
Mus. MENSURATA, ii. 415*.)
Canzona, i. 306 a ; Sonata, iii.
554b, etc. ; Song, iii. 585a.
Canzonet, i. 306 b; Este (T.),
i. 496a; Intermezzo, ii. 8a;
Madrigal, ii. 192a; Monodia,
ii. 354b ; My mother bids me,
etc., ii. 440a ; Part-song, ii.
658 a; Schools of Comp., iii.
264b, etc.; Song, iii. 606b;
Villanella, iv. 264b ; Zacconi,
iv. 497 b.
INDEX.
Capella, i. 306b.
Capelle ; Chanson, i. 336 b.
Capellini, M. ; Oratorio, ii.
535 &.
Capello, F. ; Song, iii. 588 b, etc.
Caperan ; Concert Spirituel, i.
38.sa.
Capilupus ; Bodenschatz, i.
353&.
Capon; Boccherini, i. 251a,
Caporale, a, i. 306 b.
Capo tasto, i. 306 b ; Banjo, i.
135a; Frets, i. 563b; Guitar,
i. 640 a.
Capoul, J. V. A., iv. 578 b;
Philh. Soc, ii. 700 a; Stra-
kosch, iii. 734b.
Cappelen ; Song, iii. 611 a.
Capriccietto, i. 307 a.
Capriccio, i. 307 a ; Scherzo, iii.
245 b, etc.
Capron; Gavinies (P.), i. 585b.
Capuletti ED I Montecchi, I,
i. 307a; Bellini, i. 212 b.
Caraccio, G., i. 307a.
Caradobi-Allan, M. i. 307 b ;
iv. 579a; Philh. Soc, ii.
699a; Mendelssohn, iv. 716b.
Carafa, M. , i. 308 a ; iv. 579 a ;
Batton (D.), i. 157 a; Bellini,
i. 214a; Blangini, i. 248a;
Comettant, i. 379a ; Conserva-
toire de Mus., i. 392 b ; Gym-
nase de Mus. Militaire, i. 642 a ;
Ifigenia, i. 765 b ; Part-Mus.,
ii. 657a ; Pasdeloup, ii. 659b ;
Rossini, iii. i68b, etc.; Soli-
taire, le, iii. 549 b ; Altfes (E.),
iv. 521b.
Carapello ; Naples, ii. 446 a ;
Scarlatti (A.), iii. 239a.
Carbonel, N. ; Partant pour la
Syrie, ii. 653a; Song, iii.
595b.
Cakbonelli ; Rubinelli (G. B.),
iii. 189 a.
Cabdarelli, Signora, i. 308 b.
Cardon, L., i. 308 b.
Cardoso, M., i. 308 b; Mus.
Divina, ii. 411b.
Caresana, C, i. 308 b; Pract.
Harmony, iii. 24 a ; Saggio
di Contrappunto, iii. 212 a.
Carestini, G., i. 308 b; Cusa-
nino, i. 424a; Durastanti, i.
471b; Opera, ii. 512 b; Sing-
ing, iii. 506a; Soprano, iii.
636 a.
Carey, H., i. 309a; iv. 579a;
Clark (R.), i. 365 a ; God save
the King, i. 605 b; Hymn, i.
763 a ; Jahrbiicher, etc., ii. 30 b ;
Mus. Lib., ii. 42 1 b ; R. Soc.
of Musicians of Gr. Brit., iii.
187a; Song, iii. 606b.
29
Carey, J. S., i. 368 b; iv. 579 a.
Carillon, i. 310b; iv. 579b;
Bells, i. 2 16 a; Campanology,
i. 300b; Gheyn (Van den), i.
593 a ; Cambridge Quarters,
iv. 5756; Glockenspiel, iv.
648 b.
Cario, J. H. i. 314 a.
CARissiMi,G.,i.3i4b ; iv.579a;
Acad^mie de Mus., i. 7b;
Aldrich, i. 52 a; Bernhard, i.
235b; Cantata, i. 305 a; Cesti,
i. 331b; Colonna, i. 378b;
Fitzwilliam Coll., i. 530 b;
Hantlel, i. 654b ; Harmony, i.
674b, etc. ; Hawkins, i. 700 a ;
Kerl, ii. 5 1 a ; L'Homme arme,
ii. 127a; Lulli, ii. 173a; Mass,
ii. 231a; Modulation, ii.
348 b; Mus. Lib., ii. 421b,
etc. ; Opera, ii. 503 b ; Ora-
torio, ii. 536 a, etc. ; Part-
Mus., ii. 657 a; Prince de la
Moskowa, iii. 31a; Ritor-
nello, iii. 137b; Rochlitz, iii,
142 a; Scarlatti (A.), iii.
238a; Specimens, Crotch's,^
iii. 649 b ; Vocal Scores, iv.
319 b; Burney, iv. 571a;.
Dance rhythm, iv. 607 a.
Carlo, G., i. 315a.
Carlton, Rev. R., i. 315a; iv.
579 a ; Oriana, ii. 611 a.
Carmagnole, La, i, 315 b; Pa-
ganini, ii. 628 a.
Carman's Whistle, The, i..
315 b; iv. 579 «; Lesson, ii.
124a; Virginal Mu8., iv. 308,
etc.
Carmen, iv. 579a; Bizet, i.
246 b.
Carmignani, G., i. 316a.
Carnaby, Dr., i. 316 a; iv. 579 a.
Carnaval de Venise, i. 316a;
Paganini, ii. 632 a.
Carneval, iv. 579 a ; Schumann,^
iii. 408 a.
Carnicer, R.,i. 316b; iv. 579b.
Carol, i. 316b; iv.579b; Hymn,
i. 761 a ; Noel, ii. 462 a, etc. ;
Song, iii. 585 a; Waits, iv.
375«-
Carolan. (See O'Cabolan, ii.
490 a.)
Carolsfeld, L. S. von. (See
Schnorr.)
Caron, F., i. 316 b ; L'Homme
arme, ii. 127a; Madrigal, ii.
1 88 a; Mass, ii. 227 b ; Motet,
ii. 372 a; Schools of Comp.,
iii. 260 a.
Caroso, M. F., i. 316b; Passa-
mezzo, ii. 662 a.
Carpani, G., i. 316b ; dementi,
i.372b; Haydn, i. 715a, etc.;
80
Jannaconijii. 31a; Zingarelli,
iv. 508 b.
Carpenter, N. ; PhUh. Soc, ii.
747 a.
Carpentier, a. C. le ; Jullien,
ii. 44a ; PF. Mu3., ii. 730a.
Carpentras, i. 317 a. (See
Genet, E., i. 5886.)
Carpi ; Strakosch, iii. 734?).
Carr, B. ; Opera, ii. 5296.
Carreno ; Strakosch, iii. 734?>.
Carrodus, J. T., i. 317& ; Philh.
Soc, ii. 700 a; Trin. Coll.,
London, iv. 171 &; Violin-
playing, iv. 298 h.
Cartellieri ; Boehm (Eliz.), i.
254a; Lobkowitz, ii. 155a.
Carter, J. ; London Violin-
makers, ii. 165 a.
Carter, T., i. 317b; iv. 581b;
Song, iii. 606 b.
Cartier, J. B., i. 3175.
Cartoni, i. 318 a.
Cartoni ; Mus. Lib., ii. 422 b.
Carulli, F., i. 318a ; iv. 582a.
Caruso, L., i. 318a ; iv. 582 a ;
Morlacchi, ii, 366 a.
Carvalho, L., iv. 582 b.
Carvalho, Marie C. F.,iv.582 a ;
Rossini, iii. 176 a.
Cart, Miss ; Singing, iii. 512 a;
Strakosch, iii. 734b.
Casali, G. B., i. 318 a; Gretry,
i. 628a.
Casanovas ; Roses, iii. 162 b.
Casarini, Signora, i. 318 b,
Cascales ; Rogel (J.), iii. 144b.
Casciolini, C. ; Mus. Divina, ii.
41 1 b, etc. ; Mus. Lib., ii. 42 1 b.
Case, J., i. 318b; iv. 582b.
Caseda, D. ; Eslava, ii. 494b.
Casella ; Song, iii. 586 b.
Casella, J. ; Soc. de Quart, do
Porto, iii. 543a.
Casentini, Signora, i. 318 b.
Casini, G. M., i. 318b; Mus.
Divina, ii. 411b.
Casolani, Rowland, iii. 184a.
Casolini, p. ; Mariani, iv. 710 a.
Cassation, i. 319 a; Diverti-
mento, i. 450 b ; Haydn, i.
705 b ; Mozart, ii. 384 b, etc. ;
Serenata, iii. 468 a.
Cassel, G,, i. 319 a.
Casson, Margaret ; Song, iii.
607a.
Castanets, i. 319a; Bolero, i.
258 a; Fandango, i. 502 a;
Instrument of percussion, ii.
7 a.
Castellan, Jeanne A., iv.582b;
Luniley (B.), ii. 174a; Philh.
Soc, ii. 699b ; Spohr, iii. 660b.
Castelli, i. 319 b.
Castelli, L F., i. 319b.
INDEX.
Castello, D. del ; Eslava, i.
494 b.
Castil-Blaze. (See Blaze, C,
i. 248 a.)
Castro, J. de, i. 319 J.
Castrovillari ; Opera, ii. 503 b.
Castrucci, J. ; Cherubini, i.
341 J.
Castrucci, P., 1.319b; Corelli,i.
401 o ; Scordatura, iii. 426 a.
Catalani, Angelica, i. 319b;
Ancient Concerts, i. 65 a ; Ber-
tinotti, i. 236 b ; Cianchettini,
i- 357 a; Clement (F.),i. 371b;
Garcia, i. 581 b ; Lacy (M. R.),
ii. 83 a ; Oury (Madame), ii.
617 a ; Pacchierotti, ii. 626 a ;
Reichardt (A.), iii. 99a ; Rode,
iii. 1430; Singing, iii. 6o6b;
Sontag, iii. 635 b; Soprano,
iii. 635b; Spontini, iii. 669b;
Stansbury, iii. 690 a ; Vocal
Concerts, iv. 319b; Zingarelli,
iv. 509 a.
Catalani, Alf., iv. 583a; Schools
of Com p., iii. 301 b.
Catalanus, 0. ; Bodenschatz,
i. 254a.
Cataldo, di; Mus. Lib.,ii. 419a.
Cataneo ; Bosio, i. 262 a.
Catarina Cornaro, i. 323 a;
Donizetti, i. 454 a.
Catch, i. 322a ; Catch Club, i.
322b; Glee Club, i. 599a;
Hilton, i. 740 a; Pammelia,
ii. 643 a ; Ravenscroft, iii.
78 b; Round, iii. 179b; Bur-
ney, iv. 571a.
Catch, Scotch. (See Scotch
Snap, iii. 437 b.)
Catch Club, i. 322 b.
Catel, C. S., i. 323a ; Academic
de Mus., i. ga; Bayaderes,
157b; Boieldieu, i. 257a;
Chaulieu, i. 340 b; Conserva-
toire, i. 392 a ; Gossec, i.
611 b; Harold, i. 731a; Le-
sueur, ii. 125a; Opera, ii.
523a; Semiramide, iii. 461a;
Solfeggio, iii. f;49a ; Spontini,
iii. 669 a; Zimmerniann (P.
J. G.), iv. 508a; Benoist, iv.
543 b; Martini II Tedesco, iv.
712b.
Catel ANi, A., i. 323b; iv.
583a.
Catenacci, i. 323b.
Caters, i. 323b.
Cathedral Music, i. 323 b;
Arnold (S.), i. 86 b ; Barnard,
i. 140 a; Bayly, i. 157 b;
Boyce, i. 267 b, etc. ; Howard,
i. 754b ; Kent, ii. 50b ; Ouse-
ley, ii. 6i8a; Rirabault (E.
F.), iii. 135 a; Schools of
Comp., iii. 271a, etc.; Tud-
way, iv. 186 a.
Catherine Grey, i. 325b; Balfe,
i. 127a.
Catholic Gregorian Associa-
tion, Westminster, iv. 449 b.
Catley, Anne, i, 325b; Bates
(W.), i. 155 a; Hornpipe, i.
753a; Hymn, 1.7630; Mary-
lebone Gardens, ii. 224b.
Caumez, J. ; Roi des Violons,
iii. 146 a,
Caurroy, p. E. du, i. 326 b;
Cecilia, St.,i. 329a; Gabrielle,
Charmante,i. 573a; Maltrise,
ii. 199 b; Noel, ii. 462b;
Prince de la Moskowa, iii,
31a; Schools of Comp., iii,
267a; Song, iii. 593a, note;
Burney, iv. 571a.
Causton, T., i. 326b ; Hymn, i.
762 a.
Cauvini, i. 326 b.
Cavaccio, G., i. 327a; Oriana,
ii. 611 b.
Cavaille - Col, i. 327 a; iv.
583 b ; Barker, i. 139 b ; Com-
bination pedals, i. 379 a ;
Harmonic stops, i. 666 a;
Harmonium, i. 667 a ; Organ,
ii. 599 b, etc. ; Pneumatic ac-
tion, iii. 4b; Temperament,
iv. 72a ; Gern (A.), iv. 646b.
Cavalieri, E. del, i. 327a ; Flo-
rence, i. 533b ; Intermezzo, ii.
8a; Mus.Lib.jii. 425b; Opera,
ii. 499a; Oratorio, ii. 534a;
Orchestra, ii. 561 b ; Peri, ii.
690 a; Recitative, iii. 83 a;
Score, iii. 429b ; Secco Recita-
tive, iii. 454b; Thoroughbass,
iv. io8b ; Burney, iv. 571a;
Dance Rhythm, iv. 606 b.
Cavalieri, Katherina, i. 327 J.
Cavalli, p. F., i. 328 a; iv.
583 b ; Air, i. 47 a ; Cesti, i.
331 b ; LuUi, ii. 172 a ; Opera,
ii. 502 b, etc ; Orchestra,
ii. 562 a ; Ritornello, iii,
1376 ; Schools of Comp., iii,
279a; StefFani, iii. 694 b;
Burney, iv. 571a; Mus. Lib.,
iv. 726a; Notation, iv. 732a,
CAVALLiNi,E.,iv.583b; Clarinet,
i. 362a; Philh. Soc, ii. 699b.
Cavatina, i. 328a; iv. 5836;
Cabaletta, i. 289b; Foim, i.
553 &; Opera, ii, 511a; Ora-
torio, ii. 544a; Song, iii. 588b.
Cavedagni ; Rossini, iii. 164b.
Cavendish, M., i. 328b; Este
(T.),i. 495 b; Oriana,ii. 6iia,
Caveron, R. ; Roi des Violons,
iii. 146 a.
Cazaux; Wagner, iv. 361a*
Cazzati, M.,i. 328^.
Cebell, iv. 5836 ; Hawkins, i.
700 a; Suite, iii. 756 a.
Ceccarelli ; Palestrina, ii. 641 h.
Ceccarelli ; Mozart, ii. 3876.
Ceccherini ; Ponidtowski, iii.
146.
Cecilia, St., i. 328 J ; iv. 5836 ;
Clark (J.), i. 365 a ; Purcell
(H.), iii. 476, etc. ; Purcell
(D.), iii. 52 a; Festivals, iv,
635 &.
Cedirne ; Organ, ii. 594 a.
Celeste; Sordini, iii. 636 &.
Celestina ; Sostinente, P.F., iii.
6396.
Celestino, E., i. 329 &.
Celli, F. ; Albertazzi (Emma),
i. 49&; Grisi, i. 6326.
Cellier, A., iv. 583?); Schools
of Comp., iii. 307 &.
Cellier, L. ; Baltazarini, i.
I33«.
Cellini, Mme. ; Haydn, i.
706 b.
Cello. (See Violoncello, iv.
299b.)
CeMBAL d'AmORE, 1. 330 a; IV.
584a ; Silbermann, iii. 495a.
Cembalo, i. 330a; iv. 584a;
Casini, i. 318& ; Clavicembalo,
i. 366 a; Dulcimer, i, 4686;
Harpsichord, i. 688 a.
Cenerentola, La, i. 330 & ; Ros-
sini, iii. 167&.
Cephalicus. (See Torculus,
iv. 87&.)
Cerito ; Ballet, i. 132 a ; Inter-
lude, ii. 9& ; Laporte (P. F.),
ii. 91 h.
Cerone, D. p., i. 330 &; Mer-
sennus, ii. 314&; Mus. Lib.,
ii. 423&-
Cekreto, S. ; Tablature, iv.
48 a.
Certon, p., i. 331 a ; iv. 584 a ;
Attaignant, i. 100&; Mug.
Antiqua, ii. 411a; Motett
Soc.,ii.376&; Schools of Comp.,
iii. 267a ; Song, iii. 593a.
Ceruti ; Stradivari, iii. 7326;
Violin, iv. 284a.
Cervetto, G., i. 331a; Stradi-
vari, iii. 732a.
Cervetto, J., i. 331a; Lindley
(R.), ii. 143a; Rauzzini, iii.
78a.
Cesi; Martucci, iv. 7x26.
Cesti, a., i. 331&; iv. 584a;
Cantata, i. 305 a; Carissimi, i.
314b ; Harmony, i. 675b, etc. ;
Hawkins, i. 700a ; Modulation,
ii. 348a; Mus. Lib., ii. 422a ;
Opera, ii. 503 b; Pasquini, ii.
660 b; Ritornello, iii. 137b;
INDEX.
Schools of Comp., iii. 279a;
Sonata, iii. 555 a; Specimens,
Crotch's, iii. 650a ; Cantata,
iv. 584 b.
Cevallos, F., L 331b.
Chabrier, a. E., iv. 584a;
Lamoureux, iv. 6g6b.
Chaconne, i. 331b; Folia, i.
539b; Passacaglia, ii. 661 a;
Song, iii. 598b, note ; Subject,
iii. 751b; Suite, iii. 756a;
Variations, iv. 221b.
Chair Organ. (See Choir Or-
gan, i. 349 a.)
Chalet, Le, i. 332 a; Adam
(A.), i. 28a.
Chalumeau, i. 332 « ; Abbrevia-
tions, i, 4a ; Clarinet, i. 361 a ;
Cor Anglais, i. 400 a ; Oboe,
ii. 486 a; Shawm, iii. 485 b;
Clarinet, iv. 591b.
Chamatero; Mus. Lib., ii. 419 a.
Chamber Music, i. 332 a ;
Becker (J.), i. i6ib; Dando,
i. 429 b ; Monday Popular
Concerts, ii. 352b; Miiller
Brothers, ii. 408 b ; Sonata, iii.
556b, etc. ; Trompette, La, iv.
178b; Violin -playing, iv.
295 a, etc.
Chamber-Sonata ; Sonata, iii.
556 b, etc.
Chambonnieres, J. de, i. 332b ;
Agremens, i. 42 b; Cambert
(R.), i. 299b; Harmony, i.
676a; Klavier Mus. Alte, ii.
63 a; Tresor des Pianistes, iv.
i68a.
CHAMPEiN,S.de;Maltrise,ii.2ooa.
Champfleury ; Hist, of Mus,,
iv. 675 a.
Champigny ; Specimens,Crotch's,
iii. 650a.
Champion, A., i. 332b; Cham-
bonnieres, i. 332 b.
Champness, S. ; Battishill, i.
156 a; Handel, Commemora-
tion of, 658 a.
Change, i. 332 b; Diminished
intervals, i. 448 a ; Modula-
tion, ii. 344b ; Ninth, ii.
460b,; Resolution, iii. 115 a.
Change, i. 333 b ; Bells, i. 219 b ;
Bob, i. 250b ; Campanology,
i. 300b; Carillon, i. 313b;
Caters, i. 323b; Cinques, i.
358 b; College Youths, Ancient
Soc. of, i. 377 b ; Cumberlands,
R. Soc. of, i. 423b; Doubles,
i. 460a; Grandsire, i. 6iga;
Hand-Bells, i. 647 b.
Change-Ringing. (See Change,
i- 333 &•)
Changing Note. (See Nota
Cambiata, ii. 466 a.)
31
CHANOT,F.,i.335a; London Vio-
lin Makers, ii. 165b; Violin,
iv. 283 a, etc. ; Vuillaume, iv.
341a.
Chanson, i. 335a; iv. 584b;
Auber, i. 102b; Boieldieu,
i. 257b; Leroy, ii. 123a;
L'homme arm^, ii. 126b;
Madrigal, ii. 188 a, etc. ; Mus.
Antiqua, ii. 411 a ; Mus. Lib.,
ii. 418b; Peme, ii. 692 b;
Schools of Comp., iii. 259b,
etc.; Song, iii. 591b, etc.;
Weckerlln, iv. 431 a ; Burney,
iv. 570b ; Dance Rhythm, iv.
600a; Hale, iv. 662 b; Hist,
of Mus., iv. 675 a.
Chant, i. 336 b; iv. 584b; Ac-
cents, i. 17^^; Accompani-
ment, i. 24b ; Cathedral Mus.,
i. 324a; Creed, i. 416a;
Double Chant, i. 459 a ; Flin-
toft, i. 533a ; Intermezzo, ii.
8a; Jones (J.), ii. 39b ; No-
tation, ii. 470a ; Ouseley, ii.
6i8a; Perielesis, ii. 691b;
Schools of Comp., iii. 283b.
Chanteors ; Song, iii. 585 b.
Chanterelle, i. 338b; Banjo, i.
135a; E., i. 478a; Hurdy
Gurdy, i. 759 «; Tablature,
iv. 49 a; Violin, iv. 267 b,
etc.
Chapeau Chinois, i. 338 b.
Chapelle, i. 338b; Capella, i.
306 b.
Chapels Royal, i. 339 a; Blow,
i. 249 b; Morley, ii. 367 b.
Chaperon ; Lalande, iv. 694 b.
Chaperons Blancs, Les, i.
339b ; Auber, i. 102b.
CHAPPELL&Co.,i.339b; Cramer
& Co., i. 415 a ; Monday Popu-
lar Concerts, ii. 352ft; Ruckers
(Hfinsj, iii. 195b; Ruckers
(Hans de Oude), iii. 197 b;
St. James's Hall Concert
Rooms, iii. 214b.
Chappell, W., i. 339 b ; Ballad,
i. 1 29 a ; God save the King, i.
605b ; Madrigal Soc.,ii. 194a ;
Mus. Association, ii. 417a;
Mus. Periodicals, ii. 427a;
Pop. Ancient Eng. Mus., iii.
6a; Purcell Soc, iii. 53a;
Schools of Comp., iii, 268 a;
Scotish Mus,, iii. 448 a; Song,
iii. 60 1 a, etc.; Sumerisicumen,
iii. 765 b; Virginal Mus., iv.
306 a ; Hist, of Mus., iv. 674a,
etc. ; Pop. Ancient 'Eng. Mus.,
iv. 750a.
Chappington, J., i. 340a.
Chapple, S., i. 340a; iv. 584b.
Characteristic, i. 340a.
3-2
Chabd, G. W., i. 340 a; iv.
584!).
Chakdavoine, J. ; Vaudeville,
iv. 231a.
Charde, J.; Bac. of Mus., i
121 a.
Chardin ; Vaudeville, iv. 233 a.
Charity Children, Meeting at
St. Paul's, i. 340 a; Festivals,
i. 517a; Haydn, i. 711a.
Charles the Second, i. 340?);
Macfarren (G.), ii. i86a.
Charlot ; Gr. Prix de Kome,
i. 6i8b.
Charpentier ; Acaddmie de
Mus., i. 7b ; Maitrise, ii. aooa ;
Mus. Lib., ii. 424a.
Charpentier ; Gr. Prix de
Rome, iv. 654&.
Chaeton-Demeur. (See De-
meur, iv. 611 a.)
Chasles, p. ; Mus. Periodicale,
ii. 4296.
Chasse, a. la, i. 340b.
Chatterton, J. B., i. 3406 ; iv.
5846 ; Bochsa, i. 252 a ; Philh.
Soc., ii. 6996; Thomas (J.),
iv. 105 a.
Chaulieu, C, i. 340b ; iv. 584b ;
Adam (L.),i. 29 a ; PR Mus.,
ii. 727b.
Chaunter, i. 341 a ; Bagpipe, i.
123b; Drone, i. 463a; Irish
Mus., ii. 20a.
Chauvet, a. ; Lamoureux, iv.
696 a; Lenepveu, iv. 699 a.
Check, i. 341 a ; Action, i. 26b ;
Pianoforte, ii. 711a.
Chedeville, p.; Musette, ii.
410b,
Cheese, G. J., i. 341 a.
Chelard, H. a. J. B,, i. 341 a ;
iv. 584a; Fidelio, i. 519a;
Gr. Prix de Rome, i. 6i8b;
Macbeth, ii. 183a; Monpou,
ii. 355^-
Chell, W., i. 341b; iv. 584b.
Chelle ; Mus. Lib., ii. 421 a.
Chelleri, F. ; Zenobia, iv. 506 a.
Chemin, N. du ; Sounds and
Signals, iii. 643 a.
Cherici ; Mus. Lib., ii. 422b.
Cheret ; Song, iii. 597 a.
Cherpitel ; Violin, iv. 284a.
Cherubini, M. L. C. Z. S., i.
341 b ; iv. 585 a ; Acad^mie de
Mus., i. 8 b, etc. ; Ali Baba, i.
53a; Alsager, i. 57b;^ Ana-
creon, i. 62a; Arriaga.i. 95a ;
Auber, i. 102 a; Bassoon, i.
153 b ; Batton, i. 156 b ; Bee-
thoven, i. 184b, etc. ; Bellini,
i. 214a ; Berlioz, i. 233a ;
Bigot, i. 241b; Blanchard, i.
347 b; Blangini, i. 248 a;
INDEX.
Boieldieu, i. 255b, etc. ; Bottle
de Toulmon, i. 263 b ; Campag-
noli, i. 3Cob ; Carafa, i. 308b ;
Chelard, i. 341 a ; Cimador, i.
358 a; Coccia, i. 375 b; Con-
servatoire de Mus., i. 392a,
etc. ; Demophon, i. 440 a ; Deux
Journdes, Les, i. 441 b ; Eccle-
siasticon, i. 481b; Faniska,
i- 503 a; Fidelio, i. 519a;
Florence, i. 534a ; Fugue, i.
569b; Fux, i. 570b; Gong,
i. 609 b; Gossec, i. 611 b;
Grand Opera, i. 617a; Hab-
eneck, i. 643 a; Haldvy, i.
644b, etc.; Hall^, i. 646b;
Hamilton, i. 647 a ; Haydn,
i. 715a, etc.; Hiller (Ferd.),
i. 737a; Hunten, i. 755a;
Imitation, i. 766 a ; In Questa
Tomba, ii, 4a ; Klavier Mus.
Alte, ii. 63 b; Klein, ii. 63 b;
Kyrie, ii. 78 b ; Liszt, ii. 145 b ;
Lodoiska, ii. 159b ; Martini, ii.
222b ; Mass, ii. 234a ; Medee,
ii. 243 a ; Meister, Alte, ii.
247b ; Mendelssohn, ii. 257 b ;
Mi Contra Fa, ii. 326b ; Mo-
tet, ii. 376a; Mus. Lib., ii.
421a; Neukomm, ii. 452a;
Nota Cambita, ii. 466 b;
Nourrit, ii. 480 a; Opera,
ii. 520b, etc. ; 0 Sal. Hostia,
ii. 615a; Overture, ii. 622a;
Paisiello, ii. 634 a ; Part
Mus., ii. 656b ; Philh. Soc, ii.
698b; PF. Mus., ii. 725b;
Recitative, iii. 85 b ; Requiem,
iii. iiib; Rossini, iii. 170a ;
Round, iii. i8ob ; Sanctus,
iii. 224a; Sarti, iii. a28b;
Schools of Comp., iii. 304a;
Score, iii. 431 ; Solfeggio, iii.
549 a; Sonata, iii. 566 b;
Speyer, iii. 650b; Spohr, iii.
659a; Spontini, iii, 681 b;
Steibelt, iii. 704 b ; Strauss
(J.), iii. 738b ; Strict Counter-
point, iii. 740 b ; Te Deum, iv.
68 b; Todi, iv. 131a; Tonal
fugue, iv. 135 b, etc. ; Vau-
corbeil, iv. 230b ; Viotti, iv.
301b; Vogt, iv. 332a, note;
Water Carrier, The, iv. 384 a ;
Weber, iv. 409 a ; Wind-band,
iv. 473 a ; Zeugheer, iv. 507 a ;
Zimmermann (P. J. G.), iv.
508a; Azzopardi, iv. 526b;
Brod, iv. 565 b; Dies Irse, iv.
614a.
Chest Voice, i. 344 b.
Chest of Viols, iv. 585 a.
Cheval de Bronze, Le, i. 344 b ;
Auber, i. 102 b.
Chevalier, i. 344b.
Chev^ , iv. 585 a ; Tonic Sol-Fa,
iv. 149b.
Chevillabd; Conservatoire de
Mug., i. 393b.
Chezy, W. von, i. 344b ; Schu-
bert, iii. 339 a, etc. ; Weber,
iv. 418a.
Chiabran, F., i. 344 b ; Somis,
iii- 553&-
Chiavette, iv. 586 a; Notation,
ii. 474a ; Notation, iv. 732 a.
Chickering, i. 345 a ; PF., ii.
720b; SquarePiano, iii. 683b.
Chifonib; Hurdy Gurdy, i.
759 &•
Chilcot, T., 1. 345a; iv. 586a;
Linley (T.), ii. 143b.
Child, W., i. 345 a; iv. 586a;
Arnold (S.), i. 86 b; Boyce,
i. 268 a; Cathedral Mus., i.
325a; Creed, i. 4T5b; Gold-
win, i. 608b ; Hudson, i. 755 a;
Musica Antiqua, ii. 411a;
Mus. Lib., ii. 41 8 a, etc. ; Mus.
School, Oxford, ii. 437a ; Ox-
ford, ii. 624b ; Part Mus., ii.
656b ; Schools of Comp., iii.
282 a; Service, iii. 473b;
Specimens, Crotch's, iii. 650 a ;
Tudway, iv. 198b; Arnold, iv.
586 a.
Chimay, Prince de; Osborne,
ii. 615 a.
Chimenti, M., i. 345 b ; Drogh-
ierina, i. 463 a.
Chimes, iv. 586b.
Chiming, i. 346 a; Campanology,
i. 300 b.
Chinese Pavilion, i. 346 a;
Chapeau Chinois, i. 338 b.
Chiostri ; Becker (J.),i. i6ib.
Chipp, E. T., i. 346a ; iv. 587b ;
Schools of Comp., iii. 308 a.
Chipp, T. ; Tower Drums, iv.
157 a.
Chiroplast, i. 346 b; Logier,
ii. 161 a.
Chitarrone, i. 347 b ; iv. 587 b;
Archlute, i. 81 a; Cither, i.
359b; Guitar, i. 639b; Lute,
ii. 176b; Opera, ii. 499 b;
Theorbo, iv. loi a.
Chladni, E. F. F., i. 348 a ; iv.
587 b; Belly, i. 220b ; Csecilia,
i. 295 a; Drum, i. 465 b;
Node, ii. 461b ; Piano- violin,
ii. 746a; Savart, iii. 231 a;
Terpodion, iv. 93 a.
Chob^t. (See Schobeet, iii.
257 »•)
Chodzko, a. ; Song, iii. 614b ;
Hist, of Mug., iv. 675 b ; Song,
iv. 795 a-
Choice of Hercules, The, L
349 a; Handel, i. 657 a.
Choir, i. 349a ; Quire, iii. 62a.
Choir Organ, i. 349 a ; Accom-
paniment, i. 21?); Chair Or-
gan, 1. 332a ; Organ, ii. 5786,
etc.
Chollet, J. B. M., iv. 587 &.
Chopin, F. F., i. 349 a; iv.
588a ; Ballade, i. 129& ; Bar-
carole, i. 1 38 & ; Berceuse, i.
22gh; Etudes, i. 4966, etc.;
Evers, i. 498 a ; Field, i. 519?);
Filtsch, i. 523a ; Fingering, i.
527a; Form, i. 5536; Franc-
homme, i. 5586 ; Gold-
schmidt, i. 608 a ; Halld, i.
. 6466 ; Harmony, i. 6826;
Hiller (Ferd.), i. 737 a; Im-
promptu, i. 768?) ; Kalkbren-
ner, ii. 46 a ; Klindworth, ii.
646 ; Kreisleriana, ii. 71a;
Leipzig, ii. 115a; Lenz, ii.
120&; Liszt, ii. 149a; Ma-
zurka, ii, 242 a ; Moscheles, ii.
370&; Mus. Lib., ii. 424a;
Nocturne, ii. 460 & ; Osborne,
ii. 615 a; Pedal Point, ii.
680 &; Pedals, ii. 683 a; PF.,
ii. 715& ; PF. Mus,, ii. 730 a ;
PF.-playing, ii. 742 &, etc. ;
Pixis (F. G.), ii. 759 5; Pleyel
& Co., iii.4a; Polacca, iii. 7?> ;
Polonaise, iii. 10& ; Prelude,
iii. 286; Quintuple Time,
iii. 61 & ; Eepetition, iii, 108& ;
Romantic, iii, 152a ; Scherzo,
iii. 248 a ; Schools of Comp.,
iii, 298 &, etc. ; Schulhof
(J.), iii, 3836; Song, iii.
614a; Spianato, iii, 650&;
Studies, iii. 747 a ; Tellefsen,
iv. 70 a; Thalberg, iv. 97 a;
Thematic Catalogue, iv. 99 h ;
Tresor des Pianistes, iv. 168 a ;
Via^dot-Garcia, iv. 260a ;
Wagner, iv. 369 a; Waltz, iv.
386 &; Wessel, iv. 448 &;
Mayer (C), iv. 715& ; Pach-
mann, iv. 7376.
Choragds, i. 350& ; Coryphaeus,
i. 4056; Elvey (S.), i. 487a;
Ouseley, ii. 6i8a; Oxford, ii.
624a ; Professor, iii. 32 &.
Chorale, i. 351a; iv. 5886, •
-^olian Mode, i. 40& ; Bach
(J. S.), i. 1166; Chorus, i.
354b; Dorian, i. 454?);
Figured, i. 522a; Form, i.
541 b, etc. ; Hassler (H. L.),
i. 697 a ; Hymn, i. 761 a ; In-
strument, ii. 6&; Interlude,
ii. 7& ; Isaac, ii. 236; Luther,
ii. 1 78 a, etc. ; Madrigal, ii.
190& ; Mosewius, ii. 371 &;
Oratorio, ii. 540a, etc. ; Partie,
ii. 656 a; Passion Mus., ii.
INDEX.
6655, etc. ; Pause, ii. 676 a ;
Schools of Comp,, iii. 2666,
etc.; Song, iii. 619a ; Subject,
iii, 747 &, etc, ; Thibaut, iv.
102a; Variations, iv. 219a;
Vogler, iv. 326a; Volkslied,
iv. 337a ; Vorspiel, iv. 340& ;
Walther (J.), iv. 381 &;
Wind-band, iv. 467a; Dance
Rhythm, iv. 6066; Hammer-
schmidt (A.), iv. 664a ; Hist,
of Mus,, iv. 674a, etc. ; Neu-
mark (G.), iv. 7306; Psalter,
iv. 754a, etc.; Scheidemann,
iv. 781 &, note; Scheldt, iv.
783 & ; Schein, iv. 7846; Vul-
pius, iv. 814a.
Choraleon ; .^olodion, i. 41 a.
Choral Fantasia, i. 3516;
Beethoven, i. 205 a.
Choral Harmonic Society, i.
352 a.
Choral Harmonists' Society,
i.352a ; Classical Harmonists,
i. 366 a; Novello (V.), ii.
481a.
Choral Symphony, i. 352a ; iv.
591a; Beethoven, i. 1756,
etc, ; Choral Fantasia, i. 351 &;
Philh. Soc, ii. 699a,
Chord, i, 3526 ; False Relation,
i. 501a; Harmony, i. 669 a,
etc, ; Inversion, ii. 17 a ; Root,
iii, 157a; Thoroughbass, iv.
109 a.
Choregraphie, (See Orcheso-
GRAPHIE, ii. 5606.)
Chorley, H, F,, i. 352&; Analy-
sis, i. 63 a; Hocket, i. 741 a ;
Mendelssohn, ii. 277a, etc.;
Schroder-Devrient, iii. 316&;
Thayer, iv. gSh ; Hist, of
Mus., iv. 675 a ; Wynne, iv.
818&.
Choron, a. E.,i. 353& ; AUegri,
i. 54 a; Caresan:i,i.3o86; Con-
servatoire de Mus,, i, 3926;
Die, of Mus,, i. 4456 ; Duprez,
i.47oa ; Fayolle,i. 510& ; Ger-
ber, 1.5896; Hiller (Ferd.),
^- 737*; Improperia, ii. 2a;
Jannequin, ii. 32 a; La Fage,
ii. 836, etc. ; Maitrise, ii.
200a; Monpou, ii. 355a;
Motet, ii. 3736 ; Niedermeyer,
ii, 455 & ; Palestrina, ii. 6426 ;
Raccolta Generale, etc, iii.
63a; Sala (N.), iii. 217&;
Schools of Comp., iii. 261 a ;
Scudo, iii. 4536 ; Song, iii.
595 a ; Stoltz, iii. 717 a ; Vog-
ler, iv. 328a; Wartel, iv.
383&.
Chorton, iv. 591a.
Chorus, i. 3546 ; iv. 591 a ; Bach
83
(J. S.), i. 116&; Handel, i.
654a; Willaert, iv. 459a.
Chotek, F. X. ; PF. Mus., ii.
729a.
Chouquet, G., i. 354a ; iv.
591 a ; Conservatoire de Mus.,
i. 394a ; Grisar, i. 632 & ; Mus.
Periodicals, ii. 429 a; Revue
et Gaz. Mus., iii. 121 6 ; Song,
iii. 598 a; Hist, of Mus., iv.
675 a; Mus. Instruments, Col-
lections of, iv. 722 &.
Chrismann, F, X,, i. 355a.
Christianowitsch, a, ; Hist, of
Mus., iv. 674?).
Christmann, J. F., i, 355 a;
Vogler, iv. 3316.
Christmas Oratorio ; Bach (J.
S.), i. 117 a,
Christus, i, 355 a; iv. 591a;
Mendelssohn, ii, 2856,
Christus am Oelberge, 1,3556;
Beethoven, i, 2076,
Chromatic, i. 355 6 ; Accidentals,
i, 186 ; Change, 1, 333 a ; Clavi-
chord, i. 368 a ; Melody, ii.
2516; Modulation, ii. 3436;
Scale, iii. 2366 ; Sequence, iii,
4646 ; Part-writing, iv. 741 &.
Chrysander, F., i. 356a; iv.
591 a ; Additional Accom-
paniments, i. 31 a, note ;
Erba, i. 491 6 ; Handel-Ge-
sellschaft, i. 659 a ; Jahr-
biicher, ii, 306 ; Leipzig, ii.
115 a; Mus, Periodicals, ii.
428a, etc, ; Mus, -printing, ii.
436 h ; Steffani, ill, 697 a, etc, ;
Tonkunstlerverein, iv. 1506 ;
Zachau, iv. 499 a; Handel,
iv. 6646; Handel-Gesellschaft,
iv. 665 a.
Chula ; Song, iii. 600 a.
Church, J., i. 3566 ; Schools of
Comp,, iii, 2866, note; Tud-
way, iv, 1996.
Church Modes. (See Modes
EccLES., 11. 3406.)
Church Sonatas ; Klrchen
Cantaten, ii. 606; Sonata, iii.
5566, etc.
Chwatal, F. X., iv. 591 & ; Or-
pheus, ii. 613 a ; PF. Mus., ii.
7296.
CiAPFEi ; De Reszke, iv, 611 b.
CiAJA, A. B. D., i. 357 a.
CiAMPi, L. v., i. 357a.
Ciampi, F. ; Latrobe, ii. 1026.
Cianchettini, p., i. 357 a.
Cianchettini, v., i. 357a.
CiARLATANi ; Song, iii. 586 a.
CiBBER, CoUey ; Beggar^s Opera,
i. 2096 ; Clive (Cath.), i. 3746 ;
Swiney, iv. 96.
ClBBEB, Susanna, Mrs., i- 357a ;
84
Ame, i. 836; Avoglio, i.
io6a ; Handel, i. 651 a ; Mes-
siah, ii. 315 a ; Shore, iii. 488 h.
Ciccimara; Loewe (J. S.), ii.
1606; Tichatschek, iv. 1136.
CicoGNA, E. ; Venice, iv. Sioa.
Cieba; Carlo (G.), i. 3i5»'
CiFRA, A., i.357&; Fog^ia (R), i.
539 a ; Saggio di Contrappunto,
iii. 212 a; Bumey, iv. 571a;
Sistine Chapel, iv. 794a.
Cigala ; Suppe (von), iv. 4a.
CiMA, P. ; Schools of Comp., iii.
266 a.
CiMADOR, G., i. 358a.
Cimarosa, D., i. 358a; iv.
591 6 ; Aprile, i. 796 ; Benin-
cori, i. 224a; Crescentini, i.
416&; Farinelli (G.), i. 507a ;
Impresario, i. 7686; Matri-
monioSegretOjii. 2386 ; Metas-
tasio, ii. 316a; Odeon, ii.
492 J; Opera, ii. 517a, etc.;
Oratorio, ii. 5526; Orazi e
Curiazi, ii. 560 a; Recitative,
iii. 856 ; Schools of Comp., iii.
287?) ; Score, iii. 431 ; Spon-
tini, iii. 665 h ; Zingarelli, iv.
508 a; Gnecco, iv. 6496;
Venice, iv. 809 a.
Cimbalom, iv. 591a.
CiNELLi, iv. 591 &.
Cinq-Mars, iv. 591 &; Gounod,
i. 614&.
Cinque-pas. (See Sink- a- pace,
Iii. 517b.)
Cinques, i. 3586.
CiNTi. (See Damoreau, i. 428 b.)
CiPRANDi, E,, i. 359a.
Ciprari, a. ; Pcalestrina, ii. 6386.
Cipriani, L., i. 359a.
Cipriano. (See Rore, iii.
159a.)
CiRCASSiENNE, La, i. 359 a ;
Auber, i. 102 &.
Cirri ; Part Mus., ii. 657 a.
Cis, Ces, i. 359a.
Cither, i. 359 a; Bandora, i.
134a; Chitarrone, i. 348a;
Guitar, i. 640a, etc.; Har-
monics, i. 665 a ; Holborne, i.
743 a ; Instrument, stringed,
ii. 6& ; Morley, ii. 368 a ; Mus.
Lib.,ii. 4206; Organ, ii. 594a.
CiTOLE, i. 359&.
Civil Service Mus. Soc, i.
359 &; iv. 69I&-
CizzARDi ; Mus. Lib., ii. 423 a.
Clagget, C, i. 3596; iv. 591 &.
Clapisson, a. L., i. 3606; Con-
servatoire de Mus., i, 394a;
Habeneck, i. 643 a ; Opera, ii.
523a; Roger (G. H.), iii.
144& ; Stradivari (A.), iii.
731a.
INDEX.
Clarabella ; Organ, ii, 601 a.
Clarel; Briard (J.), i.
275 a.
Clari, G. C. M., i. 360b ; Fitz-
william Coll., i. 530&; Mus.
Lib., ii. 420a, etc.; Prince de
la Moskowa, iii. 31a; Saggio
di Contrappunto, iii. 212 a;
Stabat Mater, iii. 685 a.
Claribel. (See Barnard, Char-
lotte A., iv. 531a.)
Clarinet, i. 361a; iv. 591 J;
A., i. la; Abbreviations, i.
4a; B., i. 1076; Barmann, i.
1 2 2 & ; Bass Clarinet, i. 149 & ;
Basset-Horn, i. 150&; Bas-
soon, i. 154b ; Beer, i. 162 a ;
Blaes, i. 2466 ; Boehiu (Th.), i.
254?>; Chalumeau, i. 332a;
Double Bassoon, i. 459 a ; Har-
monics, i. 665 a, etc, ; Horn, i.
7506; Instrument, ii. 6a;
Keys, ii. 55 &; Lazarus, ii.
108 a ; Mendelssohn, ii. 3006;
Mouth-piece, ii. 3786; Oboe,
ii. 488 a, etc. ; Orchestra, ii.
565 h, etc. ; Orchestration, ii.
567 rt, etc.; Organ, ii, 593a;
Partial Tones, ii. 654b ; Reed,
iii. 90a; Sax (Chas.), iii. 232 a;
Saxophone, iii. 234a ; Shawm,
iii. 4856; Sordini, iii. 6376;
Symphony, iv. 176; Timbre,
iv. 117a; Tone, iv. 143 &;
Troyers, iv. 1 80 a; Weber,
iv. 426b ; Willman (T. L.), iv.
460 &; Wind-band, iv. 467?),
etc. ; Cavallini (E.), iv. 5836;
Miiller (Iwan), iv. 722a.
Glaring, i. 364 b; Trumpet, iv.
i8oa.
Clark, Jeremiah, i. 365 a; iv,
591b; Anthem, i. 71a; Ar-
nold (S,). i. 86 b; Blow, i.
250a; Cecilia, St., i, 329a;
Croft, i. 419a; Division
Violin, The, i. 451a; Hine,
i. 7406; King (Chas.), ii.
57a; Page, ii. 632b; Part
Mus., ii. 656b, etc. ; Purcell
(Daniel), iii. 52 a ; Round, iii,
i8oa ; Schools of Comp., iii,
286b; Tudway, iv, 199b,
Clark, R., i. 365 a ; Harmonious
Blacksmith, iv. 667 a.
Clark, S. (See Scotson-Clark,
iii. 452 b.)
Clarke, J. (Clarke- Whitfeld),
i. 365 a ; iv. 592 a ; Boyce, i.
268a; Professor, iii. 33 a;
Trinity Coll., Dublin, iv. 1 70b,
note ; Vocal Concerts, iv. 3 1 9 a ;
Whitfeld-Clarke(J.),iv. 453 a.
Clasing, J. H. ; PF. Mus., ii.
727a.
Classical, i. 365 b; Romantic,
iii. 148 a.
Classical Harmonists, i. 366a;
Choral Harmonists Soc, i.
352 a; Novello, ii. 481a;
Severn, iii. 477b.
Claude de Sebmisy. (See
Claudin.)
Claude Le Jeune. (See Le
Jeune, ii. II 8b.)
Claudin; Attaignant, i. loob;
Lamentations, ii. 88 b; Mai-
trise, ii. 199 b ; Sistine Chapel,
iv. 794a.
Claudine von Villabella, i.
366 a; Schubert, iii. 377 a.
Clauss, W. (Szarvady), i, 366 a;
iv, 592 a; Philh, Soc, ii.
700 a ; PF,-playing, ii. 745 ;
Svendsen, iv. 6 b.
Clausula, Iv, 592 a; Mass, ii.
227a; Medial Cadence, ii.
244a; Mus. Ficta, ii. 413a;
Part- writing, iv. 741b.
Clavecin, i. 366a ; Couperin, L
409b; Harpsichord, i. 688 a;
Jack, ii. 26h; Key and Key-
board, ii. 53b; Lyre, ii. 182 a;
PF. -playing, ii. 736b ; Regibo,
iii, 94 a.
Clavel, Mdlle. ; St. Huberty,
iii, 214a.
Clavel ; Garcin, iv. 645 a.
Clavicembalo, i. 366 a; Cem-
balo, i, 330 b ; Clavichord, i.
366b ; Gravicembalo, i. 622b ;
Harpsichord, i. 688 a; Jack,
ii. 27a; Key and Keyboard,
ii. 53 b; Ruckers, iii. 193a,
etc, ; Taskin, iv. 62b ; Spinet,
iv. 795 b,
Clavichord, i. 366 b ; iv. 593 a;
Action, i, 26 b; Bebuug, i.
1 60 a; Cembal d'Amore, i.
330a; Clavier, i, 369b; -Harp-
sichord, i. 688 b ; Hurdy
Gurdy, i. 759b ; Jack, ii.
26 b; Key and Keyboard, ii.
53b; PF,, ii. 712a, etc;
PF.-playing, ii. 736 a ; Ruck-
ers, iii. 194a; Silbermann,
iii. 494 a ; Square Piano, iii.
683 a; Tangent, iv. 57 a;
Temperament, iv. 74b ; Tun--
ing, iv. 188 b; Vicentino
(N.), iv. 261a; Virdung, iv.
303 a; Spinet, iv. 795 a.
Clavioimbalum ; Cembalo, i.
33oi ; Virdung, iv. 303 a;
Spinet, iv. 795 b.
Clavicylinder ; Chladni, i.
348&. ....
CLAVICYTHERIUM, 1. 369 b; IV.
593 b ; Virdung, iv. 303 a.
Clavier, i. 369 b ; Key and Key-
board, ii. 53 a; Organ, ii.
60505; Suite, iii. 7566, etc.
Claviharp; Harp, iv. 668 a.
Clavijo, B. ; Vittoria, iv. 316 a.
Claviol; Sostenuto PF., iii.
639&.
Clay, P., i. 369 b; iv. 593 b;
Song, iii. 6086.
Clayton, T., i. 370 a ; iv. 593 & ;
Dieupart, i. 446b; Gallia, i.
578 a; Gresham Miis. Pro-
fessorship, i. 627?) ; Hawkins,
i. 700a ; Haym, i, 7236.
Cl6 dd Caveau, iv. 5936 ; Song,
iii. 5976; Vaudeville, iv. 232a.
Clef, i. 370 a; Bass-Clef, i.
150a; C, i. 289a; F.,i. 500a;
G., i. 571a; Keys, ii. 556;
Mendelssohn, ii. 2976 ; Nota-
tion, ii. 469 a, etc. ; Score, iii.
427a ; Stave, iii. 6926; Tenor,
iv. 88 &; Treble, iv. 165&;
Voices, iv. 333 a ; Zacconi, iv.
497a; Chiavette, iv. 586 a;
Guido D'Arezzo, iv. 660 a.
Clegg, J., i. 370&; iv. 594a;
Violin-playing, iv. 2986.
Clemens non Papa, i. 37 i a ; iv.
594a; Carlo, i. 315a; Haw-
kins, i. 700a ; JosquinDespr^s,
ii. 40 & ; Lassus, ii. 101&;
Mass, ii. 228 &; Motet, ii.
373 &; Mus. Antiqua, ii. 41 1 a ;
Mus. Divina, ii. 411&; Ki-
cercare, iii. 126&; Schools of
Comp., iii. 261 &; Tylman
Susato, iv. 197 & ; Sistine
Chapel, iv. 794 a; Trdsor
Mus., iv. 801 &.
Clement, Felix, i. 371a; iv.
594a; Hist.of Mus.,iv.674&,
etc.
Clement, Franz, 1.371?); Au-
garten, i. 104a ; Beethoven, i.
1 86 a, etc. ; Bridgetower, i.
275b; Eroica, i. 4936; Haydn,
i. 710a, etc. ; Seven Last
Words, The, iii. 4766 ; Violin-
playing, iv. 2986.
Clement, J. G., i. 37205.
CLEMENTi,M.,i.372a5; iv.594a;
Accent, i. 1405 ; Adagio, i.
2705 ; Auswahl, etc., i. 10505 ;
Bach (C. P.^ E.), i. 114a;
Beethoven, i. 18305 etc.;
Berger, i. 231a; Bertini (B.
A.), i. 23605; Bigot, i. 241 &;
Collard, i. 37705; Corfe (A.
T.), i. 402 & ; Cramer, 1.4136;
Cramer (J. B.), i. 41405 ;
C^erny, i. 4256 ; Dussek, i.
476 05, etc. ; Ertm&nn, i. 493 6 ;
Etudes, i. 4966 ; Extempore
playing, i. 4986; Field, i.
519 &, etc.; Fingering, i. 5 27 a;
INDEX.
Gradus ad Parnassum,i.6i6a;
Grasshopper, i. 619 &; Kalk-
brenner, ii. 46 05 ; Klavier-
Mus. Alte, ii. 636; Klengel,
ii. 64 05 ; Lessel, ii. 1 24 a ;
Meyerbeer, ii. 321a; Mo-
scheles, ii. 37005; Mozart, ii.
38805, etc. ; Mus. Lib., ii.
421a; Nageli, ii. 44205;
Neate, ii. 45005 ; Paradies, ii.
6476 ; Philh. Soc, ii. 69805;
PF., ii. 7166 ; PF. Mus., ii.
• 72505; PF.-playing, ii. 7376,
etc. ; Practical Harmony, iii.
24 05 ; Rauzzini, iii. 78 05 ;
Royal Acad, of Mus., iii. 185 05 ;
Schools of Comp., iii. 308 &;
Sonata, iii. 5706, etc. ; Sona-
tina, iii. 58405; Specimens,
Crotch's, iii. 65005 ; Spohr,iii.
657 h ; Steibelt, iii. 701 05 ;
Studies, iii. 747 05 ; Tresor des
Pianistes, iv. 16805; Wohl-
temp. Klavier, iv. 48305 ; Zau-
berflote, iv. 5036; AspuU,
iv. 525a.
Clemenza di Tito, La, i. 37405 ;
Mozart, ii. 405 b.
Clereau ; Castro (J. de), i.
3196.
Clerini, i. 37405.
Cleve, J. de; Tresor Mus., iv.
801 b.
Clibano ; Sistine Chapel, iv.
794a.
Clicquot, F. H., i. 37405 ; Dal-
lery, iv. 6046.
Cliffe, F. ; Training School,
National, iv. 1586.
Clifford, Rev. J., i. 3746; iv.
59405 ; Chant, i. 336 b.
Clifford, T., i. 374&.
Clifton, J. C., iv. 59405.
Clive, Catherine, Mrs., i. 3746 ;
Avoglio, i. 10605.
Clocking. (See Chiming, i.
34605.)
Clodiensi, J. ; Mus. Divina, ii.
412&.
Close, i. 375 a ; Cadence, i.
290 &; Form, i. 547 ?> ; Har-
mony, i. 67505 ; Clausula, iv.
59205; Gregorian Tones, iv.
6566.
Cluer, J., i. 37505 ; Mus.-print-
ing, ii. 4366.
CoBBOLD, W., i. 375 05 ; Este
(T.),i. 495&; Hymn,i. 7626;
Madrigal, ii. 191 &; Oriana,
ii. 61105; Vocal Scores, iv.
320a.
CoccHETTA. (See Gabbielli,
C, i. 57305.)
CoccHi,G.,i.375&; Scotch Snap,
iii. 437 6 ; Semiramide, iii.
35
461 a ; Siroe, Re di Persia, iii.
534a; Zenobia, iv. 50605.
CocciA, C, i. 375 &; iv. 59405;
Mendelssohn, ii. 26805 ; Verdi,
iv. 2526.
CocHE, V. ; Tulou, iv. 186&.
Cocks & Co., i. 3756.
Coda, i. 37605; Beethoven, i.
20405 ; Eroica, i. 49305 ; Form,
i. 5426, etc. ; Fugue, i. 567 a,
etc.; Variations, iv. 2176,
etc. ; Working-out, iv. 4896.
Codetta, i. 37705; iv. 59405;
Coda, i. 377a; Fugue, i.
567 05, etc. ; Tonal Fugue, iv.
13505, etc. ; Episodes, iv. 6286.
CoENEN, J. ; Spinet, iii. 65305.
Cogan, p., iv. 59405 ; Moore, ii.
36105; Rooke, iii. 15705; Trin.
Coll., Dublin, iv. 170&.
Cohen, J. ; Reicher, iv. 770 a.
Cohen, L. ; Gr. Prix de Rome, i.
618&.
Cokken ; Conservatoire de Mus.,
i. 392&.
Col Arco. (See Arco, i. 81 &.)
Cola; Calascione, i. 2976.
Colascione. (See Calascione,
i. 297 &.)
Colasse; Mus. Lib., ii. 423a;
Opera, ii. 506 & ; Song, iii.
5936; Campia, iv. 577or.
Colbran, L a., i. 37705; Ros-
sini, iii. 169 &; Spontini, iii.
6676.
Cole, J. ; Mus. Antiqua, ii.
411a.
Coletti ; Singing, iii. 511 &;
De Reske, iv. 61 1&.
Colin, C. ; Conservatoire de
Mus., i. 39305; Gr. Prix de
Rome, i. 618&; Vogt, iv.
33205.
Colkyn, J. ; Madrigal Soc, ii.
19405.
CoLLA Parte, i. 37705.
CoLLA Voce. (See Colla Parte,
i. 37705.)
Colla. (See Agujari, i. 4605.)
Collard, i. 377 a; iv. 5946;
Clementi, i. 373 05 ; Grass-
hopper, i. 6196; PF.,ii. 717&,
etc.
Collections op Music, iv. 594 &.
CoLLB ; C16 du Caveau, iv. 5936.
College Youths, Ancient Soc.
of, i. 3776.
Col Legno, i. 377&.
CoLLO ; Zauberflote, iv. 503 &.
Colman, C, i. 377&; iv. 5946;
English Opera, i. 488 & ; Lawes
(H.), ii. 10705; Mus. Lib., ii.
42105.
Colman, E., i. 378*; iv. 5946;
Mus. Lib., ii. 421 a. j
D 2
86
Cologne Choral Union, i.
37Sa.
CoLOMBA, iv. 595 a; Mackenzie
(A. C), iv. 7076.
CoLOMBANi, 0., i.378a; Oriana,
ii. 611&.
CoLOMBE, La, i. 378 a; Gounod,
i. 614a.
COLOMBI, v., 1. 378 a.
CoLONNA, G. P., i. 378a; Bo-
logna, i. 259a ; Buononcini, i.
6496, note; Casini, i. 3186;
Ciari, i. 360 b ; Fitzwilliam
Coll., i. 531 a ; Mass, ii. 231 a ;
Motett Soc, ii. 3766; Mus.
Lib., ii. 421 6 ; Oratorio, ii.
537 &; Prince de la Moskowa,
iii. 31a; Requiem, iii. 109!!);
Responsorium, iii. 1186; Dies
IrjB, iv. 614 a; Part- writing,
iv. 741 a ; Sistine Chapel, iv.
79^«•
CoLONNE, E., iv. 695 a; Indy,
iv. 684 a ; Lamoureux, iv.
696 a.
COLOPHONIUM, i. 3785.
CoLORATUB, i. 3786; Vocalise,
to, iv. 321a.
CoLPORTEURjLe, i. 3786; Onslow,
ii. 497 a.
CoLSAN, Mme. ; Strakosch, iii.
734a-
CoLTELLiNi, C, i. 378 h ; iv.
5956 ; Manzuoli, ii. 2086.
CoLUMBAZZi ; Haydn, i, 706 h.
COLYNS, J. B., iv. 595 &; Con-
servatoire de Mus., Brussels,
i. 5926; Philh. Soc, ii. 700&.
Combination Pedals, i. 379 a ;
Organ, ii. 600&, etc; Pedals,
ii. 682 a.
Combination Tones ; Disso-
nance, i. 449 a ; Harmonics,
i. 664 1 ; Tartini, iv. 62&.
CoMELLi, La ; Rubini (G. B.),
iii. 1 896.
Comer, T. ; Phillipps, iv.
747&.
Come Sopra, i. 379 a.
Comes ; Answer, i. 70 a ; Canon,
i. 3036 ; Dux, i. 4776 ; Fugue,
i. 567 a.
Comes, J. B., i. 379 a; Eslava,
i. 494 &.
CoMETTANT, O., i. 37905 ; Revue
et Gazette Mus., iii. 121 &.
Comic Opera, i. 3796; Grand
Opera, i. 616&; Opera Com-
ique, ii. 531a; Opera Buffa,
ii. 53ia-
Comma, i. 3806 ; iv. 5956 ; Lute,
ii. 175?); Major, ii. 2006;
Organum.ii. 610a; Tempera-
ment, iv. 71 &.
Commano, G. G., i. 3806.
INDEX.
Commemoration, Handel. (See
Handel, Comm. op, i. 6576.)
Commer, F,, i. 380/; ; iv. 595 7a
Commodo, iv. 595 &.
Common Time, i. 381a ; Accent,
i. 12 a; Alia Breve, i. 5.^?>;
C, i. 2896 ; Compound Time,
i. 383 a ; Tempo Ordinario, iv.
856; Time, iv. Ti8a.
CoMMUNio ; Plain Song, ii. 767a.
Communion Service, i. 381 b.
CoMOGHio ; Laurent de Rille,
iv. 698 a.
CoMPAN, C. ; Hist, of Mus., iv.
676 b.
Compass, i. 382 a ; Agujari, i.
456; Alto, i. 58a; Baryton,
i. 147a; Bass, i. 148 a; Lange,
ii. 900; Register, iii. 94a;
Singing, iii. 506 a ; Stroh-
meyer, iii. 7466 ; Tessitura,
iv. 94a; Voice, iv. 332b.
COMPi:RE,L.,i.382a; L'Homme
Armd, ii. 127a; Motet, ii.
373 «» Schools of Comp., iii.
260 6 ; Sistine Chapel, iv.
794a ; Trdsor Mus., iv. 801 h.
Compline, iv. 5956.
Composition, i. 3826.
Composition Pedals, i. 382b;
Organ, ii. 598b, etc. ; Pedal,
ii. 682 a.
Compound Time, i. 383 a ; Com-
mon Time, i. 381 a ; Notation,
ii. 475 b; Time, iv. 119 a;
Triple Time, iv. 174 a.
Comte Ory, Le, i. 383 a; iv.
596a ; Rossini, iii. 177 b.
CoNACHER & Co., i. 383 b.
Con Brio, i. 383 b.
Con Spirito, i. 383 b.
CoNCENTO, iv. 596 a.
Concentores Sodales, i. 383 b;
British Concerts, i. 277 a ;
Horsley, i. 753b.
Concert ; Albert (H.), i. 48 b.
Concert, i. 384 a; iv. 596 a;
Accademia, i. lib; Banister,
i. 134b; Barnby, i. 145 a;
Britton, i. 277b; Chappell, i.
339b ; Cramer (W.), i. 413 b ;
Habeneck, i. 643 a ; Haydn,
i. 708 b; HuUah, i. 756 a;
Liverpool Mus. Festival, ii.
154 a ; Manchester, ii. 204 a ;
Monday Popular Concerts, ii.
352a; Mus. Soc. of London,
ii. 432 b; Mus. Union, ii.
432b; Pasdeloup, ii. 660a;
Promenade Concerts, iii. 40 b ;
Rehearsal, iii. 97 b; Sat. Con-
certs, Crystal Palace, iii. 229b;
Saturday Popular Concerts, iii.
a3oa ; Schools of Comp., iii.
313b; Thomas (T.), iv. 105b ;
Trompette, la,iv. 179 a ; Brit-
ton, iv. 565 b.
Concert des Amateurs ; Con-
cert Spirituel, i. 385 b.
Concert op Ancient Music.
(See Ancient Concerts, i.
64 a.)
Concert-Meister, i. 384 b ;
Leader, ii. io8b.
Concert Pitch, i. 384b.
Concert Spirituel, i. 385 a ; iv.
596a;Adam(L.),i.29a;Aubert
(J .), i. 103 b ; Concert, i. 3S4b;
Mercure de France, ii. 313a ;
Mondonville, ii. 353a; Phili-
dor (Anne), ii. 703 b ; Garcin,
iv. 645 b ; Gavinifes, iv. 646 b.
Concert-Stuck, i. 386 a; Weber,
iv. 426 a.
Concertante, i. 386 b ; Ripieno,
iii. 136 b.
Concerted Finale ; Schools of
Comp., iii. 287b.
Concertina, i. 386 b; Aeolina,
i. 40b; Instrument, ii. 6a;
Regondi, iii. 97 b.
Concertino, i. 387a; iv. 59605.
Concerto, i. 387 a ; Cadenza, i.
294a, etc. ; Concert, i. 384^ ;
Concert-Stuck, i. 386 b; Con-
certino, i. 387a; Form, i.
554a; Grosso, i. 634a; PF.-
playing, ii. 738 a, etc ; Sub-
ject, iii. 752b ; Symphony, iv.
13b ; Torelli, iv. 150b ; Tutti,
iv. 196a; Violin-playing, iv,
290b.
Concerto Grosso, iv. 596a.
CoNCiALiNi; Mara, ii. 209 a.
CoNCONE, G., iv. 596 b; Solfeg-
gio, iii. 549 a.
Concord, i. 389b.
Concordant ; Baryton, i. 147 a.
CoNDELL, H., i. 389 b ; iv.
596 b.
CoNDiCELLi ; dementi, i. 372b.
Conductor, i. 389 b; Argyll
Rooms, i. 82 b; Baton, i.
155b; Beat, i. 158b; Bee-
thoven, i. 174b; Bulow,i.28ob;
Cannabich, i. 303 a ; Clementi,
i. 372b; Habeneck, i. 641a;
Hainl, i. 644a ; Manns, ii.
206 a; Orchestra, ii. 564 a;
Pasdeloup, ii. 660a ; Persuis
(L. de), ii. 694b ; Reinecke,
iii. 102 b ; Richter (Hans), iii.
128b; RietZjiii. 133a; Righini,
iii. 134b ; Schelble, iii. 244b ;
Spohr, iii. 659a ; Tilmant, iv.
116 a; Wiillner, iv. 491b;
Altfes, iv. 521b ; Colonne, iv.
595a; Dupont(J.),iv. 621a;
Faccio, iv. 631 a ; Lamoureux,
iv. 696 b; Levi, iv. 700 b;
Mariani, iv. 711a; Mottl, iv.
7206.
Conductor's Part, i. 3906.
CoNFORTi, G. L., i. 390 & ; Pug-
nani (G.), iii. 45 &•
Conjunct ; Motion, ii. 377 a.
CoNRADi, A., i, 390 b ; iv. 597 a.
CoNRADi, J. G., i. 391 a ; Opera,
ii. 508 a.
CoNRAN, M. ; Hist, of Mus., iv.
674&.
Conskcutive, i. 391 a ; iv. 596 a,
Hidden Fifths and Octaves,
i-735&-
Conservatoire de Musique, i.
391 &; iv. 597 a; Acadeniie
de Mus., i. 8& ; Adam (A.
C), i. 276; Adam (L.), i.
29a ; Baillot, i. 125 & ; Catel,
i. 323a; Cherubini, i. 342a;
Fetis, i. 517a; Habeneck,
i. 643 a; Lesueur, ii. 125a;
Mus. Lib., ii. 426a; Soc. des
Concerts, iii. 543 & ; Thomas
(C. A.), iv. 104a.
CoNSERVATORio, i. 394 6 ; iv.
597 a ; Accademia, i. 11 a;
Milan, ii. 329a; Naples, ii.
444?).
Consilium, J. ; Attnignant, i.
100&; Sistine Chapel, iv. 794a.
Consonance, i. 394?) ; Beats, i.
159 a, etc.
CoNSORTi; Shake, iii. 480 a,
note.
Con Spirito, i. 394 b.
CoNSTANTiNi, F. ; Mus. Divina,
ii. 411 &.
CoNSTANTiNi, A. ; Mus. Divina,
ii. 411 &.
CONSTANTIN, L. ; Roi desViolons,
iii. 146a; Vingtquatre Vio-
lons, iv, 266b.
Construction, i. 394&.
Conte ; Gr. Prix de Rome, i.
6i8b.
CoNTi. (See Gizziello, i. 597 &.)
CoNTi ; Olimpiade, ii. 496 h ;
Rolla, iii. 147 a.
CoNTi, C. ; Naples, ii. 446 a.
CoNTi, F. B., i. 395 a ; iv. 597a ;
Fitzwilliam Coll., i. 531a;
Metastasio, ii. 316 a.
CONTINI, G. ; Marenzio, ii. 15 b.
CoNTiNUO. (See Basso Con-
TiNUO, i. 151 6.)
CoNTRABASSO, i. 395 b; Bass, i.
148b; Double Bass, i. 457b ;
Instruments, ii. 6b ; Notation,
ii. 477b.
Contrabass Posaune, (See
Trombone, iv. 176 a.)
Contrabass Tuba. (See Bom-
bardon, i. 259b.)
Contra Fagotto, i. 395 b; Baa-
INDEX.
soon, i. 153b; Double Bassoon,
i. 458a; Instrument, ii. 6b;
Keys, ii. 56 a; Serpent, iii.
470 b ; Symphony, iv. 26 a ;
Wind-band, iv. 467 b.
Contralto, i. 395 b; Alto, i.
58a; Singing, iii. 504b, etc.;
Voice, iv. 332 b.
Contrapuntal, i. 396 a; Con-
trary Motion, i. 396 a ; Coun-
terpoint, i. 407 b ; Imitation,
i. 765 b.
Contrary Motion, i. 396 a ;
Direct Motion, i. 448 b; Mo-
tion, ii. 377 a.
CoNTREDANSE, i. 396 b ; AUe-
mande, i. 55 b ; Anglaise, i.
68 a ; Country Dance, i. 409 b ;
Ecossaise, i, 483 a; Eroica, i.
493b ; Perigourdine, ii. 692a;
Quadrille, iii. 55 a; Redoute,
iii. 89 a; Saraband, iii. 227a.
CoNTUMACCL (See Cotumacci,
i. 407 b.)
CoNVERSi, G., i. 396 b; Mus.
Transalpina, ii. 416 a; Vocal
Scores, iv. 320 a.
Convict, i. 396 b; iv. 597 a;
Schubert, iii. 320a, etc.
Cooke, B., i. 396 a; iv. 597 a;
Amen, i. 60b ; Augmentation,
i. 104b; Bartleman, i. 146a;
Bellamy, i. 211 a ; Callcott, i.
298a ; Canon, i. 304b ; Catch
Club, i. 322b; Concentores
Sodales, i. 383b ; Crosdill, i.
419b ; Galliard(J.E.), i. 578b;
Glee, i. 599 a ; Glee Club, i.
599a; Greatorex, i. 622b;
Madrigal Soc, ii. 193b ; Mus.
Lib., ii. 420b ; Parsons (Sir \
W.), ii. 652 b ; Part Mus., ii. !
656b, etc.; Pepusch, ii. 685a ; [
Roy. Soc. of Musicians, Great j
Britain, iii. 187 a; Schools of
Comp., iii. 278b; Service, iii.
474 a; Spofforth, iii. 656 b;
Tallys, iv. 53b ; Vocal Scores,
iv. 320a.
Cooke, Grattan, i. 398 a ; Oboe,
ii, 487 b ; Mendelssohn, iv,
717a.
Cooke, H., i, 397a; iv. 597 a ;
Blow, i. 249b ; English Opera, i.
488b ; Estwick, i.496b ; Hum-
frey, i. 757a; Lawes (H,),
ii. 107a; Purcell (H.), iii,
46 b ; Schools of Comp,, iii.
282 a ; Turner (W.), iv. 195a;
Wise, iv. 476 b.
Cooke, M. ; Jacob (B.), ii. 28a.
Cooke, N., i. 397 b,
Cooke, R,, i. 397 b; iv, 597 a;
Beale, i. 158 a ; Catch Club,
1. 322b; Harris (J. M.), i.
37
69 2 a ; Madrigal Soc. , ii. 1 94 a ;
Philh. Soc, ii. 698a.
Cooke, T. S,, i. 397b; iv. 597a;
Ancient Concerts, i, 64 b;
Balfe, i. 126b; Glover (C. W.),
i, 600 a ; Lachnith, ii. Sab;
Melodists* Club, ii. 249 a ;
Rainforth (Eliz.), iii. 67 b;
Reeves (Sims), iii. 92 b ; Song,
iii, 607 a; Templeton, iv. 81 b;
Vauxhall Gardens, iv. 234a;
Vocal Soc, iv, 320 b ; Williams
(Sisters), iv. 459 b ; Tree, iv.
800 b.
CooMBE, W, F., i, 398 a,
Coombs, J, M., i. 398 b; Field
(H.), i, 519b.
Cooper ; Tudway, iv. 199 b.
Cooper, G,, i. 398b; iv. 597a;
Bach Soc, i. 120a ; Madrigal
SoCjii. 194a; Stain er (J.), iii.
688 a ; Parratt (W.), iv. 738b.
Cooper, H. C, ; Philli. Soc, ii.
699 b.
Cope ; Mus. Periodicals, iv.
726b,
CoPERARio, J., i. 398b;iv.597a;
Campion, i, 301 a ; Eng. Opera,
i. 488 b; Lawes (H.), ii.io6a ;
Leigh ton (Sir W.), ii. 114 a;
Mus, Lib., ii. 418a, etc;
Tablature, iv. 50 a.
CopiN Du Brequin ; Roi des
Violons, iii, 146 a,
Coppola, G., i, 399 a.
Coppola, P. A., i. 399 a; iv.
597 a-
Copyright, i. 399a ; iv, 597b.
Cor Anglais, i. 400 a; iv.
597a; Basset-Horn, i, 151a;
Boehm (T.), i. 254 b ; Eng.
Horn, i, 488 b; Instrument,
ii, 6b; Notation, ii. 478 a ;
Oboe di Caccia, ii. 489 a ;
Organ, ii. 601 b.
Coranto. (See Courante, i.
410b.)
Corbet, F., i, 400 a; Ballet, i.
130b.
Corbett, W., i, 400 a ; iv. 597 b.
CoRDER, F., iv. 598a; Noidisa,
iv. 732 a.
CORDIER, J,, i. 400b.
CORDIER, Mile, ; Strakosch, iii.
734&.
CoRELLi ; Pflcini (G,),ii. 627a.
Cobelli, A., i, 400b; Ancient
Concerts, i. 64 b; Anglebert,
i. 68 a; Archlute, i. 81 b;
Baptiste, i. 136a; Bassani, i.
150b ; Bow, i. 264b ; Bowing,
i. 265b; Cartier, i. 318a;
Castrucci, i, 319b; Concerto,
i, 387a; Deane, i. 438b;
Division Violin, The, i. 451 a ;
88
Duboni^ (M.), i. 467 a ; Folia,
i. 539 ^ ; Form, i. 543?) ; Gas-
parini, i. 5836; Geminiani, i.
587 a ; Gigue, i. 5956 ; Grosso,
i. 634a ; Harmony, i. 6796 ;
Hawkins (Sir J.), i. 700 a;
Locatelli, ii. 155& ; Mus.
School, Oxford, ii. 437 a;
Needier, ii. 450 & ; Otthoboni
(Cardinal), ii. 615 &; Pas-
quini, ii. 661a; Pepusch,
ii. 685 a; Pugnani, iii. 456;
Koy. Soc. of Musicians, Gt.
Britain, iii. 1876; Salomon,
iii. 221 &; Shuttleworth, iii.
490 a; Signature, iii. 493 &;
Somis, iii. 553&; Sonata, iii.
5566, etc.; Specimens,Crotch's,
iii. 650a ; Steffani, iii. 6956 ;
Suite, iii. 756 & ; Symphony,
iv. 13&; Tartini, iv. 61 a;
Variations, iv. 2196; Violin-
playing, iv. 290 &; Walsh (J.),
iv. 380a ; Chrysander(F.),iv.
591 h ; Concerto Grosso, iv.
5966; Dance Rhythm, iv.
607 &.
CORFE, A., i. 4026; iv. 598 a;
Handel, Commemoration of,
i. 658 a; Knight, ii. 67 a;
Lucas, ii. 170&; Pierson, ii.
752a.
CoBFE, C, i. 402 & ; Ouseley, ii.
618 a; Parry (C. H. H.), iv.
738Z>.
CoBFE, J., i. 4026; iv. 598 a;
Bennett (T.), i. 224?) ; Vocal
Scores, iv. 320 a.
CORFE, J. D., iv. 598 b; Bristol
Madrigal Soc, i. 2'j6b; Riseley,
iii. 1 366.
CoRiOLAN ; Beethoven, i. 202 a.
CoRKiNE, W., i. 402 &.
CoBNAZZONO, F. ; Mus. Divina,
ii. 412&.
CORNEGA, i. 4026.
Cornelius, P., i.402&; iv. 5986 ;
Draeseke, i. 460 & ; Liszt, ii.
148 ?> ; Song, iii. 630&; Tausig,
iv. 65 a; Zukunttsmusik, iv.
514a.
Cornel YS, Theresa, iv. 598?).
CoBNEMUSE, i. 403 a ; Bag-pipe,
i. 123a; Irish Mus., ii. 20,
nofe.
Cornet. (See Cornets, P. des.)
Cornet, i. 4036 ; Echo, i. 482 a ;
Organ, ii. 591 b, note.
C!oRNET X Piston, i. 403 a ; Corno-
pean, i. 403 a ; Double Tongue-
ing, i. 4596; Horn, i. 747a;
Instrument, ii. 6a; Kohler, ii.
68 a ; Musard, ii. 409 h ; Or-
chestra, ii. 561 &, etc. ; Piston,
ii. 7566; Sax, iii. 2326; Ser-
INDEX.
pent, iii. 469b ; Wind-Band,
iv. 468 b; Besson (G. A.), iv.
545^.
Cornets, P. des; Castro (J.
de), i. 3196 ; Tresor Mus., iv.
801 b.
Cornette, v., i. 404b.
Cornettino ; Wind-Band, iv.
468 b.
Cornetto ; Violin- playing, iv.
287 b; Wind-band, iv. 465 b;
Zinke, iv. 511a.
Cornish. («ee Cobnyshe, i.
404 b.)
CoRNO, i. 404b ; Horn, i. 747a.
CoRNO Di Bassetto. (See
Basset-Horn, i. 150 b.)
CoRNO DI Caccia, i. 404 b ; Eng.
Horn, i. 488b; Waldhom, iv.
375&.
Cornopean, i. 404b ; Comet, i.
403a; Organ, ii. 601 a.
CoRNYSHE, W., i.404b; iv.599a.
CORNYSHE, W., jun., i. 405 a;
Hawkins, i. 700 a.
Corona; Mus. Lib., ii. 419a.
Corona, iv. 599 a; Point d'Orgue,
iii. 6 b.
Coronach, iv, 599a.
CoRREGGio, C. da. (See Mebu-
Lo, ii. 314b.)
CoRREGGio, N. da ; Ferrara, i.
512b.
CORBEB, Count ; Mus. Instru-
ments, Collection of, iv. 722b ;
Mus. Lib., iv. 726 a.
CORRi, D., i. 405 a; iv. 600 a;
Diissek, i. 474a ; Kemp, ii.
50b ; Monro, ii. 355b ; Nathan,
ii. 447 a ; Transposing In-
struments, iv. 159b ; Vestris,
iv. 258a.
CoRRi, H., i. 405 a.
CoBBi, M., i. 405 a.
CoBBi, P. A., i. 405a ; iv. 600a ;
Philh. Soc, ii. 698 a.
Cobri-Paltoni, i, 405 a.
CoRSi; Singing, iii. 510b.
CoRSi, J. ; Bardi, i. 139a; Cac-
cini, i. 290b ; Cavaliere (E.
del.), i. 327a; Florence, i.
5336; Opera, ii. 499b ; Peri,
ii. 690 b.
Corteccia, i. 405 a ; Madrigal,
ii. 190b; Schools of Comp.,
iii. 265 b; Song, iii. 587 a.
CORTELLINI, C, i, 405 b.
COETIT, A.; Sistine Choir, iii.
520b.
CoETONi ; Babbini (M), i. 108 a.
COBVO ; Saggio di Contrappunto,
iii. 212a; Mus. Lib., iv. 7 26 a.
CoBYPHiEUS, i. 405 b.
CosELLi ; Marchisio (the Sisters),
iv. 710 a.
Cosi Fan Tutte, i. 405 b; iv.
600a ; Mozart, ii. 393 a.
Cosset; Maltrise, ii. 199b.
CossMANN, B.,i. 405 b; Drechs-
ler (K.), i. 462b; Haupt-
mann, i. 698 a; Kummer, ii.
77 «.
Costa, i. 406 a.
Costa, A., i. 406 a ; Albertazzi,
i. 49 b.
Costa, C. ; Martucci, iv. 712 b.
Costa, G. ; Paganini, ii. 628a ;
Sivori, iii. 534a.
Costa, G. ; Oriana, ii. 611 b.
Costa, M., Sir, i. 406 a ; Addi-
tional Accompaniments, i.
31b; Bartholomew, i. 146a;
Birmingham Festival, i. 244a,
etc. ; Conductor, i. 390a ; Don
Carlos, i. 452b; Handel Fes-
tival, i. 658 b; Laporte, ii.
91 b ; Lazarus, ii. 108a ; Leeds
Mus. Festival, ii. 1 11 b ; Malek
Adel, ii. 201a; Mendelssohn,
ii. 290b; Naaman, ii. 440a;
Naples, ii. 446 a; Oratorio,
ii. 558a; Sacred Har. Soc,
iii. 211 a; Schools of Comp.^
iii. 308 a ; Time-Beating, iv.
125b; Willy, iv. 462 a ; Zinga-
lelli, iv. 510 a ; Philh. Soc, iv.
746 J.
Costantini, i. 407 a.
Costantini, F., i. 407 a.
Costanza, G. ; Metastasio, ii.
316 b.
Costa NZi, J., i. 407a.
Coste, G,, i. 407a.
CosTELEY, W.,i.407a ; iv. 600a;
Mus, Lib., ii. 419 a.
CosYN, B., i. 407 a; Virginal
Mus., iv. 31 2 b.
CosYNS, J. ; Hymn, i. 762b.
Cotillon, i. 407 a; Branle, i.
271b.
Cotin, p. ; Sistine Chapel, iv.
794a.
Cotogni ; Singing, iii. 512a;
De Reszke (J.), iv. 612 a.
Cotta, J., iv. 600b.
Cottage Piano, i. 407 b ; PF., ii.
719a.
Cotton, J,, iv. 600b.
CoTUMACCi, C,,i. 407b; Naples,
ii. 445 b; Paisiello, ii. 633b;
Scarlatti (A.), iii. 239 a.
CoUAC, i. 407 b; Clarinet, i.
364 a.
CoucY, Chevalier R. de ; Chan-
son, i. 336 a ; Mus. Antiqua, ii.
411 rt ; Song, iii. 585 b ; Burney,
iv. 570 a.
Couched Habp, iv. 600b.
Coule; Agr^mens,i.43a; Slide»
iii. 534&.
Coulisse; Lupot, ii. 175a.
Coulisse ; Slide, iii. 536a.
COULY ; Strakosch, iii. 735 a.
Counter-Exposition ; Exposi-
tion, iv. 630 &.
Counterpoint, i. 4076 ; Answer,
i. 69 6 ; Art of Fugue, i. 96 a ;
Bach (J. S.),i. ii6a; Beller-
mann, i. 2 11 & ; Bind, i. 243 a ;
Cathedral Mus., i. 324 a ; Dim-
inution, i. 448 a; Discant, i.
448 & ; Double Counterpoint,
i. 459 a; Faux Bourdon, i.
509 a; Figured, i. 522 a;
Florid Counterpoint, i. 534& ;
Fugue, i. 567 a, etc. ; Hidden
Fifths and Octaves, i. 736a;
Imitation, i. 7656; Inversion,
ii. 15 &; Marpurg, ii. 218b;
Martini, ii. 222 &; Mass, ii.
227a ; Mendelssohn, ii. 300a;
Micrologus, ii. 3276 ; Motion,
ii. 377a; Nanini (G. B.), ii.
443 b; Nota cambiata, ii.
466 &; Organum, ii. 608 fe,
etc. ; Partimenti, ii. 656 a ;
Saggio di Contrappunto, iii.
212a; Schools of Comp., iii.
259& ; Sechter (S.), iii. 455a ;
Stiict Counterpoint, iii. 740a ;
Subject, iii. 748 a, etc. ; Wech-
selnote, Die Fux'sche,iv. 430a ;
Zarlino, iv. 502 a ; Part-
writing, iv. 741 h ; Psalter, iv.
756 a, etc.
CouNTERSUBJECT,i.409a; Coun-
terpoint, i. 407 a; Double
Fugue, i. 459 a; Fugue, i.
567a, etc. ; Subject, iii. 749 a,
etc.; Tonal Fugue, iv. 135a,
etc.
Countertenor, i. 409b ; Alto, i.
58a; Bass, i. 1485; Con-
tralto, i. 395 h ; Falsetto, i.
502 a; Singing, iii; 504a;
Tenor, iv. 876; Voices, iv.
334^-
Country-Dance. (See Contre-
DANSE, i, 396 &.)
Coupart, a. M., i. 409 b.
Coup d'Archet ; Attack, i.
1 00 b.
CouPERiN, F., i. 409b ; AUe-
mande, i. 55b; Canarie, i.
302 a ; Cliambonni^res, i.
332b; Courante, i. 410b;
Doubles, i. 460a ; Echos du
Temps passe, i. 482a ; Finger-
ing, i. 526 a ; Form, i. 542 a ;
Harmony, i. 676 a; Haw-
kins, i. 700a; Klavier Mus.,
Alte, ii. 63 a ; Maitrise, ii.
200a; March, ii. 2 II b ; Meis-
ter, Alte, ii. 247 b; Modula-
tion, ii. 348 a ; Passepied, ii.
INDEX.
662b; PF. -playing, ii. 736a;
Programme Mus., iii. 36 b ;
Suite, iii. 756 b; Taskin, iv.
63 a; Tr^sor des Pianistes,
iv. i68a; Variations,iv. 222 b;
Chrysander, iv. 591b ; Ordres,
i^' 735<35» Programme-Mus.,
iv. 752 a.
Coupler, i. 410 a; Organ, ii.
596 b, etc.; Treatment of
Organ, iv. 164 a,
Couplets ; Chanson, i. 335 a.
COUPPEY, Le, iv. 600b; Conser-
vatoire de Mus., i. 392 b;
Montigny-Rdmaury, ii. 360 a ;
PF. Mus., ii. 73 1 b ; Delibes, iv.
6iob.
Courante, i. 410a ; Alle-
mande, i. 55b ; Form,i. 544b ;
Oratorio, ii. 534b; Orcheso-
graphie, ii. 560a ; Song, iii.
592 b; Specimens, Crotch's,
iii. 649 a; Subject, iii. 751b;
Suite, iii. 756 a, etc.
COURTEVILLE, J., i. 411a.
Courteville, Raphael, i. 411a.
CouRTEViLLE, Raphael, i. 41 1 a ;
iv. 600b ; Mus. Lib., ii.
421b.
Courteville, Raphael, i. 41 1 o.
CouRTOis, J., i. 411b.
Cousin, J. ; Schools of Comp.,
iii. 260a.
Cousins, C. ; Kneller Hall, iv.
692 a.
CoussEMAKER, C. E. H. de, i.
411b; iv. 601 a ; Chanson, i.
336a; Gerbert, i. 590a;
Hothby, i. 754b ; Jahrblicher,
etc., ii. 30 b ; Meibom,
ii. 247 b ; Mus. Mensurata,
ii. 415 b; Mus. Lib., ii.
426b; Notation, ii. 468 a;
Ochetto, ii. 491 a ; Plain Song,
ii. 763 a ; Schools of Comp.,
iii. 260a, etc. ; Song, iii. 598a;
Sumer is icumen in, iii. 768 b ;
Volkslied, iv. 337 b; Hist, of
Mus., iv. 674a ; Mus. Lib.,
iv. 724a; Tunsted, iv.
805 a.
CoussER, J. S., i. 412 a ; Opera,
ii. 508 a.
CovENT Garden Theatre, i.
412 a ; iv. 601 a.
Coward, J., iv. 601 a.
CowEN, F. H., i. 41 3 a ; iv. 601 a ;
Hauptmann, i. 698 a ; Schools
of Comp.,iii. 307 b, etc. ; Song,
iii. 608 b; Suite, iii. 761a;
Symphony, iv. 42 b: Hueffer,
i V. 68 1 a ; Philh. Soc, iv. 746 b ;
University Mus. Soc, iv.
806 b.
Cowper ; Part-books, iv. 740 a.
Cox AND Box, i. 413 a; Sullivan,
iii. 764 a.
CrACOVIENNE. (SeeKRAKOVIAK,
ii. 70 a.)
Craen, N. ; Schools of Comp.,
iii. 260b; Dodecachordon, iv.
6i6a.
Cramer, C, i. 413b.
Cramer, Ch., iv. 601 a ; King's
Band, ii. 58a.
Cramer, F., i. 413J ; Blagrove,
i. 247 a; Giardini, i, 594a;
King's Band, ii. 58 a; Philh.
Soc, ii. 698a; Royal Acad.
of Mas., iii. 185a; Vocal Con-
certs, iv. 319 a.
Cramer, H. ; PF. Mus., ii.
732b.
Cramer, J., i. 413 a.
Cramer, J., i. 413a.
Cramer, J. B.,i.4i3a; iv. 6oi(?;
Abel (K. F.), i. 5a ; Bach (C.
P. E.),i. 114a; Beale, i. 157b ;
Bigot, i. 241 a ; Chappell &
Co., i. 339b; Clementi, i.
373 a; Dreyschock, i. 463 a;
Dussek (J. L.), i. 476 b;
iStudes, i. 496 b, etc. ; Hart
(J.), i. 693 a ; Herz, i. 733 a ;
Jarnowick, ii. 32 b; Jupiter,
ii. 46 b ; Klavier Mus., Alte,
ii. 63 a ; Melodists' Club, ii.
249 a ; Mendelssohn, ii. 263 a ;
Moscheles, ii. 370a; Nageli,
ii. 442 a ; Onslow, ii. 497 a ;
Paradies, ii. 647 b; Philh.
Soc, ii. 698 a; PF. Mus., ii.
726a; PF.-playing,_ii. 737b,
etc.; Rosenhain, iii. 162a;
Royal Acad, of Mus., iii.
185a; Schools of Comp., iii.
308 a; Steibelt, iii. 701a;
Studies, iii. 747 a ; Trdsor des
Pianistes, iv. 168 b; Welsh,
iv. 444 a.
Cramer, W., i. 413b; Abel (K.
F.), i. 5a; Ancient Concerts,
i. 64b; Baker, i. 126a; Banti,
i. 135b; Baumgarten, i. 157a;
Haydn, i. 708 h, etc. ; Orchestra,
ii. 564a, note; Smart (H.),
iii. 537b; Violin-playing, iv.
293b, etc.
Cramer & Co., i. 414b.
Cranfield, W. ; Psalter, iv.
763 «.
Cranford, W. (See Cran-
field.)
Crang & Hancock, i. 415a;
Hancock, i. 647 b ; Spinet, iii.
656a.
Cranmer ; Cathedral Mus., i.
324a.
Cranz ; Beethoven, L i8ob;
Diabelli, i. 442 a.
10
Cbas; Vogt, Iv. 332 a.
Creation, The, i. 415a; iv.
601 a; Haydn, i. 714a, etc.
Cb6billon, fils ; Cl^ du Caveau,
iv. 593 &.
Cbecqdillon. (See Crequil-
LON.)
Credo, i. 415b; Mass, ii. 226b,
etc. ; Plain Song, ii. 767 h, etc.
Crf.ed, i. 415b ; iv. 601 a; Com-
munion Service, i. 3816; Ser-
vice, iii. 472 a.
Creed, J., Rev. ; Extemporising
Machine, i. 499 b; Recording
Mas., etc., iv. 767 a.
Cremona, i. 416 a ; Oi^an, ii.
593a; Stradivari (A.), iii.
732 a, etc. ; Violin, iv. 282 a,
etc. ; Virdung, iv. 303 b.
Crkmont, P; Odeon, ii. 492b.
Cbequillon, i. 416a; Ccirlo, i.
315a; Castro, i. 319b; Tyl-
man bjusato, iv. 197 b; Tr^sor
Mus., iv. 801b.
Cbescendo, i. 416 a ; Beethoven,
i. 185a, etc.; Mayer (J. S.),
ii. 241a; Nuances, ii. 483b;
Overture, ii. 622 a; Rossini, iii.
165 b ; Spontini, iii. 666 a.
Cbescentini, G., i. 416b; iv.
601 b; Camporese, i. 301b;
Catalani, i. 320b ; Colbran, i.
377a; Ferlendis, i. 512a;
Lamperti, ii. 89 a; Lazzarini,
ii. 108 a ; Rossi (L.), iii. 163 a ;
Singing, iii. 504b, etc. ; Sol-
feggio, iii. 546 b; Soprano, iii.
636 a; Stern, iii. 712 b; Zin-
garelli, iv. 509 a ; Dun (F.), iv.
619a ; Mus. Lib., iv. 726a.
Cbeselli ; Wilson (J.),iv. 463 a.
Crespel, G., i. 417 a ; Song, iii.
592 b.
Creyghton, Rev. R., i. 417 a;
iv. 601 b; Boyce, i. 268 a;
Magnificat, ii. 197a ; Part
Mus., ii. 656 b; Schools of
Comp., iii. 286b; Service, iii.
473b ; Tudway, iv. 198b.
Crispi ; Specimens, Crotch's, iii.
650a.
Cristal, M. ; Hist, of Mus., iv.
675 b.
Cbistofoei, B. di F., i. 417 b ;
iv. 601 b ; Grand Piano, i.
617 b; Grasshopper, i. 619 b;
PF., ii. 710a, etc.; Schroeter
(C. G.), iii. 318 a ; Sordini, iii.
636 a ; Square Piano, iii.
683a; Stein (J. A.), iii.
708 a ; Upright Grand Piano,
iv. 208 b.
Cbistofobo ; Miserere, ii. 336 b.
Ceivelli, A. ; Mus. Lib., iv.726a;
Sistine Chapel, iv. 794 a.
INDEX.
Crivellt, G., i. 418b ; Garcia, i.
582 a ; Howell (Jas.) i. 754b ;
HuUah, j. 755 b; Rainforth
(E.), iii. 67 b ; Royal Acad, of
Mus., iii. 185a; Royal Soc.
Musicians, Great Britain, iii.
187b; Sainton - Dolby, iii.
217 a ; Wilson, iv. 463 a.
Cboatids, F. ; Bodenschatz, i.
254a.
Cboce, G. dalla, i. 418b; iv.
601 b; Bodenschatz, i. 254a;
Este (Th.),i. 496 a ; Madrigal,
ii. 190b; Mass, ii. 330b;
Motett Soc., ii. 376b; Mus.
Divina, ii. 41 1 b ; Mus. Trans-
alpina, ii. 416a; Oriana, ii.
611 b; Part Mus., ii. 656 b;
Polyphonia, iii. 13 b; Schools
of Comp., iii. 265b, etc.;
Vocal Scores, iv. 319 b, etc. ;
Mus. Lib., iv. 726a; Part-
books, iv. 740 a.
Cbociato in Egitto, II, i. 419 a ;
iv. 601 b ; Meyerbeer, ii. 322b.
Cboft, W., i. 419a; iv. 601 b;
Accompaniment, i. 23b ; An-
them, i. 71a, etc.; Arnold
(S.), i. 86b; Boyce, i. 268 b;
Chant, i. 337b; Clark (J.),
i. 365 a ; Elford, i. 485 b ;
Hawkins, i. 700a; Howard,
i. 754b; Inglott, ii. 3a;
Ishnm, ii. 24a; Kent, ii. 50b;
Magnificat, ii. 197a; Martin
(J.), ii. 221 b; Mus. Lib.,
ii. 420b, etc. ; Mus. Print-
ing, ii. 436b; Mus. School,
Oxford, ii. 437 a; Novello, ii.
481a; Page, ii. 632 b; Part
Mus., ii. 656 b; Purcell, iii.
50a; Ritornello, iii. 137b;
Robinson (A.), iii. 139b; St.
Anne'sTune,iii.2i2b; Schools
of Comp., iii. 286 b; Service,
iii. 474a; Specimens, Crotch's,
iii. 650 a; Te Deum, iv. 69 a;
Thoroughbass, iv. 108 b ;
Turini (F.), iv. 190b; Tud-
way, iv. 199b; Vocal Scores,
iv.3i9b; Voices, iv. 334b;
Voluntary, iv. 339 b; Walsh
(J.), iv. 380b; Hanover, iv.
666 b ; Harmonious Black-
smith, iv. 667 a.
Crofts. (See Cboft.)
Cboisilles ; Stradivari, iii.
731 «.
Cbomornes ; Virdung (S.), iv.
303 &•
Crook, i. 419b ; Bassoon, i.
151b; Cornet, i. 403 b ; Horn,
i. 747a, etc. ; Saxhorn, iii.
233a; Trumpet, iv. i8ib.
Crooks ; Harp, i. 686 b.
Cbosdill J., i. 419 b; iv.
601 b ; Cervetto (Jas.), i. 331 a;
Duport (J. L.), i. 470a;
Haydn, i. 713a ; Stiastny (J.),
iii. 713b ; Violoncello-playing,
iv. 300 b.
Cross, N. ; London Violin
Makers, ii. 164 a.
Cboss, T., i. 420a ; Mus. Print-
ing, ii. 436 b.
Cross, T. ; London Violin
Makers, ii. 164b.
Crosse, J., i. 420a ; iv. 601 b.
Crosti ; Conservatoire de Mus.,
i. 393 «•
Crotch, W., i. 430 a ; iv. 601 b;
Ancient Concerts, i. 64 a;
Barrington, i. 144b ; Bennett
(Sterndale), i. 32505; Bex-
field, i. 239b; Birmingham
Festival, i. 244 a ; Bishop
(Sir H.), i. 245 b; Bumey, i,
284b ; Cliantji. 338a ; Handel,
i. 654b, note ; Hart (C), i.
692 b; Jacob, ii. 28b; Lam-
bert, ii. 86 a ; Lucas, ii. 170b ;
March, ii. 211b ; Metronome,
ii. 319a; Mudie, ii. 406b;
Mus. Lib., ii. 423a; Pastoral
Symphony, ii. 671a; Popular
AncientEi)glishMus.,iii. i6a;
Potter, iii. 23a ; Professor, iii.
32b ; Pye, iii. 53b; Recte et
Retro, iii. 88 b; Royal Acad.
of Mus., iii. 185a; Schools of
Comp., iii. 308 b; Solfeggio,
iii. 546 a ; Specimens, Crotch's,
iii. 648 b ; Vocal Concerts, iv.
319a ; Vocal Scores, iv. 319b ;
Welsh Mus., iv. 436 b; Cam-
bridge Quarters, iv. 575 b;
Hist, of Mus., iv. 674a.
Crotchet, i. 421a; Notation,
ii. 471a.
Crouch, F. N.,i. 421a.
Crouch, Mrs. A. M., i. 421a;
iv. 601 b; Singing, iii. 512a.
Crowd. (See Crwth, L
422 a.)
Ckowdy, J. ; Mus. Periodicals,
ii. 428a.
Crown Diamonds, The, i. 42 1 a ;
Auber, i. 102 b.
Crozier, W., i. 421a; Philh.
Soc.,ii. 700a; Wotton(W. B.),
iv. 490 a.
Cruger, J., i. 421b ; Chorale, i.
351b; iv. 589a; Schein (J.),
iv. 784 b.
Crusell ; Song, iii. 6iob.
Cruvelli, J. S. C, i. 431b;
Lamperti, ii. 89 a ; Lumley, ii.
174a; Thalberg, iv. 956.
Crwth, i. 422a; iv. 6oib; Kit,
ii. 62 b; Violin, iv. 369a,
etc. ; Welsh Mus., iv. 435 1,
etc. ; Rota, iv. 776 a,
Crystal Palace Saturday
Concerts, i. 4226; Concert,
i. 384 a; Double Bass, i.
457 &; Manns, ii. 207 a;
Schools of Comp., iii. 313& ;
Schubert, iii. 358?); Spina, iii.
651a.
CsXrdas, i. 423 a ; Magyar Mus.,
ii. 198&.
Csillag; Philh. Soc, ii. 700a.
Cuckoo ; Organ, ii. 603 a.
CuDMORE, R., i. 423a ; iv. 601 h ;
Joule, ii. 436.
Cue, i. 423 a.
CuELLAR, R. ; Eslava, i. 495 a.
Cui, C. A., iv. 6016; Hist, of
Mus., iv. 675?).
Cumberlands, Royal Soc. of, i.
423 &.
CuMMiNG, A. ; Scotish Music,
iii. 452 a.
CuMMiNGS, W. H., i. 423?) ; iv.
602a; Catch Club, i. 323a;
Macbeth Mus,, ii. 184a; Mus.
Lib., ii. 423b ; Mus. Period-
icals, ii. 428 a; Patey (J.
M.), ii. 672a; Philh. Soc,
ii. 700 a; Purcell, iii. 48 a;
Purcell Soc, The, iii. 53a ;
Singing, iii. 512& ; Spinet, iii.
656 a ; Harp, iv. 668 a ; Sacred
Har. Soc, iv. 778 a.
Cummins ; Abbey (J.), i. 2 a.
CUPIS ; Violin-playing, iv. 289 ;
Violoncello-playing, iv. 300 a.
CURIONI, i. 4236 ; Curioni (A.),
i. 42 3&.
CuRiONi, A., i. 423?).
Curios o Indiscreto, II, i.
424a; Anfossi, i. 68a.
CuRSCHMANN, K. F., i. 424a ;
Hauptmann, i. 698 a ; Song,
iii. 630 &.
INDEX.
Curtain Tune ; Tune, iv. 187 a.
Curte, J. de ; Schools of Comp.,
iii. 260a ; Sistine Choir, iii.
520&.
Curwen, J., iv. 602 a ; Mus.
Periodicals, ii. 428 a; Tonic
Sol-Fa, iv. 148 a.
Curwen, J. S., iv. 602 a; Mus.
Periodicals, ii. 428a.
CuSALius, L. ; Bodenschatz, i.
CusANiNO. (See Carestini, i.
308 J.)
Cushion Dance, i. 424 a; iv.
602&.
CusiNS, W. G., i. 4246 ; iv. 602 h ;
Mus. Periodicals, ii. 4286;
Philh. Soc, ii. 700 a, etc. ; PF.
Mus.,ii. 735 a ; Royal Acad, of
Mus., iii. 186&; Philh. Soc,
iv. 7466.
CUTELL, R., i. 424?).
Cutler, W. H., i. 4246; iv.
6026.
Cutts ; Mus. Lib., ii. 419 a.
Cu VILLON, J. B. p. de, i. 425 a ;
Habeneck, i. 643 a; Mendels-
sohn, ii. 268 &.
CUVR ; Orpheus, ii. 613 b.
CuzzoNi, F., iv. 6026; Beggar's
Opera, i. 209 a; Durastanti, i.
471& ; Farinelli, i. 504?) ; Hasse,
i. 696a; Porpora,iii.i7a; Royal
Academy of Mug., iii. 184&;
Senesino, iii. 462 a; Singing,
iii. 506 a; Soprano, iii. 6356.
Cyclus. (See Liederkreis, ii.
135&.)
Cymbals, i. 425 a; Drum, i.
4666; Gluck, i. 603a, note;
Instrument of Percussion, ii.
7<z; Janitscharen, ii. 31a;
Orchestra, ii. 566 h ; Organ,
ii. 594 « ; Piatti, ii. 7466 ;
SyiDphony, iv. 21 5; Turkish
41
Mus., iv. 191a; Wind-band,
iv. 468 a, etc. ; Cinelli, iv.
591 &.
Cynet. (See Sennet, iii. 463 b.)
Czakan, i. 425a.
CzAPEK, L. E. ; Vaterlandische
Kiinstlerverein, iv. 8076.
Czar und Zimmermann, i. 425 a ;
iv. 603 & ; Lortzing, ii. 167 a.
Czartoryski, Princess ; Sechter,
iii. 456a.
CzERNHORSKY ; Gluck, i. 6ob& ;
Tuma (F.), iv. 186&.
CzERNY, J. ; Blahetka, i. 247a;
Vaterlandische Kiinstlerver-
ein, iv. 8076.
CzERNY, K., i. 425a; Augarten,
i. I04« ; Bach (J. S.), i. 117& ;
Bache (F. E.),i. I20?j; Bee-
thoven, i. 168 &, etc. ; Bridge-
tower (G.), i. 276a; Clementi,
i- 373^; Cocks & Co., i. 376a;
Diabelli, i. 442 a; Dohler, i.
452a; Ecclesiasticon, i. 482a;
Eroica, i. 493 ?>; Etudes, i.
497 a ; Extempore Playing, i.
499 a ; Fingering, i. 527a;
Haslinger, i. 694 a ; In questa
Tomba, ii. 4a ; Krumpholz
(W.), ii. 74b; Kullak, ii.
766; Liszt, ii. 145 &; Mordent,
ii. 3646; Oury (Mme.), ii.
617 a; Pastorale, ii. 670& ;
PF. Mus., ii. 728a, etc ; PF.-
playing, ii. 7386, etc.; Pixis
(J. P.), ii. 759 & ; Reicha, iii.
98^; Shake, iii. 480 a; So-
winski, iii. 6476 ; Studies, iii.
746?) ; Vieuxtemps, iv. 262 b ;
Hist, of Mus., iv. 674a, etc. ;
Vaterlandische Kiinstlerve-
rein, iv. 8076,
CzERWENKA, J,, i, 426?); Haydn,
i. 706&.
D,
D., i, 426 a ; Re, iii. 79 a.
Da Capo i. 426 b ; iv. 604 a ;
Air, i. 47 a ; Notation, ii. 4 7 7 a ;
Opera, ii. 502 b, etc. ; Oratorio,
"• 537^; Repeat, iii, 108 a;
Scarlatti (A.), iii. 238a;
Steffani, iii, 6946,
Dachs, J.; Rappoldi, iii, 76?);
Pachmann, iv, 737 a.
Dachstein, W., i. 427 a ; Bour-
geois, iv. 559 «.
Dactyl, i. 427a; Metre, ii.
316&, etc.
DALAYRAC,N.,i.427a; iv.6o4a;
Musette, ii. 410&; Song, iii.
594 S ; ' Veillons au salut,' iv.
808 a.
Dainos; Song, iii, 613 a,
D'Albert, C. L. N,, iv. 6o4rt ;
National Concerts, ii. 447 a.
D'Albert, E., iv. 604 a; Train-
ing School, iv. 158/^; Liszt, iv.
702 a ; Mendelssohn Scholar-
ship, iv. 717 i ; Philh. Soc, iv,
7466.
D'Alembert ; Diet, of Mus., i.
44605.
Dallam, G., i. 428a.
Dallam, Ralph, i. 428a.
Dallam, Rob., i. 4276; iv.
604b; Organ, ii. 589a.
Dallam, T., i. 4276 ; iv. 604&;
Organ, ii. 5886.
D Allen, Mme. R. ; Adam (L.),
i. 29a.
Dallery, C, iv. 604 &.
Dalleky, L., iv. 605 a.
Dallery, P., iv. 604b.
Dallery, P. F., iv. 605a.
Dal Segno, i. 428a; Notation,
ii. 477 «.
Dalvimare ; Song, iii. 595a.
Dalyell, Sir J. G.; Hist, of
Mus., iv. 674J.
42
DamascenEjA., i.428a; iv.6osa.
Damcke, B. ; Pfeiffer, iv. 746a.
Dame Blanche, La, i. 428a;
Boieldieu, i. 257a, etc.
Dabhan ; Accordion, i. 256.
Damian, G. ; Singing, iii. 512?).
Damon, W., i. 428 a; Day, i.
438b ; Hymn,i. 7626; Wind-
sor Tune, iv. 4736; Psalter,
iv. 759 h.
Damoreau, L. C. M., i. 428?);
iv. 605 a ; Academic de Mus.,
i. 9&; Cinti, i. 359 a; Con-
servatoire de Mus., i. 3926;
Nau, ii. 448 a; Plantade, iii.
2a; Gras, iv. 654?).
Damper, i. 429a; Mute, ii.
439&; Sordini, iii. 636 a.
Damrosch, L., iv. 605 a ; Philh.
Soc, New York, ii. 702 a;
Symphony Soc, New York, iv.
Danby, J.,i. 429a ; Catch Club,
i. 322&; Glee, i. 599a; Mus.
Lib., ii. 420a; Novello, ii.
480&; Part Mus., ii. 6566;
Vocal Scores, iv. 320a; Nixon,
iv. 731&.
Dance Music and Dances, i.
429 a; Anglaise, i. 68 a;
Arbeau, i. 806 ; Ballabile, i.
128a; Ballad, i. 128&; Ballet,
i. 130a; Ballets,!. 132b; Ber-
gHinasca, i. 230b; Bolero, i.
258a;Bourr^e,i.264a;Branle,
i. 271b; Cachucha, i. 290b;
Canarie, i. 302 a ; Caroso, i.
316 b ; Chaconne, i. 331 b ;
Cotillon, i. 407 a; Csardks, i.
423a; Cushion Dance, i. 424a;
Ecossaise, i. 483 a ; Fandango,
i. 502 a; Folia, i. 539b; Gal-
liard, i. 578a ; Galop, i. 579a ;
Gavotte, i. 585b; Gigue, i.
595 b; Grossvater Tanz, i.
634a; Hornpipe, i. 753a;
Jota, ii. 42 b ; Krakoviak, ii,
70 a ; Lancers' Quadrille, ii.
89a ; Lanner, ii.9ia ; Loure,
ii. 169b; Lumbye, ii. 174a;
Magyar Mus., ii. 198b; Matas-
sins, ii. 236b; Matelotte, ii.
236b; Mazurka, ii. 241b;
Measure, ii. 243 a; Melody, ii.
250b ; Minuet, ii. 333 a ; Mon-
ferrinn, ii. 353a ; Morris-dance,
ii. 369a; Mozart, ii. 400a;
Musard, ii. 409 b ; Mu-
sette, ii. 410a ; Mus. Antiqua,
ii. 410b ; Orchesographie, ii.
560a ; Partita, ii. 656a ; Pas-
sacaglia, ii. 661 a; Passamez-
zo, ii. 662a; Passepied, ii.
662b; Pavan, ii. 676 a ; Peri-
gourdine, ii. 692 a; Philidor
INDEX.
(A.), ii. 703 a; Polka, Hi.
8a; Polo, iii. gh; Polonaise,
iii. 10a; Polska, iii. lib;
Pop. Ancient English Mus.,
iii. i6a; Quadrille, iii. 55a;
Redowa, iii. 89b ; Reel, iii.
91b; Rigadoon, iii. 134a;
Round, iii. 180 a; Saltarello,
iii. 221 b; Saraband, iii. 226b;
Schottische, iii. 315b; Scotish
Mus., iii. 450a ; Seguidilla, iii.
457a; Siciliana, iii. 491b;
Sink-a-pace, iii. 517 b; Sir
Roger de Coverley, iii. 519a;
Sonata, iii. 554b; Song, iii.
595a, etc.; Strathspey, iii.
735 a ; Strauss (J.), iii. 737a ;
Subject, iii. 751b; Suite, iii.
755a; Tambourin, iv. 55 a;
Taiantella, iv.58b; Tirana, iv.
128b; Tolbecque (L J.), iv.
132a; Tourdeon, iv. 154a;
Trenchmore, iv. 167b ; Triho-
ris, iv. 169 b ; Varsoviana, iv.
230 b; Vereeniging, etc., iv.
255a ; Volte, iv. 338b ; Waltz,
iv. 385 a; Welsh Mus., iv.
437b; Carol, iv. 579b; Dance
Rhythm, iv. 605b, etc.; De-
libes, i v. 6 r i a ; Farandole,
iv. 632b; Hailing, iv. 662 b;
Hey, iv. 672b; Histories of
Mus., iv. 676b ; Obertas, iv.
733«-
Dance Rhythm, iv, 605 b.
Dance, W., i. 429 a ; Philh. Soc,
ii. 698a.
Danchet, a. ; Opera, ii. 506 b;
Campra, iv. 577a.
Dancla ; Conservatoire, i. 392 b;
Reicha, iii. 98 b.
Dando, J.H. B., i. 429b; Bach
Soc.,i. 1 20 a; Choral Harmonic
Soc, i. 352 a.
Dandrieu, J. T.; Noel, ii. 462 b.
Dangecourt, p. ; Mus. Antiqua,
ii. 411a.
Danhauser ; Beethoven, i. 201 a.
Danhauser; Orphdon, ii. 612 a.
Danican, M. (See Philidor, ii.
702 b.)
Daniel, A. ; Song, iii. 585 b.
Daniel, F. S. ; Hist, of Mus., iv.
674b.
Daniel, H. A., i. 429 b ; Hist, of
Mus., iv. 676b.
Danjou, J. L. F. ; Hist, of Mus.,
iv. 675 a.
Dankerts, G., i. 429b.
Danner ; Eck (J. F.), i. 482 a ;
Violin-playing, iv. 289.
Danneley, J. F., i. 430a.
Dannreuther, E., i. 4.30a ;
Beethoven, i. 202 b, etc. ; Form,
i. 549b; Leipzig, ii. 115b;
Mus. Periodicals, ii. 4286;
Parry (C. H. H.), ii. 651a;
PF.-playing, ii. 745 ; Schar-
wenka (Xaver), iii. 242 a;
Pedalier, iv. 745 a.
Danyel ; Este (T.), i. 496 a.
Danzi, Francesca. (See Lebrun,
Mme., ii. 109 a.)
Danzi, F., i. 430 b; iv. 608 a;
Bohrer (A.), i. 255 a ; Latrobe,
ii. 102b; Vogler, iv. 334b;
Weber, iv, 393 a.
Daquin, L. C. ; Maitrise, ii.
200 a ; Tresor des Pianistes, iv.
1 68 a.
Dargomyski, a. S., i. 430 b ; iv.
608a; Song, iii. 614a.
D'Artot. (See ARTOT.iv. 523b.)
Daser. (See D'Asero.)
D'ASERO, L.; Lassus, ii. 946;
Senfl.iii. 463 a.
Dash, i. 431a; Dot, i. 457 a r
Phrasing, ii. 707 b ; Staccato,
iii. 6856 ; Touch, iv. 1536.
Daublaine et Callinet, u
431 a ; Merklin, Schutze &
Co., iv. 717b.
Daughter op S. Mark, The, i.
431b; Balfe, i. 126 b.
Dauney, W., i. 431 b ; Graham,
i. 616 b ; Lilt, ii. 139 b ; Scot-
ish Mus., iii. 440 6, etc. ;
Skene MS., iii. 523b; Hist,
of Mus., iv. 674 J.
Daupret ; Conservatoire, L
3926 ; Rousselot, iii. 183a.
Daussoigne ; Gr. Prix deRome,
i. 6i8b.
Dauvergne, a., i. 431b; Con-
cert Spirituel, i. 385 a ; Ra-
meau,iii. 72a ; Violin-plaving,
iv. 289; Dela Borde, iv. 6106.
Dauvekne ; Conservatoire de
Mus., i. 392 b.
Davante ; Mus. Lib., ii. 423b.
Davenport, F. W., iv. 608a;
White (Maude), iv. 451a.
David, S. ; Hal^vy, i. 645b.
David, E. ; Hist, of Mus., iv.
677a; Song, iii. 591b, note.
DAViD,F^licien,i.432a; iv.6o8b;
Conservatoire, i. 393 6 ; Gr.
Prix de Rome, i. 6x86; Her-
culanum, i. 730b ; Institut,
ii. 5a ; Lalla Rookh, ii. 86a;
Maitrise, ii. 200 a ; Orph^on,^
ii. 612 a; Perle du Brlsil, ii.
692 b ; PF. Mus., ii. 730a ; Pro-
gramme-Mus., iii. 39b ; Song,
iii. 597a; Soria, iii. 638b;
Ventadour, Theatre, iv. 238 b^
Wind-band, iv. 470a; Bord
(A.), iv. 554&.
David, Ferdinand, i. 433 a;
Bach (J. S.), i. II 7 b ; Bassoon*.
i. 154b; Bohrer, i. 355 a;
Concert-Meister, i. 384 h ;
Dulcken, i. 469 a; Etudes, i.
497a; Fiorelli, i. 5286 ; Frege,
i. 562 h ; Griitzmacher, i. 635 a ;
Hauptmann, i. 698 a ; Hiller
(Ferdinand), i. 737 h ; Joa-
chim, ii. 34& ; Kufferath, ii.
75b; Leclair (J.M.), ii.iio&;
Leipzig, ii. 1 15 & ; Locatelli, ii.
156a; Mendelssohn, ii. 253a,
etc. ; Nardini, ii. 4466 ; Opera,
ii. 519 &, note ; Queisser, iii.
60b; Rontgen (E.), iii. 144a ;
Schubert, iii. 356b; Schu-
mann, iii. 393 a, etc. ; Spobr,
iii. 663b ; Svendsen (J. S.), iv.
6a; Tenor Violin, iv. 92a;
Tonkiinstlerverein, iv. 150b;
Violin-playing, iv.296b ; Vitali,
iv. 313b; Wasielewsky, iv.
384a; Wilhelmi, iv. 457 b;
Wiierst, iv. 491b.
Davjdde Penitente, i. 434« ;
Mozart, ii. 390 b, etc.
Davide, Giac, i.434a ; iv.6o8a;
Haydn, i. 710 a; Piccinni,
ii. 749 a; Singing, iii. 511a;
Tenor, iv. 87 b.
Davide, Giov., i. 434b ; Concert
Spirituel, i. 385 b ; Tamburini,
iv. 56a; Tenor, iv. 87 b.
Davidoff, C, i. 434 b ; iv. 819 a ;
Phil. Soc, ii. 700a; Song, iii.
614a ; Violoncello-playing, iv.
300 b ; EssipofF, iv. 629b.
DavidsbUndler, i. 435 a ; Schu-
mann, iii. 390 a, etc.
Davidson, P., Hist, of Mus., iv.
676b.
Davies, C, i. 435a; iv. 6oSb.
Davies, Fanny, iv. 608b ; Philh.
Soc, iv. 747 a.
Davies, Marianne, i. 435 a ; iv.
608 b ; Harmonica, i. 662 b.
Davies, Mary; Singing, iii. 51 2b.
Davis, R.; Mus. Lib., ii. 418a.
Davison, D. & Co. ; Mus.
Periodicals, ii. 427 b.
Davison, J. W., iv. 609 a ; God-
dard (Arabella), i. 605 a;
HalH i. 646 b ; Holmes (W.
H.), i. 744b ; Monday Popular
Concerts, ii. 352b; Mus. Pe-
riodicals, ii. 427 b; Night
Dancers, ii. 458 a ; Purcell
Soc, iii. 53a; Ryan, iii. 207a;
Song, iii. 608a.
Davy, John, i. 435 b ; Eastcott,
i. 479 a ; English Opera, i.
489b; Moorehead, ii. 362a;
Mus. Lib., ii, 417b ; Opera, ii.
524a; Song, iii. 607 a.
Davy, R., i. 435b; Schools of
Couip., iii. 270 b.
INDEX.
Day, a., i. 436a; iv. 609b;
Harmonic Minor, iv. 666 b ;
Part-writing, iv. 742 a, note.
Day, J., i. 438 a; Anthem, i. 70b;
Cathedral Mus., i. 324b ;
Causton, i, 326b ; Damon, i.
428a; Mus.-printing,ii.435a;
Novello, Ewer & Co., ii. 482 a ;
Part-books, iv. 740 a; Psalter,
iv. 759 b.
D.C. (See Da Capo, i. 426 b.)
Deacon, H. C. ; Royal College of
Music, iv. 159a ; Williams
(Anna), iv. 459 b; Thorndike,
iv. 799 a,
Deane, T., i. 438 b ; Division
Violin, i.45ia.
Dearle ; Schools of Comp., iii.
308a.
Debain, a. F., i. 438 b; Har-
monium, i. 66] a; Piano
mdcanique, ii. 745 a ; Organo-
phone, iv. 736 a.
De Bebiot. (See Beriot, i.
231a.)
Deborah, i. 438 b; Handel, i.
650b.
Debussy ; Gr. Prix de Rome,
iv. 654b.
De Caix ; Violin, iv. 278b.
Decamp; Rauzzini, iii. 78a.
Decani, i. 438 b ; Cantoris, i.
306 a.
Decius, N. ; Part Mus., 11.6566.
Decker, J.; Scheidemann (D.),
iv. 781a.
Decrescendo, i. 438 b ; Dimi-
nuendo, i. 448 a.
Deering. (See Dering, i. 441 a.)
D'EvE, A. ; Defesch, i. 438 b.
Defesch, W., i. 438 b ; Judith,
ii. 44 a.
Deffes ; Gr. Prix de Rome, i.
6i8b ; Haldvy, i. 645 b.
De Gouy ; Vocal Scores, iv.
319 b.
Degree, i. 439 a ; Alphabet, i.
57 «.
Degrees Musical, i. 439 a ; iv.
609 b ; Bachelor, i. 120 6 ;
Cambridge, i. 300 a ; Doc. of
Music, i. 451b; London, ii.
163 a ; Oxford, ii. 624 a ;
Professor, iii. 33a; Trinity
College, Dublin, iv. 178; Doc.
of Mus., iv. 615a; London,
iv. 7056; Oxford, iv. 737 b.
Dehn, S.W., i. 439 a ; iv. 610 a ;
Andrd (J.), i. 66 6 ; Bach (J.
S.), i. II 7 6 ; Bronsart, i. 2 78 J ;
Caecilia, i. 294 b ; Delmotte,
1. 440 a ; Glinka, i. 599 b ;
Handel-Gesellschaft, i. 659 a ;
Haupt (C), i. 697 b; Kiel, ii.
56 a; Lassus, ii. loia; Mus.
4&
Lib., ii. 424 h ; Nohl, ii. 463b ;
Nottebohm, ii. 479 a ; Or-
pheus, ii. 613 a ; Peters, ii.
695 b ; Pollini, iii. 9 b ; Rell-
stab, iii. 107 a ; Rubinstein,
iii. 191 o, etc. ; Thematic
Catalogue, iv. 99 a ; Truhn,
iv. 180 a ] XJlrich (H.), iv.
201 a; Hofmann (H.), iv.
677b.
D'Hervelois. (See De Caix.)
Deiss, M., i. 439 b.
Delabarre ; Vogt, iv. 332 a.
Delaborde ; Philh. Soc, ii.
7006.
De la Borde, J. B., iv. 610 b;
Ranz des Vaches, iii. 76 a ;
Song, iii. 597 b ; Hist, of Mus.,,
iv. 674 a.
Delapage. (See Fatigues.)
Delaire, J. A.; Reicha, iii. 99a,
note.
Delapokte ; Orpheon, ii. 612 b.
Delatre, O. ; Lassus, ii. 94 a.
Delattee. (See Lassus, O,, ii.
93«-)
Delattre, C. p. J. ; Lassus, ii.
94 a; Mus. Antiqua, ii. 411a.
Delcambre ; Conservatoire, i.
392 b.
Deldevez, E., i. 439 b; Concert
Spirituel, i. 386 a ; Conser-
vatoire, i. 393 <^ ; Halevy, i.
645 b ; Lady Henriette, ii.
83 a; Soc. des Concerts du
Conservatoire, iii. 543 b ; Tol-
becque, iv. 132 a; Garcin, iv.
645 b.
Delehelle ; Gr. Prix, de Rome,
i. 6i8b.
Delibes, C. p. L., iv. 610 b;
Malbrough, ii. 201 a ; Or-
pheon, ii. 612 b; Song, iii.
597 a; Sylvia, iv. loa ; Wind-
Band, iv. 470 a; Bizet (G.),
iv. 548 b ; Gr. Prix de Rome,
iv. 654b; Offenbach, iv. 73405;^
Samara, iv. 780 a.
Delicati, M., i. 440 a.
Delioux, C. ; Halevy, i. 645 b ;
PF.-playing, ii. 745a.^
Delisse ; Conservatoire, i, 393 a.
Delmotte, H. F., i. 440 a.
Delsart ; Trompette, La, v.
179 a.
Demantius, C, i. 440 a ; Boden-
schatz, i. 253 a.
Demar ; Haydn, i. 716 b.
Demersseman; Tulou, iv. 186 ^.
Demeur, Anna A., iv. 611 a j.
Philh. Soc, ii. 699b.
Demeur, J. A., iv. 611 a, note.
Demi-semi-quaver, i. 440 a.
Demonio, II, iv. 611 b; Rubin-
stein, iii, 192 a.
44
Demophon, i. 440 a ; Cherubim,
i. 342 a.
Demunck, E. ; Denefve, 1. 440a ;
Paque (G.). ii. 647 &.
De Muris. (See MuRis.)
Penefve, J., i. 440 a ; Orph^on,
ii. 612 &.
Pengremont, M. ; Violin-play-
ing, iv. 296 a.
Denner, J. C. ; Clarinet, i. 361 a.
Dentice, F. ; Mus. Divina, ii.
412 a; Schools of Comp., iii.
266 a ; Sistine Chapel, iv.
794 b.
Dentice, L.; Miserere, ii. 33605.
Denza ; Song, iii. 590 6.
D'Ortigue. (See Obtigue, ii.
614a.)
Depart, Chant du, i. 440 6 ;
Chanson, i. 335 h ; Song, iii.
595 «.
Dk Heszke, E., iv. 611 h.
De Reszke, J.,iv. 612a.
De Heszke, Jos., iv. 612&.
Derevis ; Lamperti, ii. 89 a.
Dekfeldt; Song, iii. 614 a.
Dertng, R., i. 441 a ; iv. 6 1 2 & ;
Mus. Lib., ii. 418 a; Burney,
iv. 571a; Thoroughbass, iv.
799 «•
Descant. (See Discant, i.
448 &.)
Deschamps ; Song, iii. 5936.
Descort ; Chanson, i. 335 h.
Deserteub, Le, i. 441 a ; Mon-
signy, ii. 356 a.
Desidebi, G. ; Bologna, i. 259 a ;
Hist, of Mus., iv. 676 a.
Desmarets, iv. 6i2?>; Acad^mie
de Mus., i. 7&; Symphony, iv.
II h.
Desxoiresterres, G. ; Hist, of
Mus., iv. 675 a.
Desperamons ; Garat, i. 581 b.
Despeeaux, R. ; Boccabadati, i.
250 &; Gr. Prix de Rome, i.
618 &.
Dessauer; Toma8chek,iv. 133b.
Dessoff, O. ; Rappoldi (E.), iii.
76 h ; Reinhold, iii. 102 h ;
Briill, iv. 566 6 ; Mottl, iv.
720b.
Destouches, F.; Haydn, i. 716 &;
Musette, ii. 410 h ; Mus. Lib,,
ii. 423a, etc. ; Opera, ii. 506 & ;
Symphony, iv. lib; Campra,
iv. 577 a ; Lalande, iv. 695 a.
Dettingen Te Deum, i. 441a;
Handel, i. 651b; Te Deum,
iv. 69a; Urio, iv. 2100.
Deus misereatur, i. 441a;
Service, iii. 472a.
Deuteromelia ; Catch, i. 322a ;
Pammelia, ii. 643 b ; Round,
iii. I Sob.
INDEX.
Deutscher Tanz ; Allemande,
i. 55 b; Teutsche, iv. 95a.
Deutsche Musikzeitung ;
Bagge (S.), i. 123a; Mus.
Periodicals, ii. 430 a.
Deux Journ^es, Les, i. 441b;
iv, 612b ; Cherubini, i. 342a.
Development, i. 441 b ; Durch-
fiihrung, i. 472 a; Figure, i.
521a; Form, i. 544a, etc.;
Sonata, iii. 559a ; Woi^king-
out, iv. 486 b.
Devil's Opera, The, i. 441b;
Macfarren (G.), ii. 186 a.
Devin du Village, Le, i. 441 b ;
Rousseau (J. J.), iii. i8ia;
Zopf, iv. 513b.
Devienne ; Conservatoire, i.
392 a; Song, iii. 594b.
DiiViTis. (See Di vitis, i. 45 1 a.)
DEVKir.NT.W.S. (SeeScHRdDEB,
iii. 315 b.)
Devrient, Ell. ; Marschner, ii.
2I9«; Mendels.sohn, ii. 254b,
etc.; Spontini, iii. 672 b;
Zelter, iv. 505 b.
Diabelli, a., i. 442a ; Bee-
thoven, i. 200a; Liszt, ii.
145b; Orpheus, ii. 613b; PF.
Mus., ii. 727 a ; Schubert,
iii. 334b, etc. ; Spina, iii.
650b; Weigl (Th.), iv. 433a ;
Vaterlandische Kiinstlerver-
«in, iv. 807 a, etc.
Di ADESTE, i. 442 h ; Biilfe, i. 1 2 7a.
DiAMANTS DE LA COUKONNE,
Les, i, 442 b ; Auber, i, 102 b.
Diapason, i. 442 b ; Organ, ii.
579 a, etc.
DiAPENTE, i. 442 b ; .zEolian
Mode, i. 40a ; Authentic, i.
105 a; Fifth, i, 520b; Greg-
orian Modes, i. 626 a; Hyper,
i, 764b.
DiAPHONiA, iv. 612 b ; Faux-
Bourdon, i. 509a ; Organum,
ii. 608b ; Stiict Counterpoint,
iii. 740a ; Guido d'Arezzo, iv.
659 a.
DiATESSARON, i. 442 b ; ^olian
Mode, i. 40a; Authentic, i.
105a; Fourth, i. 557b;
Gregorian Modes, i. 626a;
Hyper, i. 764b; Organum, ii.
6ioa.
Diatonic, i. 442 b; Change, i.
333a; Harmonics, i. 664a;
Harmony, i, 676a; Modula-
tion, ii. 343b ; Scale, iii. 235b ;
Sequence, iii. 464 b,
DiBDiN, C, i. 442b; iv. 613 a;
English Opera, i. 489a ;
Melodists* Club, ii. 249a;
Mus. Lib., ii. 419b; Panto-
mime, ii. 646 a; Schools of
Comp., iii. 291 a ; Song, iii.
606 b; Table Entertainment,
iv. 51a; Thoroughbass, iv.
io8b.
DiBDiN, H. E., i. 444a.
Dickenson, Ed. ; London Violin
Makers, ii. 164b.
Dickons, Mrs., i. 444b; An-
cient Concerts, i. 64b ; Poole,
iii. 15 b; Eauzzini, iii. 78 a;
Vauxhall Gardens, iv. 233b;
Vocal Concerts, iv. 3190.
Dictionaries of Music, i. 444b;
iv. 613a; Hist, of Mus., iv,
677a,
Diderot ; Bemetzrieder, i. 221a;
Diet, of Mus., i. 446a
DiEMER ; Indy, iv. 684 a.
DiEPPO ; Conservatoire, i. 392 b.
Dies ; Haydn, i. 715 a.
Dies Ir^, iv. 613b; Sequentia,
iii. 466 a.
Diesis, i. 446b; Accidentals, i.
18 b; Notation, ii. 4 74 a; Sharp,
iii. 485 a ; Zacconi, iv. 497b.
Dietrich, S. ; Chorale, iv. 589b ;
Dodecachordon, iv, 6 16 a.
Dietrich, A., iv. 614b; Schu-
mann, iii, 404a.
Dietrich, L. von ; Song, iii, 614b.
Dietrich, W. G. ; Philh. Soc,
New York, ii. 702a.
DiETRiCHSTEiN, Count Moritz;
Beethoven, i. 196 b ; Schubert,
i'i- 33.^ ^ > Vaterlandische
Kiinstlerverein, iv. 807 b.
DiETSCH, P. L. P., iv. 614b ; Cae-
cilia, St., i. 329b; Choron, i.
354 a; Vaisseau- Fan tome, iv.
213a, note; Faur^, iv. 633b;
Vaisseau-Fantome, iv. 806 a.
DiETZ, F. C. ; Hist, of Mus., iv.
675a, etc.
DiETZ, M. ; Harp, iv. 668 a.
DiEUPAET, C, i. 446b ; Clayton,
i. 370a ; Hayiu, i. 723a.
Differential Tone ; Resultant
Tones, iii. 119a.
Di Giovanni, i. 447 a.
DiGiTORiUM, i. 447 a.
DiGON, J. (See DYGON,iv,625a.)
DiGNUM, C, i. 447b; iv. 614b;
Glee Club, i. 599 a.
Diminished Intervals, i. 447 b;
Harmony, i. 680 b; Modula-
tion, ii. 344b; Ninth, ii, 460b ;
Schools of Comp., iii. 288a;
Seventh, iii. 477 b.
Diminuendo, i. 448 a; Decres-
cendo, i. 438 b.
Diminution, i. 448 a; Augmen-
tation, i. 104 b ; Canon,i.304a;
Counterpoint, i. 409 a ; Imita-
tion, i. 766 a; Tonal Fugue,
iv. 137 b.
DiNOKAH, i. 448 h ; Meyerbeer,
ii. 324?) ; Pardon de Ploermel,
ii. 648?).
Direct, i, 4486 ; Slide, iii. 535a.
Direct ; Tractulus, iv. 800 a.
Direct motion, i. 448?).
DiRUTA ; Mu3. Antiqua, ii. 411 a.
DiRZKA, T. ; Pauer, ii. 674?).
Dis, i. 448 h ; Tablature, iv. 47 h.
DiSCANT, i. 448?); Contrapuntal,
i. 396 a; Faux-Bourdon, i.
509 a ; Hymn, i. 760 &; Morley
(T.). ii. 368 a; Notation, ii.
4696; Ochetto,ii.49i a ; Organ,
ii. 58205; Orf,ranum, ii. 6086,
etc.; Polyphonia, iii. 12a; Prick
Song, iii. 30 a; Schools of
Comp., iii. 259b; Subject,
iii. 748a; Treble, iv. 165&;
Diaphonia, iv. 61 2&; Franco
(of Cologne), iv. 641a.
DiscANTUs. (See Discant.)
Discord, i.448b; Mass, ii. 231a;
Monte verde, ii. 357 &; Ninth,
ii.4 59a ; Preparation, iii. 29a ;
Resolution, iii. 113b; Root,
iii. 158a; Psalter, iv. 758fl,
note.
Disjunct ; Motion, ii. 377 a.
Disjunct System; Organ, ii.
579 a-
DiSSOLUTO PUNITO, II, i. 449a;
Don Giovanni, i. 452?*.
Dissonance, i. 449 a; Harmo-
nics, i. 663 &, etc.
Distler; Haydn, i. 716a.
DiTAL Harp, i. 449 a ; Harp
Lute, iv. 668 a.
DiTSON, iv. 614&, and 810 a.
DiTTENHOFER ; Rawlings, iii. 79a.
DiTTERSDORP, i. 449 b; Haydn,
i. 704b; Lessel, ii. 123b; Mo-
zart, ii. 391a, etc.; Oratorio,
ii- 553a; Pichel, ii. 751 b ; Pro-
gramme-Mus., iii. 37a; Sing-
spiel, iii. 517a; Storace (S.),
iii. 719 b ; Symphony, iv. 14 b ;
Violin-playing, iv. 297 a ;
Wanhal, iv. 382 a; Miiller
(Wenzel),'iv. 722a.
Ditty; Ballad, i. 129a; Song,
iii. 605 b.
Divertimento, i. 450b; Cassa-
tion, i. 319a; Minuet, ii.
334b; Serenata, iii. 468a.
Divertissement, i. 451 a; Entr'-
acte, iv. 628a.
Diving ; Mus. Lib., ii. 422b.
Division Violin, The, i. 451a ;
Playford, iii. 2 a ; Violin-play-
ing, iv. 290 b.
Division Violist ; Ground Bass,
i. 634b; Playford, iii. 2a;
Sympson, iv. 43 b; Violin, iv.
378 b.
INDEX.
Divisions, i. 451a ; Prick Song,
iii. 300; Rosalia, iii. i6ob;
Variations, iv. 219b; Burney,
iv. 571a.
DiviTTs, A., i. 451a; Attaig-
nant, i. loob; Sistine Chapel,
iv. 794 a.
Dizi ; Parish- Alvars, ii. 6490.
Dlabacz, G. J., 451b; Dussek,
i. 473 a.
Dmitrief ; Song, iii. 614 a.
Do, i. 451 b ; Solfeggio, iii. 546 a ;
f*=olmisation, iii. 551b.
DoBRiNSKY, F. ; PF. Mus., ii.
729b; Song, iv. 795a.
DOCHE; Vaudeville, iv. 232 a.
Doctor of Musrc, i. 451b ; iv.
615 a; Bac. of Music, i. 120b;
Cambridge, i. 300 a; Degree,
i. 439 a; Hamboys, i. 647 a;
London, ii. 163 a; Oxford, ii.
624b.
DoDD; Tubbs (J.), iv. 184a.
DODECACHORDON, iv. 615 a;
Glareanus, i. 598 a; Obrecht,
ii. 489 b, note; Plngal
Modes, ii. 761 a; Schools
of Comp., iii. 261a; Strict
Counterpoint, iii. 740b; Te
Deum, iv. 67 b; Zacconi, iv.
497a; Maneria, iv. 710a.
Part-books, iv. 740 b.
DoHLER, T., i. 452a ; Czerny, i.
425b ; Mendelssohn, ii. 285 a ;
Philh. Soc, ii. 699b; PF.
Mus., ii. 731b; PF.-playing,
ii. 739a, 7tote, etc. ; Sech-
ter, iii. 456a ; Weyrauch, iv.
450a; PF-playiiig, iv. 748b;
Vianesi, iv. 812 a.
DoRFFEL, A., iv. 6i6b; Bach
(J.S.),i.ii7b.
DoRiNG, G. ; Hist, of Mus., iv.
675a.
Dolby, C. (See Sainton, Mme.,
iii. 217a ; iv. 779 «.)
DoLCAN ; Organ, ii. 584 a.
Dolce, i. 452 b.
DoLCiNO ; Reed, iii. 90a.
Doles, J. F., iv. 6i6b; Barthel,
i. 145 «, Gassman, i. 584a;
Gewandhaus Concerts, i.593 a ;
Leipzig, ii. 115 a; Mozart, ii.
392 b, etc. ; Rochlitz, iii. 141 a ;
Song, iii. 621b.
Dolezalek ; Beethoven, i.
200 a.
DoLiVE ; Song, iii. 595 b.
DoMARTO; Sistine Chapel, iv.
794a.
Dominant, i. 452 b ; Authentic,
i. 105 b; Form, i. 542 b,
etc. ; Gregorian Modes, i.
626a; Harmonics, i. 664b;
Harmopy, i. 674a, etc. ;
45
Imperfect, i. 7676; Inter-
rupted Cadence, ii. 10 a, etc. ;
Modes Eccles., ii. 342a ;^
Monteverde, ii. 359 5 ; Ninth,
ii. 460 a; Pedal Point, ii.
679^;, etc. ; Reciting Note, iii.
86a ; Relation, iii. 104b, etc. ;
Resolution, iii. 113b, etc.;
Sonata, iii. 563a, etc. ; Song,,
iii. 618 a.
Domino noir. Le, i. 452b; Au-
ber, i. 102 b.
Dommer, a. von, iv. 617 a ; Jahr-
bucher, etc., ii. 30b; Handel
Gesellschaft, iv. 665 b; Koch,
iv. 692a.
Domnich; Conservatoire,i.392a.
Don Carlos, i. 452 b ; iv. 617 b ;
Verdi, iv. 250b.
Don Giovanni, i. 4525 ; Disso-
lute punito, II, i. 449 a ; Min-
uet, ii. 333b; Mozart, ii.
391b, etc.
Don Juan ; Prince de la Mos-
kowa, iii. 31a.
Don Pasquale, i. 452b; Doni-
zetti, i. 454a.
Don Quixote ; Purcell (H.), iii.
49 b.
Don Quixote, i. 452b; Mac*
farren (G.), ii. 186 a.
DONADIO, Mile. ; Strakosch, iii.
Donaldson, J. ; Edinburgh, i.
483 a ; Reid Concerts, iii.
loia; Ellis (A. J.), iv.
626b.
DoNATO, B. ; Part Mus., ii.
656b; Burney, iv. 571a; Mus.
Lib., iv. 726a.
Donelli, B. ; Golinelli, iv. 651 a.
DoNi, A. F. ; Hist of Mus., iv.
675 b, etc.
DoNi, G. B. ; Accademia, i. 1 1 a ;
Bardi, i. 139a; Casini, i.
318 b; Do, i. 451a; Mersen-
nus, ii. 314a ; Opera, ii.499a ;
Schools of Comp., iii. 278a;
Mus. Lib., iv. 726a.
Donizetti, G.,i. 453a; iv.617 J;
Acad, de Mus., i. 9b ; Anna
Bolena, i. 69 b ; Bassoon, i.
154a; Belisario, i. 210b;
Catarina Cornaro, i. 322a;
Catelani (A.), i. 323b; Don
Pasquale, i. 452b; Favoritn,
La, i. 510a; Grand Opera,
i. 6 1 7 a ; Grisi, i. 633 a ; Hurdy
Gurdy, i. 759b; Laporte, ii.
91b; Lucia di Lammermoor,
ii. 171b; Lucrezia Borgia, ii.
171 i; Maria di Rohan, ii.
2i6b; Marino Faliero, ii.
216 b; Martyrs, LeSjii. 223a ;
Mattel, ii. 239a; Mayer
46
(J. S.)» ii. 241 «; Mendels-
Kohn, ii. 268 a; Mu8. Lib.,
ii. 420 a; Naples, ii. 446a;
Nourrit, ii. 480&; Opera, ii.
525a ; Parisina, ii. 650a ; Pat-
ter-Song, ii. 6736 ; Persiani, ii.
693 b ; Poliuto, iii. 7 J ; Pon-
chielli, iii. 14 a ; Eata-
plan, iii. 78 a; Roberto De-
vereux, iii. 138&; Romani,
iii. 148a; Rossi (Lauro),
iii. 163a; Rubini, iii. 190a;
S. Georges (Marquis de), iii.
213 b; San Carlo, iii. 2236;
Schools of Comp., iii. 301a,
etc.; Scribe, iii. 453a; Tor-
quato Tasso, iv. 151a; Unger
(Caroline), iv. 202 a; Sistine
Chapel, iv. 794 &.
Donjon; Tulou, iv. 186&.
Donna del Lago, i. 454 b;
Rossini, iii. 169 a.
DoNT, J.; Auer, i. 1036; Etudes,
i. 497 a; Violin-playing, iv,
297 & ; Violin - playing, iv.
8126.
DoNZELLi, D., i. 454b ; Laporte,
ii. 91 h ; Mendelssohn, ii.
263 a; Singing, iii. 511a;
Tamburini, iv. 56 a; Tenor,
iv. 87?) ; Fetis, iv. 636 a.
DOPPELSCHLAG ; Agr^mens, i.
42 b, etc.
DoPPELVORSCHLAG ; Appoggia-
tiira, Double, 1. 79 a.
DoPPio, i. 454 b.
DOPPLER, C. ; Magyar Mus., ii.
198b.
Dor, J. ; Sistine Chapel, iv.
794a.
DoRATi ; Mus. Lib., iv. 726a.
DoRE, E. ; PF. Mus., ii. 736a.
Dorian, i. 454 b ; ^olianMode,
i. 39b, etc. ; Gregorian Modes,
i. 626a; Modes Eccles., ii.
341 «•
DoRN,H.L.E.,i.455a;iv.6i7b;
Eckert, i. 483 a ; Mendelssohn,
ii. 257 a; Niederrheinische
Musikfeste, ii. 457a ; Or-
pheus, ii. 613 i ; Scliumann,
iii. 388 b; ycore, arranging
from, iii. 435 a; Song, iii.
630 b; Spontini, iii. 670 a,
etc. ; Wagner, iv. 348 a.
DoRRELL, W. ; Bach Soc., i.
120 a.
Dorset Garden Theatre, iv.
617b ; Purcell, iv. 766a.
DoRUS ; Conservatoire, i. 392 b;
Demeur (J.), iv. 611 a, note.
Dorus-Gras. (See Geas, Mme.,
J. A. D., i. 619 a.)
Dot, i. 455b ; iv. 6i8a ; Dash, i.
431a; Imperfect, i. 767a;
INDEX.
Slur, iii. 537 a; Staccato, iii.
685 b ; Triplet, iv. 173 b.
DoTTi, Anna, i. 457 a.
Dotzauer, J. J. F., i. 457a; iv.
6i8a ; Bassoon, i. 154b;
Drechsler (K.), i. 462b ; Kum-
mer, ii. 77 a; Schuberth (C),
iii. 383 a; Violoncello-playing,
iv. 300 b.
Double Bar, i. 457b; Bar, i.
137b; Notation, ii. 477a.
Double Bass, i. 457b; iv.
6i8a; Acad, de Mus., i. 7b;
Addison, i. 30a; Back, i.
122a; Basso di Camera, i.
151b; Contrabasso, i. 395 b;
Doubles, i. 460 a; Drago-
netti, i. 461b; Howell, i.
754b; Instrument, ii. 6b;
Onslow, ii. 497 b; Orchestra,
ii. 565 b; Orchestration, ii.
569 b; Rowland, iii. 184a;
Salo (G. di), iii. 220b ; Sor-
dini, iii. 637 b ; Stradivari, iii.
731 b ; Violin, iv. 270 a ; Bot-
tesini, iv. 556 b.
Double Bassoon, i. 458 a;
Contra-Fagotto, i. 395 b ; In-
strument, ii. 6b; Orchestra, ii.
564 a.
Double Chant, i. 459a ; Chant,
i. 336 b; Flintoft, i. 533 a.
Double Concerto, i. 459 a ;
Concerto, i. 389 a.
Double Counterpoint, i. 459 a ;
Counterpoint, i. 407 b, etc. ;
Counters ubject, i. 409 a; In-
version, ii. 16 a.
Double Diapason; Organ, ii.
601 a, etc.
Double Flat, i. 459 a ; Acci-
dentals, i. 19 a, etc.
Double Fugue, i. 459 a ; Fu-
gue, i. 568 a.
Double Long ; Notation, ii.
471a.
Double Open Diapason; Organ,
ii. 580 b.
Double Relish; Agr^mens, i.
43 &.
Double Sharp, i. 459 b; Acci-
dentals, i. 1 8 b, etc.
Double Stopping, i. 459 b;
Paganini, ii. 631 b; Positions,
iii. 20b ; Stopping, iii. 717b.
Double Tongueing, i. 459 b;
Drouet, i. 463 b.
Doubles, i. 459 b; Variations, iv.
219a.
Doubles, i. 460a.
Doublette ; Organ, ii. 601 a.
DOUEN, M. O. ; Old looth Tune,
ii. 495 b; Song, iii. 592 b;
Bourgeois (L.), iv. 560 a;
Franc (G. le.), iv. 638 b.
DOURLEN ; Gr. Prix de Rome, i.
6i8b; Vaucorbeil, iv. 230b.
DowLAND, J., i. 460a; iv.
618 a; Chappell & Co., i.
339 &; Este (T.), i. 495 b;
Hymn, i. 762b ; Ionian Mode,
ii. 18 a; Leighton, ii. 114 a;
Madrigal, ii. 191a ; Marenzio,
ii. 2 16 a; Micrologus, ii. 328a;
Mus. Antiqua, ii. 411 a ; Mus.
Antiquarian Soc, ii. 416 b;
Mus. Lib., ii. 417b, etc.;
Ornithoparcus, ii. 611 b; Part
Mus., ii. 656b, etc. ;Part-
Song, ii. 658 a ; Pavan, ii.
677a; Song, iii. 6ioa ; Speci-
mens, Crotch's, iii. 649 b;
Strict Counterpoint, iii. 740 b ;
Tablature, iv. 48 a ; Virginal
Mus., iv. 309 a; Vocal Scores,
iv. 320a; Burney, iv. 570b;
Dance Rhythm, iv. 606 b;
Part-books, iv. 740 b ; Psal-
ter, iv. 761 a.
DowLAND,R., i. 460b; Dowland
(John), i. 460b; Holborne,
i. 743a; Mus. Lib., ii. 423a.
DoxoLOGY ; Response, iii. 11 8 a.
DoYAGtJE, M.; Eslava, i. 495 a.
Draeseke, F., i. 460 b; Zu-
kunftsmusik, iv. 514a.
Draghi, A.,i. 461a.
Draghi, C, i. 461a.
Draghi, G. B., i. 461 a; iv.
618a; Cecilia, St., i. 329b;
Division Violin, i. 451a;
English Opera, i. 489a; Haw-
kins, i. 700 a; Dorset Garden
Theatre, iv. 61 8 a.
Dragone, a.; Palestrina, ii.
638 b.
Dragonetti, D., i. 46irt ; iv.
618 a; Bach (J. S.), i. ii8b;
Double Bass, i. 458a; Haydn,
i. 712 a; Howell (J as.), i.
754b; Mus. Lib., ii. 419a;
Onslow, ii. 497b ; Pacchierotti,
ii. 626a; Royal Academy of
Mus., iii. 185 a; Schools of
Comp., iii. 310b ;«Secco Reci-
tative, iii. 455 a; Sechter,
iii. 455 a ; Stradivari, iii.
731b; Trento, iv. 167b;
Bottesini, iv. 557 a.
Drahanbk; Strauss (J.), iii.
737&.
Drasdil, Anna ; Rudersdorff
(H.), iii. 200a.
Dream of St. Jerome, iv. 61 8 b.
Drechsler, J., i. 462 b ; Song, iii.
614b; Strauss (Job.), iii. 738 b;
Vaterlandische Ktinstlerver-
ein, iv. 807 b.
Drechsler, K., i. 462 b; W.
61 8b; Cossmann, i. 405b;
INDEX.
47
Dotzauer, i. 457 a ; Griitzma
cher, i, 635 a.
Brechssleb, J. G. ; Hist, of
Mus., iv. 676I).
Dreheb, i. 463 a.
Dress ler; Beethoven, i. 163 a.
Dressleb, G. ; Schroeter, iv.
786 &.
Dreulette; Cabel (Marie), i.
28g'b.
Drexel, J. ; United States, iv.
204a.
Dreyschock, a., i. 463a; Jul-
lien, ii. 456; Philh. See, ii.
699?); PF. Mas., ii. 7326;
PE.-playing, ii. 742 h ; Rea,
iii. 79 a ; Touiaschek, iv.
133b ; Wrist Touch, iv. 491 a.
Dbieberg, F. von; Caecilia, i.
295 a ; Hist, of Mus., iv. 675 a.
Deoghierina (See Chimenti,
i- 345 &•)
Drone, i. 463 a; Bagpipe, i.
1236; Burden, i.283b; Chaun-
ter, i. 341 a ; Faux-Bourdon, i.
5096 ; Hurdy Gurdy, i. 759 a;
Irish Mus., ii. 20& ; Musette,
ii. 410&; Pedal Point, ii.
679a ; Scotish Mus., iii. 439 5 ;
Song, iii. 5936; Tromba Ma-
rina, iv. 176 a.
Drouet, L. F. p., i. 4636;
iv. 618&; Gordon (W.), i.
610&; Hortense (Queen), i.
754a ; Mendelssohn, ii. 263b ;
Midsummer Night's Dream,
ii. 328a; Partant pour la
Syrie, ii. 653a; Song, iii.
595 b ; Tulou, iv. 186a.
Drum, i. 463b; iv. 6186; Ad-
ditional Accompaniments, i.
36 b; Bass-Drum, i. 150a;
C., i. 289b; Gran Cassa, i.
6i6b; Grosse Caisse, i. 634a;
Haydn, i. 703a; Instrument,
ii. 'J a; Janitscharen, ii. 31a;
Kettle Drums, ii. 51b; Mili-
tary Drum, ii. 331a; Nota-
tion, ii. 478 a; Orchestra, ii.
561 b ; Partial Tones, ii. 654b ;
Philidor (Jacques), ii. 703 a;
Pipe and Tabor, ii. 754b;
Rowland (A,), iii. 183 b;
Senza Piatti, iii. 463 b; Side
Drum, iii. 492a; Smart (Sir
G.), iii. 537a; Sordini, iii.
638 a ; Sounds and Signals, iii.
642 b; Staccato, iii. 685 b;
Symphony, iv. 216; Tabor,
iv. 51 a ; Tambourin, iv. 55 a ;
Tenor Drum, iv. 88 a; Tone,
iv. 142a; Tonnerre, iv. 150b;
Tucket, iv. 185a; Turkish
Mus., iv. 191 a; Wind-band, i v.
464a, etc.; Pauken, iv. 745a.
Drum, Egyptian ; Drum, i.
463 b ; Tambourine, I v. 55 b.
Druby Lane, i. 466b ; iv. 6i8b.
Dublin; Professor, iii. 33a;
Degrees, iv. 610a.
Dubois, C. F. T., iv. 6i8b ;
Conserv. de Mus.,i. 393a ; Gr.
Prix de Rome, i. 618 b; Or-
ph^on, ii. 612b ; St. Saens, iii.
215b.
DuBOUEG, G.,i. 467a; iv. 619a;
Violin, iv. 286b ; Hist, of
Mus., iv. 676b.
DuBOURG, M., i. 467 a ; Clegg, i.
370b ; Geminiani, i. 587b ;
Violin-playing, iv. 289.
Dubrucq; Trinity Coll., London,
iv. 171b.
Dubuque; Song, iii. 613b.
Due, Le. (See Leduc.)
Ducci, A. and M. ; Organ, ii.
602 a.
DucHAMP, Mile. ; Garat, i. 581/).
Duchambge, Mme. ; Song, iii.
595&-
Duchemin ; Goudimel, i. 612 a.
Ducis, B., i. 467b; Song, iii.
620 a; Chorale, iv. 589 a;
Trdsor mus., iv. 801 b.
DucouDRAY,B.(See Bourgault,
iv. 557a.)
DUCROQUET ; Organ, ii. 601 a.
Duddyngton, A.,i.46Sa; Organ,
ii. 588 a.
DUDIK ; Song, iii. 614b.
DuDKA ; Song, iii. 613 a.
DuDoso ; Eslava, i. 495 a.
DiJRRNER ; Orpheus, ii. 613b.
Duet, i. 468 a ; Part-Song, ii.
657b ; Primo, iii. 30b.
Duettino, i. 468 a.
DuFAY. (See Fay, iv. 634 a.)
DuFouiLLOUX ; Horn, i. 748 a.
DuFOUR ; Spolir, iii. 65705.
Dufresne; Musard, ii. 409 b.
DuGAZON, G., i. 468a; Con-
servatoire, i. 392 a; Trial, iv.
168 b.
DuGAZoN, R., i. 468 a.
DuGGAN ; Song, iii. 608b.
DuHEM ; Conservatoire, Brussels,
i. 592b.
Duiffoprugcar, G. ; Violin, iv.
280 a.
DuJARDiN. (See Orto, M. de.)
Duke, T. and R. ; London Violin
Makers, ii. 164a, etc.
DuLCE Domum; Reading (J.),
iii. 79b.
Dulciana; Organ, ii. 597 b.
Dulcimer, i. 468a; iv. 619a;
Cembalo, i. 330 a ; Gusikow,
i. 641b; Hammer, i. 647 b;
Harpsichord, i. 688 b; In-
strument, ii. ja; Pantaleon,
ii. 645a; PF., ii. 710a, etc.;
Psaltery, iii. 44b, etc. ; Rose,
iii. 161 a.
DuLciNUS, F. B. ; Bodenschatz,
i. 254a.
DuLCKEN, Louise, i. 469 a; iv.
6iga; Bohrer, i. 255a ; David
(Ferd.),i. 433a; Mendelssohn,
ii. 263a ; Philh. Soc, ii. 699a ;
PF.-playing, ii. 744 ; Regondi,
iii. 97 a.
DuLCKEN, Sophie ; Lebrun (S.),
ii. 109 b.
DuLiCHius; Bodenschatz, 1.253 a.
DUMANOIR, G. ; Roi des Violons,
j iii. 1 46 a, etc. ; Vingt-quatre
Violons, iv. 266b.
DuMANOiR, M. G. ; Roi des Vio-
lons, iii. 146 b.
DuMBA, M. ; Schubert, iii. 321a,
note, etc.
DuMERSAN, F. M. ; Chanson, i.
336 a ; Hist, of Mus., iv. 675 a.
DUMON ; Conservatoire, Brussels,
i. 592 b.
DuMONT, Louise. (See Farrexc,
i. 508 a.)
DuMONT, H. ; Part Mus., il.
656 b.
DuMONT ; Klavier-Mus., Alte, ii.
63 a.
Dun, F., iv. 619 a ; Scotish Mus.,
iii. 452a; Wilson (J.), iv.
463 a.
Duncan, G. ; Violin, iv. 284a.
Duncan, J. ; Irish Mus., ii. 19 a.
DuNCKER ; Harmonica, i. 663 a.
DuNi, E. R., i. 469 a ; Olimpiade,
ii. 496 b; Pergolesi, ii. 687 b;
Philidor, ii. 704 b.
DuNKLER ; Violoncello - playing,
iv. 301a.
Dunstable, J., iv. 619a; Haw-
kins, i. 700 a; Mass, ii. 226b;
Motet, ii. 372 a; Schools of
Comp., iii. 270 a, etc. ; Dance
Rhythm, iv. 605 b; Hist, of
Mus., iv. 673b.
DUODRAMA, i. 469 b.
DuPARC. (See Francesina, La,
i. 558a.)
Duphly; Trdsor des Pianistes,
iv. 168 b.
DupoNT, A., iv. 621 a ; Conser-
vatoire, Brussels, i. 592 b ; PF.-
playing, ii. 745 ; Frickenhaus,
iv. 643 a.
DupONT, J., iv. 621a; Conser-
vatoire, Brussels, i. 592 b.
DupONT, sen. ; Boccherini, i.
251a.
DUPORT ; Schubert, iii. 345 b.
DuPOTZ ; Song, iii. 597 a.
DuPORT, J. L., i. 470a; iv. 621a;
Franchomme, i. 558b; Kraft,
48
]NDEX.
ii. 700; Mozart, ii. 392 b; Vio-
loncello-playing, iv. 300 a, etc.
DuPOBT, J. P., i. 470a; iv.62ia;
Jamowick, ii. 326; Mozart,
ii. 392 &.
DuPBATo ; Gr. Prix de Rome, i.
618&.
DnPBEZ, G., i. 470 a ; Acad, de
Mus., i. 9b ; Choron, i. 354a ;
Conservatoire de Mus., i.
392b; Donizetti, i. 453a;
Elvvart, i. 487 b; Lajeunesse,
ii. 85 b; Nantier-Didi^e, ii.
444a; Niemann, ii. 458a;
Nourrit (Louis), ii. 480a ;
Rossini, iii 176a; Singing, iii.
511a; Song, iii. 595 a ; Stock-
hausen, iii. 716a; Tenor, i v.
87 b; Agnesi, iv. 518b; Car-
valho, iv. 582 a ; Marimon, iv.
711a.
DuPUis, T. S., i. 470b ; iv. 621 b ;
Accompaniment, i. 24 b ; Arnold
(S.), i. 86 b ; Attwood, i. loi a ;
Glee Club, i. 599 a ; Mus. Lib.,
ii. 422 b; Oxford, ii. 624b;
Page, ii. 632b ; Smart (Sir G.),
iii. 537 «•
DuBAND, A.F., i. 470 b ; Violin-
playing, iv. 289.
DuBAND, E. ; Thomas (A. G.),
iv. 103 b.
DuRANOwsKY. (See Dueand, i.
470 b.)
Durante, E., i. 471 a ; iv. 621 b ;
Abos (G.), i. 5b; Auswahl,
etc., i. 105a; Duni (E.), i.
469 a; Fitzwilliam Collection,
i. 530b; Fux, i. 570b; Gug-
lielmi (P.), i. 638 a; Jom-
melli, ii. 36 b; Klavier Mus.
Alte, ii. 6305 ; Latrobe, ii.
102b ; Mass, ii. 233b ; Motet,
ii. 376a ; Mus. Lib., ii. 420b ;
Naples, ii. 445 a, etc. ; Pai-
siello, ii. 633 b ; Part Mus. , ii.
656 b ; Pasquini, ii. 660 b ; Per-
golesi, ii. 686 b; Piccinni, ii.
747 b ; Pitoni, ii. 759 a ; Prince
de la Moskowa, iii. 31a;
Rochlitz, iii. 142a; Sacchiui
(A.), iii. 207a; Scarlatti (A.),
iii. 239 a; Schools of Comp.,
iii. 287a; Solfeggio, iii. 547b;
Solmisation, iii. 552 a ; Traetta,
iv. 157b ; Tr^sor des Pianistes,
iv. i68a ; Zingarelli, iv. 508 b ;
Rome, iv. 774a ; Sistine
Chapel, iv. 794 a.
DuRASTANTi, M., i. 47ib;
Handel, i. 649 b; Royal Acad,
of Mug., iii. 184b.
DuECHFUHBUNG, i. 472 a; De-
velopment, i. 441b; Double-
Bar, i. 457b; SVorking-Out,
iv. 486 b.
DuEET ; Garat, i. 581b.
D'Ubfey, T., i. 472a; Draghi,
i. 461b; Purcell (H.), iii.
47 b, etc.
DuBON; Eslava,i. 495 a; Yriarte,
iv. 496 b. ^
DuscH, A. von ; Weber, iv.
394 b, etc.
DuscHEK (Dussek), F., i. 472b.
DuscHEK (Dussek), Josephine, i.
472 b; Beethoven, i. 177a;
Mozart, ii. 391b; Tuczek, iv.
185a; Vocal Concerts, iv.
319a.
Dussek, J. L., i. 473a; iv.
621b; Baker, i. 126a; Bigot,
i. 241 b ; Cianchettini, i. 357 a ;
Concerto, i. 388 a; Corn, i.
405 a; Duschek, i. 473 a;
Elegy, i. 485 b; Gre'try, i.
628b; Haydn, i. 712a, etc.;
Krumpholz, ii. 74b; Louis
Ferdinand (Prince), ii. 169a;
Neukomm, ii. 452 a ; Non plus
ultra, ii. 465 a ; Onslow, ii.
497 a ; Partant pour la Syrie,
ii. 653a; PF. Mus., ii. 725b;
PF.-playing, ii. 737b, etc.;
Plus ultra, iii. 4a; Pro-
gramme-Mus., iii. 37b; So-
nata, iii. 571a; Steibelt, iii.
701a; Tr^sor des Pianistes,
iv. i68b.
Dussek, Sophia, i. 477b; iv.
621b; Catalani, i. 321 a ; Corn
(D.), i. 405 a ; Dussek (J. L.),
i. 474a: Haydn, i. 713 a.
Duval ; Lancers' Quadrilles, ii.
89 b.
Duval, Mile.; Strakosch, iii.
734&-
DuvEBNOY, A.; Holmes (A.),
iv. 678b.
DuvEBNOY, H. ; Conservatoire, i.
392 a; Halevy, i. 645 b;
Maurel, i v. 715 a.
Dux, i. 477b; Answer, i. 70a;
Canon, i. 303 b; Fugue, \.
567a; Subject, iii, 748b.
DvoBAK, A., iv. 62 1 band 819b;
Schools of Comp., iii. 298 a;
Sestet, iii. 475 b ; Smetana, iii.
538b; Song, iii. 614b; Stabat
Mater, iii. 685 a; Symphony,
iv. 42 b; Dance Rhythm, iv.
608 a; Philh. Soc, iv. 746 b;
Rhapsody, iv. 772 a.
Dybeck ; Song, iii. 609 b, etc.
Dyce, W.; Anthem, i. 72b;
Cathedral Mus., i. 324a;
Chant, i. 338 b ; Motett Soc,
ii. 376 b ; Plain Song, ii. 765 b.
Dygon, J., iv. 625 a ; Hawkins,
i. 700a; Motet, ii. 375b.
Dykes, Rev. J. B., i. 477 b; iv.
625 b.
Dyne, J., i. 478 a; Ancient
Concerts, i. 64 a ; Glee Club, i.
599 a ; Handel, Commemor-
ation of, i. 657 b.
DwiGHT, J. S. ; Harvard Mus.
Assoc, i. 693 b.
Dwight's Journal of Music, i.
479 a; Mus. Periodicals, ii.
431b ; Thayer, iv. 98 b.
E.
E., i. 478 a ; Dis, i. 448 b.
Eager, J., i. 478 b.
Fames ; Chappie, i. 340 a.
Eabsden, J. ; Mus. Antiqua, ii.
411a.
East. (See Estb, i. 495 b.)
Eastcott, Rev. R., i. 479 a;
Hist, of Mus., iv. 674b.
Ebdon,T., i, 479 a.
Ebeung, J. G.; Chorale, iv.
590 &.
Ebell, C. ; Weber, iv. 393 a.
Eberardi, T., i. 479a.
Ebebl, a,, i. 479a; In questa
Tomba, ii. 4a ; Mozart, ii.
398b; PF. Mus., ii. 725b;
PF.-playing, ii. 744; Sym-
phony, Iv. 24 a ; Umlauf, iv.
201 b.
Ebeblin, J. E., i. 479b; Adl-
gasser, i. 37 b; Mozart, ii.
380a, etc. ; PF. Mus., ii.
724a ; Practical Harmony,
iii. 24 a.
1, C. F., i. 480a ; iv. 625 a.
Ebers, J., i. 480b; King's
Theatre, The, ii. 58 b; La-
blache, il. Sob; Lalande, ii.
85 &.
Ebebwein, M. K. ; Biilow, i.
281a.
Ebebwein, T. M., i. 480b; iv.
625a; Liederspiel, ii. 1360.
Ebneb; Zachau, iv. 498 b.
EccABD, J., i. 481a; Pro-
gramme Mus., iii. 35 b ; Volks-
lied, iv. 337a; Chorale, iv.
588 b.
EcCLES, H., i. 481b; Division
Violin, i. 451a.
EccLES, J., i. 481b; iv. 625 a;
Cecilia, St., i. 329a ; Division
Violin, i. 451a; Finger, i.
525a; Hawkins, i. 700a;
King's Band, ii. 58 a; Laroche,
ii. 926; Macbeth Mus., ii.
185 a, etc. ; Sir Roger de
Coverley, iii. 519 a; Song, iii.
6046 ; Walsh (J., jun.), iv.
3806; Weldon (J.), iv. 435 a.
EcCLES, S., i. 481a; Division
Violin, i. 45 1 a ; Hawkins, i.
7coa.
EccLES, T., i. 481b.
Ecclesiastical Modes. (See
Modes, Eccles., ii. 340b.)
EccLESiASTicoN, i. 481b; Dia-
belli, i. 442 a.
Echo, i. 482 a ; Accompaniment,
i. 22a; Organ, ii. 578b, etc.
EcHos Du Temps pass^, i.
482a; Wekerlin, iv. 431a.
ECK, F. and J. F., i. 482 a;
Spohr, iii. 657b; Vtolin-play-
ing, iv. 294 b.
ECKEKT, C. A. F., i. 482 b; iv.
625 a; Dorn, i. 455 a; Men-
delssohn, ii. 295 b; Song, iii.
630b.
Eclogues ; Tomaschek, iv. 133b.
EcosSAisE, i. 483 a; Anglaise, i.
68 a ; Schottische, iii, 315 b.
Eddy, H. C, iv. 625 a,
Ede, R. ; Bac. of Mus., i. 121 a.
Edelmann ; Mehul, ii. 245 b.
Eder, Josephine; Vieuxtenips,
iv. 262 b.
Edinburgh Professorship of
Music, i. 483 a; Oakeley, ii.
485 a; Professor, iii. 33 a;
Reid, iii. loob; University
Soc, iv. 207a.
Edmunds, E.; Kennedy, iv.
689 b.
Edwards, H. S., iv. 626a; Hist.
of Mus., iv. 677 a.
Edwards, R., i. 483b; Hawkins,
i. 700a; Hymn, i. 762 a;
Madrigal, ii. 192 a; Mus.
Lib., ii. 419b; Part Mus., ii.
656 b; Schools of Comp., iii.
270b; Psalter, iv. 7596.
Eeden. (See Van der Eeden,
iv. 2 16 a.)
Egan, E. N., i. 483b.
Egerton, S. ; Song, iii. 608 b.
Eggeling, E. ; PF. Mus., ii.
731 a ; Studies, iii. 746b.
Egghaed, J.; PF. Mus., ii.
736 a.
Egmont, i. 483 b; Beethoven, i.
i88b.
Ehlert, L., i. 483b ; iv. 626a;
INDEX.
Jensen, ii. 33 b; PF. Mus., ii.
734a ; Song, iii. 630b ; Be-
ringer, iv. 545a.
Ehmant, A.; PF. Mus., ii. 736a.
Ehrhart ; Gr. Prix de Rome, i.
6i8b.
Eichberg, J., iv. 626a; Opera,
ii. 530b; United States, iv.
202 b.
Eichborn, H. ; Trumpet, iv.
181 a ; Hist, of Mus., iv. 676 b.
Ein' feste Burg, i. 484 a ; Au-
thentic, i. 105 b; Chorale, i.
351b; Form, i. 543a; Gre-
gorian Modes, i. 626 a; Luther,
ii. 179 a ; Part Mus., ii. 656 b ;
Burney, iv. 570b.
Eisenhofer ; Orpheus, ii. 61 3 a ;
Roeckel (J. L.), iii. 144a.
Eisfeld, T. ; Philh. Soc, New
York, ii. 702 a.
Eissler, M. ; Philh. Soc, iv.
747a.
Eisteddfod, i, 484 a ; iv. 626b ;
Parry (John), ii. 65 1 a ;
Thomas (J.), iv. 105 a ; Welsh
Music, iv. 442 b.
Eitner, R., i. 484 b; iv. 626 b;
Mus. Periodicals, ii. 430 a, etc. ;
Petrucci, ii. 696 b ; Sweelinck
(J. P.), iv. 7 b; note ; Vereenig-
ing, iv. 255 a; Volkslied, iv.
337b ; Mus. Lib., iv. 724a.
Electric Action, i. 485 a ; Bar-
ker, i. 140 a; Organ, ii. 607b.
Elegy, i. 485 b.
Eler ; Adam (A. C), i. 28 a;
Conservatoire, i. 392a, etc.;
Prumier (A.), iii. 44b.
Elevation ; Agremens, i. 43 b.
Elewyck, Ch. van; Vroye (T.
J. de), iv. 341a; Hist, of
Mus., iv. 675 b, etc.
Elford, R., i, 485 b.
Eli, iv. 626b; Costa (Sir M.),i. j
406 b ; Naaman, ii. 440 a. ]
Elijah, i. 486a; iv. 626b;
Mendelssohn, ii. 274 a, etc. ;
Staudigl (J.), iii. 691b.
Elisa, i. 486 a; Cherubini, i.
342 a.
Elisi, F., i. 486 a.
Elisir d'Amore, L', i. 486 a;
Donizetti, i. 453 a.
Ella, J., i. 486a ; iv. 626 b ; An-
alysis, i. 63 a; Mus. Lib., ii.
424a; Mus. Periodicals, ii.
427 a; Musical Union, ii.
432 a; Harmonious Black-
smith, iv. 667 a; Mus. Perio-
dicals, iv. 727 a.
Ellacombe, T.; Hist, of Mus., iv.
676 a.
Ellerton, J. L., i. 486b.
Elliot & Hill, i. 486 b; Or-
49
gan, ii. 600 a; Pedals, ii.
682 a.
Elliot, C. ; Philh. Soc, iv.
747 a-
Elliott, T. ; Irish Mus., ii. 19a.
Elliott; Ashley (J.), i. 98b;
Concentores Sodales, i. 383 b.
Ellis, A., iv. 626b; Tempera-
ment, iv. 72a, note, etc.;
Tone, iv. 144a.
Ellis, Ashton ; Mus. Periodi-
cals, iv. 727a.
Elnonensis ; Hucbaldus, iv.
680 a.
Eloy ; Motet, n. 372 a ; Schools
of Comp,, iii. 260a; Sistine
Chapel, iv. 7940.
Elsneb, J., i. 486b; Chopin, i.
350 a; Song, iv. 795 a.
Elssler, Johann, i. 712 a, note.
Elssleb, Fanny, i. 7 1 2 «, note ;
Ballet, i. 132 a; Cachucha,
i. 290b ; Intermezzo, ii. 9b ;
Krakoviak, ii. 70 a; Veron,
iv. 256 a.
El vert, C. d' ; Hist, of Mus.,
iv. 675 a.
Elvey, Sir G. J., i. 487 a ; Mus.
Lib,, ii. 422b; Parry (C. H.
H,), ii. 651b; Purcell Soc,
The, iii. 53 a; Thome (E. H.),
iv. 108 a.
Elvey, S., i. 487a; Chant, i.
338b; Mus, Soc. London, ii.
431b; Oakeley, ii. 485 a;
Garrett, iv. 646ft.
Elwart, a. a. E,, i, 487 b;
Comettant, i, 379 a ; Conser-
vatoire, i, 392«, etc.; Gouvy,
i, 614 b ; Gr. Prix de Rome, i.
618 b; Lesueur, ii. 125 b;
Odeon, ii. 492 b; Reicha, iii.
98 b; Joncieres, iv. 686 a;
Laurent de Rilld, iv, 69S«.
Ely Cathedral, i, 487 b.
Embouchure, i. 488 a ; Double
Bassoon, i. 45Sb; Horn, i.
748a; Mouthpiece, ii. 378a.
Emiolia. (SeeHEMiOLiA,i, 727b.)
Emmerling ; Albrechtsberger, i.
51a.
Emperor Concerto, The, 1.
488a; iv. 627a; Beethoven,
i. 207 a.
Emperor's Hymn, The, i. 488 a ;
iv. 627a; Haydn, i. 714a;
Song, iii. 624a, note.
Emphasis ; Accent, i. 12a;
Form, i. 542a ; Romantic, iii.
151a; Sequence, iii. 465 a;
Song, iii. 632 a.
Enchiridion ; Chorale, i. 351a;
Hucbaldus, iv. 680 a.
Enckhausen, H. F. ; PF. Mus.,
ii. 729a.
E
60
Encobe, i. 488a; iv. 627a;
Altra Volta, i. 58 a;. Bis, i.
2446.
Enfant Pbodigue, L', i. 488 a;
iv. 627a; Auber, i. 1026.
Engedi. (See Mount of Olives,
ii. 378 «•)
Engel, C, iv. 627b; Banjo, i.
135b; Cembalo, i. 330 a;
Clavichord, i. 3676, etc. ;
Guitar, i. 640b ; Harp, i.
685 b; Harpsichord, i. 691a;
Lute, ii. 175 b, etc. ; Mando-
line,ii. 205b; Mus.Periodicals,
ii. 428 a; Song, iii. 599 a, no/e ;
Spinet, iii. 652a; Violin, iv.
273a; Hist, of Mus.,iv. 674a,
etc. ; Mus. Instruments, Coll.
of, iv. 722 b.
Engel, G. ; Gudehus, iv, 658b ;
Malten, iv. 709 a.
England, G. and G. P., i. 488 a;
Organ, ii. 598 b.
English Horn, i. 488b.
English Opera, i. 488 b ; iv.
628 a; Accompaniment, i.
22a; Ballad, i. 129b; Barnett
(J.), i. 141a ; Beggar's Opera,
i. 209b ; Bunn, i. 282 b ; Covent
Garden Theatre, i. 413a;
Drury Lane, i. 46 7 a ; Harrison
(W.), i. 692 b ; Opera, ii. 506 b,
etc.; Pepusch,ii. 684b; Rosa,
iii. 159b; Song, iii. 604b.
Englitt; Virginal Mus., iv.
312 a.
Enharmonic; Change, i. 333a;
Diesis, i. 446b; Modulation,
ii. 343 b ; Resolution, iii. 1 1 5 a ;
Temperament, iv. 75 b.
Ensemble ; Chorus, iv. 591a.
EnTFUHRUNG AUS DEM SERAIL,
Die, i. 490 a; iv. 628a;
Mozart, ii. 388 a.
Entrata. (See Intrada, ii.
13&.)
Entree, i. 490a ; Intrada, ii.
13b ; Overture, ii. 623b.
Entr'acte ; Divertissement, i.
451a; Intermezzo, ii. 7b;
Nocturne, ii. 461a; Tune
(Act-), iv. 187 a.
Envalson ; Die. of Mus., i. 446 a.
Epidiapente ; Diapente, i. 442 b.
Epine, F. M. de 1', i. 490 a; iv.
628 a; Gallia, i. 578 a; Pe-
pusch, ii. 684b ; Valentini, iv.
213b; Virginal Mus., i v. 307 b.
Epinette. (See Spinet, iv.
795 «•)
Episcopus. (See Bischoff.)
Episodes, iv. 628a ; Beethoven,
i 204a; Form, i. 5420, etc.;
Fugue, i. 567 a ; Tonal Fugue,
iv. 135a.
INDEX.
Epstein, J. ; PF. -playing, ii.
745 ; Reinhold (H.),iii. 102 b;
BrUll, iv. 566 b.
Equal Voices. (See Unequal,
iv. 201 b.)
Ebani, a. ; Thursby, iv. 113 a.
Ebard, i. 490 b.
Erard, i. 491 «; iv. 629b;
Abbey (J.), i. 2a; Grand
Pianoji. 6i8a; Harp, i. 687a;
Mendelssohn, ii.269b; Pedals,
ii. 682b, etc.; PF., ii. 718a,
etc.; Repetition, iii. 108 a;
Transposing Instruments, iv.
1 60 a.
Erars, J. ; Mus. Antiqua, ii.
41 T a.
Erars, T. ; Mus. Antiqua, ii.
411a.
Erba, Don D., i. 49 1 b ; Handel, i.
654 a, note ; Israel in Egypt, ii.
25b; Magnificat, ii. 197a;
Oratorio, ii. 546b; Handel,
iv. 664b,
Erba, G.; Handel, i. 654 a, nofe,
Erbach, C, i. 491b; Boden-
schatz, i. 253 a.
Erban; Wanhal, iv. 3820?.
Erben,B. ; Bernhaid(C.),i.235b.
Erdody, Countess ; Beethoven,
i. 169a, etc. ; Haydn, i. 716b.
Eremita, G. ; Bodenschatz, i.
253a; Mus. Transalpina, ii.
416 a ; Oriana, ii. 611 b.
Erk, L. C, i. 492 a; iv. 629b;
Tiersch, iv. 114b; Volkslied,
iv. 337 b.
Erkel.T.; MagyarMus.,ii.T98b.
Ermel, L. ; Gd. Prix de Rome,
i. 618 b; Lesueur, ii. 125b.
Ernani, i. 492 a ; Verdi, iv. 247 b.
Ernst, H. W., i. 492 a; iv.
629b; Beethoven, i. 181 h,
note; Boehm (Jos.), i. 254b;
Chopin, i. 350 b; Elegy, i.
4856; Gesellschaft, etc., i.
5916; Heller, i. 725a;
Joachim, ii. 34b ; JuUien, ii.
45a; Laub, ii. 103b; Men-
delssohn, ii. 276b; Philh.Soc,
ii. 699b; Robinson (Fanny),
iii. 140b; Schumann, iii. 387 b;
Se3dfried, iii. 4 78 b ; Stradivari,
iii. 733a; Violin-playing, iv.
297 b; Osborne (G. A.), iv.
737«.
Eroica, The Sinfonia, i. 493 a ;
Beethoven, i. 175 b, etc. ; Con-
tredanse, i, 396 b ; Dis, i. 448 b.
Errani; Strakosch, iii. 734 b.
Ertmann, The Baroness, i. 493 b ;
Beethoven, i. 169 a, etc. ; Men-
delssohn, ii. 268 a.
EscHENBACH, J. T. ; ^olodion,
i. 40 b.
Eschenbach, W. von ; Song, iii.
615 a.
EscHMANN, J. C, iv. 629 b ; PF.
Mus., ii. 733 b.
Escobedo, B. ; Eslava, i. 494 b;
Schools ofComp., iii. 263 a, etc.;
Sistine Choir, iii. 521a; Sis-
tine Chapel, iv. 794a.
EscuDiER, M. and L., i. 494 a;
iv.629b; Die. of Mus., i. 445 b;
Mus. Periodicals, ii. 429 a*
Troupenas (E.), iv. 179 b.
EsLAVA, M. H., i. 494 b; Mus.
Lib., ii. 423 a ; Song, iii. 599b.
Esmeralda, iv. 629 b; Thomas
(A. G.), iv. 103 b.
EsPAGNE, F. ; Thompson (G.),
iv. 107 b.
EssENGA,S.; Mus. Lib., ii. 419 a;
Vecchi, iv. 234 b.
EssER, H., i. 495 a ; Orpheus,
ii. 613 b ; Richter (Hans), iii.
128b; Schumann, iii. 398 b.
EssiP0FF,Mme.,iv.629b; Philh.
Soc., ii. 700 b ; PF.-playing, ii,
745a; Leschetitzky, iv. 700 a.
EsTE, M., i. 495 b; Accompani-
ment, i. 2 1 b ; Madrigal, ii.
191a; Mus. Antiquarian Soc,
ii. 416b; Oriana, ii. 611 a;
Vocal Score, iv. 320rt.
ESTE, T., i. 495b; iv. 629b;
Este (M.), i. 495b; Hymn, i.
762b; Kirbye, ii. 59b; Mus.
Antiquarian Soc, ii. 416b;
Mu3. Lib,, ii. 422 b; Mus.
Printing, ii. 435 a ; Schools of
Comp., iii. 271 a, etc ; Tomkins
(T.), iv. 134b; Windsor Tune,
iv.474a; Psalter,iv. 760b, etc.
Este, i. 496a ; PF., ii. 709b.
EsTERHAZY, Prince P. ; Haydn,
i. 705 a, etc
EsTERHAZY, Count J. ; Schuberiv
iii. 329a.
Esther, i. 496 a ; Handel, i.
649 b.
EsTwiCK, Rev. S., i. 496 b.
Etheridge, G. ; Edvk^ards, i.
483 b ; Schools of Comp., iii.
270b.
Etherington, M. ; Philh. Soc,
iv. 747 a.
Etoile du Nobd, L', i. 496 b;
Meyerbeer, ii. 326a.
]£tudes, i. 496 b ; Alkan, i. 53 a ;
Baillot, i. 126a; Berger, i.
231a ; Bertini (H.), i. 236 a ;
Capriccio, i. 307 a; Chopin, i.
349b; Clementi, i. 373a;
Cramer (J. B.), i. 414 a;
Czemy, i. 4 2 6 b ; David (Ferd ) ,
i. 434a; Dotzauer, i. 457 & J
Fiorillo, i. 528b; Gavini^s, i.
585 b; Griitzmacher (F.), i.
635 a; Heller, i. 7250; Hen-
selt, i. 730a; Herz, i, 733a;
Hiller (Ferd.),i. 738 a ; Hum-
mel, i. 758a; Kreutzer (E.),
ii. 73a ; Kullak (T.), ii. 76 6 ;
Kummer, ii. 77 a; Lesson, ii.
124a; Liszt, ii. 149&; Loca-
telli,ii. 1556; Merk, ii. 314ft;
Moscheles, ii. 3706; Paga-
nini, ii. 632a; PF.-playing,
ii. 741a; Plaidy, ii. 763 a;
Eode, iii. 143 a; Rubinstein
(A.), iii. 192a; Schumann,
iii. 410a; Tausig, iv. 65?);
Thalberg, iv. 966; Wieck (F.),
iv. 455 a. (See also Studies,
iii. 7465,)
EuLENSPiEGEL,T.; Song,iii.6i6a.
EULENSTEIN, C, 1. 497a; Jew's-
Harp, ii. 34J.
Euler; ExtemporisingMacliine,
i. 499 &; Rameau, iii. 69 &.
EuPHON ; Chladni, i. 348 &.
Euphonium, i. 4976; Baritone,
i. 1396; Instrument, ii. 6a;
INDEX.
Piston, ii. 7566; Saxhorn, iii.
233 &; Valve, iv. 2156 ; Wind-
Band, iv. 468 &.
EuBYANTHE, i. 497 &; Weber,
iv. 407 a, etc.
EusTACHius ; Sistine Chapel, iv.
794a.
EvACUATio, iv. 63005.
Evans, C. S., i. 498 a; Concen-
tores Sodales, i. 3836.
Evans, W. E.; Orchestrina di
Camera, iv. 735 a.
EvEBARDi ; Lamperti, ii. 89 a.
Evers, C, i. 498a; iv. 630a;
PF. Mus., ii. 7326; PF.-
playing, ii. 745; PF.-playing,
iv. 748 <J.
Evovae, iv. 630a; Noel, ii.
462 a, note ; Aevia, iv. 5186.
EwALD, P. ; Hist, of Mus., iv.
676 a.
Ewer & Co., iv. 630 a ; Novello,
ii. 482 a.
Eximeno, a., i. 498 a; Martini,
ii. 222 &.
51
Exposition, iv. 630 & ; Form, i.
549 & ; Fugue, i. 568 a.
Expression, Marks of. (See
Nuances, ii. 483 &.)
Extempore Playing, i. 4986
(See under Improvisation,
ii. 2 a.)
Extemporising Machine, i.
499 &; Recording Mus., iv,
767 a.
Extravaganza, i. 499 !>.
Eybler, J. E. von, i. 500a; i
630 h ; Albrechtsberger, i. 5 1 a ;
Baryton, i. 147 a ; Beethoven,
i. 1 68 a, etc.; Haydn (M.),
i. 701a; Haydn, i. 7176;
Mozart, ii. 402 a ; Panny (J.),
ii. 6446 ; Requiem, iii. iioa ;
Schubert, iii. 320a, etc. ; Sonn-
leithner, iii. 633 a.
Eycken, G. J. van ; PF. Mus.,
ii. 736 a.
Eyken, J. van ; Niederrheinische
Musikfeste,ii.4566; Schneider
(J. C), iii. 256a.
r,
F, i. 500a; IV. 631a.
Fa; F, i. 500a.
Faber; Mus. Lib., ii. 418&.
Fabeb, D. ; Clavichord, i. 368a.
Fabri, a., i. 5006; Balino, i.
128a.
Fabricius; Bodenschatz,i. 253 a.
Fabbizzi, 0., i. 501 a.
Fa-Burden. (See Faux-Boub-
DON, i. 509 a.)
Faccio, F., iv. 631a; Song, iii.
591a; Boito, iv. 550a.
Facho; Burney, iv. 571a.
Facien, J. ; Roi des Violons, iii.
146 a.
Fackeltanz, i. 501 a ; March,
ii. 213a.
Fa Fictum, iv. 631a; Penta-
tonic Scale, iv. 745 &.
Fage, La. (See Faugues.)
Face, La, J. A. Lenoir. (See
La Fage, ii. 83&.)
Fago, II Tarentino ; Farinelli
(G.) , i. 507 a ; Leo, ii. 121a;
Naples, ii. 445 6 ; Sala, iii.
2176.
Fagotto, i. 501a; Bassoon, i.
151&.
Faignant, Noe ; Castro, i. 319& ;
Madrigal, ii. 191a; Mus.
Transalpina, ii. 416a ; Schools
of Comp., iii. 2'')7a; Song,
iii. 592 &; Tre'sor Mus., iv.
801 &.
Fair Rosamond, i. 501 a ; Bar-
nett (J.), i. 141a.
Faisst, E. G. F., iv. 6316;
Schneider (J. G.), iii. 256a;
Stark (L.), iii. 6906 ; Handel-
gesellschaft, iv. 665 h.
Fa-la, i. 501a; Ballets, i. 132 &;
Madrigal, ii. 1906 ; Mus.
Antiquarian Soc, ii. 416 h ;
Schools of Comp., iii. 266 a;
Song, iii. 587a, etc. ; Waits,
the, iv. 375a.
Falcon, Marie C, iv. 632a;
Academic de Mus., i. gh.
Falconio; Saggio di Contrap-
punto, iii. 212a.
Falling a Bell, i, 501 a.
False Relations, i. 501 a.
Falsetto, i. 501 h ; Alto, i. 58 a ;
Bass, i. I486; Harmonics, i.
6656 ; Singing, iii. 504 a, etc. ;
Tenor, iv. 876; Voce di
Petto, iv. 321 &; Voices, iv.
334&-
Falsobordone. (See Faux-
BouRDON, i. 509 a.)
Falstaff, i. 502 a; Balfe, i.
127a.
Fancies, iv. 632 a ; Este (M.), i.
4956; Fantasia, i. 503 a;
White (R.), iv. 453 a.
Fandango, i. 502 a ; Hawkins,
i. 7006; Song, iii. 5996, etc.
Fanfare, i. 5026; Brass Band,
i. 2716; Horn, i. 748 a, etc. ;
March, ii. 213 a; Sennet, iii.
4636; Tusch, iv. 1956.
Faning, E., iv. 632 a; Madrigal
Soc, iv. 708 a.
Faniska, i. 503 a; Cherubini, i.
342 &.
Fanning, C. ; Irish Mus., ii. 19 a.
Fantasia, i. 503 a; Capriccio, i.
307 a ; Mus. Antiquarian Soc,
ii. 4166; Suite, iii. 757a;
Symphony, iv. 13 a; Virginal
Mus., iv. 308a, etc.
Fantasiestuck, i. 503 &; Schu-
mann, iii. 409 a.
Fantini.G. ; Sounds and Signals,
iii. 6446.
Fantoni, G. ; Hist, of Mus., iv.
677 a.
Farandole, iv. 632&.
Farce, i. 503 &.
Farina, C. ; Biber, i. 240&;
Sonata, iii. 555 a; Violin-
playing, iv. 2886, etc. ; Wal-
ther (J. J.), iv. 815a.
Fabinel; Mus. Lib., ii. 421 &.
Farinelli, i. 504a; Barnett
(J.),i. 141&.
Fabinelli, i. 504 a; iv. 633 a;
Folia, i. 5396; Galliard (J.
E 2
62
E.), i. 5785; Ground Bass, i.
634 h ; Hawkins, i. 700 h ;
StefFani, iii. 695 b ; Variations,
iv. 2195.
Farinelh, C. B., detto, i. 504a ;
Bemacchi, i. 2346 ; Broschi, i.
2786; CafFarelli, i. 296a;
Gizziello, i. 597?); Grand
Piano, i. 617&; Handel, i.
650 b ; Hasse, i. 6946, etc, ;
Ijamperti, ii. 89 a; Manzuolo,
ii. 208a; Mingotti, ii. 332 a;
Mozart, ii. 3826; Opera, ii.
5126^ PF., ii. 711 &; Por-
pora, iii. 17a; RaafF, iii. 63a;
Scarlatti (D.), iii. 2396 ; Sing-
ing, iii. 505 a, etc. ; Soprano,
iii. 636 a ; Tye, iv, 1966 ; Bur-
ney, iv. 571a.
Fabinelli, G., i. 507 a.
Farinell's Ground. (See Fari-
NELLi, i. 504a.)
Farmer, J., i. 507 a; Este (T.),
i. 496 a; Hawkins, i. 700 b;
Hynm, i. 762?); Oi-iana, ii.
611 a ; Psalter, iv. 760 b.
Farmer, J., iv. 633a.
Farmer, T., i. 507 a.
Farnaby, G., i. 507 b ; iv, 633?^ ;
Este (M.), i. 496 a; Hymn, i.
762 &; Virginal Mus., iv. 308b,
etc. ; Psalter, iv. 761 a, etc.
Farnaby, R.; Virginal Mus., iv.
3096.
Farnese, M., i. 507 &.
Farnol, E. ; Philh. Soc, iv.
7466.
Farrant; Baryton, i. 147a.
Farrant, D., i. 5076.
Farrant, J., i. 507 b.
Farrant, R,, i, 5076; Barnard,
i. 1406; Boyce, i. 268 a;
Cathedral Mus., i, 325 a ;
Chant, i. 3376; Creed, i.
4156; Hilton, i. 740 a;
Kyrie, ii. 79&; Magnificat, ii.
197a; Motett Soc, ii, 376&;
Page, ii. 6326; Part Mus,,
ii. 6=)6b ; Sanctus, iii. 224b;
Schools of Comp., iii, 276a,
etc. ; Service, iii, 472 & ; Speci-
mens, Crotch's, iii, 649?) ; Te
Deum, iv. 68 a ; Tudway, iv.
1986; Vocal Scores, iv. 319?).
Fabrenc, a., i. 507 & ; iv. 633 &.
Farrenc, L., i. 508 a; PF. Mus.,
ii. 7 29 a ; PF.- playing, ii. 744 ;
Tresor des Pianistes, iv. 168 a.
Fasch, C. F. C, i. 508 tr ; Aus-
wabl, etc.,i. 105 a ; Beethoven,
i. 177 a ; Frederic the Great, i,
561a; Kimberger, ii. 62 a;
Motet, ii. 376 a; MuUer (A.
E.), ii. 408 a; Practical Har-
mony, iii. 24 a J Singakademie,
INDEX.
iii. 515 & ; Tr(?sor des Pianistes,
iv. 1 68 a; Zelter, iv. 505a.
Fassett, Mme. ; Riidersdorf, iii.
200 a; Singing, iii. 512 a.
Faugues, v.; Attaignant, i.
100& ; L'Homme Armd, ii.
127a; Motet, ii. 372 a ; Schools
of Corap., iii. 260a; Sistine
Chapel, iv. 794 a.
Fauneb; Baryton, i. 147 a.
Faure, G. U., iv. 633?).
Faure, J. B,, i. 571a ; Conser-
vatoire de Mus,, i, 392?) j Ge-
vaert, i. 592 a ; Philh. Soc,
ii. 700 a; Rossini, iii. 176a;
Singing, iii. 512a; Soria, iii,
6386 ; Reicher, iv, 770 a.
Faust, i, 5086; Gounod, i, 614a;
Pierson, ii. 752 &; Radziwil,
iii. 63?) ; Schumann, iii. 399b,
etc. ; Spohr, iii. 658 6 ; W agner,
iv, 351&.
Faustina Bordoni, (See Hasse,
Signora, i. 696 a.)
Fauvel, Aln^ ; Rode, iii, 142 a.
FAUX-BouRDON,i, 509a ; yEolian
Mode, i, 40& ; Burden, i, 283?) ;
Hawkins,!, 700 &; Magnificat,
ii. 195b; Miserere, ii. 336?),
etc. ; Musette, ii. 410 b ; Organ,
ii. 5836; Organum, ii. 610?);
Plain Song, ii. 768?); Schools
of Comp., iii. 259 b, etc. ; Sistine
Choir, iii. 520 a ; Vespers, iv.
257?) ; Violin, iv. 274^.
Favart ; Song, iii, 5946,
Favelli ; Garcia, i, 58205,
Favorite, La, i. 510a; Doni-
zetti, i, 453 a.
Fawcett, J., i, 510a.
Fawcett, J., jun., i. 510a.
Fay, G. du, iv. 634a; Breve, i.
2746; Caron, i. 316b; Har-
mony, i. 671a; Josquin
Despres, ii. 42 b ; L'Homme
Arm^, ii. 127a; Mass, ii.
2266; Motet, ii. 372a; Poly-
phonia, iii, 13 J ; Rochlitz, iii.
T41&; Schools of Comp., iii,
260?), etc, ; Sistine Choir, iii.
520& ; Song, iii. 592a; Fulda
(A. de), iv. 643b.
Faya, La; Mus. Lib., iv. 72601.
Fayolle, F. J. M., i. 510a;
Choron, i. 354 a; Die. of
Mus., i. 445b.
Fayrfax, R., i. 510& ; Hawkins,
i. 700& ; Motet, ii, 375b ; Mus,
Lib., ii. 41 7 i, etc ; Schools of
Comp,, iii, 270&; Song, iii,
6016; Burney, iv. 570&;
Part-books, iv. 740 a.
Fazzi ; Carafa, i, 308 a.
Fazzini, G. B. ; Sistine Chapel,
iv. 794 a.
Fedele. (See Treu.)
Federici, F. ; Oratorio, ii. 5376;
Burney, iv. 571a.
Federici, v.; Ifigenia, i. 7656;
Olimpiade, ii. 496 b ; Zenobia,
iv. 506 a.
Federici; Milan, ii. 329a.
Fedi; Rome, iv. 774a;
Feignient. (See Faignant.)
Feldlager in Schlesien, 1.
510 5; Meyerbeer, ii. 333?).
Feldlen, M. ; Baryton, i. 147 a.
Feldmaier; Brandl (J.), i.
271 &.
Felici, a. ; Cherubini, i. 341 &;
Latrobe, ii, 102 J,
Feliciani; Mus. Transalpina,
ii, 416a,
Felis, S. ; Mus, Transalpina, ii.
416 a ; Villanella, iv. 264b.
Felix Meritis, i. 5106 ; Con-
cert, i. 3846; Van Bree, iv.
2i6a; Verhulst, iv, 2^=)b.
Felmerius, C. ; Hist, of Mus.,
iv. 676 ?>.
Felton, Rev, W,, i, 511 «,
Femy ; Philh, Soc, ii. 699 a,
Fenaroli, F. ; Carafa, i. 30S a ;
Cimarosa, i. 358 a; Coccia, i.
375&; Gasparini, i. 5836;
Kelly, ii. ^gb ; Naples, ii.
446 a; Pucitta, iii. 45 a; Zin-
garelli, iv. 508 a,
Fendt, B, ; London Violin
Makers, ii, 165a; Violin, iv.
285 a,
Fenna, M. ; Philh. Soc, iv.
7466.
Fenton, Lavinia, i. 511 J; Beg-
gar's Opera, i. 209??.
Feo, Francesco, i. 51 1&; Aus-
wahl, etc., i. 105 a ; Jommelli,
ii. 36 b ; Naples, ii. 445 b, etc. ;
Opera, ii, 513 &; Pergolesi, ii.
6866; Pitoni, ii. 759 a;
Quantz, iii, 56 a; Scarlatti
(A.), iii, 239a; Schools of
Comp,, iii, 287a.
Per, Jambe de ; Song, iii. 5926.
Fernandi; Haydn, i. 7166.
Febario ; Mus. Divina, ii. 41 2 a.
Feretti, G. ; Villanella, iv.
265a.
Ferial and Festal, i. 511 &;
Accents, i. 17 a.
Ferlendis, a., i. 512a ; Haydn,
i. 712&; Mozart, ii. 3846;
Oboe, ii. 488 a; Ramm, iii. 726.
Ferlendis, Signora, i. 512 a.
Fermata, i. 512a ; Corona, iv.
599 a.
FeRNAND CORTEZ, 1. 512 a; IV.
635 i ; Spontini, iii. 6726.
Fernandez, P. ; E,slava, i. 4946.
Febnandi; Haydn, i. 716 &.
Feroce; Fitzwilliain Coll., i.
531 «•
Fekbabosco, a., i. 512a; Byrd,
i. 287a; Mus. Transalpina, ii.
416a; Schools of Comp., iii.
273 a, note, etc. ; Byrd, iv.
573«.
Febrabosco, a., jun., i. 512&;
English Opera, i. 488 h ; Este
(T.), i. 496 a ; Leighton (Sir
W,), ii. 114&; Masque, ii.
225 &; Song, iii. 602 a; Bur-
ney, iv. 570&.
Febbabosco, D, M. ; Palestrina
ii. 636a; Sistine Choir, iii.
521a; Sistine Chapel, iv. 794a.
Febbabosco, J., i. 51 2&; Tud-
way, iv. 199a.
Febbaba, i. 51 2&; Accademia,
i. 116.
Febbabese del Bene, i. 513 a ;
Gabrielli (F.), i. 573&.
Febbabi, B., i. 513a; Opera, ii.
502 &; Schools of Comp., iii.
279a.
Fekbabi ; Violoncello-playing,
iv. 300 a.
Febbabi, D., i. 513& ; Tartini, iv.
61 &; Violin- playing, iv. 289.
Febbabi, G. G., i. 513^; PF.
Mus., ii. 725 & ; Supp^, iv. 4a.
Febbel, J. F., i. 513&.
Feebetti, G., i. 514a; Mus.
Transalpina, ii. 416a; Mus.
Lib., iv. 726a.
Febbi ; Singing, iii. 509 &, etc, ;
Strakosch, iii. 734 a; Tremulo,
iv. 167 a.
Febbi, B., i. 514a ; Bass, i.
148 & ; Soprano, iii. 636 a.
Febbini, G.; PF., ii. 711a.
Febt]^, p. de la, i. 514&.
Febtiault, F. ; Hist, of Mus., iv.
6766.
FESCA,A.E.,i.5i5a; PF.Mus.,
ii- 733 « ; PF.-playing, ii. 745.
Fesca, F. E., i. 514& ; Auswahl,
etc., i. 105 a ; Mus. Lib., ii.
427 a ; Quartet, iii. 57&.
Fessy; etamaty (C. M.), iii.
689 a.
Festa, C, i. 515a; Lamenta-
tions, ii. 886 ; Madrigal, ii.
189a; Mass, ii. 2286; Mise-
rere, ii. 336 a; Oliphant, ii.
496 J; Part-song, ii. 658 a;
Polyphonia, iii. 1 3 & ; Schools
of Comp., iii. 262a, etc.; Sis-
tine Choir, iii. 520&; Alfieri,
iv. 520&; Burney, iv. 571a;
Dance Rhythm, iv. 606 a;
Sistine Chapel, iv. ig^a; Ver-
delot, iv. 810&.
Festing, J., i. 515^.
Festing, M., i. 615&; Ame (T.
INDEX.
A .), i. 84 a ; Castrucci, i. 3 1 9 & ;
Cecilia, St., i. 329 J; Greene
(M.), i. 6246, etc. ; Ranelagh
House, etc., iii. 74 a; Royal
Soc. of Musicians of Gt.
Britain, iii. 187a.
Festivals, i. 516a; iv. 6356;
Beaulieu, i. 160 a; Birming-
ham Festival, i. 2436 ; Cecilia,
St.,i. 329a ; Handel Festival,
i. 658 a; Leeds Mus. Festival,
ii. II I & ; Niederrheinische
Musikfeste, ii. 45 5 & ; Norwich
Festival, ii. 465 a ; Schools of
Comj)., iii. 313 a; Spohr, iii.
658 a ; Three Choirs, iv. 112 a;
York Mus. Festival, iv. 495 a.
Fetis, i. 517a ; iv. 6356; Aerts
i. 41a; Beethoven, i. 208a;
Boieldieu, i. 256 a ; Brussels
Conservatoire, i. 592 a ; Cheru-
bini, i. 344 a; Conservatoire
de Mus., i. 3926; Cusins, i.
4246; Dehn, i. 4396; Die. of
Mus., i. 445 h, etc. ; Dussek
(J. L.), i. 475 &; El wart, i.
4876; Erard (S.), i. 491a;
Farrenc, i. 5076; Forkel, i.
5406, note; Fraschini,i. 560& ;
Fugue, i. 569 1) ; Gevaert, i.
592a; Gluck, i. 604a; Gom-
jjert, i. 609 a; Helmore, i.
7276 ; Hiller (Ferd.),i. 737a;
Imitation, i. 766a ; Klengel,ii.
64 a ; Lachnith, ii. 82 h ;
Lauterbach, ii. 105 &; Lejeune,
ii. 1 196; Lemmens, ii. 120a;
Lenz, ii. 120&; Marseillaise,
ii. 220D; Mai'tini, ii. 223a;
Mattel, ii. 239 a ; Mendels-
sohn, ii. 263a; Monpou, ii.
3556; Mus. Lib., ii. 426 a;
Navoigille, ii. 4496 ; Osborne,
ii. 615 a ; Perne, ii. 693 a ; Pe-
truccijii. 6966; Pleyel(Mme.j,
iii. 36 ; Pougin, iii. 24a; Rai-
mondi, iii. 676; Rameau, iii.
696 ; Regibo,iii. 94 a ; Reicha,
iii. 98 h ; Revue et Gazette
Mus., iii. 121&; Rockers
(Hans), iii. 195&; Rule, Brit-
annia, iii. 204 a ; Song, iii.
592a ; Spontini, iii. 665 h, note,
etc. ; Stradella, iii. 7^3^ J
Stradivari, iii. 732 a, etc.;
Urban (C), iv. 209a ; Vander
Straeten, iv. 216& ; Wider, iv.
454a; Woelfl (Jos.),iv. 4786 ;
Benevoli, iv. 543a ; Benolt, iv.
544 a ; Hist, of Mus., iv. 674 a,
etc.
Feuillet, R. a. ; Orch^so-
graphie, ii. 560 & ; Passa-
caglia, ii. 661 a.
Feuin. (See Fevin.)
53
Fevin, A., 1. 518a ; Attaignant,
i. 100 & ; Eslava, i. 4946;
Lamentations, ii. 886 ; Mass,
ii. 2276; Motet, ii. 372a;
Schools of Comp., iii. 260a;
Burney, iv. 5706; Dodeca-
chordon, iv. 6i6a ; Part-books,
iv. 7396; Sistine Chapel,
iv. 7946.
Fevin, R. de; Mass, ii. 2276;
Schools of Comp., iii. 260 a;
Sistine Chapel, iv. 794 a.
Feytou, Abbe ; Die. of Mus., L
445 a.
Fiala, J., i. 5186.
Fiasco, i. 5186.
FiBicH, Z.,'iv. 636 a.
Fickert ; Tenor Violin, iv. 92 a.
Fiddle, i. 519 a ; Fiddlestick, i.
519a; Sound-post, iii. 642a;
Violin, iv. 268 b, etc.
FiDELio, i. 519a ; iv. 636a;
Beethoven, i. 185 a, etc. ;
L^onore, ii. 122b; Milder-
Hauptmann, ii. 3306.
FiDicuLA ; Violin, iv. 2676.
Field, H., i. 519 b ; Loder (Kate
F.), ii. 159a; Monk (Edwin
G.), ii. 353 &; Philh. Soc, ii.
699 b.
Field, J., i. 519b ; Bach (C. P.
E.), i. 114a; Berger, i.
231a; Clementi, i. 373a;
Dussek (J. L.),i. 476b ; Form,
i- 553^; Glinka, i. 599b;
Klavier-Mus. Alte, ii. 63 b;
Mayer (C), ii. 240 a ; Melo-
dists' Club, ii. 249 a ; Neate,
ii. 450 a ; Nocturne, ii. 460 b ;
Philh. Soc, ii. 699 a; PF.
Mus., ii. 727a ; PF.-playing,
ii. 738 b, etc. ; Schools of
Comp., iii, 308 b; Spohr, iii.
657b; Szymanowska (Marie),
iv. 45 b.
FiEBBABBAS, i. 520a; iv. 6^6a;
Schubert, iii. 338 a.
FiESCO ; Mus. Lib., iv. 726a.
Fife, i. 520b ; Instrument, ii.
6a ; Piffero, ii. 753a ; Sounds
and Signals, iii. 643 a ; Wind-
band, iv. 465 b, etc.
Fifteenth, i. 520b; Organ, ii.
583&.
Fifth, i. 520 b ; Diapente, i.
442 b ; Hemiolia, i. 727 b.
Figaro. (See Nozze di Figaro,
ii. 483 b.)
Figulus, W. ; Leipzig, ii. 11 £ a.
Figubante, i. 520b.
Figubato. (See Figubed.)
FiGUBE, i. 520b ; Motif, ii. 377a;
Rosalia, iii. 160 a.
Figubed, i. 522 a ; Coloratur, i,
378b; Florid, i. 534a.
54
Figured Bass, i. 522 a; Abbre-
viationa, i. 45; Accompani-
ment, i. 22 a; Additional Ac-
compts., i. 30 i; Agazzari, i.
41 J; AirOttava,i.56a; Asola,
i.gga; Banchieri,i. 1336; Bass,
i. 148 a; Basso Continuo, i.
1 5 1 5 ; Orchestration, ii. 568 h ;
Partimenti, ii. 656a ; Score,
iii. 434 a, etc. ; Score, playing
from, iii. 435 b, etc. ; Tasto
Solo, iv. 636 ; Dering, iv.
612b.
FiLiPPi ; Verdi, iv. 251 a ; Boito
(A.), iv. 551a.
FiLLBDU Regiment, La, i. 523a;
Donizetti, i. 453 a.
FiLTSCH, C, i. 523a ; iv. 636a;
Sechter, iii. 456a.
Finale, i. 5236; Beethoven, i.
205 a; Logroscino, ii. 514 a,
note; Opera, ii. 514a, etc.;
Piccinni, ii, 748 a ; Sonata, iii.
555 «.
Finch, Hon. and Rev. E.,i. 524a;
Tudway, iv. 199 ft.
FiNCK, H. ; Isaac (H.), ii. 226;
Schools of Comp., iii. 2666;
Song, iii. 620a; Volkslied, iv.
337 «•
FiNCK, Hermann ; Schools of
Comp., iii. 2666; Ut, re, mi,
iv. 212ft.
FiNETTi, J. ; Mus. Divina, ii.
4126.
Finger, G., i. 5246; iv. 636a;
Eccles (J.), 481 b ; Mus. Lib.,
ii. 418a; Weldon (J.', iv.
435 a-
Fingerboard, i. 524a ; Frets, i.
563 a.
Fingering, i. 525a; Applicato,
i. 75a; Bach (J. S.), i. 116 b.
Fink, C, iv. 636a; Schneider,
iii. 256 a.
Fink, G. W., i. 5276; Ccecilia,
i. 295a; Leipzig, ii. 115a;
Orpheus, ii. 6 1 3 a ; Schumann,
iii. 389ft; Song, iii. 623 «,
note ; Volkslied, iv. 337 ft ;
DoriFel, iv. 6i6ft; Hist, of
Mus., iv. 674a, etc.
FiNTA Giardiniera, La, i. 531 a;
Mozart, ii. 402 b.
FiNTA Semplice, La, i. 531a;
Mozart, ii. 402 ft.
Fio, T. ; Zenobia, iv. 506a.
FiORAVANTi, Val., i. 528a ; iv.
6366 ; Chelard, i. 341 a ; Mus.
Lib., ii. 421ft ; Niedermeyer,
ii. 455 a; Rubini, iii., 189 ft.
FlORAVANTI, ViN., i. 528a.
FiORiLLo, F., i. 528a; Etudes,
i. 497a. Violin-playing, iv.
2S9.
INDEX.
FlORiTURE, i. 5286; Florid, i.
534 a ; Melisma, ii. 248 ft.
FiORONi, G. A. ; Marchesi (L.),
ii. 214a; Milan, ii. 329a.
Firework Music, i. 528 6 ; Han-
del, i. 6576.
Firing, i. 5286.
Firmage, W. ; Kirbye, ii. 596.
Fis and Fisis, i. 528ft.
Fischart ; Song, iii. 616 a.
Fischer ; Lalo, iv. 695 ft.
Fischer, F. ; Wagner, iv. 365 a.
Fischer, G., i. 529a.
Fischer, J.C., 1.52905; Mozart,ii.
384a; Vocal ConcertSjiv. 319ft.
Fischer, Jos., i. 529a.
Fischer, K. ; Wilhelmi, i v. 45 7 ft.
Fischer, L., i. 5286; Singing,
iii. 506 ft.
Fischer, M. G. ; Auswahl, etc.,
i. 105 a.
Fischer, V., i. 529a.
Fischer, W., i. 529 a.
FiSCHHOF, J. ; Schumann, iii.
394ft; Seyfried, iii. 478ft;
Hist, of Mus., iv. 676 a.
FiscHHOFP, i. 529 ft.
Fish, W., i. 530 a.
Fisher, J. A., i. 530a; iv.
636ft; PF. Mus., li. 724ft;
Storace (Ann), iii. 719a ;
Violin-playing, iv. 298 ft.
FiTZ WILLIAM, E. F., i. 530 a.
FiTzwiLLiAM Collection, i. 530
ft; Mus. Lib., ii. 4176; No-
vello, ii. 48 1 ft.
Fladt, a., i. 531a.
Flageolet, i. 531a. (See Har-
monics, i. 663 ft.)
Flageolet, i. 531a; Bass-Flute,
i. 150a; Czakan, i. 425 a;
Flute, i. 535 ft; Greeting, i.
625ft; Instrument, ii. 6a;
Larigot, ii. 92 a; Mercy, ii.
313a; Mouthpiece, ii. 378a;
Ocarina, ii. 490 a; Orchestra,
ii. 561 ft; Parry (J.), ii. 651 a ;
Picco Pipe, ii. 750a.
Flamand-Gretry, L. v., 1.5 3 2 a.
Flandri, G. k Salice; Dodeca-
chordon, iv. 6 16 a.
Flannel, Egyd ; Attaignant, i.
1006 ; Schools of Comp., iii.
260 a ; Sistine Choir, iii. 520 ft.
Flat, i. 532 a; Accidentals, i.
19a; Acuteness,i. 26ft; B^mol,
i. 221 a ; Key, ii. 53a ; Modes
Eccles., ii. 343 a ; Notation, ii.
474 a.
Flat Fifth, i. 5326.
Flauto Magico. (See Zauber-
flote, Die, iv. 503 ft.)
Flauto Tra verso, i. 532 ft.
Flavell, Ch. ; Davies (Fanny),
iv.6o86.
Fleischhack; Quantz, iii. 556.
Fleming, A., i. 532 ft.
Fleming, J. M. ; Hist, of Mus.,
iv. 676 ft.
Flemming, F. F., iv. 636ft; Or-
pheus, ii. 613 a.
Fliegende Hollander, Der, i.
532 ft; Wagner, iv. 353ft.
Flight, Kelly, and Robson, i.
532ft; iv. 636ft; Adams, i.
29 ft ; ApoUonicon, i. 74ft ;
Robson, iv. 773a.
Flintoft, Rev. L., i. 533a;
Morley (W.), ii. 368 ft.
Floquet ; Maltrise, ii. 200 a.
Florence, i. 533 a; Accademia,
i. lift; Mus. Lib., ii. 425ft;
Mus. Periodicals, ii. 4316;
Pergola, La, ii. 686 a.
Florentiner Quartett ; Becker
(J.),i. 161 ft.
Florianus, B. ; Spinet, iii. 65 2 a.
Florid, i. 534a; Counterpoint,
i. 408ft; I'^gured, i. 522a.
Floridus ; Mus. Lib., ii. 420ft.
Flobilegium Portense, i. 5346;
Bodenschatz, i. 253 a.
Florilegium (Zimmerman n'.s) ;
Tarantella, iv. 59 a.
Flobimo, F., iv. 636 ft and
819ft ; Sonf^, iii. 591 « ; Spon-
tini, iii. 665 a, note ; Ti-aetta,
iv. 158a; Zingarelli, iv.
510a; Hist, of Mus., iv.
675 ft.
Florio, G. ; Oriann, ii. 611 ft.
Florio ; Mara, ii. 210a.
Flotow, F. Freiherr von, i.
534ft ; iv. 637 a ; Lady Hen-
riette, ii. 83 a ; Leoline, ii.
122a; Martha, ii. 221ft;
Schmitt (G. Alois), iii. 255a;
'Tis the Last Rose, iv. 129ft;
Ventad our Theatre, iv. 238 ft.
Flowers, G. F., i. 535 a.
Flud, R., iv. 637a.
Flugel, G. ; PF. Mus., ii. 731 a ;
PF.-playiiig, ii. 744.
Flugel, i. 535 ft ; Grand Piano,
i. 61 7 ft ; Harpsichord, i. 688 a ;
PF., ii. 714 a.
Flugel-Hobn, i. 535ft ; Bugle,
i. 280a; Instrument, ii. 6a\
Mercadante, ii. 312 ft.
Flue-Work, i. 535 ft ; Flute-
Work, i. 538 a; Organ, ii.
590&, etc.
Flute, i. 535 ft ; Aerts, i. 41a ;
Ashe, i. 98 ft ; Bass-Flute, i.
150a; Berbiguier, i. 229ft;
Besozzi, i. 238ft ; Boehm (T.),
i. 254ft, ^^^- J Double Tongue-
ing, i. 4596 ; Drouet, i. 463 ft;
Fife, i. 520ft; Flageolet, i,
531a; Flauto Traverso, i.
5326 ; Frederic the Great,
i. 5616; Fiirstenau, i. 5666;
Gordon (W.), i. 610& ; Har-
monics, i. 6656 ; Hoffmann
(G.), i. 742 a ; Instrument, ii.
ba ; James (W. N.), ii. 30& ;
Larigot, ii. 92 a; Morley
(T.) ii. 368 a; Mouthpiece,
ii. 378 a ; Musikalisches Opfer,
ii. 438 a ; Nicholson, ii. 453a ;
Notation, ii. 478a ; Orchestra,
ii. 5616, etc.; Orchestration,
ii. '567 ft ; Organ, ii. 574« ;
Overblowing, ii. 618 a ; Pai-
sible, ii. 633 a ; Pandean Pipe,
ii. 644 a ; Passion Mus., ii.
667 a ; Piccolo, ii. 7506 j Pipe
and Tabor, ii. 7546 ; Pratten,
iii. 27a ; Quantz, iii. 556 ; Re-
corder, iii. 866; Richardson,
iii. 1 276; Saxophone, iii.
234a; Schack, iii. 241 &;
Sounds and Signals, iii. 6466 ;
Svendsen (0.), iv. 7a ; Tone,
iv. 143 &; Trio, iv. 172a;
Tulou, iv. 1 86 a ; Vroye (A. de),
iv. 341 a ; Wind-Band, iv.
4656, etc. ; Demeur (J. A.),iv.
611 a, note ; Hist, of Mus., iv.
676 i ; Kuhlau (F.), iv. 6936.
Flute a Bec. (See Flute, i.
535&0
Flute D' Amour, i. 538 a.
Flute- Work, i. 538a; Flue-
Work, i. 535&; Organ, ii.
593«.
FOCHETTI, i. 538 a.
FoDOR, A., i. 5386.
FoDOR, C, i. 5386.
FoDOR, J., i. 538a.
Fodor-Mainvielle, Mme., i.
5386 ; Fodor,i.5386; Mendels-
sohn,ii.268a; Sontag,iii.634a;
Vocal Concerts, iv. 319&.
FoEHR, J . ; Recording Mus., iv.
768 a.
FoELix NAMQUE, and Felix
NUMQUAM. (See Virginal
Music, iv. 309 a.)
FOrstemann, C. E., i. 539«.
FOrster, A. ; PF.Mus., ii.736rt.
FGrster, E. a., i. 539 a ; Bee-
thoven, i. 1666, etc. ; Eisner
(J.), i. 486a ; Hellmesberger
(G.), i. 725 & ; InQuestaTomba,
ii. 4a ; Mozart, ii. 3986 ; Nie-
dermeyer, ii. 455a ; PP. Mus.,
ii. 725a; Potter, iii. 23 a;
Sina, iii. 4956 ; Stein (K. A.),
iii. 709 a ; Vaterlandische
Kunstlerverein, iv. 807 &.
FbRTSCH, J. ; Opera, ii. 508 a.
FoGGiA, F., i. 539a; Pitoni, ii.
759 a ; Saggio di Contrap-
punto, iii. 212a; Vocal Scores,
INDEX.
iv. 3196; Sistine Chapel, iv.
794 a.
FoGLiANO, L. ; Este, i. 496 a;
Zarlino, iv. 503 a ; Mus. Lib.,
iv. 7256.
FoiRE des Enfants. (See Toy
Symphony, iv. 799 &.)
FoLEGATi, E. ; Hist, of Mus., iv.
6766.
FoLi, A. J.; iv. 637a; Philh.
Soc, ii. 700a; Singing, iii.
512 a.
Folia, i. 5396 ; Farinelli,i. 504 a.
FoLiANUS, L. (See Fogliano.)
Foliot; Sistine Chapel, iv.
794a.
Fontaine. (See Mortier de,
ii. 369 &.)
FoNTANA ; Marches!, ii. 215 a.
FONTANA, G. B. ; Violin-playing,
iv. 288 &.
FoNTANA, J. ; Song, iv. 795 a.
Foot ; Air, i. 466 ; Dactyl, i.
427a ; Iambic, i. 765a, note ;
Metre, ii. 316 a, etc. ; Trochee,
iv. 174&.
Foote, B. ; Singing, iii. 513 a;
Philh. Soc, iv. 746 6.
Forbes, G. ; PF. Mus., ii.
736a.
Forbes, H., i. 5396 ; Societa
Armonica, iii. 543 a.
Forbes ; Sang Schools, iii. 225 a.
Ford ; Horn, i. 749 a.
Ford, D. E., i. 540 «.
Ford, Miss, i. 540 a ; Gamba,
Viola da, i. 5806.
Ford, T., i. 540 a ; Air, i. 47 a ;
Leighton (Sir W.), ii. 1146 ;
Madrigal, ii. 191 a, etc. ; Mus.
Antiquarian Soc, ii. 416 & ;
Mus. Lib., ii. 422a; Part
Mus., ii. 6566; Part-song, ii.
658a; Schools of Comp., iii.
277a, etc. ; Song, iii. 602 a;
Barney, iv. 571a.
FoRENZA, N. ; Sacchini, iii. 207 a.
FoRESTiER ; Conservatoire, i.
393a; Tulou (J. L.), iv.
1866.
FoRESTYN, M. ; L'Homme Arme,
ii. 127a; Sistine Chapel, iv.
794 a.
FoRKEL, J. K, i. 540a ; Art of
Fugue, The, i. 96 a ; Bach (W.
F.), i. 1126; Bach (J. S.), i.
118 a ; Die of Mus., i. 4446,
etc. ; Fdtis, i. 517 & ; Frederic
the Great, i. 5616; Gerbert,
i. 590a; Haydn, i. 719& ;
PF. , ii. 7 1 3 a, wo/e ; Plain Song,
ii. 763 a ; Sumer is icumen in,
iii. 768a ; Tinctoris, iv. 128a ;
Wesley (S.), iv. 446 a ; Wind-
band, iv. 4646, note ; Giovan-
55
nini, iv. 647 h ; Hist, of Mus.,
iv. 674 a.
FoRLANA, i. 5406.
Form, i. 541a; iv. 6376; Bach
(C. P. E.), i. II 3&; Bach (J.
S.), i. 1 16 a; Beethoven, i.
2026, etc ; Cadence, i. 2926 ;
Chorus, i. 3546 ; Coda, i. 3766 ;
Construction, i. 395 a ; De-
velopment,i. 441 h ; Dominant,
i. 4526; Durchfiihrung, i.
472a; Figure, i. 520a, etc. ;
Harmony, i. 675 h ; Haydn, i.
718 a; Imperfect, i. 768 a;
Lied-Form, ii. 134&; March,
ii. 211 a, etc. ; Minuet, ii.
333«. etc; Monodia, ii. 355a ;
Opera, ii. 509a, etc. ; Over-
ture, ii. 6216; Period, ii.
692 a; Phrase, ii. 706 a;
Phrasing, ii. 706a; Quartet,
iii. 57 & ; Relations, iii. 105 a ;
Rhythm, iii. 1 236, etc.; Rondo,
iii. 1556; Root, iii. 1576; Slow
Movement, iii. 5366 ; Sonata,
iii. 554a, etc ; Song, iii. 605 a,
6i8a; Spohr, iii. 662a;
Subject, iii. 752 a, etc. ; Suite,
iii. 756a ; Symphony, iv. 116,
etc.; Tonality, iv. 141a; Varia-
tions, iv. 217 a ; Working-Out,
iv. 4866 ; Dance Rhythm, iv.
606a, etc; Episodes,iv.628a;
Exposition, iv. 6306 ; Meta-
morphosis, iv. 718a; Rosalia,
iv. 775 J.
Formes, K., i. 555 a ; iv. 6376 ;
Handel Festival, i. 658 a;
Philh. Soc, ii. 6996; Rosa,
iii. 159& ; Singing, iii. 511 6;
Spohr, iii. 6606 ; Strakosch, iii.
734^-
Formes, T., i. 555 a.
FoRNACCi ; Song, iii. 588a.
FoRNARiNO. (See Bettini.)
FoRNASARi, L., i. 5556; Lum-
ley, ii. 174a; Singing, iii.
5116.
Fornsete, J. ; Schools of Comp.,
iii. 270a; Score, iii. 4276;
Song, iii. 6006; Sumer is
Icumen, iii. 7680, etc
FoRSTER, i. 555 &; Haydn, i.
708 a ; London Violin Makers,
ii. 1646, etc ; Violin, iv.
2846.
FoRSTER, G. ; Mus. Lib., ii.
425a ; Senfl, iii. 463a ; Song,
iii. 6186, note ; Volkslied, iv.
337«-
FoBSTER, S. A., i. 556a; Hist.
of Mus., iv. 6766.
FoRSTEB, T. J. M. ; Hist, of
Mus., iv. 6766.
FoRSTEB & Andrews, i. 5556.
66
FoRSTER & Brindlet ; Vogler,
iv. 329a.
Forsyth Bros., iv. 6376.
Forte, i. 556 a.
FoRTi, A., i. 556 a; Wild, iv.
456 «•
FoRTLAGE, C. ; Hist, of Mus., iv.
675 a.
FoRZA DEL Destino, La, 1.
5566 ; Verdi, iv. 250&.
Fossa, J. de ; Mus. Divina, ii.
41 2&; Tresor Mus., iv.
8016.
Fossis, P. de ; Schools of Comp.,
iii. 265 a.
Foster, J. ; Civil Service Mus.
Soc, i. 359 &.
Foster, S. C, iv. 638 a.
FouGT, H. ; Mus. printing, ii.
435 h ; Mus. printing, iv. 727 a.
Foundling Hospital, i. 5566;
Festival, i. 516& ; Handel, i.
652 a.
Fourneaux, N., i. 557 a.
FouRNiER, p. S., i. 557 a; Mus.
printing, ii. 435 &.
Fourth, i. 557 a ; Diatessaron,
i. 442&.
Fox; Tudway, iv. 199a.
Fra Diavolo, i. 5576; Auber, i.
102 &.
Franzl, F., i. 557 & ; Violin-
playing, iv. 293 h ; Zeugheer,
iv. 507 a.
Franzl, Ig., i. 557?>; Pixis, ii.
7596; Violin-playing, iv. 2936.
Framery, N. E., i. 558 a ; IJict.
of Mus., i. 445 a ; Gluck, i.
603 a ; Gr^try, i. 630 a ; Grie-
singer, i. 631 &.
Franc, G., iv. 638?) ; Hymn, i.
761b; Le Jeune, ii. 119& ;
Song, iii. 5926; Chorale, iv.
589a; Psalter, iv. 754 &.
Franceschelli, p. ; Bologna, i.
259 &.
Franceschini, p., Padre ; Perti,
ii. 695 a.
I^ANCESiNA, La, E. D., i. 558a.
Francesco di Milano ; Sounds
and Signals, iii. 643 a.
Franchi ; Galuppi (B.), i. 5796.
Feanchomme, a., i. 5586 ; iv.
6396 ; Conservatoire, i. 3926;
DupOTt (J. L.), i. 470 a ;
Halld, i. 6466; Mendelssohn,
ii. 2686; Schubert, iii. 3576 ;
Stradivari, iii. 731 6 ; Violon-
cello-playing, iv. 300 &, etc. ;
Plants, iv. 749 &.
Fbanciscello, i. 5585 ; Violon-
cello-playing, iv. 299 &.
France, C. A. G. H., iv. 6396 ;
Faux-Bourdon, i. 509 & ; Tol-
becque (J.), iv. 132 b; Holmes
INDEX.
(A.), iv. 678b ; Tndy (M.), iv.
684a.
Franck, Ed. ; Goetz, i. 607 h ;
PF. Mus., ii. 733b; PF.-
playing, ii. 745.
Franck, J. ; Opera, ii. 508 a.
Franck; Mendelssohn, ii. 268b.
Franco, of Cologne, iv. 640 a ;
Harmony, i. 670 a; Ligature,
ii. 136 b ; Mus. Mensurata, ii.
415b; Notation, ii. 470b;
Organum, ii. 6 10 a; Plica,
iii. 4a ; Point of Augmenta-
tion, iii. 6a; Polyphonia, iii.
12a; Quaver, iii. 59 b ;
Schools of Comp., iii. 270a,
note; Score, iii. 427b, note;
Semibreve, iii. 459 a ; Speci-
mens, Crotch, iii. 649 b ; Time
Table, iv. 127b; Dance
Rhythm, iv. 605 b ; Hanboys,
iv. 664a.
FranC(EUR, F., i. 559a; Rebel
(F.), iii. 82 a ; Rousseau, iii.
182a; Violin - playing, iv.
292 b.
Francceur, L. J., i. 559 a.
FRAN901S I ; Song, iii. 592b.
Frank, Melchior, i. 559 ft ; Bo-
denschatz, i. 253b ; Quodlibet,
iii. 62 a; Song, iii. 620b;
Volkslied, iv. 337 a ; Chorale,
iv. 589a.
Frankh, J. M. ; Haydn, i. 702 b.
Franklin, B., i. 559a ; Frick,
i. 564b ; Harmonica, i. 662a.
Franz, K., i. 559a ; Baryton,
i. 147 a ; Haydn, i. 705 b.
Franz, R., i. 559b; Additional
Accompaniments, i. 31b, etc. ;
Astorga, i. looa ; Bach (J. S.),
i. ii8a; Handel-Gesellschaft,
i. 659 a ; Lied, ii. 133 a ; Liszt,
ii. 149a; Orpheus, ii. 613b;
Part-song, ii. 659a ; Schneider
(P.), iii. 255a; Schools of
Comp., iii. 298b ; Schumann,
iii. 391b; Song, iii. 629 b,
etc.
Fraschini, G., i. 560b ; iv.
642 b; Lumley, ii. 174a;
Singing, iii. 511a.
Frasi, G., i. 561a.
Fratesanti, Signora, i. 561b.
Frauenlob ; Song, iii. 61 6 a.
Fre ; Virginal Mus., iv. 309 a.
Freck ; Part Mus., ii. 657 a.
Freddi ; Mus. Lib., iv. 726a.
Frederic the Great, i. 561b;
Bach (C. P. E.), i. 113b;
Bach (J. S.), i. 115 b ; Benda
(Franz), i. 221a; Flute, i.
537 b ; Mus. Opfer, ii. 438a ;
PF., ii. 713b ; Poelchau, iii.
5a; Quanta, iii. 56a.
Frederica, C, ii. 647b, note;
Paradies, ii. 647 b.
Frederici ; Balfe, i. 126b.
Free-part ; Tonal Fugue, iv.
135 a, etc.
Free Reed, i. 562 a ; Accordion,
i. 25b; Molina, i. 40b;
American Organ, i. 60 b ; Or-
gan, ii. 601 b ; Physharmonica,
ii. 709 a; Reed, iii. 90a.
Free Style. (See Part-writ-
ing, iv. 741 a.)
Fregb, L., i. 562 a; Mendels-
sohn, ii. 290a, etc. ; Schumann
(Clara), iii. 422a; Voigt, iv.
335 &•
FreischUtz, Der, i. 562 b; iv,
642 b; Imbroglio, i. 765 b;
Robin des Bois, iii. 1390;
Weber, iv. 403 b.
Fremart ; Maitrise, ii. 199 b.
Fremin; Sistine Chapel, iv.
794a.
French Horn, i. 562 b ; Althom,
i. 57b; Crook, i. 419b; Em-
bouchure, i. 488 a; Franz
(K.), i. 559a ; Harmonics, i.
665 b; Slide, iii. 536 a ; Besson,
iv. 546 a.
French Sixth, i. 563 a.
Freschi, D. ; Opera, ii. 5036,
etc.
Frescos aldi, G., i. 563 a; iv.
642 b ; Ambros, i. 59 a ; Aus-
wahl, etc., i. 105a; Frober-
ger, i. 565 a ; Harmony, i.
674b ; Hawking, i. 700b ; Kerl,
ii. 51a; Kircher, ii. 61 a ;
Klavier-Mus. Alte, ii. 63a ;
Mus. Lib., ii. 418b, etc. ; No-
tation, ii. 476 a ; Passa-
caglia, ii. 661 a ; Practical
Harmony, iii. 24a ; Ricer-
care, iii. 126b; Toccata, iv.
130 a ; Tr^sor des Pianistes,
iv. 1 68 a ; Variations, iv.
219a; Mus. Lib., iv. 726a;
Scheidt, iv. 784a.
Fresneau ; Sistine Chapel, iv.
794a.
Frets, i. 563 a ; iv. 642 b ; Gui-
tar, i. 640 a ; Lute, ii. 175 b.
Freyer, a. ; Moniuszko, ii.
35 ^•a-
Freylinghausen, J. A. ; Cho-
rale, iv. 589 a.
Freystaedtler, J. ; Vaterlan-
dische Kunstlerverein, iv.
808 a.
Freytag ; Weber, iv. 404b.
Frezzolini, E., i. 664a ; iv.
642 b ; Lumley, ii. 1740;
Strakosch, iii. 734 a; Tacchi-
nardi, iv. 51b.
Frlberth, K., i. 564b ; Haydn,
i. 705 & ; Paradis (M. von), ii.
648 rt.
Frichot, i. 5646; Opbicleide,
ii. 531&.
Fbick, p. J., i. 564&,
Fbickenhaus, Fanny, iv. 6426 ;
Philh. Soc, iv. 747a.
Fricker ; Klotz, ii. 65 a.
Friederici, C. E., of Gera ;
PF., ii. 714a; Square PR,
iii.683ft; Upright Pr.,iv. 208 6.
Fbiedlander, M., iv. 787a;
Schubert, iv. 787«.
Friedlander, T. ; Philh. Soc,
ii. 700 Z>.
Fkiedlowskt, Prof. ; Troyers,
iv. 180a.
Fries, Count ; Beethoven, i.
167a ; Schubert, iii. 334a.
Fbike. (See Frick.)
Fritz, B., i. s^^h.
Friz ; Violin-playing, iv. 289.
Froberger, J. J., i. 565 a;
Bach (J. S.), i. 114& ; Fres-
cobaldi, i. 563 a ; Kerl, ii.
51a; Kirchei-, ii. 61 a; Kla-
vier-Mus. Alte, li. 63 a;
Meister Alte, ii. 2476; Mus.
Lib., ii. 425 &; Progranime-
mus., iii. 36 a ; Schebek,
iii. 243a ; Suite, iii. 756a ;
Tresor des Pianistes, iv. 168 a;
Zachau, iv. 498 b.
Fbohlich, Professor ; Lauter-
bach, ii. 105 6.
Frohlich, B., i. 5656 ; iv. 643 a.
Frohlich, J., i. 5656 ; iv. 643b.
Fbohlich, K., i. 5656 ; iv. 6436.
Frohlich, N. , i. 565 & ; 1 v. 643 a ;
Schubert, iii. 325 a, etc.
Frondoni ; Song, iii. 600 h.
Frosch ; Nut, ii. 4856.
Fboschius, J. ; Mus. Lib., iv.
725&.
Frottole, i. 566 a; Madrigal,
ii. 190&; Schools of Comp., iii.
2646, etc. ; Song, iii. 586^ ;
Tromboncino, iv. 1 76 a ; Dance
Rhythm, iv. 606 a ; Part-
books, iv. 739 &.
Fruttiers, J., i. 566 a;
L'Homme armd, ii. 128a.
Fry, W. H. ; Opera, ii. 530a.
FucHS, A., i. 566a; Caecilia, i.
294& ; Kiesewetter, ii. 56 &.
FucHS, J. ; Schubert, iii. 335 &.
INDEX.
FucHS, J. G., Haydn, i. 7166.
FucHS ; Wagner, 'iv. 365 a.
FUhrer; Answer, i. 70 a; Sub-
ject, iii. 7486.
FuHRER, R., i. 566&; Schubert,
iii. 3236, note.
FuENTES, P. ; Eslava, i. 495 a.
FuRNBERG, K. von ; Haydn, i.
704 J.
FuERO, Don F. F. ; Hist, of
Mus., iv. 676a.
FiJRSTENAU, A., i. 566 h ; iv.
643?) ; Weber, iv. 409 a.
FifRSTENAU, C, i. 566 &.
FuRSTENAU, M., i. 566b ; Ton-
kvinstlerverein, iv. 1506; Hist.
of Mus., iv. 675 a.
FuERTES. (See Soriako, iii.
638 J.)
Fuga. (See Fugue.)
Fugato, i. 567a.
FuGHETTA, i. 567 a; Fugue, i.
567 a.
Fugue, i. 567 a ; Abbrevia-
tions, i. 4a ; Answer, i.
70 a ; Arsis and Thesis, i. 95 b ;
Bach (J. S.), i. 117a; Bee-
thoven, i. 206a ; Canon, i.
304b; Coda, i. 376a; Coun-
terpoint, i. 409 a ; Counter-
subject, i. 409 a; Dominant, i.
452b; Dux, i. 477 b; Foggia,
i- 539^; Frescobaldi, i. 563 a ;
In Nomine, ii. 4a ; Inversion,
ii. i6a; Mass, ii. 227b, etc.;
Pedal Point, ii. 679b; Philipps
(Peter,) ii. 705 a ; Points, iii.
7 a ; Proposta, iii. 43 a ; Real
Fugue, iii. 80 a ; Registra-
tion, iii. 96 b ; Ricercare, iii.
126b; Risposta, iii. 136b;
Sala, iii. 217b ; Schools of
Comp., iii. 288b; Schumann
iii. 411 a ; Sonata, iii.
554b, etc. ; Stretto, iii. 739b ;
Subject, iii. 748 a, etc. ; Tonal
Fugue, iv. 134b ; Andamento,
iv. 522a; Attacco, iv. 525a;
Episodes, iv. 628b; Exposition,
iv. 630 b; Part- writing, iv.
743 a, etc.
FuLDA, A. de, iv. 643 b; Faux-
Bourdon, i. 509 a ; Schools of
Comp,, iii. 266a ; Dodeca-
chordon, iv. 6i6a; Fay (G.
du), iv. 635 a.
57
Full Organ, i. 5;69b; Organ,
ii. 581b; Pieno, ii. 752a.
FUMAGALLI, A., iv. 643b ; PF.
Mus., ii. 734a ; PF.-playing,
ii. 745.
FUMAGALLI, D., iv. 643b.
FuMAGALLI, L., iv. 643 b.
FuMAGALLI, P., iv. 643b.
Fundamental Bass, i. 569b;
Harmony, i. 674 b, etc. ; Root,
iii. 157b, etc.
Fundamental Note ; ^olian
Harp, i. 39 a ; Beats, i. 159b;
Harmonics, i. 664b ; Root, iii.
157b.
Furber, J.; London "Violin
Makers, ii. 165a; Violin, iv.
283 a, etc.
FuRCHHEiM, J. W. ; Violin-play-
ing, iv. 290a.
Furetiere; Die. of Mus., i.
444 b.
Fu RIANT ; Song, iii. 614b.
Fubino, F. ; Rome, iv. 775a.
Furlanetto, B. ; Pacini (G.),
ii. 626b ; Mus. Lib., iv. 726a.
Furniture ; Orgau, ii. 594a.
FuRNO ; Rossi (L.), iii. 163 a.
Fursch-Madi; Philh. Soc. iv.
747 a.
Fusco, M. ; Catelani (A.), i.
323&-
Fuss ; Orpheus, ii. 6130.
Fussel,P. ; Dibdin (c!), i. 442b;
Kent (J.), ii. 50b ; Mus. Lib.,
ii. 422 b.
Fux, J. J.,i.57oa ; Auswahl,etc.,
i. 105a ; Beethoven, i. 166 a;
Bind, i. 243 a ; Fugue, i. 569 b ;
Gradus ad Parnassum, i. 6i6a;
Haydn (M.), i. 701 a ; Haydn,
i. 704^ ; Holzbauer, i. 745 a ;
Imitation, i. 766 a ; Mozart,
ii. 382a; MufFat (A.), ii.
407 b ; Mus. Divina, ii. 412a;
Mus. Lib., ii. 424b, etc.;
Nota Cambita, ii. 466 b; Op-
era, ii. 513b; Predieii, iii.
27b; Rochlitz, iii. 142a; Ru-
dolph (Archduke), iii. 200a;
Strict Counterpoint, iii. 740 b;
Tuma, iv. i86b; Wagenseil,
iv. 344b ; Wechselnote, Die
Fux'sche, iv. 430 a ; Dodeca-
chordon, iv. 61 6 a.
Fz, i. 571a.
68
INDEX.
G.
G, i. 571a; Gamut, 1. 5806;
Sol., iii. 5456.
Gabbalone,M.; Barbella,i.i38a.
G ABLER, J., i. 571a; Organ, ii.
603 a.
Gabriel, M. A. V., i. 5716;
Song, iii. 608 b.
Gabbieli ; Sacchini, iii. 207 b.
Gabbieli, a., i. 571 &; Hassler
(H.), i. 6g6b; Madrigal, ii.
1906; Mass, ii. 230&; Merulo,
ii.3i4&; Mus.Divina, i^.4IIa,•
P^ince de la Moskowa, iii. 31a;
Schools of Comp., iii. 2656,
etc. ; Violin-playing, i v. 287 a;
Vocal Scores, iv. 319&; Mus.
Lib., iv. 726 a.
Gabbieli, D., i. 572a.
Gabbieli, G., i. 572a; Albert,
i. 486; Bodenschatz, i. 2536,
etc.; Magnificat, ii. 1966;
Motett Soc, ii. 3766; Mus.
Lib., ii. 421 &; Oratorio, ii.
540 a; Oriana, ii. 611 h;
Prince de la Moskowa, iii.
31a; Rochlitz, iii. 141 &;
Schools of Comp., iii. 2656,
etc. ; Schiitz, iv. 45 a ; Swee-
linck, iv. 76; Tenor- violin,
iv. 89a, note; Toccata, iv.
130 a ; Violin - playing, iv.
287a; VocalScores, iv. 319&;
Part-writing, iv. 741a.
Gabrielle, Charmante, i.5726 ;
Caurroy, i. 326a; Song, iii.
593 a, note.
Gabrielli, C., i. 573a; Coc-
chetta, i. 3756; Mysliwec-
zek, ii. 4406.
Gabrielli, F. (See Febbabesi,
i. 513a.)
Gabussi ; Saggio di Contrap-
punto, iii. 212a.
Gabussi, V., i. 5736.
Gabutius; Bodenschatz,!. 2536.
Gade, N. "W.,i. 574a ; iv. 643 a;
Franz, i. 560a; Gewandhaus
Concerts, i. 593 a ; Jensen, ii.
33 &; Leipzig, ii. 115&; Men-
delssohn, ii. 2816; Octet, ii.
492 a ; Orpheus, ii. 613 &; PF.
Mus., ii. 732a; Schumann,
iii. 391 &, etc. ; Song, iii. 611 a,
etc. ; Stiehl, iii. 714& ; Wag-
ner, iv. 354& ; Berggreen, iv.
545a; Hartmann (E.), iv.
668 &; Hartvigson, iv. 669 a;
Niederrheinische Musikfeste,
iv. 721.
Gadsbt, H., i. 574?/ ; iv. 643a ;
Lord of the Isles, ii. 1 66 a ;
Schools of Comp., iii. 308 a.
Gansbacheb, J., i. 574& ; Bee-
thoven, i. 201 a ; Drechsler, i.
4626; Haydn, i. 715 a; La-
trobe, ii. 103 a; Meyerbeer, ii.
3 2 1 & ; Schubert, iii. 3 2 5 & ; Vog-
ler, iv. 3266; Vaterlandische
Kiinstlerverein, iv. 808 a.
Gansbacheb, Jos., i. 574b;
Wilt (Marie), iv. 463?).
Gaetano (Padre) ; Porpora, iii.
16&.
Gafobi, F., i. 575 a ; iv. 643 a ;
^olian Mode, i. 40b ; Faux-
Bourdon, i. 509 a; Large, ii.
92a; Micrologus, ii. 327a;
Milan, ii. 3286 ; Mus. Men-
surata, ii. 415&; Mus. Lib., ii.
421a, etc. ; Mus.-printing, ii.
433 &; Notation, ii. 471a;
Organ, ii. 584?) ; Quaver, iii.
59& ; Rest, iii. 1186; Schools
of Comp., iii. 266 a; Semi-
quaver, iii. 460 &; Semiminima,
iii. 460 a; Strict Counterpoint,
iii. 7406; Time Table, iv.
127&; Tinctoris, iv. 128a;
Dunstable, iv. 620a ; Hist, of
Mus., iv. 6736 ; Mus. Lib., iv.
725&.
Gafurius. (See Gafobi, i.
575 «•)
Gagliano, i. 5756; Violin, iv.
2826.
Gagliano, M. ; Dance rhythm,
iv. 6066; Rome, iv. 774a.
Gahy, J. ; Schubert, iii. 329a,
etc.
Gail, Mme. ; Catalani (A.), i.
3216; Song, iii. 595a.'
Gailhard; Maurel, iv. 715 a.
Galantebien; Suite, iii. 7596.
Galeazzi, F., i. 575 &.
Galebatti, C, i. 575 &.
Galibert; Gr. Prix de Rome, i.
618&.
Galilei, V., iv. 644a ; Acca-
demia, i. 1 1 a ; Bardi, i. 1 39 a ;
Caccini, i. 290 & ; Cavaiieri
(E. del), i. 327a ; Florence, i.
533 a ; Harpsichord, i. 698 a ;
Irish Mus., ii. 186; Lute, ii.
1776; Micrologus, ii. 327 a;
Mus. Lib., ii. 423a ; Notation,
ii. 467a, note; Opera, ii. 498a,
etc.; Palestrina, ii. 638a;
Peri, ii. 6906 ; Schools of
Comp., iii. 278 a ; Song, iii.
5876; Tablature, iv. 48a;
Verdelot, iv. 239?) ; Welsh
Triple Harp, iv. 444 a; Mus.
Lib., iv. 7256; Part- writing,
iv. 741a.
Galimathias, i. 575&.
Galin, p. ; Chevd, iv. 5856.
Galitzin, G. G.,i. 5766.
Galitzin, Prince N., i. 576a;
Beethoven, i. 197 &, etc.
Gallat; Conservatoire, i. 392 &.
Gallenberg, W. R. Graf von,
i. 577a; Beethoven, i. 169a;
Guicciardi, i. 638 &.
Galli ; Lamperti, ii. 89 a.
Galli, a. ; Hist, of Mus., iv.
6746.
Galli, C, i. 5776.
Galli, F., i. 577?); Balfe, i.
1266 ; Hdrold, i. 7316 ; Mali-
bran, |i. 202 a ; Singing, iii.
511a.
Galli, Signora, i. 577 &.
Gallia, i. 578a; Gounod, i.
614&.
Gallia, Maria, i. 578a; Joanna
Maria, ii. 356 ; Laroon, ii.
92 &.
Galliard, i. 578a ; Oratorio, ii.
534&; Orch^sographie, ii.
560a ; Passamezzo, ii. 662 a ;
Pavan, ii. 6766; Saltarello,
iii. 222a; Sink-a-Piice, iii.
5176; Suite, iii. 755a; Vari-
ations, iv. 2176; Virginal
Mus., iv. 308 a, etc.
Galliard, J. E., i. 5786; iv.
6446; Hawkins, i. 700b; Lin-
coln's Inn Field's Theatre, ii.
140a ; Masque, ii. 226a; Pan-
tomime, ii. 646a; StefFani, iii.
6986; Tosi, iv. 1516; Valen-
tini (V.), iv. 214a.
Galliculus, J.; Motet, ii.
373«.
Galli-Marie, Celestme, iv.
644&.
Gallini ; Haydn, i. 7086, etc.
Gallo, a. ; Perez, ii. 6856.
Gallo, Ign. ; Naples, ii. 445 h.
Gallus, Jacob, i. 579a; Aich-
inger, i. 466 ; Bodenschatz, i.
253a; H^ndl, i. 661 a; Mus.
Div., ii. 41 2&; Prince de la
Moskawa, iii. 31a; Rochlitz,
iii. 142a; Schools of Comp.,
iii. 267a; Te Deum, iv.
68 a.
Gallus, Joannes. (See Gero,
i. 5906.)
Galop, i. 579a ; Musard, ii.
4096 ; Strauss (J.), iii. 7386.
Galoubet ; Vidal (F.), iv. 261 h;
Farandole, iv. 6326.
Galuppi, B., i. 579a; iv. 645a;
Adolfati, i, 376; Bertoni, i.
238a ; Bortniansky, i. 261 a ;
Form, i. 545 a, etc. ; Klavier-
Mus. Alte, ii. 63 a ; Latrobe, ii.
102 &; Lotti, ii. i68a; Metas-
tasio, ii. 316 a; Opera, ii.
5146; Pacchierotti (G.), ii.
626 a; Schools of Comp., iii.
2876; Sonata, iii. 563 a;
Symphony, iv. 146; Mus.
Lib., iv. 726a; Venice, iv.
809 &.
Gamba, Viola Da, i. 5796 ;
Double Bass, i. 4576 ; Frets,
i. 564a ; Piano- violin, ii.
746a: Soundholes, iii. 640&;
Stradivari, iii. 7266 ; Viol, iv.
267a; Violin, iv. 2700, etc.;
Violoncello-playing, iv. 2996;
Violoncello-piccolo, iv. 813 a.
Gambabo ; Rossini, iii. 171a.
Gambaeini, Signora, i. 5806.
Gambenwerk ; Sostinente PF.,
iii. 639a.
Gamble, J., i. 580& ; Mus. Lib.,
ii. 418 a.
Gamma; Alphabet, i. 57«.
Gamut, i. 5806; Clef, i. 370a;
G., i. 571 «; Hexachord, i.
734a ; Pitch, ii. 757&; Guido
d'Arezzo, iv. 6600.
Ganassi, S., Violin -playing, iv.
287a.
Gand, E., Stradivari, iii. 730a;
Violin, iv. 284 a ; Mus. In-
struments, iv. 723a.
Gando, N., i. 580&.
Gantez, A. ; Mattrise, ii. 199 &;
Thoinan, iv. 103&.
Ganz, a., i. 581a.
Ganz, E., i. 581a.
Ganz, L., i. 581a; iv. 645a;
Stem (J.), iii. 712a.
Ganz, M., i. 581a; iv. 645 a;
Kietz (E.), iii. 133a.
Ganz, \V., i. 581a; iv. 645 a;
New Philh. Soc, ii. 453a ;
PF. Mus., ii. 734&; New
Philh. Soc, iv. 730&.
Gabat, p. J., i. 581a; Begnis
(Signora), i. 2 10 a ; Blanchard,
i. 247 b; Boieldieu, i. 2556;
Boulanger, i. 2636 ; Cassel, i.
319a ; Conservatoire de Mus.,
i. 392a, etc.; Gaveaux, i.
585 a; Morichelli, ii. 3656;
Nourrit (L.), ii. 4796; St. Au-
bin (C), iii. 213 a; Song, iii.
595 a ; Steibelt, iii. 702 a ;
lievasseur (N.), iv. 700 a.
INDEX.
Garcia; Eslava, i. 495 a ; Song,
iii. 599 & ; Yriarte, iv. 496?).
Garcia, lo Spagnoletto; Ga-
brielli (C), i. 573a.
Garcia, M. del P. V., i. 581 &;
Aguado, i. 45 a ; Lalande (H.),
ii. 856; Malibran, ii. 201a;
Naldi, ii. 443a ; Nourrit (A.),
ii. 479&; Ponte (L. da), iii.
15 a; Viardot - Garcia, iv.
259a.
Gaecia, M., i. 582 a; Conserva-
toire de Mus., i. 392 &; Frezzo-
lini, i. 564a; Hayes (C), i.
7226; Lind, ii. 140& ; Mar-
chesi (M.), ii. 214&; Royal
Acad, of Mus., iii. 186&;
Royal Coll. of Mus., iv. 159 a ;
Santley (C), iii. 226a; Scaria
(E.), iii. 237&; Singing, iii.
506&, etc.; Sterling (A.), iii.
712a; Stockhausen (J.), iii.
715 &; Voce di Petto, iv.
321 h ; Wagner (J.), iv. 34.T& ;
Orridge (E.),iv. 7366; Ph'ilp,
iv. 748 a.
Garcia, Maria. (See Mali-
bran, ii. 201 a.)
Garcia, Pauline. (See Viar-
dot, iv. 259a.)
Garcin, J. A., iv. 645 a ; Hainl,
iv. 662 a.
Gardane, A.,i. 582?) ; Motet, ii.
374 &; Mus.-printing, ii. 4346;
Notation, ii. 4746; Schools of
Comp., iii. 266a; Sistine
Chapel, iv, 794 a.
Gardano. (See Gardane, i.
582 &.)
Gardiner, W., i. 5826; Mason
(L.), ii. 225a.
Gardiner, Hon. C. ; Trin. Coll.,
Dublin, iv. 170&.
Gardner, C. ; Gresham Mus.
Professorship, i. 627 &.
Gardoni, L, i. 583a; iv. 645 b;
Lumley, ii. 174 a ; Philh. Soc,
ii. 700a: Rossini, iii. 176a;
Singing, iii. 511a; Tenor, iv.
88 a.
Gargario,T.; Mi8erere,ii.336rt;
Sistine Chapel, iv. 794 a.
Garlandia, J. de, iv. 645 6.
Garnier; Gafori, i. 575a.
Garrett, G. M., iv. 646 a.
Garth, J.; Avison, i. 106 a.
Gascognb, M.; Attaignant, i.
1006; Sistine Chapel, iv. 794 a.
Gaspar; Mass, ii. 227b; Motet,
ii. 372a, etc; Part-books, iv.
739b; Sistine Chapel, i v. 794a.
Gaspari, G. ; Verdi, iv. 252b;
Hist, of Mus., iv. 675 b ; Mus.
Lib., iv. 725 b.
Gasparini, a. de ; M^nestrel,
59
ii. 311 «, etc; Wagner, iv.
361a, etc
Gasparini, F., i. 583 b; iv.
646a; Cantata, i. 305 a ;
Hasse, i. 696a ; Legrenzi, ii.
114a; Lotti, ii. i68a; Mar-
cello, ii. 2iob ; Mus. Lib., ii.
420 a; Pasquini, ii. 660 b;
Quantz, iii. 56 a; Scarlatti, iii.
239«; Song, iii. 590^.
Gasparino ; Pisari, ii. 756a.
Gasse; Gr. Prix de Rome, i.
6i8b.
Gassier; Strakosch, iii. 734a;
Goldberg, iv. 650b.
Gassmann, F. L., i. 583 b;
Auswahl, etc., i. 105a; Dit-
tersdorf, i. 450 a; Fri berth, i.
564b ; Galuppi, i. 579b ; Ko-
zeluch (J. A.), ii. 69a; Meta-
stasio, ii. 316a ; Olimpiade, ii.
496b; Salieri, iii. 218b.
Gassner ; Die of Mus., i. 446 a ;
Holz (K.), i. 745 a.
Gastinel ; Gr. Prix de Rome,
i. 6i8b; Hal^vy, i. 645b.
Gastoldi, G. G., i. 5840 ; Bal-
lets, i. 132 b ; Fa La, i. 501 a ;
Madrigal, ii. 190b ; Oriana,
ii. 6iib; Part-song, ii. 658a;
Schools of Comp., iii. 266a;
Song, iii. 587 a; Villanella,
iv. 265 a; Violin-playing, iv.
287a; Bumey, iv. 571a.
Gatayes ; Song, iii. 597 «.
Gates, B., i. 584a; iv. 646a;
Acad, of Ancient Mus., i. 10 b;
Arnold (S.), i. 85 b ; Beard, i.
158a; Dupuis, i. 470b; Mus.
School, Oxford, ii. 437 a;
Nares, ii. 446b; Purcell, iii.
51b; Randall, iii. 73a ; School
of Comp., iii. 286 b, note.
Gattani ; Pasquini, ii. 661 a.
Gatti ; Olimpiade, ii. 496 b.
Gatty, Rev. A. ; Hist, of Mus.,
iv. 676a.
Gaul, A. R. ; Part-song, ii.
659b; Davies (Fanny), iv.
608 b.
Gauntlett, H. J., i. 584 a ;
Bach (J. S.), i. ii8b; Chant,
i. 338 b ; Electric Action, i.
485a; Hill, W. & Son, i.
736b; Hymn, i. 764a; Men-
delssohn, ii. 274a; Mus. Peri-
odicals, ii. 427a, etc.; Organ,
ii. 600b ; Schools of Comp., iii.
309 b ; Kearns, iv. 688 b.
Gautier, E. ; Conservatoire de
Mus., i. 393 a; Hal^vy, i.
645 b.
Gauz argues; Maitrise, ii. 199b.
Gaveaux, P., i. 685 a; Bee-
thoven, i. 184b; Leonore, ii.
€0
1226; Mattrise, ii. 200 a;
Song, iii. 595 a.
GAViNiiis, P.,i. 585a; iv. 6466;
Concert Spirituel, i. 385 a;
Conservatoire de Mu8.,i. 392 a ;
ifitudes, i. 497 a ; Grasset, i.
6196; Violin-playing, iv.
293a.
Gavotte, i. 585 b; Baltazarini,
^- 133^; note\ Bourr<^e, i.
264 a ; OrcWsographie, ii.
5606; Subject, iii. 751 &;
Suite, iii. 7576, etc.; Cebell,
iv. 583 &.
Gawler, i. 586a.
Gawthorn, N., i. 586 ffl.
Gay, J. ; Beggar's Opera, i.
209a.
Gayarre, J., iv. 6466 ; Singing,
iii. 511a.
Gazza Ladra, La, i. 586a;
Rossini, iii. 168 a.
Gazzaniga, G., i. 586a; Por-
pora, iii. 17 h.
Gazzixgga, Mine. ; Strakosch,
iii. 734a.
Gebauer ; Conservatoire, i.
3926.
Gebauer; Song, iii. 61 1 a ; Ilart-
wigson (F.), iv. 669 «.
Gebauer, E. ; Mus. Periodicals,
ii. 4296.
Gebauer, F. X., i. 5866; iv.
6466; Holz, i. 744?).
Gebbaro ; Milanollo, ii. 3296.
Gedackt-avork, i. 5866 ; Plue-
work, i. 5356; Organ, ii.
583 &•
Gefahrter ; Answer, i. 70a.
Gehirnie; Berner', i. 235 «.
Gehot ; Violin-playing, iv. 289.
Gehring, Dr.; Mus. Lib., ii.
4256; Mus. Lib., iv. 7256.
Geigen-principal, i. 5866.
Geige ; Fiddle, i. 519a ; Violin,
iv. 273a; Viidung, iv. 303&,
etc.
Geiger; Ecclesiasticon, i. 482 &.
Geijer, E. G. ; Afzelius, i. 41 6;
Song, iii. 6 1 1 a.
Geisler-Schubert, C. ; Schu-
bert (Ferd,), iii. 382 a.
Gelinek, J., i. 587 a; Beethoven,
i. 168 a ; Dwight's Journal
of Music, i. 4786 ; PF. Mus.,
ii. 725a; PF.-playing, ii.
744 a; Schenk, iii. 245 a;
Vaterlandische Kunstlerve-
rein, iv. 808a.
Geminiani, a. (See Alfieri,
iv. 520 a.)
Geminiani, F., i. 587 a; iv.
6466 ; Acad, of Ancient Mus.,
i. 106; Ancient Concerts, i.
646; Avison, i. 106 a; Bar-
INDEX.
santi, i. 145 a ; Carey, i. 309 a;
Corelli, i. 401 a ; Dubourg
(M.), i. 467 a; Festing, i.
5156; Franciscello, i. 5586;
Grosso, i. 634a ; Hawkins, i.
7006 ; Kelway, ii. 50 a; Morn-
ington, ii. 368 6 ; Mus. An-
tiqua, ii. 41 1 a ; Mus. Lib., ii.
4206; O'Carolan, ii. 4906;
Royal Soc. of Mus. of Gt.
Britain, iii. 1876 ; Sonata, iii.
559a ; Specimen, Crotch's, iii.
650 a ; Veracini (F. M.), iv.
239a; Violin-playing, iv.
292a.
Gemshorn, i. 588 a; Organ, ii.
584rt.
General-bass. (See Thorough-
bass, iv. 108 a.)
Generali, p.. i. 588 a; Od^on, ii.
4926; Rossini, iii. 176 a.
Genet, E., i. 5886; Briard (K),
i. 275 a ; Cai-pentras, i. 317 a ;
Josquin Despres, ii. 40 & ;
Lamentations, ii. 86 & ; Mass,
ii. 22S?>; Motet, ii. 373^;
Palestrina, ii. 641a; Schools
of Comp., iii. 267 a; Sistine
Choir, iii. 520&; Alfieri, iv.
520&; Sistine Chapel, iv. 794a.
Genischta ; Song, iii. 614a.
Genouilliere ; Sordini, iii.
636 a.
Genoveva; Schumann, iii. 399a.
Gentilli; Lablache (L.), ii.
79 &.
Gentiluomo; Eeichardt (A.);
iii. 99 a.
Genzinger, M. a. von ; Haydn,
i. 709 a ; Karajan, ii. 48 a.
Geraldy, ; Garcia, i. 582 a.
Gerami ; Banchieri, i. 133&.
Gerber, E. L., i. 589a; Albi-
noni, i. 50a ; Bach (J. C), i.
Ill a; Bach (C. P. E.), i.
114a; Diet, of Mus., i. 445 ft ;
Dussek (J. L.), i. 4736 ; Fdtis,
i. 517& ; Ge^ellschaft der Mu-
sikfreunde, i. 591 &; Haydn, i.
718&; Righini, iii. 134&;
Sonnleithner, iii. 632 &.
Gerber, H. N., i. 589 a; Kirn-
berger, ii. 62a.
Gerbekt von Hornau, M., i.
5896 ; Fux, i. 570& ; Mar-
tines, ii. 222a; Micrologus,
ii. 3266; Notation, ii. 468a:
Palestrina, ii. 6376; Plain
Song, ii. 763 a ; Hist, of Mus.,
iv. 6736, etc.
Gebke, a. ; PF. Mus., ii. 731 h ;
PF.-playing, ii. 744.
Gerl, F. X. ; Mozart, ii. 3946 ;
Schack, iii. 241 &, note.
Gerle ; Violin, iv. 2756.
Germaine, Count of Se. ; Gio-
vannini, iv. 647 b.
German Sixth, i. 5906 ; French
Sixth, i. 563 a.
Germigny, Mile. C. de; Hist, of
Mus., iv. 675 a.
Gern, a., iv. 6466.
Gernsheim, F., i. 590b ; iv.
6466; PF. Mus., ii. 735 b;
PF.-playing, ii. 745; Song,
iii. 630 b.
Gero, J., i. 590b; Motet, iL
373ft; Mus. Antiqua, ii. 411 a ;
Pavan, ii. 677 a; Suite, iii.
756 ft; Mus. Lib., iv. 726a;
Sistine Chapel, iv. 794 a.
Gersbach, J. ; Song, iii. 623 a.
Gerson, C. de; Hist, of Mus.,
iv. 676ft.
Gerster, Etelka, iv. 646b.
Gervais ; Lalande, iv. 694b.
Gervais ; Attaignant, i. loob.
Gervinus, Prof. ; Handel-Ge-
sellschaft, i. 659 ft; Mus.
Periodicals, ii. 430 b.
Gese, B. ; Passion Mus., ii. 665 b.
Gesellschaft der Musik-
freunde, i. 591ft; Beethoven,
i. 193 ft, etc. ; Brahms, i. 270ft;
Bronsart, i. 278b; Gebauer, i.
586b; Gerber (E.L.),i. 589b;
Haslinger, i. 694 a ; Herbeck,
i. 730b; Kreissle von Hell-
born, ii. 71ft; Lachner,ii. 82ft ;
Lobkowitz, ii. 155b; Mosel,
ii. 370 b ; Mus. Lib., ii. 425 b ;
Raff, iii. 64 b; Rudol])h, Arch-
duke, iii. 201 ft ; Schubert, iii.
337 «> €:tc ; Sonnleithner, iii.
632 b; Spaun, iii. 648 ft;
Titze, iv. 129b; Witteczek,
iv. 477ft.
Gesner, C. ; Part-books, iv.
739^-
Gesualdo fP. of Venosa) ; Pi-ince
de la Moskowa, iii. 31 a ; Bur-
ney, iv. 571ft.
Gevaebt, F. a., i. 591b; Con-
servatoire, Brussels, i. 592 b;
Faure, i. 571a; Mus. Lib., ii.
426a; Notation, ii. 467a,
note ; Oboe d'amore, ii. 489 a ;
Orchestration, ii. 573a; Or-
ph^on, ii. 612 b; Song, iii.
599b; Vieuxtemps, iv. 263a;
Hist, of Mus., iv. 674a.
Gewandhaus Concerts, i. 592 b;
David (Ferd.), i. 433 a ; Hiller
(Ferd.), i. 737b; Hiller (J.
A.), i. 739a; Leipzig, ii.
114b, etc.; Mendelssohn, ii.
272a; Reinecke, iii. 102b;
Schleinitz, iii. 253a; Dorffel,
iv. 616 b ; Doles, iv. 617 a.
Geyer, F. ; Orpheus, ii, 613b.
Ghazel, 1*. 593 a.
Gheerkin; Tiesor Mus., iv.
8016.
Gherakdi; Haydn, i. 706 &.
Gheyn, van den, i. 593 a; Car-
illon, i. 311a.
Ghilbekti; Philh. Soc, iv.
746/).
Ghioni, Mme. ; Strakoscb, iii.
734&-
Ghiretti; Paganini, ii. 628 &.
Ghiselin,J.; Schools of Comp,,
iii. 260 b; Part-books, iv.
739 &; Sistine Chapel, iv.
794a.
Ghro, J. (See Gero, 1. 5906.)
GiACOBBi, G. ; Bologna, i. 259 a;
Opera, ii. 502 a.
GiAii ; Mus. Lib., iv. 726a.
Gianelli, Abbe' ; Die. of Mus.,
i. 445&.
GiANETto. (See Palestrina, ii.
635a, «o/e.)
GlANOTTi; Monsigny, ii. 356a.
GiANSETTi, J. B. ; Benevoli (0.),
iv. 543 «.
GlARUiNi, F. de, 7. 593& ; Ashley
(General), i. 686; Haydn, i.
712 &; Mingotti, ii. 3326;
Pinto (T.), ii. 754a; Shield,
iii. 487 a ; Siroe, Ke di Persia,
iii. 534a; Somis, iii. 5536;
Violin-playing, iv. 292 a.
GlARDiNi; Cervetto ( J.), i. 331 «.
Gibbons, C, i. 595 a; Blow, i.
2496; Froberger, i. 565a;
Lock, ii. 157a ; Masque, ii.
225&; Mus. School, Oxford,
ii. 437a; Oxford, ii. 6246;
English Opera, iv. 628 a.
Gibbons, Edward, i. 594a ;
Lock, ii. 157a; Tudway, iv.
199 &.
Gibbons, Ellis, i. 5946 ; Oriana,
ii. 611 &; Schools of Comp.,
iii. 277a.
Gibbons, Orlando, i. 594a ; iv.
647 a ; Accompaniment, i. 206,
etc. ; Alto, i. 58a ; Anthem, i.
70b, etc.; Barnard,!. 140a;
Benedictus, i. 223b; Boyce, i.
268a; Bull, i. 282b; Cathe-
dral Mus., i. 325a; Creed, i.
415 b; Este (Th.), i. 496 a;
Fantasia, i. 503b ; Harmony,
i. 675 a; Heyther, i. 735 b;
Hosanna, i. 754b ; Klavier
Mus., Alte, ii. 63 b; Kyrie,
ii. 796; Leighton, ii. 114 J ;
Madrigal, ii. 191a; Magnifi-
cat, ii. 197a ; Mean, ii. 242 b ;
Modulation, ii. 347 b ; Motett
Soc, ii. 376 b ; Mus. Antiqua,
ii. 411a; Mus. Antiquarian
Soc, ii. 416b; Mus. Lib., ii.
INDEX.
419 b, etc. ; Mus. Soc. of Lon-
don, ii. 432 a; Mus. School,
Oxford, ii. 437 a; Nota Cam-
bita, ii. 4666 ; Ouseley, ii.
617b; Parthenia, ii. 653a;
Part Mus., ii. 656 b; Portman,
iii. 19 a; Prince de la Mos-
kowa, iii. 31a, etc. ; Sanctus,
iii. 224b; Schools of Comp.,
iii. 276b; Service, iii. 472 a,
etc ; Smart (Sir G.) iii. 537 b ;
Song, iii. 602a, note'. Speci-
mens, Crotch's, iii. 648 b, etc. ;
Suite, iii. 756 a ; Te Deum, iv.
68 a; Tudway, iv. 198 b ; Vari-
ations, iv. 2176; Violin, iv.
279b; Virginal Mus., iv. 310 5,
etc.; Vocal Scores, iv. 319b,
etc.; Warwick, iv. 383 b;
Mus. Lib., iv. 723a; Psalter,
iv. 763 b.
GiBBS ; Tudwaj'-, iv. 1 99 a.
GiGA. (See GiGUE, i. 5956.)
Gigault; Lulli, ii. 172 a.
GiGELiBA. (See Strohfiedel,
iii. 746 a.)
GiGUE, i. 595b; Canaiie, i.
302a; Form, i. 543b, etc.;
Irish Mus., ii. 21b; Subject,
iii. 751b; Suite, iii. 757a,
etc. ; Violin, iv. 269 a.
Gil; Rogel, iii. 144b.
Gilbert, D. ; Carol, iv. 581b.
Gilbert, G. ; Hist, of Mus., iv.
677 a.
Giles, N., i. 595 b; Barnard
(Rev. J.), i. 140b; Leighton,
ii. 114b; Rogers (B.), iii.
145a; Tudway, iv. 198b;
Child (W.), iv. 586a; Mus.
Lib., iv. 723b.
Giles, W. ; Schools of Comp., iii.
273 a, wofe.
Gilkes, S. ; London Violin
Makers, ii. 165 a.
GiLLES; Maitrise, ii. 199b.
Gillet ; Carillon, i. 311a, note.
GiLLET ; Saint-Saens, iv. 779 «.
Gillier; Vaudeville, iv. 231b.
GiLMORE, P. S., iv. 647 a ; Wind-
band, iv. 470 a.
Gindbon; Franc (G. le), iv.
639 a.
Ginestet; Nourrit (L.), ii.
479 b.
GiocoLiNi; Song, iii. 586 b.
GiORDANi, i. 596a; iv. 647 b;
Cooke (T. S.), i. 397 b;
Ifigenia, i. 765 b; Song, iii.
590b.
GiORGETTi ; Papini, ii. 647 a.
GiORGL (See Banti, i. 135b.)
GiORNOViCHj. (See Jabnowick,
ii. 32 b.)
GloSA, Dej Singing, iii. 515 a.
61
Giovanelli, R., i. 596a! ; Boden-
chatz, i. 253 a; Mus. Divira,
ii. 412 a; Oriana, ii. 611 b;
Sistine Choir, iii. 521a ; Mus.
Lib., iv. 726a; Sistine Cha-
pel, iv. 794a.
GiovANNiNi, iv. 647 b.
Gipsy's Warning, The, i.
596b ; Benedict, i. 222b.
Girardeau, I., i. 596b; Isa-
bella, ii. 24a.
GiRARD, N. ; Concert Spirituel,
i. 386 a ; Conservatoire de
Mus., i. 392 b; Lamoureux,
iv. 696 a.
Girelli Aguilar, Signora, i.
596 b.
GiRONDiNS, Chant des ; Var-
ney, iv. 807 a.
Giselle, i. 597 a ; Adam, i, 28 a ;
Loder, ii. 159 a.
GiSMONDi, C, i. 597a.
GiuGLiNi, A., i. 597« ; iv. 648a ;
Lumley, ii. 174a; Singing,
iii. 511a ; Tenor, iv. 88 a.
Giuliani, C. (nee Bianchi) ; i.
597 a.
Giuliani, M. ; Guitar, i. 640b ;
May seder, ii. 241 b.
Giuramento, II., i. 597 a ; Mer-
cadante, ii. 312 b.
GiusQUiNO. (See Josquin
Despres, ii. 40b.)
GiusTiNiANi ; Bandini, iv. 530b.
GiusTO, i. 597 b.
Gizzi, D. ; Feo (F.), i. 511b;
Gizziello, i. 597 b; Scarlatti
(A.), iii. 239a.
Gizziello, G. C, i. 597 b ; Caffa-
relli, i. 296 b ; Couti., i. 395 b ;
Guadagni, i. 635 a; Naples,
ii. 445 b; Perez, ii. 685 b;
Singing, iii. 506 a; Soprano,
iii. 636a.
Gladstone, F. E., iv. 648a;
Royal Coll. of Mu^, iv. 159a;
Schools of Comp., iii. 309 b.
Glaser, F. ; Song, iii. 6ii«.
Glareanus, H., i. 598 b ; Fevin,
i. 518 a; Inscription, ii. 4a;
Josquin Despres, ii. 41 a ;
Mass, ii. 228b; Micrologus,
ii. 327a; Mouton, ii. 378b;
Obrecht, ii. 489 b. note ; Plagal
Modes, ii. 761 a ; Schools of
Comp., iii. 260b, etc. ; Strict
Counterpoint, iii. 740b; Te
Deum, iv. (i*]a\ Zacconi, iv.
497 a; Dodecachordon, iv.
615 a; Hist, of Mus., iv. 673 b.
Glasenapp, C. F. ; Wagner, iv.
374 a.
Glazounow; Rimsky-Korsakow,
iv. 772 b.
Glee, i. 598 a; Air, i. 47 a;
INDEX.
Catch Club, i. 323 a; Madri-
gal, ii. 192 &; Mus. Lib., ii.
418b, etc.; Page, ii. 6336;
Part-song, ii. 6576; Schools
of Corap., iii. 278?), etc. ;
Singers' Lib., iii. 496 a \ Bur-
ney, iv. 571a.
Glee Club, the, i. 599 a.
Gleemen ; Song, iii. 600 &.
Gleissner; Mozart, iv. 721a.
GLENji. 5996.
Glenn, Hope ; Philh. See., iv.
7466.
Glinka, M. L, i. 5996; iv.
648 a; Dargomyski, i. 430 &;
Jota, ii. 43 a ; Ruslan I Lyud-
niila,iii. 205 & ; Song, iii. 6 13 &.
Glockenspiel, iv. 648 b ; Bells,
i. 219a; Cembalo, i. 330b;
Instrument, ii. 7a; Wind-
band, iv. 469 b.
GlOggl ; Mus. Periodicals, ii.
431a.
Gloria, i. 600 a; Communion
Service, i. 381b; Mass, ii.
226b; Plain Song, ii. 768 b;
Service, iii. 472 a.
Glover, C. W., i. 600 a.
Glover, W., i. 600a.
Glover, W. H., t. 600 b; Schools
of Comp,, iii. 306 a.
Glover, S., iv. 648 b.
Gluck, C. W,, i. 600b ; Aca-
demic deMus.ji. 8 a ; Alceste,
i. 51a; Ancient Concerts, i.
64b ; Armide,i. 83b; Arnould,
i. 86 b ; Bass,i. 149 a; Bemetz-
rieder, i. 221a; Bernasconi,
i. 235 a; Berton, i. 237a;
Burney, i. 284b ; Chalumeau,
i. 332a; Clarinet, i. 362 b;
Contralto, i. 395b; Ditters-
dorf, i. 449 b ; Eberl, i. 479 a ;
Fandango, i. 502 a ; Feo, i.
511b; Garat, i. 581a; Gesell-
schaftd. Musikfreunde,i. 591b;
Gossec, i.6i2a ; Grand Opera,
i. 617a; Guadagni, i. 635 a;
Harmonica, i. 662 a; Hasse,
i. 695 a; Haydn, i. 704 b;
Hoffmann (E. T. W.),i. 741 b ;
Ifigenia, i. 765 a ; Iphigdnie
en Aulide, ii. i8a; Iphig^-
nie en Tauride, ii. 18 b; Jom-
melli, ii. 38 a ; KoXeluch (J.
A.), ii. 69a ; Latrobe, ii. 103a;
Libretto, ii. 1 28b ; Lobkowitz,
ii. 155a; March, ii. 213a;
Mdhul, ii. 246 a, etc. ; Metas-
tasio, ii. 316a ; Milder Haupt-
mann, ii. 330 b; Millico, ii.
331 a ; Mozart, ii. 388 a ; Mus.
Lib., ii. 424b, etc. ; Opera, ii.
514b, etc. ; Oratorio, ii. 552 a,
etc. ; Orfeo ed Euridice, ii.
573a ; Oiphde et Euridice, ii.
611 b; Part Mus., ii. 656b;
Pasticcio, ii. 669 b ; Philidor,
(F. A. Danican), ii. 704 a;
Piccinni, ii. 747 a ; Piccolo, ii.
750b ; Pilgrime von Mekke,
ii. 753 b; Prince de la Mos-
•kowa, iii. 31b ; Recitative, iii.
85b ; Rousseau, iii. 1820 ; Sac-
chini, iii. 208 a, etc. ; St.
Huberty (A. C), iii. 214a;
Salieri, iii. 219a ; Schmid (A.),
iii. 254b ; Schools of Comp.,
iii. 290 a, etc. ; Schubert, iii.
322a; Semiramide, iii. 461a;
Song, iii. 623b; Specimens,
Crotch's, iii. 648 b ; Stradella,
iii. 724a, note; Tenor- violin,
iv. 90a ; Trombone, iv. 178 a ;
Viardot - Garcia, iv. 260 a ;
Waltz (G.), iv. 382 a ; Weigl
(Jos., junr.), iv. 432 a ; Zinke,
iv. 511a; Dance rhythm, iv.
607 a.
Gluck, J. L. F. ; Herz, mein
Herz, iv. 672 b.
Glyn and Parker, i. 604 b.
Gnecco, F., iv. 649 a.
Gobert; Catel, i. 323a; Mal-
trise, ii. 199 b.
Godard, B. L. p., iv. 649 a ;
Song, iii. 597 a; Dubois (C.
F. t.),iv. 6i8b.
God ART ; Mus. Lib., ii. 419 a.
Goddard, Arabella, i. 604 b ; iv.
650a ; Bach (W. F.), i, 113a ;
Jullien, ii. 45 a ; National
Concerts, ii. 447 b ; Philh.
Soc, ii. 700 a ; PF.-playing,
ii. 475 ; Royal Coll. of Mus.,
iv. 159 a ; Schools of Comp., iii.
311a; Steibelt, iii. 704 a,
note ; Strakosch, iii. 734b ;
Davison (J. W.), iv. 609 a.
GoDEAU ; AuxcouBteaux (A. D.),
i. 105 b.
GoDEFRoro, F. ; PF. Mus., ii.
732 &.
Godfrey, A., i. 605 a ; iv. 650 a.
Godfrey, C, i. 605 a.
Godfrey, Ch. G., i. 605a;
Lazarus, ii. 108 a.
Godfrey, D., i. 605 a.
God Save the King, i. 605a ;
iv. 650a ; Ashley (J.), i. 98b ;
Battle of Prague, i. 156 b ;
Beethoven, i. 184a; Bull, i,
282b; Carey, i. 310b; Clark
(R.), i. 365 a; Heil Dir im
Siegerkranz, i. 725 a; Part
Mus., ii. 656 b.
GOldel, J. ; Quodlibet, iii. 62b.
GOpfert; Koch (H. C), iv.
692 a.
GOrneb ; Mozart, ii. 392 b.
Goes; Hawkins, i. 700b.
Goethe, W. von ; Seyfried, iiL
478 b.
GOtterdammeruno, i. 612 a;
Wagner, iv. 373b.
GoETZ, H., i. 607 a; iv. 650b;
Libretto, ii. 129 b ; Nsenia, ii.
442 b; PF. Mus., ii. 735 b;
Schools of Comp., iii. 297b;
Septet, iii. 464 a; Sonatina,
iii. 584a; Song, iii. 630b;
Widerspanstigen Zahmung,
der, iv. 454a.
Gt)TZE, L. ; Henschel, i, 7290;
Leipzig, ii. 115 a; Roeckel
(J. L.), iii. 1440.
Gofriller; Klotz, ii. 65 a.
GOLDBECK, R.; PF. Mus., ii.
735 «.
Goldberg, J. P., iv. 650b.
Goldberg, J. G., i. 607'b ; Tresor
des Pianistes, iv. i68a.
Goldmark, K,, i. 607b; iv.
651 a ; Gesellschaft der Musik-
freunde, i. 591b; Schools of
Comp., iii. 298b.
GoLDONi ; Opera, ii. 512 a;
Traetta, iv. 157b.
GoLDSCHMiDT, A. von ; Wilder
(J.),iv. 457a.
GoLDScHMiDT, O., i. 6o8a ; iv.
651 a ; Hymn, i. 764 a ; Leip-
zig, ii. 115b; Lind, ii. 142a;
Madrigal Soc, ii. 194a ; Men-
delssohn, ii. 287b, note; Mus.
Assoc, ii. 417a ; Niederrhein-
ische Musikfeste, ii. 456 b;
Philh. Soc, ii. 700a; PF.
Mus., ii. 734a ; PF.-playing,
ii. 743b ; Schools of Comp., iii.
308 b; Singing, iii. 513 b;
Bach Choir, iv. 528b ; Philh.
Soc, iv. 746b.
GoLDwiN, J., i. 608 b; Arnold
(S.), i. 86b; Boyce, i. 268a;
Mus. Lib., ii. 422a; Page
(J.), ii. 632b; Schools of
Comp., iii. 286a; Tudway,
iv. 199 b.
Golembiowski ; Song, iv. 795 a.
GOLINELLI, S., iv. 65 1 a.
GoLLMiCK, A., iv. 651a.
GoLTERMANN, G., i. 6o8 b ; Vic*
loncello-playing, iv. 301 a.
GoLTERMANN, L., i. 6o8 b ; Kum-
mer, ii. 77 a; Popper (D.), iii.
15&.
GoMBERT, J. ; Sistine Choir, in.
62ob.
GoMBERT, N., i. 608 b ; Attaig-
nant (P.), i. loob ; Clemens
Non Papa, i. 37 1 a ; Crequillon,
i. 416a; Jannequin, ii. 31b;
Josquin Despres, ii. 40 b, etc. ;
Lass us, ii. loib; Mass, ii.
INDEX.
63
2 28&; Programme Mus., iii.
35 a; Schools of Comp., iii.
2616; Song, iii. 593 rt ; Tylman
Susato, iv. 1976; Mus. Lib.,
iv. 726a; Programme-mus., iv.
751 & ; Trdsor Mus., iv. 801 h.
Gomez, A. C.,i. 609a; iv. 6j;i&.
GoMPERTZ ; Eoyal Coll. of Mus.,
iv. 159a; Violin-playing, iv.
298 a.
Gondellied; Barcarole,!. 138&.
Gong, i. 6096; Gossec, i. 611 & ;
Instrument, ii. 7a; Partial
tones, ii. 6546 ; Tam-Tam, iv.
566; Tone, iv. 142a.
GoNi, A. P. ; Hist, of Mus., iv.
676 a, etc.
Gontershausen. (See Welck-
eb v. Gontershausen, iv.
434&-)
GOODBAN, C, i. 6096.
GooDBAN, H., i. 6096.
GOODBAN, J., i. 609 &.
GooDBAN, T., i. 609 & ; iv. 651b.
GooDBAN, W., i. 609 Z).
Goodgroome, J., i. 609 &.
GOODGROOME, J., i. 6 10 a.
Goodgroome, T., i. 6ioa.
Goodman; Pittraan (J.), ii.
759 «•
GooDSON, K., i. 6ioa.
GooDSON, R., i. 6ioa.
GooTiiiRE ; Lute, ii. 177&.
Goovaerts, a. J. M. A., iv.
651 &; Hist, of Mus., iv. 6766;
Verdonck, iv. 811 a.
GoRDiGiANi; Mallinger. iv. 708 &.
GoRDiGiANi, L., i. 6 10 a; iv.
652a; _ Singing, iii. 515a;
Song, iii. 590 &.
Gordon, J., i, 610a; Gresham
Mus. Professorship, i. 627 &.
Gordon, W., i, 610&; Boehm
(T.),i. 254&; Flute, i. 5366.
GoRGHEGGio. (See Solfeggio,
iii. 546 a.)
GoRiA, A. E. ; PF. Mus., ii.
733&; PF.-playing, ii. 743a.
Goss, J. J., i. 6106.
Goss, Sir J., i. 610&; iv. 652 a ;
Anthem, i. 73 a; Chapels
lloyal, i. 339 a; Concentores
Sodales, i. 3836 ; Cowen, i.
413a; Hymn, i. 764a; Mus.
Soc. of Lond., ii. 431 6 ; Schools
of Comp,, iii. 310a ; Soc. of B.
Musicians, iii. 544a ; Sullivan,
iii. 761 &; Thoroughbass, iv.
1086; Vocal Soc, iv. 320&;
Bridge (J. F.), iv. 5646.
GossE. (See Junckers.)
Gossec, F. J., i. 611 a; iv.
652a; Academic de Mus., i.
85; Boccherini, i. 251a;
Cambini, i. 300 a ; Catel, i.
323 a; Chelard, i. ?,4\a; Con-
cert Spirituel, i. 385 a ; Con-
servatoire de Mus,, i. 391 &;
Horn, i. 748 6 ; Latrobe, ii.
103a; Lesueur, ii, 125 a ; Mal-
trise, ii. 200 a; Marseillaise,
ii. 220a; Mozart, ii. 386 a;
Panseron, ii. 645 a ; Solfeg-
gio, iii. 549a ; Song, iii. 595 a ;
Symphony, iv. 23a; Wind-
band, iv. 473 a ; Requiem, iv.
770&.
GOSTENA, DELLA ; Mus. Lib., iv.
726a.
GosTLiNG, Rev. J., iv. 652a;
Bass, i. 148 a; Purcell (T.),
iii. 47 a.
GosuiNO, A. ; Lassus, ii. 96 a.
GOTTSCHALK, L. M,, iv. 652?);
PF. Mus., ii. 734a; PF.-
playing, ii. 745 ; Stamaty,
iii. 689 a ; Strakosch, iii. 734 & ;
Napoleon, iv. 728a.
Goudimel, C, i. 612a ; Animuc-
cia, i. 68&; Chorale, i. 3516;
Hymn, i. 761 &; Jannequin,
ii. 316; Josquin Despr^s, ii.
40 &; Le Jeune, ii. 119&;
Magnificat, ii. 196 a; Mass,
ii. 228 &; Mel (R. del), ii.
248 a ; Missa Brevis, ii. 338 a ;
Mus, Lib., ii.423& ; Nanini (G.
M.), ii. 443&; Palestrina, ii.
635 6, etc. ; Schools of Comp.,
iii. 264a, etc. ; Song, iii. 592 & ;
Tylman Susato, iv. 197&;
Alfieri (Abbate), iv. 520& ;
Bourgeois (L.), iv, 558 a ; Bur-
ney, iv. 571a; Chorale, iv.
_58'86 ; Old Hundredth Tune,
iv. 734&; Psalter, iv. 758a;
Rome, iv. 773 & ; Tresor Mus.,
iv. 802 a.
GouFFE, A. ; Onslow, ii. 497 & ;
Cle du Caveau, iv. 593 &.
Goulding & Dalmaine, i. 612&.
Gould, N. D. ; Hist, of Mus.,
iv. 6746.
Gounod, C. F., i. 613a; iv.
6536 ; AiTangement, i. 93 & ;
Ballet, i. 132 & ; Cecilia, St., i.
3296; Colombo, La, i. 378 a;
Faust, i. 50S h ; Gallia, i.
578a; Gr. Prix de Rome, i.
6 1 8 & ; Halevy, i. 645 6 ; Ky rie,
ii. 786; Lesueur, ii. 125&;
Libretto, ii. 129a; Mass, ii.
235 a ; M^decin Malgr^ Lui, ii.
245 a; Mireille, ii. 3356;
Mock Doctor, The, ii. 3396 ;
Nantier - Didi^e, ii. 444 & ;
Nonne Sanglante, ii. 465 a ;
Opera, ii. 5256; Orphdon,
ii. 612a; Pedal point, ii.
680 & ; Philemon et Baucis, ii.
698 a; Philh. Soc., ii. 6986;
Polyeucte, iii. 12a; Pro-
gramme Mus., iii. 40 a ; Reine
de Saba, iii. 102 a ; Romeo and
Juliet, iii. 154a ; Sapho, iii.
226b; Schools of Comp., iii.
301a, etc.; Song, iii. 597a;
Sordini, iii. 638 a ; Soria, iii.
6386; Tribut de Zamora, iv.
169a ; Weldon (G.),iv.435a;
Zimmermann (P. J. G.), iv.
508 a; Cinq Mars, iv. 591 &;
Dies Irse, iv. 614 a ; Faran-
dole, iv. 633 a; Humorous
Mus., iv. 683 a; Pedalier, iv.
745 «•
Goupillet ; Lalande (M. R. de),
iv. 695 a.
GouLE; Song, iii. 595 a.
GouvY, T., i. 6145 ; PF. Mus.,
ii- 733 &; Song, iii. 597 a.
GouY. (See De Gouy.)
GouziEB, A. ; Mus. Periodicals,
ii. 4296.
Gow, Nath., i. 615a; iv.
653^.
Gow, Niel, i. 615a; iv. 6536
and 8196,- Strathspey, iii.
735&.
Gow, Niel, i. 615 a; iv. 6536;
Scotish Mus,, iii. 444a.
Grabowski ; Song, iv. 795 a.
Grabu, L., iv. 6536; Banister,
i. 134&; King's Band, ii.
58 a; Symphony, iv. 11&;
Dorset Garden Theatre, iv.
6i8a.
Grace Notes, i. 615 ft; Acciac-
catura, i. 186; Agremens, i.
43 a; Appoggiatura, i. 75 a;
Arpeggio, i. 87 a; Bach (C.
P. E.), i. 114ft; Beat, i.
158ft; Cavalieri,i. 3276; Fon-
tana, i. 5286; Harmony, i.
6786; Mordent, ii. 362?);
Nachschlag, ii. 4406; Nota-
tion, ii. 477 ft; Nuances, ii.
484ft; Passaggio, ii. 662 ft;
Shake, iii. 479 &; Slide, iii.
534& ; Tartini, iv. 62&; Tre-
sor des Pianistes, iv. i6Sa;
Turn, iv. 191 &; Vorschlag,
iv. 339 ft.
Gradual, i. 615 ft; Gregorian
Modes, i. 627ft; Mass, ii.
232 ft; Plain Song, ii. 764?),
etc.
Gradual, The Roman, i. 615& ;
Improperia, ii. i ft ; Intona-
tion, ii. 1 2 ?> ; Introit, ii. 156;
Lamentations, ii. 86 b ; Pales-
trina, ii. 6396; Plain Song,
ii. 7666, etc. ; Requiem, iii.
109ft.
GbADUS ad PARNASSUM,i.6l6a'
64
Clementi, i. 373a; Fux, i.
5706.
Gbadener, C. G. p., iv. 654a ;
Grund, iv. 6586.
Gbadener, H., iv. 645 a.
Graeff, J. ; Abel (K. F.), i.
5a; Haydn, i. 7166; Philh.
Soc, ii. 698a.
Graff; Strakosch, iii. 734^«
Graham, G. F., i. 6166 ; iv.
654a ; Scotish Mus., iii. 441 6;
Skene MS., iii. 5236; Dun
(F.), iv. 619a.
Grain, Comey ; Reed, iv. 769 &.
Grancassa, i. 616&.
Gbancino, i. 616 &; Violin, iv.
3826 ; Testore, iv. 798&.
Grand, i. 6166.
Grandini, G. ; Violin, iv. 284a.
Grandis, V. de ; Sistine Chapel,
iv. 794a.
Gbandjean, Mme. ; Wachtel,
iv. 343 «.
Grand Opera, i. 616&; iv.
654a; Act, i. 26a ; Opera, ii.
5140, etc. ; Schools of Comp.,
iii. 2S1 «, etc.
Grand Piano, i. 617&; iv.
654a; Fliigel, i. 5356; PF.,
ii. 7i4«.
Grand Prix de Rome, i. 6i8rt ;
iv. 654a; Conservatoire de
Mus., i. 3936.
Gbandsire, i. 6186; Change,
i. 334«-
Grange, La ; Lamperti (F.), ii.
89a ; Strakosch, iii. 734a.
Grani, a. ; Gabrieli (G.), i.
572«.
Gran JON, R., i. 619 a.
Granom, L. C. a., i. 619a.
GBANTA5IBUR0. (See Gran-
cassa, i. 6166.)
Gras, Mine. J. A. Dorus, i.
619a; iv. 6546; Cassel, i.
3190; Philh. Soc, ii. 6996;
Singing, iii. 510 a ; Veiled
voice, iv. 2356.
Grasset, J. J., i. 619&.
Grasshopper, i. 6196 ; Action,
i. 266; Collard, i. 377fl ;
Hopper, i. 747 a; PF.,ii. 717?;.
Grassi, C., i. 620a; Bach (J.
C.),i. 112a.
Grassineau, J,, i. 620a; Diet.
of Mus., i. 4450.
Grassini, J., i. 620a; iv. 654b;
Catalan), i. 3206; Contralto,
i. 396a; Crescentini, i. 417a ;
Grisi, i. 6326; Lazzarini, ii.
* 108 a; Mara, ii. 210a.
Grassini ; Orpheus, ii. 613 a.
Grassmann; Zither, iv.- 513a.
Grast ; Part Mus., ii. 6566.
Gbatiani; Mus. Lib., ii. 422a.
INDEX.
Gratz ; Taglichsbeck (T.), iv.
52 a; Zeugheer, iv. 507a.
Graumann. (See Marchesi,
Mme., ii. 214&.)
Graun, a., i. 6 20 J.
Graun, J., i. 620J; Bach (W.
F.), i. 1X2 &; Benda (F.), i.
22X05 ; Tartini, iv. 61 i;
Violin-playing, iv. 293 a.
Graun, K.H.,i. 621a; iv. 6546;
Agricola (J. F.), i. 44b;
Auswahl, i. lo^a ; Fred, the
Great, i. 561 &, etc.; Handel,
i. 654b; HiUer (J. A.), i.
738 b; Kirnberger, ii. 62 a;
Latrobe, ii. xo3a; Meister,
Alte, ii. 247 b; Metastasio, ii.
316a; Mitzler^ ii. 339 b;
Modulation, ii. 348 b ; Mus.
Lib., ii. 423a ; Opera, ii.
5x3b ; Oratorio, ii. 540b ; Pas-
sion Mas., ii. 666 a; Rochlitz,
iii. 142 a; Schools of Comp.,
iii. 288 a ; Schroeter (C. G.),iii.
318a; Semiramide, iii. 461 a ;
Solmisation,iii.55ib; Song,iii.
621 b; Specimens, Crotch's, iii.
650 a; TeDeum,iv.68b; Tod
Jesu, iv. 1 3 1 a ; Vocal Scores,! V.
319b; Voces Belgicae, i v. 3 2 2 b.
Gbaupner, C, i. 622a.
Grave; Acuteness,i. 26b ; Arsis
&Thesis,i.95b; Pitch, ii. 757 a.
Grave, i. 622b; Adagio, i. 27a;
Tempo, iv. 83 a.
Gravicembalo, i. 622b; Cristo-
fori, i. 417 b; Grand Piano,
i. 617b.
Gray & Davison, i. 622b;
Barrel Organ, i. 144b ; Hill,
W., & Son, i. 736 b ; Kerau-
lophon, ii. 51a; Organ, ii.
608 a ; Temperament, iv. 72 « ;
.Willis (H.), iv. 460a.
Graziani; Sonata, iii. 555 «.
Graztani, F.,i. 622b ; iv. 654b ;
Covent Garden Theatre, i,
413a; Pinsuti,ii. 754a; Sing-
ing, iii. 512 a.
Graziani, L., iv. 654b.
Grazioli; Meister, Alte,ii. 247b;
Sonata, iii. 566b.
Greatheed, Rev. S. S., iv. 654b.
Greatorex, T., i. 622b; An-
cient Concerts, i. 64 a; Bir-
mingham Festival, i. 244a;
Brownsniith, i. 279a; Con-
centores Sodales, i. 383 b;
Knyvett (D.), ii. 67b; Mad-
rigal Soc, ii. 194a ; Turle, iv.
191a; Vocal Concerts, iv.
319 a; York Festival, iv. 495 b.
Great Organ, i. 623a ; Accom-
paniment, i. 2 1 b ; Full Organ,
i. 669 b; Organ, ii. 578 b.
Greaves, T., 5. 624a.
Gbebeb; Epine (F. de T), i.
490 b.
Gbebus. (See Gbabu, iv. 653b.)
Gbecco, G., i. 624 a; Feo, i.
511b; Naples, ii. 445 b ; Per-
golesi, ii. 686 b ; Porpora, iii.
16 b ; Scarlatti (A.), iii.
239 a ; Vinci (L.), iv. 266a.
Geeek Music; Bellermann (J.
F.),i. 211 b; RandharLinger,iii.
74 a; Hist, of Mus., iv. 675 a.
Greek Plats, iv. 655 a.
Green, Jas., i. 624a.
Green, J. ; Seraphine, iii. 4666.
Green, S., i. 624a ; Organ, ii.
598a; By field, Jordan, Bridge,
iv. 571b.
Greene, M., i. 624b; iv. 655a;
Acad, of Ancient Mus., i.
xob ; Accompaniment, i.
24b ; Anthem, i. 72 a ; Arnold
(S.), i. 86 b ; Bartleinan, i;
146a; Boyce, i. 267a; Ce-
cilia (St.), 329b ; Festing, i.
515 b; Hawkins, i. 700 b;
King's Band, ii. 58 a ; Mus.
Lib., ii. 420b, etc. ; Novello,
ii. 48xa ; Page,ii. 632* ; Part
Mus., ii. 657a; Porter (S.),
iii. 18b; Professor, iii. 33a;
Ritornello, iii. 137b; Royal
Soc. of Mus. of Gt. Britain,
iii. 187^; Schools of Comp.,
iii. 286 b ; Stanley, iii. 690a ;
Thoroughbass, iv. 1 08 b; Tra-
vers (J.), iv. 162b; Tudway,
iv. 199 J; Voluntary,! V. 339b;
Walond, iv. 3796 ; Walsh (J.,
junr.), iv. 380 b; Camidge,
iv. 576 a.
Greensleeves, i. 625 b; Haw-
kins, i. 700 b ; Song, iii. 601 b.
Greeting, T., i. 625 b.
Gregoir, E,, iv. 655a; Hist, of
Mus., iv. 675a.
Gregoir, J., iv. 655a.
Gregorian Modes and Tones,
i. 625b; iv. 655b; Accents,!.
i8b; Accompaniment, i. 250;
^olian Mode, i. 406 ; Am-
brosian Chant, i. 59 b; Au-
thentic, i. 105 b; Cathedral
Mus., i. 324a; Chant,!. 336b;
Faux-Bourdon,i.509b; Gaunt-
lett, i.584b; Guidetti, 1.6390;
Intonation, ii. 12 a; Ionian
Mode, ii. 17b; Lemmens, ii.
1 20a; Mediation,!!. 244b, etc.;
Mendelssohn, ii. 267b ; Modes
Eccles., ii. 342b; Mus. Lib.,
ii. 424b ; Mus.-printing, ii.
433b ; Palotta, ii. 643 a ; Par-
ticipant, ii. 656 a ; Plagal
Modea, ii. 761b; Plain Song,
ii. 763 a, etc. ; Eeciting note,
iii. 86 a; Schools of Comp,, iii,
312a; Score, iii. 4275, note-,
Semibreve, iii. 4596 ; Subject,
iii. 7 5 1 a ; Tones , Grregorian, i v.
144a; Vesperale, iv. 257 a;
Vespers, iv. 2576; Yriarte,
iv. 4966; Goovaerts, iv. 652 a.
Geegory, the Great ; Alphabet,
i.e,'ja,note; Gregorian Modes,
i. 626a.
Greguss, M. a. ; Song, iii. 6126.
Greiner ; Mozart, ii. 397 h.
Greiter, M. ; Bourgeois (L.),
iv. 559 «•
Grell, E. a., iv. 658 a.
Grenie; Harmonium, i. 667 a.
Gresham Musical Professor-
ship, i. 627a; iv. 658a.
Gr:6try, a. E. M., i. 6276; iv.
658 a ; Baillot, i. 126a; Blaze
(Ca8til),i. 248a ; Carmagnole,
i.3i5&; Casaliji. 318a; Flute,
i« 5376; Gluck, i. 6026;
Gossec,i.6i2a ; Henri Quatre,
Vive, i. 729a; Lesueur, ii.
1256; Maitrise, ii. 200a;
Marseillaise, ii. 220a; M^hul,
ii. 2476, etc. ; Monsigny, ii.
356a; Mus. Lib., ii. 425?);
Neukomm, ii. 452a; Opera,
ii. 5 1 8 a ; Oti peut-on 6tre, etc. ,
ii. 6166; Philidor (F. S. D.),
ii. 704a ; PF. Mus., ii. 7246;
Kanz des Vaches, iii. 76 a;
Richard Coeur de Lion, iii.
127a; Song, iii. 594& ; Speci-
mens, Crotch's, iii. 650 a.
Gretrt, L., i. 630&.
Grieg, E., i. 630& ; iv. 658a and
819&; Humoreske, i. 758 a;
Pedal Point, ii. 680 a; PF.
Mus.,ii. 735&; PF.-playing, ii.
745 ; Song, iii. 6106; Kjerulf,
i V. 69 1 a ; PhiUi. Soc. , i v. 747 a.
Griepenkerl, F., i. 631 a ; Bach
(J. S.), i. 1176; Dehn, i.
4386; Notation, ii. 477?);
Peters, ii. 695 h.
Griepenkerl, W., i. 631a;
Holstein, iv. 679 a.
Griesbach, F., i. 631a; Pas-
toral Symphony, ii. 672 a.
Griesbach, G. A. ; Monk (W.
H.), ii. 3532>.
Griesbach, J. C, i. 631 a.
Griesbach, J. H. ; Melophonic
Soc, ii. 2530; Philh. Soc., ii.
6996; R. A. of Mus., iii. 185 a ;
Soc. of British Musicians, iii.
544a.
Griesbachbb ; Haydn, i. 706 J.
Griesingeb, G. a., i. 6316;
Haydn, i. 703 a, etc.
Gbipfb ; Frets, i. 563 a.
INDEX.
Grippin, G. E., i. 6316 ; Philh.
Soc. ii. 698 a.
Griffin, T., i. 6316; Gresham
Mus. Professorship, i. 6276.
Grimaldi. (See Nicolini, ii.
454«.)
Grimm, J., i. 632 a; iv. 6586;
Leipzig, ii. 115 6 ; Schumann,
iii. 404a.
Grimm ; Rochlitz, iii. 142 a,
Grimod, de la R. ; CU du Ca-
veau, iv. 593 &.
Grimshaw; Bottomley (J.), i.
263a.
Grisar, a., i. 632 a; Pougin,
iii. 236; St. Georges, iii.
214a; Salvayxe, iii. 2226;
Song, iii. 597 a; Wind-band,
iv. 470a.
Gbisi, Carlotta ; Ballet, i. 132 a ;
Giselle,i.597a; Grisi (Giulia),
i. 6326; Intermezzo, ii. 96;
Polka, iii. 8&.
Grisi, Mme. Giulia, i. 632 b ; iv.
6586; Bellini, i. 213a ; Bosio,
i. 2626; Covent Garden
Theatre, i. 413 a; Donizetti,
i- 453&> Lablache, ii. 80 &;
Laporte, ii. 91 &; Mario, ii.
2176; Philh. Soc, ii. 6996;
Pinsuti, ii. 754a; Singing,
iii. 507&; Soprano, iii. 6356;
Uberti, iv. 200 a; Viardot-
Garcia, iv. 2596.
Griswold, G. ; Philh. Soc, iv.
746 &.
Grob, T. ; Schubert, iii, 3226.
GrOndahl, Agathe; Song, iii.
611 a.
Gros-fa ; Score, iii. 42 7 &, note ;
Semibreve, iii. 459 &.
Grosley, p. J. ; Hist, of Mus.,
iv. 6756.
Gross, G. ; Violoncello-playing,
iv. 301a.
Gross, J.; Bodenschatz, i. 2536.
Grosse ; Attaignant, i. loob.
Grosse; Pepusch, ii. 684 a.
Grosse Caisse, i. 634a ; Drum,
i. 4665, etc
Grosse Trommel. (See Grosse
Caisse, i. 634a.)
Grossi, C. ; Mus. Lib., iv. 726 a.
Grossi. (See Sip ace, iii. 492 a.)
Grossi; Rossini, iii. 176a.
Grosso, i. 634a.
Grossvater-Tanz, i. 634 a;
Branle, i. 2716 ; Papillons, ii.
647a; Polonaise, iii. 11 a;
Schumann, iii. 4086; Carne-
val, iv. 5796.
Grotte, N. de la ; Mus. Lib., ii.
4186.
Ground Bass, i.6346; iv. 6586;
Basso Ostinato, i. 1 5 1 & ; Form,
65
i- 553^; Irish Mus., ii. 21a;
Oratorio, ii. 538a; Ostinato,
ii.6156; Passacaglia,ii.66ia;
Prick Song, iii. 30a; Round,
iii. 1 80 a ; Schools of Comp., iii.
286 a ; Song, iii. 604a ; Vari-
ations, iv. a 19 a, etc
Grove, Sir G. ; Mus. Assoc, ii.
417a; Royal Coll. of Mus.,
iv. 159 a.
Grua ; Lamperti, ii. 89 a.
Gruber ; Diet, of Mus., i. 446 a.
Grun, Frau; "Wagner, iv.
363 &.
GrUn ; Violin-playing, iv. 2975.
Grunbaum; Sterkel, iii. 711 &.
Grunfeld ; PF. - playing, ii.
745 a.
Grutzmacheb, F., i. 6346 ;
Drechsler (K.), i. 4626;
Kummer, ii. 77 a; Philh. Soc,
ii. 700a; Svendsen, iv. 6&;
Violoncello-playing, iv. 300 &.
Grutzmacher, L., i. 635a.
Grund, F. W., iv. 6586; Blu-
menthal, i. 250&; Dulcken
(Mme.), i. 469a; PF. Mus.,
ii. 728 a ; Gradener, iv.
654a ; PF. Mus., iv. 7486.
Grundig; Graun (K.),i. 621a.
Gruppo, iv. 6586; Trill, iv.
i6gb ; Turn, iv. 191 6.
Grzymala; Chopin, i. 350a.
Guadagni, G., i. 6356 ; Bertoni,
i. 238 a ; Dittersdorf, i. 4496 ;
Gabrielli, i. 573a; Cornelys
(T.), iv. 598&.
Guadagni, Signora, i. 6356;
Morichelli, ii. 365 b.
Guadagnini, i. 635 b ; Cremona,
i. 416a; Violin, iv. 2826;
Testore, iv. 799 a.
Gualandi. (See Campioli, i.
301 a.)
GuARDUCCi, T., i. 636 a; Ber-
nacchi, i. 234b ; Sacchini, iii.
207 b ; Soprano, iii. 636 a.
GuARiNi ; Intermezzo, ii. 8 b.
GUARNERIUS. (See GUARNIEBI,
i. 636b.)
GuARNiERi, i. 636 b; Amati(N.),
i. 58b; Belly, i. 220b; Cre-
mona, i. 416a; Landolfi, ii.
89b ; Paganini, ii. 628b ; Salo
(G. di), iii. 220b; Sound-
holes, iii. 641 b ; Stradi-
vari, iii. 731b; Violin, iv.
282 b.
GuASco ; Singing, iii. 511 a.
GuASPARiNO. (See Gasparini,
i. 583&-)
GuASTAROBBA ; CampagnoU (B.),
i. 300 b.
GUDEHUS, H., iv. 658 b; Wag-
ner, iv. 365 a.
66
GuDOK ; Song, iii. 613 a.
GuEDKON, P. ; Song, iii. 593b,
note.
Gdenin ; Oncert Spirituel, i.
385 a; Violin - playing, iv.
2S9.
GuER, J. A. ; Hist, of Mus., iv.
676 a.
Guerrero, F., i. 6376 ; Eslava,
i. 494 &; Miserere, ii. 336a;
Schools of Comp., iii. 263 a,
etc.; Yriarte, iv.496& ; Sistine
Chapel, iv. 794a.
GuERSAN ; Violin, iv. 3776.
Guest, G., i. 6386.
Guest, R.,i. 637&.
GuGLiELMi, P., i. 638a; iv.
661 a; Durante, i. 471a;
Grand Opera, i. 617 a ; Grisi
(Giulia), i. 6326; Ifigenia, i.
7656; Mus. Lib., ii. 421 &;
Naples, ii. 445 a ; Opera, ii.
5146; Oratorio, ii. 550a;
Sacchini, iii. 207 a; Schools
of Comp., iii. 2876; Siroe
Re di Persia, iii. 534 a ; An-
drot, iv. 523a ; Mus. Lib., iv.
726 a.
GuGLiELMi, Signora, i. 638 &.
GuGLiETTi ; Martin y Solar (V.),
iv. 711 6.
GUHR, K. ; Harmonics, i. 6656;
Paganini, ii. 633 a; Tenor
Violin, iv. 89 a
GuicciABDi, Countess, i. 6386;
Beethoven, i. 181 a, etc. ; Gal-
lenberg, i. 577a.
GuiDA ; Inscription, ii. 4a ;
Presa, iii. 29 a ; Proposta, iii.
43 a ; Subject, iii. 7486.
GuiuETTi, G., i. 639a ; Accents,
i. 17a; Ambrosian Chant, i.
60 rt, note ; Chant, i. 337 6 ;
Gradual, the Roman, i. 6156 ;
Granjon, i. 619 a; Lamenta-
tions, ii. 865; Mus. Divina,
ii. 413a; Palestrina, ii. 638 h,
etc.; Passion Mus., ii. 664a;
Plain Song, ii. 764a.
GuiDi, G. ; Mus. Periodicals, ii.
431 &.
GuiDO Abetinus. (See GuiDO
d' Arezzo, iv. 659 a.)
GuiDO D' Arezzo, iv. 659 a ; Ac-
cents, i. 17 a; Accidentals, i.
19a; ^olian Mode, i. 406;
Alphabet, i. 57a, note; Este,
i. 496a; Gamut, i. 580&;
Hexachord, i. 733 &; La, ii.
INDEX.
79a ; Martini, ii. 222 a, note ;
Mi Contra Fa, ii. 326b;
Micrologus, ii. 3266; Nota-
tion, ii. 467 a, etc. ; Organum,
ii. 6ioa ; Plagal Modes, ii.
7626; Polyphonia, iii. 12 a;
Sol-Fa, iii. 545 h ; Solfeggio, iii.
546a; Solmisation, iii. 550a,
etc.; Specimens, Crotch's, iii.
6496 ; Stave, iii. 692 6 ; Tabla-
ture, iv. 47 b; Tetrachord, iv.
94b; Ut, Re, Mi, iv. 211a;
Voces Aretinae, iv. 322 b ; Dia-
phonia, iv, 613a; Hist, of
Mus., iv. 673 b; Pentatonic
Scale, iv. 745 b ; Rome, iv.
773b.
GuiGLiNi ; Goldberg, iv. 650b.
GuiGNON, J. P., i. 639 a; iv.
661 a; L^clair (J. M. I'aind),
ii. iioa ; Rebec, iii. 81 b ; Roi
des Violons, iii. 146 b ; Violin-
playing, iv. 289.
Guildhall School of Music;
Weist Hill, iv. 434 a.
GuiLLAUME Tell, i. 639b; Ros-
sini, iii. 177b; Vallace (G.),
iv. 314b.
Guillemain ; Violin- playing, iv.
289.
GuiLLioN ; Gr. Prix de Rome, i.
6i8b.
GuiLLOU ; Conservatoire, i. 392 b.
GuiLMANT, F. A., i. 639 b.
GuiMARD, Mme. ; Ballet, i. 131b.
GUIMBARDE, i. 639 b.
Guinneth, J.; Mus. Lib., ii.
418 a.
GuiRAUD, E., i. 639 b ; iv. 661 a ;
Conservatoire de Mus., i.
393 a ; Gr. Prix, de Rome, i.
618 b ; Mass^, iv.7i3b: Offen-
bach, iv. 734 b.
GuiBADD, J. B. ; Gr. Prix de
Rome, i. 61 8b; Lesueur, ii.
125 b.
Guitar, i. 639 b; Aguado,i. 45 a;
Call (L. de), i. 297 b; Capo
Tasto, i. 306 b; CaruUi, i.
318a; Corbet, i. 400a; Frets,
i. 563 a; Hurdy Gurdy, i.
759a; Instrument, ii. 61)',
Leroy, ii. 133a; Lute, ii.
175b; Paganini, ii. 629a;
Pratten, Mrs., iii. 27a; Re-
gondi, iii. 97 a; Rose, iii.
161 a; Scordatura, iii. 426a;
Soundholes, iii. 640 b ; Stradi-
vari, iii. 729b; Vidal (B.),
iv. 261b; Weber, iv. 393 a;
Hist, of Mus., iv. 676 b.
Guitar-Fiddle ; Violin, i v. 2 74 b.
Guitar- Violoncello. (See Ab-
PEGGIONE, i. 89 a.)
GuLGBUM, J.,; Mus. Lib., ii.
421a.
Gumbert; Abt., i. 6 a.
GuMPELTZHEiM, A. ; Bodenschatz,
i. 253 b ; Schools of Comp., iii.
367 a ; Chorale, iv. 588 b.
Gung'l, Joh., i. 641 a.
Gung'l, Jos., i. 641a; iv. 661 6
and 819b; Kdler Bela, ii.
49 a; Manns, ii. 206 b; Waltz,
iv. 386 b.
Gung'l, V., i. 641a.
GuNN, A., i. 641 h.
Gunn, Barnabas, i. 641 a,
GuNN, B., i. 641 a.
GuNN, J., i. 641 a ; Hist, of
Mus., iv. 674b.
GuNZ ; Philh. Soc, ii. 710a.
GuRA, £., iv. 661 b; Singing, iii.
514b; Wagner, iv. 3636.
GuRCKHAUS, K. ; Kistner, ii.
62 a.
Gurilep ; Song, iii. 6r3b, etc.
Gurlitt, C. ; PF. Mus., ii. 733a.
GusiKOW, M. J., i. 641 b ; hiroh-
fiedel, iii. 746 a.
GusTAVE, Trois, i. 641 b ; Auber,
i. 1026.
GuTERMANN ; Violin, iv. 284a.
GuTMANN, A., iv. 661 b; PF.
Mus., ii. 732 b; PF.-playing,
ii. 745 ; PF. Mus., iv. 748 b;
PF.-playing, iv. 748 b.
GuzLA, i. 642 a ; Song, iii. 613b.
GwYNNE, Minnie; Philh. Soc,
iv. 7466.
GwYNNETH ; Part-books, iv.
740 a.
Gye, F., iv. 66ib.
Gyer; Manns (A.), ii. 206 b.
Gyles. (See Giles, i. 595b.)
Gymnase de Musique Mili-
TAIRE, i. 642 a.
Gymnich, a. von ; Schubert, iii.
333 b ; Sonnleithner, iii. 633 a.
Gyrowetz, a., i. 642 a; Baum-
garten, i. 157a; Beethoven,
i, i68a ; D wight's Journal of
Mus., i. 478b; Gansbacher, i.
575 a ; Haydn, i. 709 b ; Mozart,
ii. 391a, etc.; PF. Mus., ii.
725b; Redoute, iii. 89b; Song,
iii. 614b ; Sonnleithner, iii.
633 a; Symphony, iv. 23 b.
INDEX.
67
H.
H, i. 643 a; Accidentals, i.
19 &; Alphabet, i. 57a; B. i.
107 a.
Haak, C; Violin-playing, iv.
289.
Haas, Alma; PF.-playing, ii.
Haase ; Brfickler, iv. 566 h.
Habeneck, F. a., i. 643 a; iv.
662a; Bellini, i. 214a ; Briard,
i. 275a; Concert Spirituel, i.
386 a ; Conservatoire, i. 3926 ;
Cuvillon, i. 425 a; Deldevez,
i. 439 & ; Mendelssohn, ii.
2686 ; Prume,iii.44a ; Roche,
iii. 141a; Rossini, iii. 172a;
Sainton, iii. 2i6h; Schubert,
iii' 357^5 Soc. des Concerts
du Conservatoire, iii. 543 6 ;
Spohr, iii. 659 a; Stradivari,
iii. 733a ; Valentino, iv. 214a ;
Violin- playing,iv. 296 a; Altbs
(E. E.), iv. 521b; Leonard, iv.
699b.
Haberbieb, E.; PF. Mus., ii.
731a; PF.-playing, ii. 744;
Studies, iii. 747 a.
Habebl, F. X. ; Eitner (R.), i.
485a; Vittoiia, iv. 314a;
Hist, of Mus., iv. 674a ; Mus.
Lib. iv. 7256 ; Sistine Chapel,
iv. 793 &.
Habyngton, H.,i. 121 a ; Schools
of Comp., iii. 270a.
Hackbbett; Virdung (S.), iv.
303 &•
Hanflein ; Violin-playing, iv.
298a.
Hansel, P. ; Haydn, i. 716&.
Hartel, G. ; Orpheus, ii. 61 36.
Haeseb, a. F., i. 643 a ; Caecilia,
i. 2946; Latrobe, ii. 103a;
Part-Mus., ii. 657 a; Vocal
Scores, iv. 319&.
Haessler, J., iv. 662a; PF.
Mu3., ii. 724b ; PF.-playing,
ii. 744.
Hausbb, J. E., i. 6436; Hist.
of Mus. iv. 676 b.
Hafneb, i. 643?); Mozart, ii.
384&, etc.
Hagen, H. von der ; Song,
iii. 6156, note; Volkslied,
iv. 337 &; Hist, of Mus., iv.
675a.
Hageb, M. ; Leipzig, ii. 115a.
Hague, C, i. 643 &; iv. 662a;
Knapton, ii. 656; Professor,
iii. 33a; Westmoreland (Earl
of), iv. 449 & ; Harmonious
Blacksmith, iv. 667 a.
Haigh, T., i. 644 a; Haydn, i.
7166.
Hainl, G., i. 644 a; iv. 662 a;
Concert Spirituel, i. 386 a;
Altbs, iv. 521 ; Garcin, iv.
6456.
Haitzingeb, a., i. 044a ; Sing-
ing, iii. 511a.
Hake, J. ; Hymn, i. 762 a ;
Psalter, iv. 757 &.
Hale, A. de la, iv. 662 a;
Chanson, i. 336a; Comic
Opera, i. 3796; Coussemaker,
i. 411 6; Song, iii. 591a,
etc.
Hales, R. ; Dowland (R.), i.
4606.
HALivY, J. F. F. E., i. 6446 ;
iv. 6626 ; Acad^mie de Mus.,
i. 9&; Adam (A. C), i. 28a,
note; Bizet, i. 2466; Conser-
vatoire, i. 392 &; Gounod, i.
613a ; Grand Opera, i. 617a ;
Gr. Prix de Rome, i. 618 &;
Juive, La, ii. 44 a ; Jullien,
ii. 44a; Kiicken, ii. 75 a;
Lecocq, ii. 1106; Lefebure-
Wely, ii. 112 a; Masse, ii.
2356; Mendelssohn, ii. 257?);
Mousquetaires de la Reine,
ii. 378 «; Onslow, ii. 497 & ;
Opera, ii. 523a, etc. ; Or-
pheon, ii. 612 a; Paladilhe, ii.
634?); Pitch, ii. 7580, note;
Pougin, iii. 236 ; Reber, iii.
826; Reine de Chypre, iii.
102 a; Roger, iii. 144&; S.
Georges (Marquis de), iii.
2136; Sax (Adolphe), iii.
232 a; Schimon, iii. 250a;
Schools of Comp., iii. 303 a;
Scribe, iii. 453a ; Seniet, iii.
459 a ; Silas, iii. 493 a ; Spon-
tini, iii. 6Sih ; Tempesta, La,
iv. 81 S ; Vilback (A.), iv.
264a; "Wagner, iv. 352 a;
Weckerlin, iv. 430a ; Wolff
(A. D. B.), iv. 4856; Bizet,
iv. 548 &.
HaL]6vy, L. ; Libretto, ii. 130 a.
Half-Close, i. 646 a ; Imper-
fect Cadence, i. 767 a.
Half-Shift ; Matteis, ii. 2396,
Halir ; Violin-playing, iv. 298 a.
Hall, H, i. 646a ; Arnold (S.),
i. 86&; Mus. Lib., ii. 424a;
Tudway, iv. 199&.
Hall, H., jun., i. 646 a.
Hall, Rev. W. J. ; Madrigal
Soc, ii. 194 a.
Hall, W., i. 646 a.
Halle, Sir C, i. 6466 ; iv.
66 2h ; Analysis, i. 63a ; Con-
cert, i. 384 a ; Franchomme, i.
55S&; Jullien, ii. 45rt; Man-
chester, ii. 204a; Mendels-
sohn, ii. 280a; Nat. Concerts,
ii. 447 & ; Philh. Soc.,ii. 700 a ;
PF.-playing, ii. 745 ; Recital,
iii. 83 a; Reid Concerts, ii.
101&; Royal Acad, of Mus.,
iii. 186 &; Schools of Comp.,
iii. 311a; Stockhausen (J.),
iii. 715&; Straus (L.), iii.
737 a; Bristol Festival, iv.
565 a; Davison, iv. 609 a;
Forsyth, iv. 637 h ; Gottschalk,
iv. 6526; Hecht, iv. 670& ;
Napoleon, iv. 7276; Neruda
(Mme.), iv. 730 a; Sacred
Har. Soc, iv. 778a.
Hallelujah, i. 6466; Addi-
tional Accompaniments, i.
34 & ; Charity Children, i. 3406;
Handel, i. 651 &; Haydn, i.
710a; Plain Song, ii, 766&;
Response, iii. 1 16 a; ^via, iv.
5186.
Halliday ; Kent Bugle, ii. 51a.
Halling, iv. 662 &; Song, iii.
609 a.
Halm, A.; PF. Mus., ii. 7276;
Vaterliindische Kiinstlerver-
ein, iv. 808 a.
Hambacheb ; Duschek (F.), i.
4726.
Hamboys, J., i. 647 rt ; iv. 664 a ;
Schools of Comp., iii. 270 a.
Hamerik, a. ; United States,
iv. 203 a.
Hamerton, W. H., i. 647 a.
Hamilton, D. ; Organ, ii. 5996.
Hamilton, J. A., i. 647 « ; Die.
of Mus., i. 4466 ; Monk (W.
H.), ii. 353 & ; Stephens (C.
E.), iii. 711a.
Hamlet, i. 647 a ; Thomas (C.
A.), iv. 104a.
Hamlin; American Organ, i. 6ia.
Hammer, i. 6476 ; PF., ii. 711a.
Hammer, K. ; Voces Ham-
merianae, iv. 323 a.
Hammer, R. ; Godard (B.), iv.
649 a.
Hammerklavieb, i. 647 h ; Beet-
hoven, i. 193 b.
Hammerschmidt, A., iv. 663 a;
Song, iii. 621a.
F 2
68
HaMMIO ; Violin, iv. 284a.
Hampkl, H. ; PF. Mua., ii.
736 a.
Hampl; Horn, L 749a; Stich,
iii. 714a.
Hanboys J. (See Hamboys, i.
647 a.)
Hanckb ; Dvorak, iv. 62 1&.
Hancock. (See Cbanq, i
415a.)
Hancock ; Philh. Soc., 11. 0990.
Hand Bells, i. 647 h.
Handel, G. F., 1. 6476; iv.
664 a; Acad, of Ancient Mus.,
i. 10 &; Accent, i. 13&, etc.;
Accidentals, i. 20 a; Act, i.
26 a ; Acis and Galatea, i. 26a ;
Additional Accompaniments,
i. 306, etc. ; Agricola (J. F.),
i. 44&; Alexander Balus, i.
52&; Alexander's Feast, i.52b;
Amen, i. 6oh; Ancient Con-
certs, i. 646; Andreoni, i.
67a; Annibali, i. 696; Ap-
poggiatura, i. 786; Ariosti,
i. 83 a; Arne (T. A.), i. 84^;
Arnold, i. 86 a ; Arrange-
ment, i. 94a ; Arrigoni, i. 95 a ;
Ashley, i. 98 a ; Athalia, i.
looa ; Auswahl, etc., i. 105a ;
Avison, i. 106 a; Avoglio, i.
io6a ; Bach (C. P. E.), 113& ;
Baldassarri, i. 126a; Baldi, i.
126& ; Bass, i. 148 a ; Bassoon,
i« I53« > Beard, i. 158a ; Bee-
thoven, i. 199b; Belshazzar,
i. 221 a; Bernacchi, i. 234?);
Bertolli (F.), i. 2366 ; Boschi,
i. 261 &; Britton, i. 2776;
Broadwood and Sons, i. 278 a ;
Biilow, i. 280& ; Caecilian Soc. ,
i. 295 a; Cantata, i. 305 a;
Capriccio, i. 307 a ; Carestini, i.
309 a ; Carissimi, i. 315 a ; Cas-
trucci, i. 3196 ; Cecilia (St.) i.
3296; Chaconne, i. 332a;
Choice of Hercules, i. 349 a ;
Chrysander, i. 356 a; Cibber,
13576; Clark (R.), i. 3656;
Clarke- Whitfeld, i 3656;
Clive, i. 375 a ; Cluer, i.
375 a ; Concerto, i. 3876, etc. ;
Corelli, i. 401 a ; Cristofori, i.
4176; Deborah, i. 4386;
Dettingen Te Deum, i. 441 a ;
Doc. of Mus., i. 4516; Dotti,
i. 457 a; Double Bassoon, i.
459a; Dubourg (M.),i. 467a ;
Duet, i. 468 a ; Durastanti, i.
471 &; Elegy, i. 4856; Elv
Cathedral, i. 488a ; Esther,!.
496a ; Felton, i. 511a ; Festi-
vals, i. 516b ; Field, i. 520a ;
Firework Mus., 1. 5286 ; Fitz-
william Collection, i. 530&;
INDEX.
Flute, i. 5376 ; Forstemann, i.
539a; Form, 1. 5436, etc.;
Foundling Hospital, i. 556?);
Francesina, i. 558a; Franz
(R.), i. 5606 ; Frasi, i. 561a ;
Fugue, i. 6695 ; Gallus, i.
579a; Gates, i. 584a ; Gemi-
niani, i. 5876 ; Gesellschafb
der Musikfreunde, i. 591 &;
Gigue, i. 5956; Girardeau, i.
5966; Gismondi, i. 597 a;
Gizziello, i. 597 b ; Gluck, 1.
601 a ; Glyn & Parker, i.
604&; Greene (M.), i. 6246;
Grosso, 1.6340; Ground Bass,
i. 6346; Guadagni (G.), i.
635 a; Gunn (B.), 1. 641a;
Hallelujah, i. 647 a; H^ndl, i.
661 a; Harmony, i. 6786,
etc.; Harpsichord, i. 688a,
etc. ; Hasse, i. 6946 ; Haym,
i. 723b; Heidegger, i. 7246;
Hiller (J. A.), i. 739a, etc. ;
Horn, i. 748 b, etc. ; Hornpipe,
i. 753a; Humphreys (S.), i.
758a; Intonation, ii. 13a;
Introit, ii. 15 b; Israel in
Egypt, ii. 25 a, etc. ; Jephthah,
ii- 33 &; Joseph, ii. 40 a;
Joshua, ii. 40a ; Judas Mac-
cabeus, ii. 44 a; Kelway, ii.
50 a; Kerl, ii. 51b; King's
Theatre, The, ii. 58 b ; Lampe
(J. F.), ii. 88 b; Lassus, ii.
99 b ; Leading Note, ii. 109 a ;
Legrenzi, ii. 114a; Lesson, ii.
124a ; Libretto, ii. 130b; Lin-
coln's Inn Fields Theatre, ii.
140a; Lowe (T.), ii. 170a;
Maestro, ii. 195 b ; Magnificat,
ii. 197 a; March, ii. 211b,
etc. ; Mass, ii. 227a ; Mathe-
son, ii. 237a; Meister, Alte,
ii. 247 b ; Mendelssohn, ii.
257a, etc; Merighi, ii. 313b;
Messiah, ii. 315 a; Metasta-
sio, ii. 316a; Minuet, ii.
333b; Mizler, ii. 339b; Mo-
dulation, ii. 348 a, etc. ;
Montagnana, ii. 356b; Mosel,
ii. 371a; Motet, ii. 376 a;
Mountier, ii. 377b; Mozart,
ii. 392 a ; Muffat (A. G. T.),
ii. 408a; Musard, ii. 410a;
Musette, ii. 410b ; Mus. Lib.,
ii. 419 b, etc. ; Mus. Periodi-
cals, ii. 430 a ; Mus. Printing,
ii. 436 b; Mus. School, Ox-
ford, ii. 437 a; Negri (M.
and R.), ii. 451a; Nieder-
rheinischeMusikfeste, 11.4560 ;
Non Nobis Domine, ii. 464 a ;
Nottebohm, ii. 479 a ; Oboe,
ii. 487 b, etc. ; Ode, ii. 492 a ;
Opera, ii. 508 a, etc. ; Oratorio,
n. 538b, etc.; Orchestra, iL
563 b ; Orchestration, ii. 567 a,
etc.; Organ, ii. 5866, etc.;
Otthoboni (Cardinal), ii. 61 5 b ;
Overture, ii.6 1 8 b, etc. ; Page, ii.
632 b ; Paradies, ii. 647 b, note ;
Parry (John, of Rhuabon), ii.
651b; Part Song, ii. 658a;
Passacaglia, ii. 66ia; Passion
Mus., ii. 666 a; Pasticcio, ii.
669a ; Pastoral Symphony, ii.
670 b ; Pause, ii. 676 a ; Pedal
Point, ii. 679 b; Piccolo, ii.
750b ; Polonaise, iii. 106 ;
Porpora, iii. i6b, etc. ; P08-
tillons, iii. 22a; Pract. Har-
mony, iii. 24 a; Prince de la
Moskowa, iii. 31b; Pro-
gramme Mug., iii. 36 b;
Quantz, iii. 56 a ; Randall
(J.), iii. 73a; Randall (R.), iii.
73 a; Ranelagh House, etc.,iii.
74b ; Real Fugue, iii. Sob ;
Recitative, iii. 85 b ; Reinhold,
iii. 103 a ; Rietz (J.), iii. 133a ;
Rinaldo, iii. 135b; RochUtz,
iii. 142 a ; Royal Acad, of
Mus., iii. 184b; Royal Soc.
of Musicians of Gt. Britain,
iii. 187 a, etc. ; Ruckers (An-
dries), iii. 196 b ; Rule, Bri-
tannia, iii. 203 b; Samson, iii.
223a; Saraband, iii. 2276;
Saul, iii. 230a; Scena, iii.
240b ; Schools of Comp., iii.
290 b, etc. ; Schubert, iii.
353a ; Score, iii. 430a ; Scotch
Snap, iii. 437 b; See, the Con-
quering Hero, iii. 456 b ; Sene-
sino, iii. 461b, etc. ; Serenata,
iii. 467 b; Sergeant Trumpeter,
iii. 469 a ; Shore (John), iii.
488 b, note; Siciliana, iii.
491 b ; Signature, iii. 493 b ;
Singakademie, iii. 516 a ;
Sketches, iii. 527a; Siroe,
Re di Persia, iii. 534 a ; Smart
(SirG.), iii. 537 b; Smith (J.
C.), iii. 540a; Snow, iii.
542 a; Solomon, iii. 553 b;
Sonata, iii. 558 b; Song, iii.
607 b, etc. ; Sons of the Clergy,
iii- 633 b ; Specimens, Crotch's,
iii. 648 b; Steffani, iii. 696 a;
Strada del P5, iii. 721b; Sub-
ject, iii. 749 b, etc. ; Suite, iii.
758a, etc. ; Susanna, iv. 46 ;
Tamerlano, iv. 56 b; Te Deum,
iv. 69 a ; Telemann, iv. 69 b ;
Temperament, iv. 73 b ; Tenor-
Violin, iv. 90 a ; Tesi-Tramon-
tini, iv. 93 b; Theorbo, iv.
loia; Thoroughbass, iv.
108 b ; Tonal Fugue, iv. 137 a,
etc. ; Tower Drums, iv. 156 b ;
Tr^sor des Pianistes, iv. i68a ;
Trio, iv. 171 6 ; Trombone, iv.
1 78 a ; Trumpet, iv. 181 a, etc. ;
Tudway, iv. 1996; Urio, iv.
2096, etc.; Variations, iv.
222a; Vauxhall Gardens, iv.
2336; Violin, iv. 2796;
Violoncello-playing, iv. 300 a ;
Vogler, iv. 3256; Voices, iv.
334 &; Wagenseil, iv. 345 a;
Walsh (J.), iv. 380a; Waltz
(G.), iv. 382 a; Water Mus.,
iv. 384a ; Welsh Mus., iv.
440?) ; Wesley (S.), iv. 446 a ;
Wilder, iv. 457 a; Wind-
band, iv. 464?) ; Worgan (J.),
iv. 486 a; Zachau, iv. 4986;
Bach (J. S.), iv. 527a; Bur-
ney, iv. 571a; Camidge, iv.
576 a ; Concerto grosso, iv.
596 a; Cuzzoni, iv. 602 &;
Dance Rhythm, iv. 607 a ;
Harmonious Blacksmith, iv.
666 &; Kearns, iv. 688 & ;
Occasional Oratorio, iv. 7336 j
Pizzicato, iv. 749 a ; Quaver,
iv. 7666; Schiitz, iv. 790 & ;
Smith (J. C), iv. 7946 ; Trum-
pet, iv. 804 a.
Handel, Commemoration of,
i. 657a; iv. 665 a; Abrams
(Misses), i. 6a ; Accompani-
ment, i. 22 & ; Aylward, i.
106& ; Bartolini, i. 1466 ;
Bates (J.), i. 155 a ; Bellamy
(R.), i. 211 a; Borghi, i.
260& ; Bridgetower, i. 2756;
Burney, i. 2846 ; Crosdill, i.
419 &; Double Bassoon, i.
4586; Dyne, i. 478 a; Festi-
vals, i. 516& ; Harrison (S.),
i. 692a; Haydn, i. 710a;
Knyvett (Chas.), ii. 676;
Mara, ii. 209 & ; Morelli, ii.
365 a; Norris (T.), ii. 4656;
Pacchierotti, ii. 626a ; Pan-
theon, ii. 645 h ; Reinhold (C.
F.), iii. 103a.
Handel Festival, i. 658 a;
iv. 665 a; Analysis, i. 63 a;
Bowley, i. 267 a; Costa, i.
406 & ; Double Bassoon, i.
4586; Festivals, i. 516 & ;
Novello (Clara), ii. 481 &;
Sacred Harmonic Soc, iii.
211 a ; Manns (A.), iv. 710a.
Handel Gesellschaft, i. 6586 ;
iv. 665 a; Additional Accom-
paniments, i. 31 « ; Chrysan-
der, i. 3566 ; iv. 591a.
Handel Society, The, i. 659 a ;
Breitkopf & Hartel, i. 273a;
Rimbaiilt (E. F.), iii. 135&.
Handel and Haydn Society,
The, i. 659 ?> ; iv. 665 a ; Horn
INDEX.
(C. Ed.), i. 7526; Boston
Mus. Soc, iv. 555 a.
Handhakmonika ; Accordion,
i. 25 &.
Handl, J., i. 66ia. (See Gal-
Lus, i. 579a.)
Handlo, de R. ; Hocket, i
741 a ; Mus. Mensurata, ii.
415 b.
Handroobc, J., PF. Mus., ii.
734&-
Hanisch ; Lincke, ii. 139 b.
Hannibali. (See Annibali, i.
696.)
Hanover Square Rooms, i.
661 a; iv. 666a; Abel (K.
F.), i. 5 a ; Argyll Rooms, i.
82 & ; Bach. Soc, i. 120a.
Hanover Tune, iv. 666 &.
Hanslick, E., i. 661 & ; Ambros,
i. 59 & ; Mus. Periodicals, ii.
4276, etc. ; Wind Band, iv.
470 a.
Hanssens, C. ; Orphdon, ii.
6126 ; Verhulst (J.), iv. 255 a,
etc.
Habdegen, Count ; PF. Mus.,
ii. 736 a.
Harding, J. ; Virginal Mus.,
iv. 309 a.
Hardy, J.; Wotton (W. B.),
iv. 489 &.
Hare, J. ; London Violin
Makers, ii. 164 &.
Harfenzug; Sordini, iii. 6366.
Harington, H., i. 691 &; God
save the King, i. 605 h ;
Hawkins (Sir J.), i. 7006;
Part Mus., ii. 656 b.
Harmonia Sacra. (See Page,
ii. 632 a.)
Harmonic Hand, The; Guido
d'Arezzo, iv. 659&.
Harmonic Institution. (See
Argyll Rooms, i. 82a.)
Harmonic Minor, iv. 666 h.
Harmonic Stops, i. 6656 ; Pan-
dean Pipe, ii. 644 a.
Harmonic Union, The, i. 666 a.
Harmonica, i. 662 a; Davies, i.
435 a ; Dussek (J. L.), i.
474a ; Ford (Miss), i, 540a ;
Franklin, i. 559 a ; Frick, i.
5646 ; Gluck, i. 601 a ; Instru-
ment, ii. 7a; Kirchgessner,
ii. 61 a ; Leonore Prohaska, ii.
122&; Lobkowitz, ii. 155 a;
Mus. Lib., ii. 421a; Pohl
(C. F.), iii. 5 a.
Harmonichord, i. 663 a ; Weber,
iv. 427a.
Harmonicon, The, i. 6636;
Ayrton, i. 1076 ; Hogarth, i.
742 &; Mus. Periodicals, ii.
427 a.
69
Harmonics, i. 6636 ; Aeolian
Harp, 386 ; Bassoon, i. 153a ;
Beats, i. 159& ; Flageolet, i.
531a; Harp, i. 6876; Helm-
holtz, i. 726a; Horn, i. 7496;
Ninth, ii. 459 &j Node, iL
461 a ; Oboe, ii. 4866 ; Octave,
ii. 491b; Paganini, ii. 631a,
etc ; Partial Tones, ii. 655 6 ;
Pipes, Vibration of, ii. 755 a;
Pizzicato, ii. 760 a ; Root, iii.
157b, etc.; Third, iv. 102b;
Tierce, iv. 114 b; Timbre, iv.
116 b ; Tone, iv. 142 b ; Tromba
Marina, iv. 175a; Violin, iv.
280a; Stopping, iv. 797a.
Harmonie, i. 666 a; Band, i.
134 a ; Serenata, iii. 468 a.
Harmonious Blacksmith, iv.
666 b; Accidentals, i. 20a;
Wagenseil, iv. 345 a.
Harmonium, i. 666 a ; Action, i.
26 b ; American Organ, i. 60 b ;
Debain, i. 438 b; Harmonics,
i. 665 a; Helmholtz, i. 726a;
Instrument, ii. 6 a ; Key, Key-
board, ii. 54b; Lef^bure-Wely,
ii. IT 2 a ; Mustel, ii. 438 a ;
Orgue Expressif, ii. 610b;
Physharmonica, ii. 709 a ;
Reed, iii. 90 a ; Scotson Clark
(Rev.), iii. 452 b; Seraphine,
iii. 466 b ; Temperament, iv.
71 ft ; Tone, iv. 144" ; Organo-
phone, iv. 736a; Regal, iv.
769 b.
Harmony, i. 669 a; iv. 667 b;
Additional Accompaniments,
i. 32b, etc.; Anticipation, L
73a ; Cadence, i. 291a, etc.;
Cathedral Mus., i. 324a;
Chord, i. 352b; Concord, i.
389b; Consecutive, i. 391a;
Day (A.), i. 436a ; Discord, i.
449a ; Figured Bass, i. 522 a ;
Form, i. 542 b; Helmholtz, L
727b; Imperfect, i. 767b; In-
terval, ii. lib; Inversion, ii.
17a; Key, ii. 52b; Leading
Note, ii. 109 a ; Lied Form,
ii. 134a; Major, ii. 200b;
Melody, ii. 250b; Minor, ii.
333 a; Mixed Cadence, ii.
338 b; Modulation, ii. 347b,
etc.; Monodia, ii. 355a;
Monteverde, ii. 357a ; Neapo-
litan Sixth, ii. 450 a ; Ninth,
ii. 459a, etc. ; Nota Cambita,
ii. 466 b; Passing Notes, ii.
663 a, etc. ; Pedal Point, ii.
678 b; Perfect, ii. 686 a;
Rameau, iii. 69 a, etc. ; Reber,
iii. 82b; Relation, iii. 105a,
etc. ; Scale, iii. 236 a ; Schools
of Comp., iii. 264 b, etc. ;
70
Sequence, iii. 465 a ; Seventh,
iii.477a,etc. ; Sixth, iii. 523b;
Supertonic, iv. 36; Suspen-
gion, iv. 4&; Thorough-bass,
iv. 108 a ; Tonality, iv. 141 a ;
Vogler, iv. 329 a ; Wagner, iv.
3706; Dance Rhythm, iv.
606 a, etc. ; HucbalduB, iv.
680& ; Part-writing, iv. 7416;
Psalter, iv. 7586, etc.
Habmston, J. W. ; PF. Mus.,
ii. 736 a.
Harold bn Italib, i. 685 a ;
iv. 668 a; Berlioz, i. 2326;
Paganini, ii. 630 a.
Harp, i. 685 a; iv. 668 a; Ac-
tion, i. 266; iEolian Harp, i.
39a; Alphabet, i. 566;
Bochsa, i. 252a: Bunting-, i.
283 a ; Cardon, i. 3086 ; Chat-
terton, i. 340 &; Erard, i.
490 &; Harmonics, i. 665 a;
Instrument, ii. 6&; Irish Mus.,
ii. 18&, etc. ; Krunipholtz, ii.
74a; Oberthiir, ii. 4856;
O'Carolan (T.), ii. 490 />;
Oginski, ii. 494 a ; Orchestra,
ii. 561 &, etc. ; Parish- Alvars,
ii. 649 a; Parry (John), ii.
651a, etc.; Parry (John of
Rhuabon), ii. 6516; Pedals,
ii. 6836; Prumier, iii. 44 a;
Spohr, iii. 6576; Staccato,
iii. 6856; Stops, iii. 718a;
Thomas (J.), iv. 105 a; Vir-
dung, iv. 303 a ; Welsh Mus.,
iv. 4356; Hist, of Mus., iv.
676 b.
Harper, C, i. 688a.
Harper, E., i. 688 a.
Harper, T.,i. 68'jh; Additional
Accompaniments, i. 35 a; Lu-
ther's Hymn, ii. 1796; Post-
horn, iii. 21 &; Trumpet, iv.
181 a, note, etc.
Harper, T., jun.,i. 688a.
Harp-lute. (See Dital Harp,
i. 449 a.)
Harpsichord, i. 688 a ; iv.
668a ; Abeille, i. 4b ; Action,
i. 26b ; Additional Accom-
paniments, i. 30 b; Cembalo,
i- 330 & ; Chambon nitres, i.
332 b; Clavecin, i. 366 a;
Clavicembalo, i. 366 a ; Cla-
vichord, i. 366 b; Clavicythe-
rium, i. 369 b ; Cristofori, i.
417b ; Draghi (G. B.), i.46ib;
Dulcimer, i. 468 b ; Fliigel, i.
535b ; Grand Piano, i. 617b ;
Gravicembalo, i. 622b; Han-
del, i. 652 b; Instrument, ii.
6b; Jack, ii. 27a; Kelway,
ii. 50a ; Kirkman, ii. 61 b ;
Lessouy ii. 124a; Mus. Lib.,
INDEX.
ii. 424a ; Opera, ii. 499 b ;
Orchestra, ii. 562 a ; Pauer,
ii. 675 a ; PF., ii. 712 a, etc. ;
PF. -playing, ii. 736 a; Rose,
iii. 161 a; Ruckers, iii. 193b;
Scarlatti (D.), iii. 239 b;
Schools of Comp., iii. 288 b ;
Shudi, iii. 488 b, etc. ; Sonata,
iii 561a; Spinet, iii. 652a;
Stops, iii. 717 b, etc. ; Taskin
(P.), iv. 62b; Transposing
Instruments, iv. 160 a ; Tra-
suntino, iv. 162 a; Venetian
Swell, iv. 236 b ; Ruckers, iv.
776b ; Spinet, iv. 795b.
Harrer, G. ; Auswahl, etc., i.
105 a.
Harriers Wippern. (See Wip-
pern, iv. 476a.)
Harris, B. ; Spinet, iii. 656 a.
Harris, C. ; London Violin-
makers, ii. 1650.
Harris, J. J., i. 691b; Joule,
ii. 436.
Harris, J. M., i. 692a.
Harris, Renatus, i. 692 a ; Ac-
companiment, i. 21 b; Organ,
ii. 589b, etc. ; Smith (Father),
iii. 539 a.
Harrison, S., i. 692 a ; Ancient
Concerts, i. 64 a ; Concentores
Sodales, i. 383b ; Glee Club,
i. 599 a ; Greatorex, i. 623 a ;
Vocal Concerts, iv. 319 a.
Harrison, W., i. 692 b ; English
Opera, i. 489b ; Opera, ii.
524b; Pyne (L.), iii. 54b;
Singing, iii. 612 a; Thirl wall
(A.), iv. 103 a.
Harrison, W. ; Psalter, iv.
761a.
Harrop, Miss ; Ancient Con-
certs, i. 64a ; Bates (J.), i.
155a; Rauzzini, iii. 78a.
Hart, C., i. 692 b.
Hart, G. ; London Violin-
makers, ii. 165 a; Violin,
iv. 284a; Hist, of Mus., iv.
676 b.
Hart, J., i. 693 a ; Lancers'
Quadrille, The, ii. 89 a.
Hart, P., i. 693 a ; Britton, i.
277b; Tudway, iv. 199b.
Hart & Son ; Zither, iv. 513 b.
Hartmann ; Bodenschatz, i.
353&.
Hartmann ; KuflFeratb, ii. 75 b.
Hartmann, Ludwig, iv. 669a.
Hartmann, A., iv. 668 b.
Hartmann, E., iv. 668 b; Song,
iii. 611 a.
Hartmann, J. E., iv. 668 b;
Song, iii. 611 a.
Hartmann, J. P. K, iv. 668b;
PF. Mus., ii. 729b; Siboni
(E. A.), iii. 491a; Song, iii.
6iia.
Hartmann, von Aue ; Song, iii.
615a.
Hartmann-Stunz ; Mus. Lib.,
iv. 7260.
Habtstonge, M. W. ; Hist, of
Mus., iv. 674b.
Habtung; Spohr, iii. 657 a.
Habtvigson, a., iv. 669b.
Hartvigson, F., iv. 669 a;
Philh. Soc., ii. 700b; PF.-
playing, ii. 745 a.
Harvard, C. ; Spinet, iii. 654b.
Habvabd, Mus. Assoc, The, i.
693 b,' iv.669a; United States,
iv. 204 a; Boston Mus. Soc,
iv. 555b.
Harwood, E., iv. 669b.
Harwood, Miss ; Handel, Com'
memoration of, i. 657 b.
Haseltine. (See Heseltinb, i.
733&-)
Hasler. (See HASSLER,i. 696 b).
Haslinger, i. 693 b; iv. 669 b;
Beethoven, i. 168b, etc. ; Im-
promptu, i. 768 b; PF. Mus.,
ii. 731b; PF.- playing, ii
744 a; Sey fried, iii. 478 b.
Hasse, Faustina B., i. 696a;
iv. 669 b; Beggar's Opera, i.
209 a; Bordoni, i. 260 b;
Farinelli (C. B.), i. 504 b;
Royal Acad, of Mus., iii. iS4b;
Singing, iii. 506 a ; Soprano,
iii. 635b.
Hasse, J. A., i. 694a ; iv. 669b;
Abel (K. F.), i. 4b; Agricola
(J. F.), i. 44 b; Ancient Con-
certs, i. 64b ; Auswahl, etc., i.
105a; Burney,i.284b ; Cares-
tini, i. 309 a; Davies, i. 435 a,
etc.; Farinelli (C. B.), i. 604b,
etc. ; Frederic the Great, i.
562a; Harmonica, i. 662b;
Hiller (J. A.), i 738 b ; Horn, i
748 b ; Kandler, ii. 47 b ; Kla-
vier Mus., Alte, ii. 63 a; La-
trobe, ii. 103 a ; Lotti, ii. 168 a ;
Mara, ii 209 a; Martines
(Marianne), ii. 2 2 2 a ; Meister,
Alte, ii. 247 b; Metastasio, ii.
316a; Mingotti, ii. 332a;
Monticelli, ii. 360 a ; Motet, ii
376 a ; Mozart, ii. 383 b, etc. ;
Mus. Lib., ii. 420 a; Naumann
(J. G.), ii. 449 a; Olimpiade,
ii. 496 b; Opera, ii. 513 b,
etc. ; Passion Mus., ii. 666 b ;
Pasticcio, ii. 669 b; Pergolesi,
ii 686 b; Porpora, iii 16 b;
Quantz, iii 56a ; Rochlitz,
iii. 142a; Scarlatti (A.), iii
239 a ; Schools of Comp., iii
288b; Siroe, Re di Persia, iii.
534a; Solfeggio, iii. 5476;
Solmisation, iii. 5526; Sonata,
iii. 562 6; Specimens, Crotch's,
iii. 650 a; Theile, iv. 99 a;
Thorough-bass, iv. 108& ; Vog-
ler, iv. 324a; Zenobia, iv.
506a; Mus. Lib., iv. 736a;
Pizzicato, iv. 749 a; Venice,
iv. 809 a.
Hasselbeck, Rosa; Sucher (J.),
iii. 7546.
Hasseb, G., Leipzig, iii. 115 a.
Hassett, Mme; Strauss (J.),
iii. 738&.
Hassler, C, i. 697 a.
Hassleb, H. L., i.6965; Boden-
schatz, i. 253a; Hymn, i.
761a; Kirnberger, ii. 63 a;
Madrigal, ii. 190& ; Mus.
Divina, ii. 411a; Oratorio,
ii. 540 a; Real Fugue, iii.
81 a; Rochlitz, iii. 142 a;
Schools of Comp., iii. 2666,
etc.; Song, iii. 620 &; Volks-
lied, iv. 337 a; Part- writing,
iv. 741a.
Hassler, J., i. 697 a.
Hatton, J. L., i. 697a; iv.
6696; Part-song, ii. 659 a;
Pascal Bruno, ii. 6596; Schools
of Comp., iii. 306 a, etc.
Hat WIG, O. ; Schubert, iii. 3 2 7 a.
Hauck ; Kullak (Th.), ii. 766.
Hauck, Minnie, i. 6976; Sing-
ing, iii. 512 a ; Philh. Soc, iv.
747 a.
Haupf, C. ; Gernsheim, i. 5900;
Hecht, iv. 670 &.
Haupt, a. ; Paine (J. K.), ii.
6326; Tourjee, iv. 155 a;
Whiting, iv. 4536; Eddy
(H. C), iv. 625a.
Haupt und Schmaler, i. 6976 ;
Song, iii. 614&, note; Hist, of
Mus., iv. 675&.
Haupt, C, i. 6975.
Hauptmann, M., i, 697 & ; Asant-
schewsky, i. 97 a ; Astorga, i.
iooa;Bach(J.S.),i. ii76,etc.;
Bach - Gesellschaft, i. 1186;
Bache,i. 120&; Bulow,i. 281a;
Burgmliller, i. 2836 ; Cecilia
(St.), i. 3296; Clay, i. 369?);
Cossmann, i. 405 h ; Cursch-
mann, i. 424 a; Dannreuther,
i. 430a; David (Ferd.), i.
433 a; DavidofF, 1.4346; Du-
rante, i. 4716; Gernsheim, i.
590& ; Grieg, i. 6306 ; Handel-
Gesellschaft, i. 659a ; Hiller
(Ferd.), i. 7376; Horsley (C.
^•)* ^- 754a ; Jadassohn,
ii. 29 a; Jahrbticher, ii.
306 ; Kalliwoda (W.), ii.
476; Kiel, ii. 56 a ; Leipzig, ii.
INDEX.
115a ; Mendelssohn, ii. 2715,
etc. ; Naumann (Ernst), ii.
449&; Naumann (Emil), ii.
449 &; O'Leary (A.), ii. 4966;
Orpheus, ii. 613&; Paul, ii.
6756; PP. Mus. ii. 728a;
Ramann (R.), iii. 68 &; Riedel,
iii. 1296 ; Ries (H.), iii.
132a; Rontgen (J.),iii. 144a;
Scarlatti (A.), iii. 238?) ;
Schnyder (von W.), iii. 2565;
Schools of Comp., iii. 295 a,
etc.; Schumann, iii. 392 6, etc. ;
Siboni (E.), iii. 491a ; Soder-
man (J. A.), iii. 545 a ; Spohr,
iii. 6636; Stiehl, iii. 714& ;
Sullivan, iii. 761 &; Svend-
sen(J.S.),iv. 6a; Taylor(F.),
iv. 66 &; Voigt (Henriette),
iv. 3356; Wagner, iv. 3556;
Wasielewsky, iv. 384 a ; Wil-
helmi, iv. 4576 ; Bache (W.),
iv. 529 a ; Buck (Dudley), iv.
567 a; Dietrich (A. H.), iv.
614& ; Hartmann (L.), iv.
669 a; Holstein (F. von), iv.
679a ; Weitzmann, iv. 8i6a.
Hause, C, PF. Mus., ii. 736a.
Hausen, F. von; Song, iii. 615a.
Hauseb ; Ritter (F. L.), iii. 137b.
Hauseb, Miska, iv. 669 6 ;
Violin-playing, iv. 2976.
Hauseb, W. ; M^hul, ii. 2456.
Hausman ; Bodenschatz, i.
253a.
Hausmann, G., iv. 670a ; Philh.
Soc, ii. 6996 ; Violoncello-
playing, iv. 3005.
Hausmann, R., iv. 670a ; Philh.
Soc, ii. 700 J ; Violoncello-
playing, iv. 300 &.
Hautboy, i. 6986. (See Oboe,
ii. 486 a.)
Hautcoustbau ; Maitrise, ii.
199&.
Hautin, p. ; Mus. Printing, ii.
435 &•
Havebgal, Rev. W., iv. 670 a.
Ha WES, M., i. 699* ; Weber,
iv. 409 b.
Ha WES, W., i. 698b ; iv. 670b;
Concentores Sodales, i. 383 b ;
Lutenist, ii. 178a; Madrigal
Soc, ii. 194a; Marshall
(Wm.), ii. 2 21 a; Martin
(G.), ii. 221 b; Melodists'
Club, ii. 249 a; Oriana, ii.
611a; Roy. Acad, of Mus.,
iii. 185 a.
Hawkins, E. ; Round, Catch,
and Canon Club, iii. i8ob.
Hawkins, J. Isaac ; Sostinente,
PF., iii. 639 a; Wrestplank,
iv. 490 b; Cabinet Piano, iv.
574&.
71
Hawkins, J., i. 699 a ; Anthem,
i. 72a; Ely Cathedral, i.
487b; Tudway, iv. 199b.
Hawkins, J., jun„ i. 6996; iv.
670b; Tudway, iv. 199b.
Hawkins, Sir J., i. 699b ; Alpha-
bet, i. 56 b, note ; Bartleman,
i. 146 a; Bumey, i. 284b;
Corelli, i. 401 a ; Fantasia, i.
503 a ; Faux-Bourdon, i. 509 a ;
Fetis, i. 517 b ; Ground-bass, i.
6346 ; Handel, i. 656a ; Hocket,
i.74ia; Humfrey(P.),757b;
Instrument, ii. 5b; Lawes
(H.), ii. io6b ; Lesson, ii.
124a; Mace (T.), ii. 185b;
Madrigal Soc, ii. 193 a;
March, ii. 211b ; Mus. School,
Oxford, ii, 437 a; Opera,
ii. 501a; Organ, ii. 576a;
Schools of Comp., iii. 263 b ;
Sheppard (J.), iii. 486 b ;
Smith (J. Staflford), iii. 540 b ;
StefFani, iii. 698 a ; Sumer is
icumen in, iii. 765 a; Tallys,
iv- 53 ^ > Tromba Marina, iv.
175^; Violin -playing, iv.
290 a; Virginal Mus., iv. 307 b;
Hist, of Mus., iv. 674a, etc
Haxby ; Spinet, iii. 656 a.
Hay. (See Hey, iv. 672 b.)
Hay; Ancient Concerts, i. 64a.
Hayd^b, i. 700b; iv. 670b;
Auber, i. 102 b.
Hayden, G., i. 700 b; Mus.
Lib., ii. 424a.
Haydn, J. Michael, i. 700 b ;
Auswahl, etc., i. lOfa; Dia-
belli, i. 442 a ; Ecclesias-
ticon, i. 481b ; Fax, i. 570 b ;
Latrobe, ii. 103 a; Mozart, ii.
385 a, etc. ; Neukomm, ii.
452a; Orpheus, ii. 6 1 3 a ; Part
Mus., ii. 656 b; Rochlitz, iii.
142 a ; Tantum Ergo, iv. 58 a;
Woelfl (Jos.), iv. 4776.
Haydn, Joseph, i. 702a ; iv. 67b b ;
Abel (K. F.), i. 5a; Addi-
tionalAccompaniments, 1.3! a ;
Analysis,i. 62b; Ancient Con-
certs, i. 64b; Andre (J.), i.
66 b; Appoggiatura, i. 78 a,
etc. ; A quatre Mains, i. 80 a j
Arpeggio, i. 886; Artaria, i.
95 b; Auswahl, etc., i. 105 a;
Ashe, i. 98 a ; Bach (C P. E.),
i. 113b, etc.; Ball, i. 128a;
Ballet, i. 132 a ; Barthelehioa,
i. 145 b; Baryton, i. 147 a;
Bassoon, i. 153 a; Baum-
garten, i. 157a ; Beethoven,
i. 164 b, etc. ; Benincori-, i.
224a ; Bianchi (F.), i. 240a;
Bigot, i. 241 b ; JBoccherini,
i. 2516; Callcott, i. 298b;
72
Canzonet, i. 306 b; Carpani,L
317a ; Chamber Music, i.
3326; Charity Children, i.
340 &; aagget, i. 360 a;
Clement (F.), i. 3716, etc.;
dementi, i. 373 a, etc. ; Con-
cert Spirituel, i. 3856 ; Crea-
tion, the, i. 415a ; Czerwenka,
i. 4266; Diabelli, i. 442a;
Dittersdorf, i. 4496; Doctor
of Mus., i. 4516; Double
Bass, i. 458a; Double Bas-
soon, i. 459 a ; Dragonetti, i.
462 a; Dussek(J.L.),i.474a;
Eberl, i. 479 b ; Elssler, i. 7 1 2 a ;
Emperor's Hymn, i. 488 a;
Extravaganza, i.5ooa; Eybler,
i. 500 a; Festivals, i. 516a;
Finale, i. 523J ; Fitz- William
Collection, i. 530& ; Flute,
i- 537 «; Form, i. 5426, etc. ;
Forster (W.), i. 5556; Franz
(K.),i.5596; Friberth,i.564&;
Gansbacher, i. 575a; Gesell-
schaft der Musikfreunde, i.
5916 ; Gossec, i. 612a ; Grie-
singer, i. 6316; Gyrowetz, i.
642 a; Haigh, i. 644 a; Har-
mony, i. 682a, etc.; Harpsi-
chord, i. 691a; Herschel, i.
732 5; Hiller(J. A.), i. 739&;
Hummel, i. 757 &; Hunter
(Anne), i. 7586; Imitation, i.
766a; Introduction, ii. 136;
Jahn, ii. 30 a ; Janiewicz, ii.
306; Jones (J.), ii. 396;
Joshun, ii. 40a ; Kalkbrenner,
ii. 46a; Karajan, ii. 47 &;
Kozeluch (L.), ii. 696 ; Kraft,
ii. 696 ; Krumpholz (J. B.), ii.
74a ; Kyrie, ii. 78 J ; Lablache,
ii. 796 ; Latrobe, ii. 103 a ;
Lessel, ii. 1236; Libretto, ii.
1306; Lorenz, ii. 1666; Mag-
yar Mus., ii. 1 98 J; Mario-
nette Theatre, ii. 217&; Mar-
tines (Marianne), ii. 2216;
Mass, ii. 234 a ; Mayer
(J. S.), ii. 141 a ; Metastasio, ii.
316 a; Milder-Hauptmann, ii.
330&; Minuet, ii. 334a; Mo-
dulation, ii. 349 a ; Moore
(Th.), ii. 361 a ; Moralt, ii.
362 h ; Motet, ii. 376 a ; Miiller
(The Brothers), ii. 408 a ;
Mus. Lib., ii. 420 &, etc. ;
My Mother bids, ii. 440 a ;
Neukomm, ii. 452a ; Novello
(V.), ii. 481a; Oboe, ii.
488 a; Oginski, ii. 494 a;
Opera, ii. 517 b; Oratorio,
550a, etc. ; Orchestra, 11.5656;
Oura, L', ii. 6166 ; Overture,
ii. 623a; Ox-Minuet, ii. 624 a;
Patter-song, ii. 6736 ; Peters
INDEX.
(C. F.), ii. 6956 ; Part Mus.,
ii. 6566; PR, ii. 715, note-,
PF.-playing, ii. 737 &, etc. ;
Pleyel (L J.), iii. 2b; Pohl
(C. F.), ii. 5a; Porpora, iii.
17b ; Pract. Harmony, iii. 24a ;
Prince de la Moskowa, iii. 316;
Programme -mus., iii. 36 b;
Quartet, iii. 56 b, etc. ; Rasou-
mowsky, iii. 77 a; Kauzzini,
iii. 78 a ; Recitative, iii. 85 b ;
Recte et Retro, iii. 88 h ;
Redoute, iii. 89 b ; Reicha, iii.
98 a; Reinagle (J.), iii. 102 a;
Reutter (G.), iii. 121a ; Rom-
berg (A.), iii. 153b ; Rossini,
iii. 167 a ; Rovedino (C), iii.
183 a ; Royal Soc. of Mus. of
Great Britain, iii. 187b;
Schenk (J.), iii. 245 a ; Scher-
zo, iii. 246a, etc.; Schools of
Comp., iii. 288 b, etc. ; Schroe-
ter (J. S.), iii. 318b ; Schubert,
iii. 320 b, etc ; Score, iii. 431 ;
Scotish Mus. iii. 45 1 b ; Seasons,
the, iii. 453 b ; Serenata, iii.
468 h ; Seven last Words, the,
iii. 476 a ; Seyfried, iii. 478 b ;
Shield (W.)j iii. 487 a ; Shudi,
iii. 489 b; Singspiel, iii. 517 a ;
Smart (Sir G.), iii. 537a;
Socidte des Concerts, iii.
543 b ; Sonata, iii. 566 b, etc. ;
Song, iii. 624a ; Sonnleithner,
iii. 632 b; Specimens, Crotch's,
iii. 648b, etc. ; Stabat Mater,
iii. 684b; Stadler, iii. 686 a;
Steibelt (D.), iii. 701 b ; Storm,
iii. 720a ; Swieten, iv. 9a ;
Symphony, iv. 16 a, etc. ;
Tenor- violin, iv. 91b; The-
matic Catalogue, iv. 99 a;
Thomson (G.), iv. 107 a ;
Tomasini (L. A.), iv. 133 b ;
Tresor des Pianistes, iv. 168 a ;
Trio, iv. 172a; Trumpet,
iv. 182b; Tuma, iv. i86b;
Variations, iv. 223a; Violin-
playing, iv. 297 a; Violon-
cello-playing, iv. 300 a ; Vogt
(G.), iv. 331b; Wanhal, iv.
382a; Weber, iv. 388b, etc. ;
Weigl (Jos.),iv. 432a ; Welsh
Mus., iv. 443b ; Wranizky, iv.
490 a; Zingarelli, iv. 508 b;
Zumsteeg, iv. 515 a, note,
Dance Rhythm, iv. 607 b ; Mus.
Lib., iv. 726a ; Vallotti, iv.
806b.
Haydn in London,
'22a;
iv. 670b; Pohl (C. F.), iii.
5 a-
Hayes, Catharine, i. 722 b;
Garcia (M.), i. 582b; Lam-
perti, ii. 89 a ; Philh. Soc, ii.
699 b ; Scotish Mus., iii. 451 b ;
Singing, iii. 512 a.
Hayes, P., i. 722 b; Beck with,
i. 161 b; Clarke- Whitfeld, i.
365 b; Hine, i. 7406; Mac-
beth Mus., ii. 183b; Mus. Lib.,
ii. 421b; Music School, Ox-
ford, ii. 437 a; Orchestra, ii.
564a, note ; Oxford, ii. 624b ;
Schools of (^omp., iii. 291a.
Hayes, W., i. 722b: iv. 670b;
Anthem, i. 72 a ; Arnold (S.),
i. 86 a ; Avison, i. io6a ; Catch,
i. 322b ; Catch Club, i. 322b;
Hymn, i. 763 a; Mus. Lib.,
ii. 42 1 b ; Mus. School, Ox-
ford, ii. 437 a; Oxford, ii.
624b; Part Mus., ii. 657a;
Round, iii. i8ob; Royal Soc.
of Mus. of Gt. Britain, iii.
187a ; Schools of Comp,, iiL
29 1 rt ; Sons of the Clergy, iii.
633 b ; Three Choirs' Festival,
iv. 112b; Vocal Scores, iv.
320a.
Hayes, W., jun., i. 723a.
Haym, N. F., i. 723a ; Clayton,
i. 370b; Gallia (Maria), i.
578a; Hawkins (Sir J.), L
700 b ; Nicolini, ii. 454a ;
Tallys, iv. 53 b.
Hayne, G. ; Frederick the Great,
i. 561b.
Head- VOICE, i. 723b; Voce di
Petto, iv. 321a.
Heardson; Mus. Lib., ii. 419a.
Heath ; Mus. Antiqua, ii. 41 1 a.
Heather, W. (See Heytheb, i,
735«-)
Hebenstreit ; Dulcimer, L
469 a; Pantaleon, ii. 645 a;
PF., ii. 712 b.
Hebrides, i. 724a; Mendels-
sohn, ii. 264 a, etc.
Hecht, E., iv. 670b ; PF. Mus.,
ii. 734a; PF.-playing, iv.
748 b.
Hecht; Mus. Lib., ii. 419a.
Heckel ; Zither, iv. 5130.
Hedgeland, W., i. 724a.
Heerman, H. ; Violin-playing,
iv. 296a.
Heeson, Ed.; London Violin
Makers, ii. 164 b.
Hegar, F.; Violin-playing, iv.
297 a.
Hegner, 0.; Philh. Soc, iv.
747 a.
Heidegger, J. J., i. 724a ;
King's Theatre, the, ii. 58 b;
Opera, ii. 512b; Valentini
(V. U.),iv. 213b.
Heighington, M., i. 724b.
Heil dir im Siegsrkbanz, i.
725 a.
Heilbron, Mile. ; Strakosch, iii.
734&-
Heimkehb aus deb Fbemdb.
(See Son and Stbangeb, iii.
553&.)
Heinefetteb, C, iv. 671a.
Heinefetteb, K., iv. 671 a.
Heinefetteb, S., iv. 671a;
Wild (R), iv. 456&,
Heinemeyeb, E. ; Pliilh. Soc., ii.
699 &.
Heinze, G. a., iv. 671a.
Heise, p., Song, iii. 611 a.
Heissleb ; Sey fried, iii. 478 b.
Hel ; Violin, iv. 284a.
Hele, G., de la ; Sistine CJhapel,
iv. 794a.
Helleb, S., i. 725a ; iv. 6716 ;
Aubade, i. 101&; Ernst, i.
4926; Humoreske, i. 758 a;
Mus. Soc. of London, ii. 432 a ;
Nuits blanches, ii. 4846; PR
Mus.jii. 731 &; PF. -playing, ii.
742 6 ; Revue et Gazette Mus.,
iii. 121 6 ; Schubert, iii. 358 a;
Schumann, iii. 391 &, etc.;
Studies, iii. 747 a ; Taylor (F.) ,
iv. 66 & ; Wessel (C. R.), iv.
4486.
Hellinck. (See Lupus.)
Hellmesberger, G., i. 7256;
iv. 6716; Boehm, i. 2546;
Violin- playing, iv. 2976 ; Vio-
lin-playing, iv. 812 a.
Hellmesberger, G., jun., i.
7256; Philh. Soc, ii. 699b.
Hellmesberger, J., i. 725b;
iv. 6716; Gesellschaft, etc.,
i. 591a ; Goldmark, i. 6076 ;
Rappoldi, iii. 766; Svensden
(J. S.), iv. 6b ; Mottl (R W.),
iv. 720b; Violin - playing,
iv. 289; Violin-playing, iv.
812a.
Hellmesberger, J., jun., i.
725b ; iv. 671b.
Helmholtz, H. L. F., i. 725b ;
Analysis, i. 64 a; Bassoon, i.
152a; Beats, i. 159b; Clari-
net, i. 362b; Form, i. 554b;
Harmonics, i. 663 a ; Harmo-
nium, i. 666 b; Harmony, i.
670a, etc.; Interval, ii. lib;
Leading Note, ii. 108 b ; Octave,
ii. 491 rt ; Overtones, ii. 618 b ;
Partial Tones, ii. 653b; Re-
sultant Tones, iii. 120a; Scale,
iii. 235b, note', Siren, iii.
518a ; Tartini, iv. 62b ; Tem-
perament, iv. 70b, note, etc. ;
Timbre, iv. ii6b; Tone, iv.
141b; Tonic Sol-fa, iv. 148b;
Treatment of Organ, iv. 163 b ;
Ellis (A. J.), iv. 626 b ; Minor,
iv. 719a.
INDEX.
Helmobb, Rev. T., 1. 7376;
Accents, i. 17b, note', Chant, i.
338 b ; Chapels Royal, i. 339 a ;
Faux-Bourdon, i. 509b, note\
Hymn, i. 764 a; Madrigal
Soc, ii. 194a ; Noel, ii. 463b,
note ; Plain Song, ii. 765 b ;
Schools of Comp., iii. 312 a;
Sullivan, iii. 761a; Gregorian
Tones, iv. 657 b.
Hemiolia, i. 727b; Minim, ii.
333 a; Sesqui, iii. 475 a.
Hemitonb ; Solmisation, iii.
549&-
Hempson, D. ; Irish Mus., ii. 19 a.
Hemson - HORN ; Virdung, iv.
303 b.
Henkel, H. ; PF. Mus., ii.
736 a.
Henley, Rev. P., i. 727b; Page,
ii. 632 b.
Henneberg, J. B., i. 728a;
Haydn (M.), i. 701a; Mozart,
ii. 394a.
Henning, K. ; Auswahl, etc., i.
105a; Mendelssohn, ii. 254b ;
Weitzmann, iv. 81 6a.
Henri ; Falcon (Marie), iv.
632 a.
Henri, M. ; Chevalier, i. 344 a ;
Vingt-quatre Violons, iv. 266b.
Henri Quatre (Vive), i. 728a;
Caurroy, i. 326 b ; Gabrielle
Charmante, i. 572 b ; Gretry, i.
628b.
Henrique, i. 729a ; Rooke, iii.
157a.
Henry; Violin, iv. 283a.
Henry VIII, i. 729 a ; Ballad, i.
128b; Boyce, i. 268a; Haw-
kins, i. 700 a ; Mus. Antiqua,
ii. 41 1 a ; Schools of Comp., iii.
270b; Song, iii. 601 b; Tan-
ta-ra, iv. 57 b; Tudway, iv.
199 a.
Henschel,G., i. 729a; iv.67ib;
Philh. Soc, ii. 700b ; Singing,
iii. 512a; Song, iii. 630b;
Symphony Orchestra, iv. 43 a ;
Royal Coll. of Mus., iv. 776b ;
Symphony Concerts, iv. 798 b.
Hensel, Fanny C, i. 729 b ;
Berger, i. 231 a ; Mendelssohn,
ii. 262a; Orpheus, ii. 613b;
Song, iii. 630 b.
Hensel, S. ; Mendelssohn, ii.
310a.
Henselt, a. i., 739 b ; iv. 671 a ;
Berger, i. 231a; Etudes, i.
497a; Lenz, ii. 120b; Novel-
letten, ii. 480b; Pedals, ii.
683a; PF. Mus., ii. 731a;
PF.- playing, ii. 741a, etc.;
Schumann, iii. 391b, etc.;
Starck (I.), iii. 690b; Studies,
78
iii. 747 ®» Vieuxtemps, iv.
362 b.
Henshaw; Reay, iii. 810.
Henstridge, D., i. 730a; Mus,
Lib., ii. 418b, etc.
Herbeck, J., i. 730b; Gesell-
schaft der Musikfreunde, i.
591a; Hellmesberger (Jos.),
i. 725 b; Reinhold (H.), iii.
102 b ; Schubert, iii. 333 a, etc.
Herculanum, i. 730 b; David
(Fel.), i. 433a.
Hercules, i. 730b; Handel, i.
651b.
Heredia. (See Aguilbba, i.
45 a.)
Herger, J. ; Gura (E.), iv.66i b.
Hering, K. ; Schneider, iii. 256a.
Heritieb L'. (See L'H^bitieb.)
Heb Majesty's Theatbe. (See
King's Theatre, ii. 58a.)
Herman, N. ; Chorale, iv. 589 a.
Hermann, Jacques; Hist, of
Mus., iv. 675 a.
Hermann, J. Z. (See Zeugheer,
iv. 507 a.)
Hermann; Steibelt (D.), iii.
700 a.
Hebmstadt, J. ; Weber, iv.
3986, etc.
Heeold, L. J. F., i. 730b; iv.
671b; Academie de Mus., i.
9b; Adam (L.), i. 29a; Bat-
ton (D.), i. 157 a; Gr. Prix
de Rome, i. 6i8b ; Malibran,
ii. 201 b ; Opera, ii. 523a; Pr^
aux Clercs, iii. 27a; Rossini,
iii. 171a; Schools of Comp.,
iii. 304a; Schubert, iii. 334b;
Scribe, iii. 453a; Zanipa, iv.
499 b; Leitmotif, iv. 699 a.
Herschel, J., i. 732b.
Herschel, Sir F. W., i. 733 b;
Haydn, i. 711a.
Hebschel, Sir J. ; Tonic Sol-fa,
iv. 145 a, note.
Heesee, Rose ; Singing, iii.
512 a.
Hertel; Fasch (C), i. 508 a.
Hertoghs, B. (See Ducis, i.
467 b.)
Hebtzberg ; Bach (J. C), i.
ma.
Herve, R, iv. 671 b ; Schools of
Comp., iii. 304b; Veuve du
Malabar, iv. 258 b.
Herz, H., i. 732b; iv. 672 b;
Albeniz (P.), i. 48 a ; Blumen-
thal, i. 250 b; Carnaval de
Venise, i. 316 a ; Conservatoire
de Mus., i. 392b; Forbes, i.
539b; Lafont, ii. 84a ; Laid-
law, ii. 85 a ; Mendelssohn, ii.
257b, etc.; Philh. Soc, ii.
699a; Pianoforte, ii. 722a;
74
PF. Mu8., ii. 739 a ; PF.-play-
ing, ii. 738 6, etc. ; Pixis (J. P.),
ii. 759&; Pleyel (Mme.), iii.
36; Bomantic,iii.i50&; Rosel-
len (H.), iii. 162 a; Salaman
(C. K.), iii. 3176; Waley, iv.
376 a; Gregoir, iv. 655 a.
Hebz, J.; PF. Mus., ii. 7286 ;
PF.-playing, ii. 744,
Hebz, mein Hebz, iv. 6735.
Hebzbebg, a., PF. Mus., ii.
733 &; PF.-playing, ii. 745.
Hebzbebg, R. von ; Berger (L.),
i. 231a.
Herzog, J. G., i. 733a ; Schnei-
der (J. G.), iii. 256 a.
Herzogenbeeg,H. von,iv. 6726;
Song, iii. 6306.
Hesdin ; Attaignant, i. ioo5;
Sistine Chapel, iv. 794 a.
Heseltine, J., i. 733&; Glee
Club, i. 599 a; Mus. School,
Oxford, ii. 437 a.
Hess, W. ; Violin-playing, iv.
398 a.
Hesse, A. F.,i. 7336; Aquatre
Mains,i.8o6; Earner, i. 2356;
Jadassohn, ii. 29 a; Lemmens,
ii. 1 20a.
Heubteub, J. le. (See Lb Heub-
TEUB.)
Heuschkel, J. ; Weber, iv. 389 a.
Hewe, J., i. 7336.
Hexachoed, i. 7386; iv. 6736;
Accidentals, i. 19a; B., i.
107a; Clavichord, i. 3686;
Gamut, i. 580 &; In Nomine,
ii. 4a ; Kyrie, ii. 78a ; Mass,
ii. 2 266; Mi Contra Fa, ii.
3266; Micrologus, ii. 3276;
Missa Super Voces Mus., ii.
3386; Mutation, ii. 439a;
Notation, ii. 467 a ; Keal
Fugue, iii. 80 a ; Si, iii. 490 a,
note ; Solinisation, iii. 550 a ;
Subject, iii. 748 h ; Tetrachord,
iv. 946; Tonal Fugue, iv.
I35«; Ut, Re, Mi, iv. 211a,
etc.; Fa Fictum, iv. 6310;
Guido d'Arezzo, iv. 660 a;
Pentatonic Scale, iv. 7456.
Hey, iv. 6726.
Heykdebicks, M. ; Regibo (A.
B. M.), iii. 94 a.
Heyns, C. ; Sistine Chapel, iv.
794a.
Heytheb, W., i. 735 a; Cho-
ragus, i. 3506; Hilton, i.
740a; Mus. Lib., ii. 422a;
Mus. School, Oxford, ii. 437 a ;
Professor, iii. 326.
Heywood; Chant, i. 3386.
Hicks; Barrel Organ, i. 1436.
Hicks, Rev. E. j Hist, of Mus.,
iv. 6766.
INDEX.
Hidden Fifths and Octaves, i.
735 &; Strict Counterpoint, iii.
7416.
Higgs, J.; Royal Coll. of Mus.,
iv. 159a; Tnn. Coll. London,
iv. 171 6.
Highland Fling, i. 7366.
High Mass, i. 736 6; Bach (J. S.),
i. 115&; Sequentia, iii. 4656;
Sext, iii. 478 a.
HiGNABD, A. ; Halevy, i 645 h ;
Chabrier, iv. 5846.
Hildebband, iv. 673 a.
HiLES, H., iv. 673a ; Part Song,
ii. 6596 ; Mus. Periodicals, iv.
7266.
Hiles, J., iv. 673 b ; Diet, of
Mus., i. 4466.
Hill, C. ; Wagner, iv. 3635,
etc.
Hill, H. L. ; London Violin
Makers, ii. 165 a.
Hill, Jos. ; London Violin
Makers, ii. 1646.
Hill, T.; Organ, ii. 608 a.
Hill, U. C. ; PhUh. Soc, New
York, ii. 702 a.
Hill, W. ; Tenor Violin, iv.
92 a.
Hill, W., & Son; i. 7366 ; El-
liott, i. 4846 ; Snetzler, iii.
Hill, W. E.; London Violin
Makers, ii. 165 a; Violin, iv.
284 a.
Hill, Weist. (See Weist, iv.
Hillanas, J. de ; Sistine Chapel,
iv. 794a.
Hillemacheb; Gr. Prix de
Rome, i. 618&.
Hillemacheb, L. ; Gr. Prix de
Rome, iv. 6546.
Hilleb, Ferd., i. 737 a; iv.
6736; Additional Accompani-
ments, i. 316; Baillot, i.
1256; Beethoven, i. 200a;
Bruch, i. 279 a ; Cherubini, i.
344a ; Elijah, i. 486 a ; Franc-
homme, i. 5586; Gewandhaus
Concerts, i. 593 a ; Ghazel, i.
593 a; Handel Gesellschaft, i.
659 a; Hauptmann, i. 6986;
KUngemann, ii. 65 a; Lang
(Josephine), ii. go a; Leip-
zig, ii. 115 a; Mendelssohn,
ii. 254a, etc.; Mus. Periodi-
cals, ii. 4276; Niederrhein-
ische Musikfeste, ii. 456 a,
etc.; Oratorio, ii. 558a;
Orpheus, ii. 613a; Part
Mus., ii. 657 a; Part Song,
ii. 659a ; Philh. Soc, ii.
6986; PF. Mus., ii. 7306;
PF.-playing, ii. 7426; Quin-
tuple Time, iii. 61 5 ; Rappoldi,
iii. 766 ; Reinecke, iii. I03 5;
Sauzay, iii. 2306; Schelble,
iii. 2446; Schmitt (A.), iii.
3546 ; Schools of Comp., iii.
395 a, etc ; Schubert, iii. 331a,
etc.; Schumann, iii. 3916,
etc. ; Studies, iiL 747 a ; Sym-
phony, iv. 43 6 ; Treatment of
Organ, iv. 1636; Vollweiler
(G.),iv. 338 a; Wfilhier, iv.
493 a; Corder (P.), iv. 598 a;
Golinelli, iv. 651 a ; PF. Mus.,
iv. 7486; PF.-playing, iv.
7486.
Hilleb, J. A., i. 7386 ; Adlung,
(J.), i. 37 &; Bach (J. S.), i.
117a; Barthel, i. 1450;
Eberwein, i. 481a; Fesca, i,
514b; Gewandhaus Concerts,
i. 5926, etc.; Graun (K.
H.), i. 6216; Homilius, i.
7456; Leipzig, ii. 115a ; Lea-
sel (F.), ii. 1236; Mara,
ii. 209a; Motet, ii, 376a;
Mus. Periodicals, ii. 431a;
Neefe, ii. 4506; Opera, ii.
519a; Riem, iii. 130a;
Schicht, iii. 249 a ; Schools
of Comp., iii. 2886; Singspiel,
iii. 517a; Sirmen, iii. 5186;
Song, iii. 622 a, etc. ; Tod Jesu,
der, iv. 131a ; Tftrk, iv. i86a ;
Weber, iv. 414 a.
HiLMAB, F. ; Polka, iii. ga.
Hilpebt; Becker (J.), i. 161 b.
Hilton J., i. 740a; Madrigal,
ii. 191a; Mus. Antiquarian
Soc, ii. 4166; Mus. School,
Oxford, ii. 437 a ; Non Nobis,
ii. 464a; Oriana, ii. 611 a;
Playford (J.), iii. 2a; Schools
of Comp., iii. 277 a; Tudway,
iv. 199a; Vocal Scores, iv.
320a; Warren (Jos.), iv.
383a; Burney, iv. 571a.
Himmel, F. H., i. 740 a ; Bee-
thoven, i. 172a; Billington
(Mrs.), i. 242 a ; Dussek (J.
L.), i. 474b, etc. ; Extempore
playing, i. 499 a; Horn, i.
752a; Liederspiel, ii. 136a;
Oratorio, ii. 553a ; Part Mus.,
ii. 656b; PF. Mus., ii. 7256 ;
Sehnsucht, iii. 458 b; Song,
iii. 622 b; Trauer- waltz, iv.
162 b.
HiNCKES, Rev. J.; Glee Club,
i. 599a.
HiNDLE, J., i. 740 b; Glee, L
599 a ; Glee Club, i. 599a.
HiNB, W., i. 740b; Arnold (S.),,
i. 86b ; Hayes (W.), i. 723 b ; '
Mus. Lib., ii. 422b; Page,. ^
ii. 632b; Rudhall, iii. 200a.
HiNGSTON, J., i. 741a; Blow,
i. 249 &,
HiNKLEY, Mine. ; Strakosch, iii.
734&-
HiNTZE, J. ; Chorale, iv. 5906.
HiPKiNS, A. J. ; Hist, of Mus.,
iv. 676a; Mus. Instruments,
iv. 723a ; Regal, iv. 7696.
HiRSCH ; Haydn, i. 7066.
HissoN, MdUe. ; Wartel (P. F.),
iv. 3836.
Histories of Music, iv. 673 &.
Hitchcock; Keyboard, ii. 54a;
Spinet, iii. 6546, etc.; Vir-
ginal, iv. 305 a, note.
HiTZLER, D. ; Solmisation, iii.
551 &; Voces Belgicae, iv.
3226.
Hjelm, 0. W. ; Song, iii. 611 a.
HoBBS, J. W., i. 741a; iv.
677a; Madrigal Soc, ii.
194a; Melodists' Club, ii.
249 a ; Reeves (Sims), iii. 926;
Song, iii. 607 a.
HoBLER, p. ; Glee Club, i. 599 a.
HoBRECHT. (See Obbecht, J.,
ii. 4896.)
Hochbbuckeb; Pedals, ii. 6836.
HocHscHULE, Berlin. (See
MUSIK, HoCHSCHULE, PUR, ii.
437 &.)
HocKET. (See Ochetto, ii.
491a.)
Hodges, Ed., i. 741a; iv.
677a.
Hodges, F., i. 741 h.
Hodges, J. S., i. 741 b.
Holzel, G.; Sechter, iii. 4555.
HOlzel ; Wagner, iv. 362 a.
HoENES; Zither, iv. 513a.
Hoepner; a Quatre Mains, i.
80 &.
HoESEN, Van ; Conservatoire,
Brussels, i. 5926.
Hoesler; Orpheus, ii. 613 a.
HoFBAUER, C; Cornelius, i. 403a.
HoFER ; Baron, i. 142 a.
HoFFHAiMER, P.; Isaac (H.),
ii. 2 2 6.
Hoffmann, E. T. W., i, 741 & ;
Beethoven, i. 171 &; Kreisler-
iana, ii. ^la; Opera, ii. 522a;
Romantic, iii. 150a; Schu-
mann, iii. 4096; Weber, iv.
396 &.
Hoffmann, F. ; Hist, of Mus.,
iv. 675 a.
Hoffmann, G., i. 742 a; Oboe,
ii. 486 a.
Hoffmann, H. A., i. 742 a;
Volkslied, iv. 337 &.
Hoffmann, J. ; Vaterlandische
Kiinstlerverein, iv. 808 a.
Hoffmann, L.; Wagenseil, iv.
345 a-
INDEX.
Hoffmann (of Livonia); Haydn,
i. 7166.
Hoffmeister, F. a., i. 7426;
Beethoven, i. i8oa ; Part
Mus., ii. 657 a ; Peters (C.
F.),ii.695&.
Hofmann, H., iv. 6776; PF.
Mus., ii. 7356; PF.-playing,
ii. 743 a-
Hofmann, J. ; Philh. Soc, iv.
747 a.
Hofmann ; Sterkel, iii. 711 6.
Hogarth, G., i. 742 h ; iv. 678 a ;
Drum, i. 465 a ; Mendelssohn,
ii. 310a; Philh. Soc, ii. 701 & ;
Thayer, iv. 98 h ; Thomson
(G.), iv. 107a; Hist, of Mus.,
iv. 674a.
HoL, R. ; Utrecht, iv. 211a.
Holborne, a., i. 742 6; Dowland
(R.), i. 4606; Mus. Lib., ii.
417 a, etc
Holborne, W., i. 7426.
Holcombe, H., i. 743 a.
HoLcoMBE, M. J., i. 743 a.
Holcombe, P. G., i. 743a.
HoLDEN, F. ; Irish Mus., ii. 22a.
HoLDEN, J., iv. 678 a.
Holder, J. W., i. 743 a ; Schools
of Comp., iii. 286 &.
Holder, Rev. W., D.D., i. 7436 ;
Tudway, iv. 198 &.
HoLDERNESS ; Choral Har. Soc,
i. 352a.
HoLDicH, G. M., i. 743 &.
HoL-FLUTE ; Organ, ii. 591 a,
Hollander, Alma. (See Haas.)
Hollander, G. ; Violin-playing,
iv. 298 a.
HoLLANDE, J. de ; Tresor Mus.,
iv. 802 a.
HoLLBUSCH ; Ganz (A.), i. 581 a.
HoLLiNS, A. ; Philh. Soc, iv.
747 a.
Holmes, A., i. 7436; iv. 678a;
Violin- playing, iv. 2986.
Holmes, Augusta M. A., iv.
6786.
Holmes, Ed., i. 744a; Mozart,
ii. 402 a, etc.; Mus. Periodicals,
ii. 4276; Schubert, iii. 3696,
note ; Stirling (Eliz.), iii. 715a.
Holmes, G., i. 744a ; Mus. Lib.,
ii. 419a; Page, ii. 6326;
Tudway, iv. 199 &.
Holmes, H., i. 744a ; iv. 679a ;
Philh. Soc, ii. 700a ; Royal
Coll. of Mus., iv. 159a; Violin-
playing, iv. 2986.
Holmes, J., i. 744 &; Batten, i.
1556; Lowe (Ed.), ii. 170a;
Oriana, ii. 611 a.
Holmes, T., i. 7446.
Holmes, W. H., i. 744?) ; iv.
679a; Bach Soc, i. 120a;
75
Bennett (Sir S.), i. 2 2c, a;
Macfarren (W. C), ii. i86&j
Philh. Soc, ii. 700 a; PF.-
playing, ii. 744a ; Royal Acad,
of Mus., iii. 186&; Soc of
British Mus., iii. 544a ; Val-
leria (A.), iv. 2146; Barnard
(C), iv. 531a; Davison (J.
W.), iv. 609a; PF.-playing,
iv. 748 &.
HoLSTEiN, F., iv. 679 a.
Holt, H. E. ; United States, iv.
203 a.
HoLZ, K., i. 744& ; Beethoven,
i. 168 1), etc. ; Tenth Symphony,
iv. 92 a.
HoLYOKE, S. A. M., i. 753&.
HoLZAPFEL; Schubert, iii. 3216.
HOLZBAUER, L, i. 745 a; Alle-
granti, i. 536; Mozart, ii.
385 &.
HoLZER, M. ; Schubert, iii. 3196;
Schubert (Ferd.), iii. 382a.
Holzharmonika ; Strohfiedel,
iii. 746 a.
Home, sweet Home, i. 745 b ;
iv. 679a; Bishop (Sir H.), i.
245^-
Homilius, G. a., i. 745 &; iv.
679a ; Auswahl, etc., i.
105 a; Hiller (J. A.), i.
7386; Motet, ii. 376a; Mus.
Lib., ii. 4226; Part Mus., ii.
657 a; Rochlitz, iii. 142a;
Tiirk, iv. i86a ; Vocal Scores,
iv. 3196; Weinlig (C. E.), iv.
433 a-
Hommel ; Jahrbucher, etc., ii.
306.
HOMOPHONY, i. 746 a; iv. 6476;
Harmony, i. 675 a; Monodia,^
ii. 354a ; Schools of Comp.,
iii. 288a, note.
HoNDT. (See Gheerkin.)
Hood, G. ; Hist, of Mus., iv»
674&.
Hook, E. & G. ; Organ, ii. 608 a.
Hook, J., i. 746a ; English
Opera, i. 489 a ; Marylebone
Gardens, ii. 2246; Opera, ii.
524a; PF. Mus., ii. 7246;
Schools of Comp., iii. 291a;
Scotch Snap, iii. 437 &; Song,
iii. 607 a ; Thoroui,4i-bass, iv.
1086; Vauxhall Gardens, iv.
233&-
Hooper, E., i. 746 h ; Barnard
(Rev. J.), i. 1406; Este, M.,
i. 496 a; Hymn, i. 7626 j
Leighton, ii. 114&; Tudway,
iv. 198&; Virginal Mus., iv.
310a; Psalter, iv. 761a.
Hooper, J., i. 746 &.
Hooper, R. ; Hist, of Mus., iv.
6746.
76
Hopkins, E. J., i. 746 b; Bach
Soc, i. 1 20 a; Hymn, i.
764a ; Madrigal Soc., ii. 194a;
Organ, ii. 608 &; Part Mus.,
ii. 657 a; Purcell Society,
iii- 53 «; Schools of Comp.,
iii. 309& ; Scotson Clark, iii.
45 2 6 ; Silbermann , iii. 494 a ;
Western Madrigal Soc, iv.
449a ; Hist, of Mus., iv. 676a ;
Organist's Coll., iv. 735 &.
Hopkins, J., i. 7466 ; Volun-
tary, iv. 339 J ; Bridge (J. F.),
iv. 564a ; Bridge (J. C.), iv.
5646.
Hopkins, J. L., i. 7470; iv.
679&; Mus. Lib., ii. 422a;
Maas (J.), iv. 706a.
HoPKiNSON, i. 747a; iv. 6796;
PF., ii. 723a.
HoppELTANZ ; Tourdion, iv.
154&.
HoPPEK, i, 747 a ; Grasshopper,
i. 619&; PF., ii. 711a.
HoEN, i. 7476; iv. 679&; Ber-
gonzi (B.), i.23ia; C., i. 289a;
Corno, i. 404 & ; Corno di cac-
cia, i. 404 &; French horn, i.
563 a; Harper (C), i. 688 a;
Instrument, ii. 6 a ; Irish Mus.,
ii. 20&; Leutgeb, ii. 126a;
Muta, ii. 439 « ; Muteii. 4396;
Orchestra, ii. 564a, etc. ;
Organ, ii. 5966; Piston, ii.
757a; Rousselot (J. F.), iii.
183a; Sordini, iii. 6376;
Spohr, iii. 658 a; Stich, iii.
714a; Tan-ta-ra, iv. 5 7 & ;
Temperament, iv. 766; Tirarsi,
da, iv. 1286; Trio, iv. 172a;
Valve, iv. 215&; Vivier, iv.
318a; Wind-band, iv. 4676,
etc. ; Gossec, iv. 652 a.
HoBN, C. E., i. 752b ; Barnett,
i. J40&; English Opera, i.
489?); Lalla Kookh, ii. 86a;
Lancers' Quadrille, ii. 896;
Opera, ii. 5246; Royal Soc. of
Mus. of Gt. Britain, iii. 187b ;
Schools of Comp., iii. 3056 ;
Song, iii. 607 a; Vauxhall
Gardens, iv. 234a; Welsh
(T.), iv. 444a.
Horn, K. F., i. 752a; Balfe, i.
1286; King (M. P.), ii.57a;
Welsh (T.), iv. 444 a ; Wesley
(S.), iv. 446a; Wohltempe-
rirtes Klavier, iv. 483 b.
HoRNCASTLB ; Vocal Assoc, iv.
320b.
HoRNEMANN, C. F. E. ; Song, iii.
611 a.
EORNEMANN, J. 0. E. ; PF.
Mus., ii. 7300; Song, iii.
6110.
INDEX.
Hornpipe, i. 753a; iv. 679b;
Hymn, i. 763a ; Irish Mus.,
ii. 21 b; Lo, He comes, etc.,
ii. 161 a; Matelotte, ii. 236b;
Ravenscroft (J.), iii. 78b; Sir
Roger de Coverley, iii. 519a;
Suite, iii. 756a.
HoBOLOGius ; Bodenschatz, i.
253a-
HoRSFALL, J.; Concentores So-
dales, i. 383 b.
HoRSLBT, C. E., L 75a b; iv.
679 b; Bach Soc, i. 120a;
Mendelssohn, ii. 269a, 310 a;
Mus. Soc. of London, ii. 431b ;
PF.-playing, ii. 745 ; Schools
of Comp., iii. 308 a; Vocal
Assoc, iv. 318b ; PF.-playing,
iv. 748 b.
HoRSLEY, W.,i.753b ; Auswahl,
etc, i. 105a; BuiTowes, i.
285 a ; Callcott, i. 299 a ; Con-
centores Sodales, i. 383 b ; Glee,
i. 598 b; Hullah, i. 755 b;
Madrigal Soc, ii. 193 b; Men-
delssohn, ii. 269a, etc. ; Part
Mus., ii. 656 b; Philh. Soc,
ii. 698 a; Royal Acad, of
Mus., iii. 185 a ; Vocal Scores,
iv. 320a; Waley, iv. 376a.
HoRTENSE, E. De Beauhamais,
(Queen), i. 754a; Drouet, i.
463b; Partant pour la Syrie,
ii. 652b, etc.; Plantade, iii.
I b ; Song, iii. 595 a.
HoRTON. (See Reed, iii. 91b.)
HoRZALKA ; Ecclesiasticon, i.
481b; PF. Mus., ii. 726b;
PF.-playing, ii. 744; Schu-
bert, iii. 360, note; Vater-
landische Kiinstlerverein, iv.
808 a.
HosANNA, i. 754a ; iv. 679b.
HoTHBY, J., i. 754b; iv. 679b;
Dunstable, iv. 620a.
Hottinet, B. ; Attaignant, i.
loob; Sistine Chapel, iv.
794a; Tr^sor Mus., iv. 802 a.
Hottingeb; Nageli (J. G.), ii.
442 b.
HoussAiB, La ; Stradivari, iii.
732 a.
HoDX, J. le; Song, iii. 592b,
note.
Hoven, J. (See Vesque v.
PiJTTLINGEN, iv. 8llb.)
Howard, S., i. 754b; Urio, iv.
2ioa ; Psalter, iv. 765b.
Howell, A., i. 754b; iv. 680a.
Howell, E., i. 745 b; Royal
Coll. of Mus., iv. 159a;
Violoncello-playing, iv. 300 b.
Howell, J., i. 754b ; iv. 680a.
HowGiLL, W., i. 754b.
Hotland, J., i. 755 a.
HOYLAND, W., i. 755 a.
HOYLE, J., i: 755a.
HoYTE, W. S., Trin. CoU., Lon-
don, iv. 171b.
HUBER, H., iv. 680a.
Hubert. (See Porporino.)
HuoBALD, de S. a., iv. 680a ;
Coussemaker, i. 411b; Nota-
tion, ii. 469a, etc; Organum,
ii. 609 a ; Plagal Modes, ii.
762b ; Score, iii. 427a ; Stave,
iii. 693 a; Hist, of Mus., iv.
673b.
Hudson, G. ; English Opera, i.
488 b ; King's Band, ii. 58 a ;
Lawes (H.), ii. 107 a.
Hudson, Mary, i. 755 a.
Hudson, R. i. 755a; Chard
(Dr.), i. 340 a ; Mus. School,
Oxford, ii. 437 a.
Hub ; Gr. Prix de Rome, iv.
654&-
Hueffer, F., iv. 680b and
819 b ; Diet, of Mus., i. 446 b ;
Schumann, iii. 420b ; Song,
iii. 591 a ; Wagner, iv. 374b ;
Mus. Periodicals, iv. 726 b ;
Philh. Soc, iv. 746 b.
HtJLLBR. (See HiLLER, J. A.,
i. 738 b.)
HuLPHERS, A.; Hist, of Mus.,
iv. 675 b.
HiJNTEN, F., i. 755a ; iv. 681 a;
PF. Mus., ii. 728a ; Roman-
tic, ii. 150 b.
HuNTEN, P., i. 755a.
HiJNTEN, W,, i. 755 a.
HuTTENBBENNER, A., i. 755 a;
Beethoven, i. 200b ; Schubert,
iii. 329a, etc. ; Thayer, iv,
98 b; Vaterlandische Kiinst-
lerverein, iv. 808 a.
HiJTTENBBENNEB, H., i. 755b;
iv. 681 a ; Schubert, iii. 329a.
HUTTENBREN>'EB, J., i. 755 b.
Hughes, P. ; Irish Mus., ii. 22a.
Hughes, S. ; Ophicleide, ii.
532b.
Hugot; Conservatoire, i. 392 a.
Huguenots, Les, i. 755 b; Meyer-
beer, ii. 323a.
HuLAN ; Song, iii. 614b.
HuLLAH, J., i. 755b ; iv. 681 a ;
Accompaniment, i. 22b; An-
alysis, i. 63 a; Bach Soc, i.
1 20« ; Barbers of Bassora,The,
i. 138b; Barnett (J.), i. 141b;
Chant, i. 338 b; Hymn, i.
764 a ; Madrigal Soc, ii.
194a; Mainzer, ii. 199a;
Monk (W. H.), ii. 353b;
Monk (Edwin G.), ii. 353b;
Mus. Assoc, ii. 417a; Part
Mus., ii. 656a ; Piircell Soc,
iii. 53a ; Schools of Comp.,
iii. 2725, etc.; Singer's Lib.,
iii. 496 rt ; Singing, iii. 513a ;
Soc. of British Mus., iii. 544a ;
Sol-fa, iii. 5456; Solmisation,
iii. 5526; Song, iii. 608a;
Tonic Sol-fa, iv. 149 a; Vocal
Scores, iv. 31 9&, etc. ; Hist, of
Music, iv. 674 a ; Orchestrina,
iv. 735 a.
HuLLMANDEL, N. J. ; Jadin, ii.
29a; Onslow, ii. 497a; PF.
Mus., ii. 725 a; PF.-playing,
ii. 744; Plan tad e, iii. lb;
Specimens, Crotch's, iii. 650 a.
Hume, T., i. 7566.
HuMFBEY, P., i. 7566; iv. 681 a J
Alto, i. 58a; Banister, i.
134&; Blow, i. 2496 ; Boyce,
i. 268 &; Cathedral Mus., i.
3256; Cooke (H.), i. 3976;
English Opera, i. 489 a;
Hawkins, i. 700& ; Mns. An-
tiqua, ii. 411a; Mus. Lib., ii.
419&; Part Mus., ii. 6566;
Purcell,iii.46&; Purcell (T.),
iii. 52& ; Roseingrave (D.), iii.
161 6; Schools of Comp., iii.
2826 ; Song, iii. 603 & ; Turner
(W.), iv. 195a; Tudway, iv.
198 & ; Voices, iv. 3346 ; Dor-
set Garden Theatre, iv. 617 & ;
Grabu (L.), iv. 6536.
Hummel, J. N., i. 7576; Al-
brechtsberger, i. 51a ; Appo-
giatura, i. 756, etc. ; Arpeggio,
i. 876; Bach (C. P. E.), i.
114a; Beethoven, i. 1676,
etc, ; Benedict, i. 2 2 2 a ; Bridge-
tower, i. 2756 ; Cadenza, i.
2946 ; Cramer (J. B.), i. 414a;
Czerny, i. 4256; Dussek (J.
L.), i. 4766 ; D wight's Journal
of Mus., i. 4786 ; fitudes, i.
497 a ; Extempore Playing, i. "
499 a ; Forbes, i. 5396 ; Fritz
(B.), i. 565a; Frohlich (Na-
nette), i. 5656; Guitar, i.
6406; Hanover Square Rooms,
i. 6616; Haslinger, i. 694 a;
Haydn (M.), i. 701 a ; Haydn,
i. 715a; Henselt, i. 729a;
Hesse, i. 7336 ; Hiller (Ferd.),
i. 737a ; Horn, i. 752 a; Kalk-
brenner, ii. 46 a; Kraft (N.),
ii.7oa ; Latrobe, ii. 103 a ; Le-
gatO| ii. 1 13 a ; Mass, ii. 235 a ;
INDEX.
Mayseder, ii. 241 h ; Melo-
dists' Club, ii. 249 a ; Men-
delssohn, ii. 2576 ; Meyerbeer,
ii. 321a; Mordent, ii. 3646;
Mozart, ii. 393 a; Mus. Lib.,
ii. 424a ; Naumann, ii. 449a;
Oboe, ii. 4886 ; Pedals, ii.
683a; Philh. Soc., ii. 699a;
PF., ii. 722a ; PF. Mus.,
ii. 726?) ; PF.-playing, ii.
7386, etc. ; Praeger, iii. 246 ;
Quintet, iii. 61 a; Redoute,
iii. 896 ; Roeckel, iii. 144a ;
Schoberlechner (F.),iii. 2566 ;
Schubert, iii. 347 a ; Shake,
iii. 480 a, etc. ; Sonata, iii.
576 a ; Sowinski, iii. 6476 ;
Staccato, iii. 685 a ; Terpodion,
iv. 93 a ; Tomasini (L.), iv.
134a ; Touch, iv. 152b ; Tr^sor
des Pianistes, iv. 168 a ; Violon-
cello-playing, iv. 301a; Waltz,
iv. 386 a; Weber, iv. 391a,
etc. ; Wild (F.), iv. 456a ; Will-
mers, iv. 462 a; Zampa, iv.
499b ; Engel (C.), iv. 627b ;
Schone Minka, iv. 785 b.
HuMOEESKEji. 758 a ; Schumann,
iii. 421a.
Humorous Music, iv. 681 a;
Romantic, iii. 151ft ; Scherzo,
iii. 247 a.
Humphreys, S., i. 758 a.
Hungarian Music. (See Mag-
yar Music, ii. 197a.)
Hunt, Arabella, i. 758a.
Hunt, Rev. B. ; Trin. Coll.,
London, iv. 171b; Mus. Pe-
riodicals, iv. 726 b ; Hist, of
Mus., iv. 674b.
Hunt, T., i. 758 a; Oriana, ii.
6iia.
Hunter, Anne, i. 758 b ; Haydn,
i. 711a.
Hunting-horn Calls ; Chasse
(A la), i. 340b ; Horn, i.748b.
HuRDY GuBDY, i. 758 b ; iv. 683 b ;
Baton (C), i. 155b; Instru-
ment, ii. 6b ; Key and Key-
board, ii. 53b ; Lyre, ii. 182a ;
Piano-violin, ii. 746a ; Sound-
holes, iii. 640 b ; Theorbo,
iv. loob ; Vielle, iv. 261b;
Violin, iv. 269b ; Virdung,
iv. 3030.
Hutchinson, F., i. 7596 ; iv.
7T
684 a; Royal Acad, of Mus., iii^
185a ; Vocal Scores, iv. 320a.
Hutchinson, J., i. 759 b; Tud-
way, iv. 199 a.
Hutchinson, Mrs. ; Singing, iii.
512a; Philh. Soc, iv. 747a.
Hutschenbuijter, W., iv.684a.
Huygens, C. ; Vereeniging, etc.,
iv. 255a and 811 b.
Hycart ; Gafori (F.), i. 575 a;.
Motet, ii. 373 b.
Hymn, i. 759 b; iv. 684b; Ac-
companiment, i. 25 a ; Ambro-
sian Chant, i. 60 a ; Barnbj',,
i. 145a; Chorale, i. 351b;
Dykes, i. 478 a; Hornpipe, i.
753a ; Interlude, ii. 7b ; In-
termezzo, ii, 8 a ; Ionian Mode,
ii, i8a; Laudi Spiritual], ii.
105 a; Leach, ii. 108 b ; Lo
He comes, ii. 161 b; Luther,
ii. 178a, etc. ; Mace, ii. 185b ;
Mason, ii. 225b; Monk (W.
H.), ii. 354a ; Mus. Antiqua,
ii. 410b ; Mus. Lib., ii. 418b,
etc.; Noel, ii. 462a, etc.;,
NovellOjii. 481 a; Nunc Dimit-
tis, ii. 484b ; Old Hundredth
Tune,ii. 495 b, etc. ; Oratorio, ii.
533a; Plain Song, ii. 7_63«, etc. ;:
Saint Anne's Tune, iii. 212b;.
Sicilian Mariners, iii. 491 b ;,
Song, iii. 585a, etc. ; Subject,
iii. 747b ; Sullivan, iii. 762a ;.
Sulzer, iii. 764b ; Te Deum,
iv. 67 a; Tuckerman, iv»
184b; Veni Creator, iv. 237a ;.
Vesperale, iv. 257a; Vespers,,
iv. 257b; Waits, iv. 375a ^
Windsor Tune, iv.473b ; Berg-
green, iv. 545 a ; Burney, iv.
570b ;Carol,iv,58oa; Chorale,,
iv. 590 a ; Havergal, iv. 670 b ;.
Hist, of Mus., iv, 676b. (See
also under Psalter.)
Hymn op Praise, i, 764 a ; Men-
delssohn, ii. 308 b ; Sinfonie-
Cantate, iii. 496 a.
Hymns Ancient and Modern,,
i. 764a; Monk (W. H.), ii.
354a-
Hyper- and Hypo-, i. 764b ;
^olian Mode, i. 39 b ; Au-
thentic, i.iosb ; Modes Eccles.,
ii. 340 b, etc. ; Plagal Modes,
ii. 761a.
78
INDEX.
I.
Iambic, i. 7650; Accent, i
12 a; Metre, ii. 316b, etc,
Iastian Modb. (See Ionian,
ii. 176.)
Idea, i. 765 a.
Idomeneo, i. 765 a; Mozart, ii.
388 a, etc.
Iffland; Haydn, i. 715 a.
Ifigenia, i, 765 a.
Il Cabpentrasso. (See Cab-
PENTRAS, i. 317 b.)
Ile enchantee, L', i. 7656;
iv. 684a; Sullivan, iii. 761 &.
Iliffe ; University Soc, Oxford,
iv. 206b.
Illustration ; Form, i. 5495.
Imbroglio, i. 7656.
Imitation, i. 7656; Augment-
ation, i. 104b ; Canon, i. 303 b ;
Fugue, i. 567 a ; Real Fugue,
iii. 80b; Recte et Retro, iii.
87b; Rosalia, iii. 160b; Ro-
vescio, Al, iii. 183b; Schools
of Comp., iii. 263b, etc. ; Sub-
ject, iii. 748 a; Tonal Fugue,
iv. 139 b.
Immanuel, i. 766 a; Leslie, ii.
123b.
Immler ; Part Mus., ii. 657a.
Immyns, i. 766 a; Hawking, i.
699b; Lutenist, ii. 178a;
Mace (John), ii. 185b ; Madri-
gal Soc, ii. 192b; Tallya, iv.
53 a, note.
Imperfect (Time), i. 766b ; Dot,
i. 455b; Mode, ii. 340a;
Notation, ii. 471a, etc.;
Point, iii. 6 a ; Prolation, iii.
40 a; Proportion, iii. 42 b;
Time, iv. 117b; Time-signa-
ture, iv. 126 b, etc.
Imperfect (Cadence), i. 767 a;
iv. 684a ; Cadence, i. 290b ;
Half-close, i. 646 a; Harmony,
i.677b.
Imperfect (Interval). (See
Interval, ii. 1 1 a, etc.)
Impresario, L', i. 768 b ; Schau-
spieldirektor, iii. 242 b.
Impromptu, i. 768b.
Improperia, ii. la; Hymn, i.
760 b, note ; Palestrina, ii.
636 b; Plain Song, ii. 767 b;
Proske, iii, 43 b ; Sistine Choir,
iii. 523a.
Improvisation, ii. 3 a ; Beetho-
ven, i. 165 a, etc. ; Cadenza, i.
294a; Cither, i. 359 a; Cra-
mer (J. B.), i. 414a ; Extem-
pore playing, i. 498 b; Han-
del, i. 652a; Hummel, i.
757a; Kalkbrenner, ii. 46b;
Kelway (J.), ii. 50a ; Le-
febure-W^ly, ii. iiaa; Men-
delssohn, ii. 255 b; Moscheles,
ii. 370b ; Mozart, ii. 389 a,
etc. ; O'Carolan, ii. 490b ;
Ouseley, ii. 6176; PF.-play-
ing, ii. 7385, etc, ; Saint Saens,
iii. 2 16 a, note'y Schneider (J.
G.), iii. 255b; Schumann, iii.
385a ; Walter (G.), iv. 381 a ;
Welsh Mus., iv. 438 a; Wes-
ley (S.), iv. 446 a; Wesley (S.
S.), iv. 448 a; Woelfl, iv.
480 a ; Bohner, iv. 549b.
In einem kuhlen Grundb;
Herz mein Herz , iv. 672b,
In Nomine, ii. 3b; Virginal
Mus., iv. 3oSb, etc.
In questa Tomba oscura, ii.
4a.
Incledon, C. B., ii. 2b; Baker,
i. 126a; Glee Club, i, 599 a;
Moore, ii. 361a; Singing, iii.
512rt,
Incledon, C. V., ii. 3a.
India, S. D' ; Mus. Lib., iv.
726a.
Indy, p. M. T. V. D', iv. 684a;
Lamoureux, iv. 696b.
Inflexion; Accent, i. 16 a.
Inganno, ii. 3a.
Ingegneeus, M, a. ; Boden-
schatz, i. 253a; Monteverde,
ii. 357a; Mus. Lib., iv. 726a;
Part- writing, iv. 741a.
Inglott, W., ii. 3a; Virginal-
playing, iv. 310 a.
Initials, Absolute, ii. 3a;
Participant, ii. 656 a.
Innig, ii. 3b ; AfFettuoso, i. 41 a.
Inscription, ii. 4a ; Inversion,
ii. 16 a; L'homme arm^, ii.
127b; Mass, ii. 228a; Motet,
ii. 372b; Presa, iii. 29b;
Recte et retro, iii. 88 a.
Institut, Prix de V, ii. 5 a.
Instrument, ii. 5a; iv. 685a;
Hist, of Mus., iv. 676a.
Instrumentation. (See Or-
chestration, ii. 567 a.)
Interlude, ii. 7b ; Intermezzo,
ii, 9b; Opera, ii. 513 b;
Zwischenspiel, iv. 515b.
Intermezzo, ii. 7b; iv. 685a;
Interlude, ii. 7J ; Opera, ii.
513b; Passepied, ii. 662b;
Pergolesi, ii. 687 a ; Saynfete,
iii. 234 a ; Serva Padrona,
La, iii. 471a; Suite, iii.
759&-
Intermet; Maltrise, ii, 199 b.
Interrupted Cadence, ii. loa;
Cadence, i. 290b ; Harmony,
i. 677b; Seventh, iii. 477a.
Interval, ii. iia; Augmented
Intervals, i. 104 b ; Degree, i.
439a; Diesis, i. 446 b; Di-
minished Intervals, i. 447b;
Fifth, i. 520b; Fourth, i.
557a; Hyper, i. 764b; Im-
perfect, i. 766 b; Inversion, ii.
1 6b, etc.; Major, ii. 200a;
Minor, ii. 333 a; Ninth, ii.
459 a ; Octave, ii. 491b; Per-
fect, ii. 686a ; Scale, iii. 235b,
etc.; Second, iii. 456a; Semi-
tone, iii. 460b; Seventh, iii.
476b, etc.; Sixth, iii. 523b;
Schools of Comp., iii. 308b;
String, iii. 745 a; Tempera-
ment, iv. 70a, etc. ; Third, iv.
102 b.
Intonation, ii. 12 a; Ambro-
sian Chant, i. 60 a; Magni-
ficat, ii. 195 b ; Mass, ii. 232 a ;
Plain-song, ii. 768 b; Grego-
rian Tones, iv, 656 b.
Intonation, Just, ii, 13a;
Temperament, iv. 70b ; Tetra-
chord, iv. 94 a, note\ Tierce,
iv. 114b; Zarlino, iv. 503a;
Galilei, iv. 644 b.
Intoning, ii. 13 a.
Intrada, ii. 13 b; Entree, i.
490a; Overture, ii. 623b j
Suite, iii. 756 a,
Introduction, ii, 13b; iv. 685a;
Entree, i, 490 a; Form, i.
554a; Overture, ii. 623b;
Prelude, iii. 28 a; Symphony,
iv. II a.
Introductory Symphony. (See
Overture, ii. 618 b.) .
Introit, ii. 15 a; Communion .!
Service, i. 381b; In Nomine, j
ii. 3b; Intonation, ii. 12b;
Mass, ii. 231 b ; Plain Song, ii.
766b; Requiem, iii. 109a.
Invention, ii. 15b; iv. 685a;
Bach (J. S.), i. 117a.
Inveraritt, Miss ; Philh. Soc.,
ii. 699 a.
Inversion, ii. 15b; Arsis and
Thesis, i, 95 b; Imitation, i.
766 a; Pedal point, ii. 680a;
Thoroughbass, iv. 109a; Tonal
Fugue, iv. 137b.
Inverted Cadence. (See Me-
dial Cadence, ii. 244 a.)
Inverted Pedal. (See Inver-
sion, ii. 15 ft.)
Invitatorium ; Matins, ii. 2386.
Inzenga, a. ; Stabut Mater, iii.
685 a.
Ionian Mode, ii 17 b; ^olian
Mode, i. 39b; C, i. 289a;
Gregorian Mode, i. 626 &;
lastian Mode, i. 765a; Ma-
jor, ii. 200b; Modes, Eccles.,
ii. 342 a, etc. ; Song, iii. 601 b ;
Tetrachord, iv. 94b.
Ipermestra, ii. 18 a.
Iphigenie en Aulide, ii. 18 a;
Gluck, i. 602 a; Ifigenia, i.
765 a; Wagner, iv. 354b.
Iphigenie en Tauride, ii. 18 b;
Gluck, i. 603 b.
Ireland, F. (See Hutchinson,
i. 759b.)
Irene, ii. i8b; Gounod, i. 614a;
Heine de Saba, iii. 102 a.
Irish Harp ; O'Carolan, ii.
490 b.
Irish Music, ii. i8b; iv. 685b;
INDEX.
Bunting, i. 282 b; Haydn, i.
715 b ; ' Lochaber no more,' ii.
156b; Macfarren (G. A.), ii.
1 86 a; Melody, ii. 251a;
Moore, ii. 361a; Smith (R.
A.), iii. 541 b ; Song, iii. 605 a,
note; Specimens, Crotch's, iii.
648b; Thomson (G.),iv.io6a;
*'Tis the last Rose,' etc., iv.
129a; Coronach, iv. 599 b;
Hist, of Mus., iv. 674b.
Iron Chest, The, ii. 22 b; Storace
(S.), iii. 720a.
Isaac, H., ii. 22b; Hawkins, i.
700b; Josquin Despres, ii.
40b; Motet, ii. 373a; Obrecht,
ii. 489 b; Petrucci, ii. 696 b;
Peutinger, ii. 697 a ; Schools of
Comp., iii. 266b; Senfl (L.),
iii. 463 a; Song, iii. 619 a ; Bur-
ney, iv. 570b; Chorale, iv.
589 a; Sistine Chapel, iv. 794a.
Isabella. (See Girardeau, i.
596b.)
ISHAM, J., ii. 24a; Croft, i.
419 a ; Hawkins, i. 700 b.
IsoARD. (See IsouARD, ii. 24a.)
79
IsouARD, N., ii. 34a; Benincori,
i. 224a; Boieldieu, i. 256b;
Joconde, ii. 35 b; Nicolo, ii,
455 «; Opera, ii. 523a; St.
Aubin (Cdcile), iii. 213 b.
Israel, C. ; Mus. Lib., iv. 724a.
Israel in Egypt, ii. 25a; Erba,
i. 49 1 b ; Handel, i. 65 1 a ; Kerl,
ii. 251b; Stradella, iii. 723b;
Urio, iv. 209b, 2ioa.
Tstesso Tempo, l', ii. 256;
Tempo, iv. 84a.
Italiana in Algieri, l', ii. 26a;
Rossini, iii. 166 a.
Italian Sixth, The, ii. 26 a;
French Sixth, i. 563 a.
IVANHOFF. (See IVANOFF ii. 26a.)
IvANOFF, N., ii. 26 a ; iv. 685 b;
Bellini, i. 214a; Laporte, ii.
91b; Philh. Soc, ii. 699b;
Schubert, iii. 358a; Singing,
iii. 511a.
Ives, S., ii. 26b ; English Opera,
i. 488 b; Lawes (H.),ii. io6a;
Lawes (W.),ii. 106 a; Masque,
ii. 225b; Vocal Scores, iv.
319b; Bumey, iv. 571a.
J.
Jachet de Berohem. (See
Berchem, i. 229b.)
Jacket de Buus. {See Buus.)
Jachet de Wert. (See Wert,
J., iv. 444b.)
Jack, ii. 26a; Harpsichord, i.
688b; Instrument, ii. 6b;
Pianoforte, ii. 712 b; Spinet,
iii. 651a; Taskin, iv. 62 b,
Jackson, E. ; Wind-band, iv.
472 a.
Jackson, J., ii. 27 a; Tudway,
iv. 199 a.
Jackson, W.; Digitorium, i.
447 b.
Jackson, W., ii. 28a.
Jackson, W. (of Exeter), ii. 27a;
iv. 685 a; Baker, i. 12605;
Bennett (W.),i. 224b; Davy, i.
435 b ; English Opera, i. 489 a ;
Incledon (C. B.), ii. 2 b; Kemp
(J.), ii. 50a; Magnificat, ii.
1 97 a ; Service, iii. 474b ; Song,
iii. 606 b.
Jackson (of Masham), ii. 27b;
iv. 685a ; Part. Mus., ii. 657a.
Jacob, B., ii. 28a ; Bach (J. S.),
i. 117b; Schools of Comp., iii.
308 b ; Wesley (S.), iv. 446 a.
Jacobi; Bassoon, i. 154 b.
Jacobsohn; Violin-playing, iv.
297 a.
Jacobsen, H.; Shinner (E.), iv.
792 b.
Jacobsthal, G. ; Hist, of Mus.,
iv. 677 a.
Jacoby, S. ; PF. Mus., ii. 736a,
Jacotin; Castro (J. de), i. 319b.
Jacquard, L. J., ii. 28 b,
Jacques, E. F. ; Mus. Periodicals,
iv. 727a.
Jacquin, F. von, ii. 28b; Mo-
zart, ii. 397 b.
Jacquin, G. von, ii. 28b;
Mozart, ii. 397b; iv. 722 a.
Jacquot, A. ; Hist, of Mus., iv.
675a.
Jadassohn, S.,ii. 29 a; iv.685a;
Mus. Periodicals, ii. 428b;
PF. Mus., ii. 734b; PF.-play.
ing, ii. 745.
Jadin, G., ii. 29 a.
Jadin, H., ii. 29b; iv. 685a;
Conservatoire de Mus., i.
392a; PF. Mus., ii. 726a.
Jadin. J., ii. 29a.
Jadin, L., ii. 29a; Boieldieu, i.
255b; Conservatoire de Mus.,
i. 392 a; Song, iii. 595b.
Jadra, M ; Spinet, iii. 6520.
Jager ; Wagner, iv. 365 a.
Jahns, F. W., ii. 29b; iv. 819b;
Weber, iv. 391a, note, etc.
Jaell, a., ii. 30a; iv. 685a;
Philh. Soc, ii. 700 a; PF.
Mus., ii. 734b; PF.-playing,
ii. 745 ; Lang (B. J.), iv. 696 b ;
PF.-playing, iv. 748 b.
Jahn, O., ii. 30a; iv. 685 a;
Bach Gesellschaft, i. ii8b;
Beethoven, i. 208 b; Fischer
(L.), i. 528b; Handel Gesell-
schaft, i. 659 a; Karajan, ii.
48 a ; Kelly, ii. 49 b ; Kochel,
ii. 68a; Mozart, ii. 380a,
note, etc. ; Schubart, iii. 319 a ;
Sonnleithner, iii. 633a; The-
matic Catalogue, iv. 99 a;
Tonkiinstlerverein, iv. 150b;
Mozart, iv. 721a.
JaHRBUCHER FiJR MUSIKALISCHB
WissENSCHAFT, ii. 30 b ; Chry-
sander, i. 356 b ; Breitkopf &
Hartel, iv. 562 b.
Jaida, L. ; Wagner, iv, 363 b.
Jakob ; Plain Song, ii. 763 a.
James, J., ii. 30b.
James, W. N., ii. 30b ; Hist, of
Mus., iv. 676b.
Jamet; Strakosch, iii. 734b.
Janacconi. (See Jannaconi, ii.
31a.)
80
Janiewicz, F., ii. 30b ; iv. 685 a ;
Bottomley, i. 263 a ; Haydn, i.
708 b, etc. ; Lancers' Quadrille,
ii. 89 a; Philh. Soc, ii. 698a.
Janissaries. (See Janitscha-
BEN, ii. 31 a.)
Janitsch ; Violin-playing, iv.
289.
Janitschaeen, ii. 31 a ; Sordini,
Hi. 6^7 a, note; Turkish Mus.,
iv. 191a.
Janko p. von; Keyboard, iv.
690 a.
Jannaconi, G., ii. 31a; Baini,
i. 288 a; Basili, i. 147?); Part
Mus., ii. 656^; Vaccaj, iv.
212a.
Jannequin, C, ii. 31b; Castro
(J. de), i. 319b; Chanson, i.
336a; Le Jeune, ii. 119a;
Prince de la Moskowa, iii.
31b; Programme Mus., iii.
35 a; Schools of Comp., iii.
267 a ; Song, iii. 592 b; Sounds
and Signals, iii. 643 a; Ver-
delot (P.), iv. 239b; Pro-
gramme Mus., iv. 751b; Ver-
delot (P.), iv. 8iob.
JAN09KI, D. ; Song, iv. 795 a.
Janotha, Nathalie, ii. 32 a ; iv.
685 a; Philh. Soc, ii. 700b;
PF.-playing, ii. 745 ; Rudorff
(E.), iii. 202 a.
Janowka; Brossard, i. 378b;
Diet, of Mu8., i. 444b.
Jansa, L., ii. 32 a; iv. 685 a;
Goldmark, i. 607b; Neruda
(W.), ii. 451 b ; Rappoldi (E.),
iii. 76 b; Violin-playing, iv.
298a; Mozart, iv. 721a.
Janson ; Crosdill (J.), i. 420 a.
Japabt ; Schools of Comp., iii.
260 b.
Japha; Violin-playing, iv. 297 a.
Jardin, Du. (See Orto, M. de.)
jARDiNE&Co.,iv.685a; Organ,
ii. 608 a; Vogler, iv. 329 a;
Kirtland, iv. 691 a ; Renn, iv.
770 b.
Jarnowick, G. M., ii. 32 b;
Bridgetower, i. 275b; Haydn,
i. 708b, etc.; Violin-playing,
iv. 289.
Jabzemsk, A. ; Song, iv. 7950.
Jay, J., ii. 32 b.
Jay ; London Violin Makers, ii.
163b.
Jean de Paris, ii. sab; Boiel-
dieu, i. 256 b.
Jebb, Rev. J., ii. 32b ; Cathedral
Mus, i. 324b; Chant, i. 337 b;
Causton, i. 326b; Jubilate, ii.
43b; Library, ii. 152a; Mer-
becke, ii. 312 a ; Mus. Lib., ii.
418 a; Response, iii. 117 b;
INDEX.
Tally 8 (F.), iv. 53 b; Wanless,
iv. 382 b.
Jeffries, C, ii. 33a.
Jeffries, G., ii. 33a.
Jeffries, S., ii. 33 a ; Mus. Lib.,
ii. 418 b, etc.
Jehan; Sistine Chapel, iv. 794a.
Jeitteles, a.; Liederkreis, ii.
135 &•
Jekyll, C. S. ; Chapels Royal, i.
339«-
Jelenspebqbb ; Provost, iii. 29b ;
Reicha, iii. 98 b; Vogler, iv.
329a.
Jelyotte ; Maltrise, ii. 200 a ;
Rousseau, iii. 182 a.
Jenger ; Schubert, iii. 341 b, etc.
Jenike, E. ; Song, iv. 795 a.
Jenkins, J., ii. 33 a; Mua. An-
tiqua, ii. 411 a ; Mus. Lib., ii.
422 a; Sonata, iii. 555 a; Symp-
son (C.), iv. 43 b ; Burney, iv.
571 a-
Jenny Bell, ii. 33 b; Auber, 1.
102 a.
Jensen, A., ii. 33b; iv. 685b;
PF. Mus., ii. 735 a; PF.-
playing, ii. 743b; Song, iii.
630 b; Briickler, iv. 5666.
Jephthah, ii. 33 b; Barthelemon,
i. 145b; Handel, i. 651b;
Reinthaler, iii. 103 b.
Jermoli ; Haydn, i. 706 b.
Jerusalem, ii. 34a; Lombardi,
I, ii. 163a ; Pierson, ii. 752b;
Verdi, iv. 2^5 4b.
Jessonda, ii. 34 a ; Spohr, iii.
661 a ; Veuve du Malabar, iv.
258b.
Jeune. (SeeLE Jeune, ii. 118 b.)
Jeune, Henri le, ii. 34a ;
M^hul, ii. 246a.
Jeux d'Anches, ii. 34a.
Jewitt, R., iv. 170b, note;
Trinity College, Dublin, iv.
170 b ; Tudway, iv. 199 a ; Gib-
bons (C), iv. 647 a.
Jew's Harp, ii. 34a ; Eulenstein,
i. 497 a; Guimbarde, i. 639b;
Instrument, ii. 7a; Scheibler
(J. H.), iii. 243b.
Jig. (See Gigue, i. 595 b.)
Joachim, J., ii. 34b; iv. 685b;
Auer, i. 103b; Beethoven, i.
i86a; Boehm (Jos.), i. 254b ;
Bowing, i. 266 a; Cossmann, i.
406 a ; David (Ferd .) , i. 43 3 b ;
Ernst, i. 492b; Franz, i. 560b;
Gesellschaft d. Musikfreunde,
i. 591b; Harmonics, i. 665 b;
Hauptmann, i. 698 a ; Hiller
(Ferd.), i. 737 b; Laub, ii.
103b ; Magyar Mus., ii. 198b ;
Mendelssohn, ii. 282a, etc.;
Monday Pop. Concerts, ii.
352b; Mus.Hochschulefur, iL
437b; Niederrheinische Mu-
sikfeste, ii. 457a ; Philh. Soc.,
ii. 699b; Rappoldi, iii. 76b;
Rudorff, iii. 201 6 ; Schools of
Comp., iii. 310b; Schumann,
iii. 403 a ; Score, iii. 432 ; Soc.
of British Musicians, iii. 544a;
Stockhausen (J.), iii. 716a;
Stradivari, iiL 733 a; Tausig,
iv. 65 a ; Temperament, iv.
77 b; Tenor Violin, iv. 92 a;
Tonkunstlerverein, iv. 150b;
Violin-playing, iv. 297a, etc.;
Wartel (Atala), iv. 383b;
Wieniawski (H.), iv. 455 b;
Dietrich (A.), iv. 614 b; Haus-
mann (R.), iv. 670a ; Herzog-
enberg (H. von), iv. 672b;
Shinner (E.), iv. 792 b.
Joan of Arc, ii. 35 b ; Balfe, i
127a.
Joanna Mabia. (See Gallia,!.
578a.)
JocoNDE, ii.35b; Isouard,ii. 24b.
Jodel; Tyrolienne, iv. 198 a.
John the Baptist, St., ii. 36a;
Macfarren (G. A.), ii. 186 a.
Johnson, Ed., ii. 36 a; Este
(T.), i. 496 a; Hymn, i. 762 b;
Oriana, ii. 6 1 1 a ; Simpson (T.),
iii. 495 a; Psalter, iv. 761a.
Johnson, J. ; London Violin
Makers, ii. 164b.
Johnson, R., ii. 36a; English
Opera, i. 488b; Leighton, ii.
1 14b ; Mus. Antiqua, ii. 41 1 a;
Song, iii. 602 a.
Johnson, Rob., ii. 36a; Haw-
kins, i. 700b ; Motet, ii. 375 b;
Mus. Lib., ii. 417 b; Schools
of Comp., iii. 270 b, etc. ; Simp-
son (T.), iii. 495 a; Virginal
Mus., iv. 308a; Burney, iv.
570b.
Johnstone; Glee Club, i. 599a.
Jolly; Concentores Sodales, i.
383&.
JoMMELLi, N., ii. 36a ; iv. 685 b ;
Abos, i. 6a; Auswahl, etc., i.
105a; Cannabich, i. 303 a;
Durante, i. 471 a ; Festivals, i.
516a; Fitzwilliam Coll., i.
531 a ; Giardini, i. 593b ; Ifige-
nia, i. 765 b; Ipermestra, ii.
18 a ; Kyrie, ii. 78b ; Latrobe,
ii. 103a; Leo, ii. 121a; Mass,
ii. 234a; Metastasio, ii. 316 a;
Mozart, ii. 383 a ; Mus. Lib.,
ii. 4.24a; Naples, ii. 445 b;
Olimpiade, ii, 496 b ; Opera,
ii. 514b; Oratorio, ii. 550a;
Piccinni, ii. 747 b; Rochlitz,
iii. 142 a; Scarlatti (A.), iii.
238b; Schools of Comp., iiL
J
28'ja; Scotch Snap, iii. 4375;
Specimens, Crotch's, iii. 650a ;
Alfieri, iv. 520a, note; Mus.
Lib., iv. 726a; Sabbatini (P.),
iv.So'j a, note; Sistine Chapel,
iv. 794a; Venice, iv. 809a.
Jonas, E., ii. 386; Bizet, iv.
5486.
JoNCiERES, V. de, iv. 685 b.
Jones, E., ii. 39 a; Crwth, i.
422 /) ; Welsh Music, iv. 4436 J
Hist, of Mus., iv. 675 a.
Jones, Henry & Son, iv. 6866.
Jones, J., ii. 396 j iv. 6866;
Haydn, i. 711a.
Jones, R., ii. 396 ; Este, i.
496 a; Leigh ton (Sir W.), ii.
1 14 6; Mus. Antiqua, ii.
411a; Oriana, ii. 61 1 a ; Eos-
setor (P.), iii. 163a ; Part
Books, iv. 740 a.
Jones, Rev. W., ii. 396; Tud-
way, iv. 1996.
Jones, Richard ; Testing, i.
Jones, Sir W. ; -^olian Harp, i.
38 &.
Jones, W. ; Hist, of Mus., iv.
674b.
Jongleurs; Roi des Violons,
iii. 145b; Song, iii. 585 b.
Jordan, A., iv. 686 b ; Organ,
ii. 595 a; Swell Organ, iv. 8 b.
Jordan, Mrs. ; Song, iii. 607 a.
JoHTiN, Dr.; Avison, i, io6a.
Joseph, ii. 40a ; Handel, i.
651b.
Joshua, ii. 40a ; Handel, i.
651b; Judas Maccabeus, ii.
INDEX.
44a ; See, the Conquering
Hero comes, iii. 456 J.
JosQUiN Despr^s, ii. 40b ; iv.
686b; Accidentals, i. 19b;
Bassiron, i. 151a; Baulduin,
i. 157a; Duels, i. 467b;
Este, i. 496 a; Giusquino, i.
597a; Gombert,i.6o8b; Haw-
kins, i. 700b; Inscription,
ii. 4a; Jannequin, ii. 31a;
Lassus,' ii. 95 a j L'homme
arm^, ii. 127a; Luther, ii.
179 a ; Madrigal, ii. 188 a ;
Magnificat, ii. 196a; Mass,
ii. 227b; Motet, 372b; Mou-
ton, ii. 378b ; Obrecht, ii.
489 b; Okeghem, ii. 495 b,
note; Petrucci, ii. 696b ; Peu-
tinger (C), ii. 697 a ; Poly-
phonia, iii. 13b; Prince de la
Mo3kowa, iii. 31b; Rochlitz,
iii. 141 b; Schools of Comp., iii.
260b, etc. ; Sistine Choir, iii.
520b; Song, iii. 592a; Speci-
mens, Crotch's, iii. 649 b;
Stabat Mater, iii. 684a ; Zac-
coni, iv. 497 a ; Zarlino, iv.
502b; Burney, iv. 570b;
Dance Rhythm, iv. 606 a ;
Part Books, iv. 739 b; Sistine
Chapel, iv. 794 a; Trdsor
Mus., iv. 803a.
JoTA, ii. 42b; Fandango, i.
502b; Song, iii. 598b.
Joule, B. St. J. B., ii. 43b.
Jousse; Die. of Mus., i. 446 b.
Juarez, A. ; Eslava, i. 494 b.
Jubilate, ii. 43 b; Service, iii.
472 a, etc.
8t
Jubilee Overture, The, ii.
44a ; Weber, iv. 428 b.
Judas Maccabeus, ii. 44a;
Handel, i. 651b; See, the
Conquering, iii. 457a.
JuDENKONiG, H. ; Song, iii.
6i8b, note; Violin, iv. 275b.
Judith, ii. 44a; Ame (T.), i.
85 a ; Defesch, i. 439 a ; Leslie
(H.), ii. 133b; Parry (C.H.),
iv. 739a.
JuNGER, W. ; Leipzig, ii. 115 a.
JuNGSTE Gerichte, Das, ii. 46 b ;
Spohr, iii. 658 a.
JuiVB, La, ii. 44a; Hal^vy, i.
645 a.
Julia, B. j Eslava, i. 495 a.
JuLLiEN, L. A., ii. 44a; Covent
Garden Theatre, i. 413a;
Pietro Grande, ii. 753a; Pro-
menade Concerts, iii. 40b ;
Davison (J. W.), iv. 609a.
JuLLiEN, J. L. A., iv. 6S6b
and 819b; Hist, of Mus., iv.
675a; Wagner, iv. 814a.
Jullien's Military Journal,
ii. 46 a ; iv. 687 rt.
JuLLiEN, P. ; Strakosch, iii.
734a.
JuNCA ; Strakosch, iii. 734a.
JuNCK, B., iv. 687 a; Song, iii.
591a.
JuNCKEKS, G. ; Tr^sor Mus,, iv.
802 a.
JuNGMANN, A. ; PF. Mua., ii.
733b.
Jupiter, ii . 46 6 ; Mozart, ii. 39 2 a.
Just, S. T. ; Bac. of Mus., i. 1 2 1 a.
JuviGNY, S. ; Flageolet, i. 531b.
K.
Kampevisbb; Song, iii. 608 b.
Kafka, J. ; PF. Mus., ii. 732 b.
Kahrer, Laura. (See Rappoldi
(E.), iii. 76b.)
Kalchbr. J. N. ; Weber, iv.
389b.
Kalkbrennbb, a. ; Wind-band,
iv. 469 a, note.
Kalkbrenneb, C, i. 46 a; Lach-
nith, ii. 826; Hist, of Mus.,
iv. 674 a.
Kalkbbenner, F. W. M., ii.
46a; iv. 688a; Adam (L.),
i. 29 a; Albeniz (P.), i. 48 a;
Blahetka, i. 247 a; Chiro-
plast, i. 347 b ; Cramer (J.
B.), i. 414a ; Goddard, i.
604b; Griesbach (J. H.), i.
631 a ; Hall^, i. 646 b ; Haydn,
i. 717b; Horn, i, 752a;
Lafont, ii. 84 b; Mendelssohn,
ii. 257b, etc.; Osborne, ii.
615a; PF. Mus., ii. 727b;
PF.-playing, ii. 739a, etc.;
Pleyel (Camille), iii. 3 b ;
Pleyel (Mme.), iii. 3b; Schau-
roth, iii. 242 b; Schunke, iii.
424a; Silas, iii. 493a; Sta-
maty, iii. 689 a; Thomas (C.
A.), iv. 103b; Zimmermann
(P.), iv. 508a; D'Albert (C.
L. N.), iv. 604 a; PF.-play-
ing, iv. 748 b; Vaterlandische
Kiinstlerverein, iv. 808 a.
Kalliwoda, J.,ii.47a; Bassoon,
i. 154b; Clarinet, i. 364b;
Oboe, ii. 488 a; Orpheus, ii.
613a; PF. Mua., ii. 729a;
Tenor Violin, iv. 92 a ; Violin-
playing, iv. 298 a.
Kalliwoda, W., ii. 47 b; PF.-
playing, ii. 743b.
Kammerton. (See Chortow,
iv. 591a.)
Kandleb, F. S., ii. 47 b ; Kiese-
wetter, ii. 56 b; Palestrina, ii.
642 b.
Kane, E. ; Irish Mus., ii. 19a.
Kania, E. j Song, iv. 795 a.
Kanne, p. A.J Vaterlandische
Kiinstlerverein, iv. 808 a.
Kantele ; Song, iii. 609 a.
KAPELLE,ii.47b; Capella,i.3o6b.
Kapsbergbr, j. H., iv. 264b,
note; Oratorio, ii. 535a ; Vil-
lanella, iv. 264 b.
G
i
82
Karajak, T. G. Ritter von, ii.
476; Haydn, i. 709 a.
Karasowski, M. ; Chopin, i.
350«- ^ .. ,
Kargel ; Lute, 11. 1770.
Karl, T. ; Strakosch, iii. 734l>.
Kasar; Mu8. Lib,, ii. 422a.
Kastner, G. F., iv. 688 b.
Kastner, J. G., iv. 688a ;
Drum, i. 4656; Ritter (P. L.),
iii. 137&; Sax (A.), iii. 232a;
Wind-band, iv. 465 6 ; Hist.
of Mus., iv. 677a.
Kastner, Rose; Sechter (S.),
iii. 456 a.
Kattow, Mdlle. ; Strakosch, iii.
734&.
Kauer, F.; Singspiel, lii. 5170;
Song, iii. 622b.
Kaufmann, F. ; Harmonichord,
i. 663a.
Kaufmann, J. C. ; Grell (E. A.),
iv. 658a.
Kauka, J. von, Dr., ii. 48 a;
Beethoven, i. 192 a.
Kavan ; Song, iii. 61 46.
Kayser; Tenor Violin, iv.
92 a.
K AZYNSKi, V. ; Song, iv. 795 a,
Kearns, W. H., iv. 688 &.
Kearton, H. ; Singing, iii.
513a-
Keeble, J., ii. 48 a J Voluntary,
iv. 3396.
Keeley, Mrs. M. A., iv. 6886.
Keenan, 0. ; Irish Mus., ii. 19 a.
Keene, S. ; Spinet, iii. 656 a ;
Virginal, iv. 3046.
Kees, Von; Sonnleithner, iii.
6326.
Keiser, R., ii. 48 a; iv. 689 a;
Auswahl, etc., i. 105 a?
Graun (K. H.), L 621a;
Graupner, i. 622 a; Handel,
i. 6486; Hasse, 1.6940; Ma-
theson, ii. 2376; Motett, ii.
376 a; Opera, ii. 507 &; Ora-
torio, ii. 5396 ; Passion Music,
ii. 666 a ; Schools of Comp. , iii.
288 &; Singspiel, iii. 5166;
Song, iii. 6ioa, 621a.
KiLER BhjA., ii. 49 a ; iv. 689 a.
Keller, G. ; Finger (G.), i.
524J.
Kellner; Fischer (J. C), i.
5296.
Kellner ; Kirnberger, ii. 62 a.
Kellogg, Clara L., ii. 49 a;
Philh. Soc, ii. 'jC30a ; Singing,
iii. 51a a ; Strakosch, iii. 734&.
Kellt, M., ii. 49 &; Addison,
i. 30 a; Attwood, i. loia;
Fischer (J. C), i. 5296;
Haydn, i. 708 6, etc. ; Mar-
tines (Marianne), ii. 222a;
INDEX.
Mozart, ii. 3830, note, etc.;
Opera, ii. 524a; Polly, iii.
9b; Singing, iii. 5120;
Storace (S.), iii. 720 a.
Kelm, J. ; Herv^ (F.), iv. 671b.
Kelway, J.,ii. 50a ; Voluntary,
i^- 339^; Wesley (C), iv.
445 &•
Kelway, T., ii. 500.
Kelz ; Auswahl, etc.,i. 105a.
Kemble, Adelaide, ii. 50 a; iv.
689a; Philh. Soc, ii. 6996;
Sartoris (Mrs.), iii. 229I).
Kemp, J., ii. 50a.
Kendall, J., ii. 50&.
Kennedy ; London Violin
Makers, ii. 165 a.
Kennedy, D., iv. 689a.
Kennis ; Violin-playing, iv.
289.
Kent, J., ii. 506; iv. 690 a;
Arnold (S.), i. 866; Bassani,
i. 1506; Cathedral Mus., i.
3256; Dibdin, i. 4426; Mag-
nificat, ii. 197 a ; Page, ii. 632b.
Kent Bugle, ii. 51a; Instru-
ment, ii. 6a; Key-bugle, ii
56 a.
Keolanthe, ii. 51a; Balfe, i.
127 a.
Keper, J., ii, 51a.
Keraulophon, ii. 6ia.
Kerl, J. C, ii. 51a; Arrange-
ment, i. 94a ; Bach (J. S.),
i. 114b; Handel, i. 655 a;
Hawkins, i. 700 b ; Israel in
Egypt, ii. 25 b; Klavier Mus.,
Alte, ii. 63 a; Murschhauser,
ii. 409 a; Steffani, iii. 693 b;
Zachau, iv. 498 b.
Kerle, Jac. de ; Mus. Divina,
ii. 411b; Schools of Comp.,
iii. 261b; Sistine Chapel, iv.
794a ; Tr^sor Mus., iv. 802 a.
Kerzkowsky, J.; Vaterlandische
Kiinstlerverein, iv. 808 a.
Kessler,F. ; Wiillner, iv. 491 b.
Kessler, J. C; Etudes, i. 497 a;
PF. Mus., ii. 729a; PF.-
playing, ii. 444 ; Seyfried,
iii. 478 b; Studies, iii. 746 b.
Kettenus; Becker (J.), i. 161 b;
Violin-playing, iv. 289.
Ketterer, E., iv. 690 a; PF.
Mus., ii. 736a.
Kettle Drums, ii. 51b ; Drum,
i.463b; Philidor (J.),ii. 703 a;
Sordini, iii. 638 a; Timbales,
iv. ii6a; Timpani, iv. 127b;
Tower Drums, iv. 156b; Wind-
band, iv. 464 a; Pauken, iv.
745 a. (See also under Drum.)
Keuchenthal ; Volkslied, iv.
337 a.
Key, ii. 51b; Clef, i. 370 a;
Dominant, i. 452b; Fingering,
i- 625b ; Form, i. 542 a ; Har-
mony, i. 68 lb, etc. ; Key-note,
ii. 56a ; Modulation, ii. 343b;
Notation, ii. 479a ; Root, iii.
157b; Signature, iii. 492b;
Sonata, iii. 559a; Suite, iii.
757b ; Tonality, iv. 141a.
Key and Keyboard, ii. 53a;
iv. 690 a; Clavier, i. 369 b;
Electric Action, i. 485 a;
Fingering, i. 525b; Organ, ii.
579b, etc.; Pianoforte, iL
718b; Spinet, iii. 653a;
Temperament, iv. 75 a.
Key-Bugle, ii. 56 a; iv. 690 b;
Logier, ii. 161 b.
Key-Note, ii. 56 a; iv. 690b;
LeadingNote, ii. io8b; Tonic,
iv. 799 b.
Keys, ii. 55 b ; iv. 690b; Basset
Horn, i. 150b; Bassoon, i.
151b; Clarinet, i. 361a, etc. ;
Double Bassoon, i. 458 b;
Fliigel Horn, i. 535b; Flute,
i. 636 a; Key-bugle, ii. 560;
Oboe, ii. 486b, etc.; Ophi-
cleide, ii. 532a; Piccolo, ii.
750b ; Serpent, iii. 470b.
Khayll, A.; Weiss (F.), iv.
433 a.
Khorovod; Song, iii. 612 J.
Kiel, F., ii. 56a; iv. 690b;
Dehn, i. 439b; Hauptmann,
i. 698 a; Henschel, i. 729a;
Nohl, ii. 463 b ; Ries (Franz),
iii. 132a; Schools of Comp.,
iii. 2986; Stanford, iii. 689b;
Waltz, iv. 386 b.
Kienlen; Schnyder, iii. 256 a.
KiESEWETTER ; Quantz, iii. 56 a.
Kiesewetter, R. G., ii. 56 a;
Ambros, i. 59 a; Caecilia, i.
294b; F^tis, i. 517b; Nota-
tion, ii. 468a ; Okeghem, ii.
495 a; Palestrina, ii. 642 b;
Plain Song, ii. 763 a; Scar-
latti (A.), iii. 238 a; Schools
of Comp., iii. 260a ; Schubert,
iii. 325 a, etc.; Song, iii
58 7 a, no^e, etc.; Hist, of Mus.,
iv. 674 a.
KiMMERLiNG, R. ; Haydn, i
716b.
Kind, J. F., ii. 56b; Weber,
iv. 403 b.
KiNDERMANN. (See Reicher-
KlNDERMANN, iv. 7 7© a.)
KiNDERMANN, A., iv. 7 70 a,
note.
Kindersley, R. ; Leighton,
ii. 114b.
King, C, ii 57a ; Arnold (S.),i
86b; Page, ii. 632b; Service,
iii. 473 b; Tudway, iv. 199 b.
King, C. F., i. 57a.
King, F. ; Singing, iii. 513a;
Training School, iv. 158&.
King, M. P., ii. 57a; iv. 690a;
English Opera, i. 4896.
King, 0.; Philh. Soc., iv.
7466.
King, R, ii. 57a.
King, W., ii. 576; Mus. Lib.,
ii. 418 a.
King Charles the Second, ii.
576; Macfarren, ii. 186 a.
King's Band op Music, The,
ii. 57&; Band, i. 134a; Pur-
cell, iii. 46 a, etc.
King's Concerts. (See Ancient
Concerts, i. 64 a.)
King's Theatre, The, ii. 58a ;
iv. 6906; Argyll Rooms, i.
82&; Ayrton (W.), i. 1076;
Laporte, ii. 91 &; Lincoln's
Inn Fields Theatre, ii. 140 a.
KiNSKY, Prince F. J. N. J., ii.
586; iv. 6906; Beethoven, i.
189a; Kauka, ii. 48 a.
KiNSKY, Prince J. ; Tartini, iv.
60&.
KiBBYE, G., ii. 59&; Este, i.
496 ci; Hymn, i. 7626; Madri-
gal, ii. 191a, etc. ; Oriana, ii.
61 1 a; Windsor Tune, iv. 474 a;
Psalter, iv. 760&.
Kirchen Cantatbn, ii. 59 b;
iv. 690 &; Cantata, i. 305 a;
Matheson, ii. 2376; Mose-
wius, ii. 3716; Bach Gesell-
schaft, iv. 529a and 819a.
Kircher, A.,ii. 606 ; Abbatini, i.
I b ; ^olian Harp, i. 38 b ;
Archlute, i. 81 a; Carissimi,
i. 314b; Instrument, ii. 5b;
Mus. Lib., ii. 419a; Mu-
surgia, ii. 438b; Nodus Sal.,
ii. 461 J; Notation, ii. 469b;
Psaltery, iii. 44b; Tarantella,
iv. 59 a; Theorbo, iv. loia;
Valentini, iv. 213a; Bumey,
iv. 571a; Hist, of Mus., iv.
674a.
Kibchgessner, Maiianne, ii.
6ja; Harmonica, i. 662b;
Zumsteeg, iv. 515 a.
Kirchner, T., ii. 61 a; iv.
691 a ; Goetz, i. 607 a ; Leip-
zig, ii. 115b; PF. Mus., ii.
733b; PF.-playing, ii. 743b;
Schumann, iii. 391 b.
Kirkman, ii 6ib; iv. 691a;
Broadwood and Sons, i. 278 a ;
Harpsichord, i. 689 a, etc. ;
Keyboard, ii. 54a; Melopiano,
ii. 252b; PF., ii. 716b ; Repe-
tition, iii. 108 b; Ruckers, iii.
193b ; Shudi, iii. 489a ; Stops,
iii. 718 b.
INDEX.
KiRMAiR, F. J.; PF. Mus.,ii.
726a.
Kirnberger, J. P., ii. 62a;
Anna Amalia, i. 69 a; Aus-
wahl, etc., i. 105a; Bach
(J. S.), i. ii6a; Bach
Gesellschaft, i. 119a; Graun,
i. 621b; Klavier-Mus., Alte,
ii. 63 a; Meister Alte, ii.
217b; PF. Mus., ii. 724a;
Practical Harmony, iii. 24a;
Schultz (J. A. P.), iii. 383b;
Song, iii. 621b; Steibelt, iii.
700 a ; Trt^sor des Pianistes,
iv. 168 a; Zelter, iv. 505a;
Ach Gott vom Himmel, iv.
518a.
Kikschbaum ; Sterkel, iii. 711b.
Kirsnick; Vogler, iv. 329 a.
KiRTLAND. (See Jardinb, iv.
685 «.)
Kistner, ii. 62 a; iv. 691a;
Tlieniatic catalogue, iv. 99 b.
Kit, ii. 62 b; Stradivari, iii.
729b, etc. ; Violin, iv. 278b.
Kitchener, W., ii. 62 b.
KiTTL, J. F. ; PF. Mu9., ii.
729b; Tomaschek, iv. 133b;
Wagner, iv. 350a, note.
KiTTEL, J. C, ii. 63 a ; iv. 691a;
Bach Gesellschaft, i. 119a;
Dotzauer, i. 457a; Rinck,
iii. 136a; Bohner, iv. 549 b;
Haessler (J. W.), iv. 662 a.
KiTZLER, 0. ; Bruckner (A.), iv.
566 a.
Kjerulf, H., iv. 691 a ; Song,
iii. 6iob ; Hartwigson (F.), iv.
669 a.
Klauser, K. ; United States,
iv. 203 b.
Klauwell, a.; PF. Mus., ii.
736 a.
Klavier-Musik, Alte, ii. 63 a;
Pauer (E.), ii. 675 a.
Klein, B., ii. 63 b; Auswahl,
etc., i. 105 a; Dehn, i.
439a; Dorn, i. 455a; Lie-
dertafel, ii. 136a; Nicolai,
ii. 453 a; Niederrheinische
Musikfeste, ii. 457a; Rell-
stab (H. F.), iii. io6b, etc. ;
Ries, iii. 131b; Song, iii.
626a; Taubert (K. G. W.),
iv. 64a; Vocal Scores, iv.
319b; Weitzmann, iv. 816 a.
Klein, Jos. ; Verhulst, iv. 255 a.
Klein-gedackt ; Organ, ii.
583&.
Kleinmichel, R., iv. 691b;
PF. Mus., ii. 736a.
Klemm, ii. 63 b; iv. 692 a.
Klemm, J. ; Mus. Periodicals, ii.
431a.
Klengbl, A. A., ii. 64a; iv.
83
692 a; Beethoven, i. 183a;
Clementi, i. 373a; PF. Mus.,
ii. 727a; PF.-playing, ii.
739 &•
Klengel, M.; Rontgen (E.),
iii. 144 a.
Klepfa ; Herz (H.), i. 733 a.
Klindworth, K., ii. 64a; iv.
692 a; Draeseke, i. 461a;
PF. Mus., ii. 734b, etc. ;
PF.-playing, ii. 745; Tau-
sig, iv. 65 a ; Wagner, iv.
359 &•
Klingemann, C, ii. 64b; iv.
692 a; Mendelssohn, ii. 261a;
Mus. Periodicals, ii. 427 a;
Niederrheinische Musikfeste,
ii. 456 b.
Klingenberg, G. ; Pepusch, iL
684a.
Klingohr, J. W. ; Weber, iv.
392 a.
KLOsi; ; Boehm, i. 254b ; Clnri-
net, i. 361 a; Conservatoire de
Mus., i. 392b; Holmes (A.
M.), iv. 678 b.
Kloss, K.; DorfFel (A.), iv.
6i6b.
Klotsch, M. ; Leipzig, ii. 115 a.
Klotz, ii. 65 a ; Stainer (Jac),
iii. 687 a; Violin, etc., iv.
283a.
Knapp, W., ii. 65 b.
Knapton, p., ii. 65 b.
Knecht, J. H., li. 65 b; iv.
692a; Beethoven, i. 206b;
Pastoral Symphony, ii. 672 a;
Programme-Mus., iii. 38 b;
Vogler, iv. 324b, etc.
Knell, the Passing Bell, ii.
66 a.
Kneller Hall, ii. 66 b; iv.
692 a; Whitmore (S.), iv.
454 a.
Knight, J. P., ii. 67a; iv.
692 a; Song, iii. 608a; Wade
(J. A.), iv. 344a.
Knight, Dr. R. ; Gresham Mus.
Prof., i. 627b.
Knizb ; Song, iii. 614b.
Knorr, J.; PF. Mus., ii. 729b;
Schumann, iii. 390a.
Knot. (See Rose, iii. 161 a.)
KnUpfer, S.; Leipzig, ii. 115a;
Mus. lib., ii. 422 a.
Knyvett, C, ii. 67 b; Ancient
Concerts, i. 64b; Handel,
Commemoration of, i. 657b;
Vocal Concerts, iv. 319 a.
Knyvett, C, jun., ii. 67 b.
Knyvett, Deb., ii. 67 b; Sing-
ing, iii. 512a.
Knyvett, W., ii. 67 b ; Birming-
ham Festival, i. 244a ; Grea-
torex, i. 623a ; Philh. Soc, iL
G 2
L
84
698 a; Vocal Concerts, iv.
319 a
Koch, H. C, iv. 692 a; ^olian
Harp, i. 39 a ; Diet, of Mus., i.
445 a ; Instrument, ii. 5a;
Dommer (A. von), iv. 617 &.
KocHEB, Dr.; Fink (C), iv. 636a.
KocHEL, Dr. L., ii. 68a; Bee-
thoven, i. 2075 ; Jahn,ii. 306 ;
Mozart, ii. 380 &, note, etc. ;
Pohl (C. F.), iii. 56 ; Thematic
Catalogue, iv. 996; Mozart,
iv. 721a.
KoHLEB, L., iv. 692 a; PF.
Mu9., ii. 733a; PF.-playing,
ii. 744; Seyfried, iii. 478 b;
Sonatina, iii. 584a; Studies,
iii. 7466; PF.-playing, iv.
7486.
KoHLER, ii. 68 a.
KoHLEB, E. ; Hesse, i. 733b.
KoMPEL, A., ii. 68a; Philh.
Soc., ii. 700a ; Spohr, iii.
6636; Violin-playing, iv.
289.
KoNiG, R. ; Timbre, iv. 117 a.
KoRNER ; Schubert, iii. 320 a.
KoHATT ; Baron, i. 142 a.
KoLBERG, 0. ; Song, iv. 795 o.
KoLENDAS ; Song, iv. 795 a.
Kollar; Song, iii. 612&.
KoLLMANN, A.,ii.68&; iv.692a;
Bach (J. S.), i. 117&; Lu-
theran Chapel, ii. i8oa; iv.
706 &.
Kollmann, G., ii. 68& ; Luthe-
ran Chapel, ii. 180 a.
Kollmann, J., ii. 68 & ; Luthe-
ran Chapel, ii. 180 a.
KoLP, J. von ; PF.-playing, ii.
745-
Kolyadki; Song, iii. 612I).
KoMOROWSKi, Ignaz ; Song, iv.
795 a.
KoNEWKA ; Redeker, iii. 89 a.
KoNRAD V. WtjRZBURG; Song,
iii. 6i5?>.
KoNTSKi, Antoine de, ii. 68 b;
PF. Mus., ii. 732 a; PF.-
playing, ii. 745.
KoNTSKi, Apollinaire de, ii.
686 ; iv. 692 b.
KoNTSKi, C. de, ii. 68 b; iv.
692 b.
KoNTSKi, Stan, de, ii. 68 b.
KOBNACKER ; Vogler, iv. 329b.
Kosak; Wanhal, iv. 382 a.
KosEK ; Song, iii. 614b.
K08LECK ; Trumpet, iv. 804a.
KoTEK ; Violin- playing, iv. 298 a.
KoTzscHMAB, H. J Paine (J. K.) ,
ii. 632 b.
KoTZWABA, F., ii. 69a ; Battle
of Prague, i. 156b; Pro-
granmie-Mu8., iii. 376.
INDEX.
KozBLUCH, Caterina ; PF.-play-
ing, ii. 744.
KozELUCH, J., li. 69a.
KozELUCH, L., ii. 69 a ; iv. 692 b;
Diabelli, i. 442 a; Duschek,
i. 472 b; Haydn, i. 718 a;
Marschner, ii. 219a; Mozart,
ii. 396b; Paradis (M. T. von),
ii. 648a ; PF. Mus., ii. 725 a ;
Schubert, iii. 320b; Sey-
fried, iii. 478 a; Specimens,
Crotch's, iii. 650 a; Thomson
(G.), iv. 107a ; Tomaschek,
iv. 132b; Metastasio, iv.
718a.
KozLOWSKi; Oginski, ii. 494b ;
Song, iii. 613 b.
Kraft, A., ii. 69b ; Baryton, i.
147 a ; Haydn, i. 706b, etc.
Kraft, F., ii. 70a.
Kraft, N., ii. 70a ; Beethoven,
i. 175a; Lichnowsky, ii.
132a; Schuppanzigh, iii.
425a.
Kbakoviak, ii. 70a.
Kbameb, C. ; King's Band, ii.
f8a; Royal Acad, of Mus.,
iii. 185a; Seraglio, The, iii.
466 b.
Kbameb, H. ; Baryton, i. 147a.
Kbanz; Haydn, i. 716b.
Kbaus, a. ; Hist, of Mus., iv.
674b.
Kbaus ; Seidl (A.), iv. 792 a.
Kbaus ; Vogler, iv. 324b, etc.
Kbause, A.; PF. Mus., ii.
Kbauss, Marie G., iv. 692b;
Marchesi (M. de C.), ii. 735a.
Kbebs, E. C. T., ii. 71a.
Kbebs, J. G., ii. 71a ; Barthel,
i. 145a.
Kbebs, J. L., ii. 70b; Bach (J.
S.), i. ii6a ; Form, i. 545b;
Klavier-Mus. Alte, ii. 63 a ;
Meister, Alte, ii, 247b ; Tr^sor
des Pianiste>', iv. i68b.
Kbebs, J. T., ii. 70b.
KREBS,K.,ii.7ob; iv.693a; Eli-
jah, i. 4860; Evers (C), i.
498a; PF. Mus., ii. 729a;
Seyfried, iii. 478 b ; Song, iii.
623 a ; Briickler (H.), iv.
566b.
Kbebs, Marie, ii. 70b ; Philh.
Soc, ii.7oob ; PF.-playing, ii.
745; Schools of Comp., iii.
311a.
Krebs ; Schelble, iii. 244a.
Krbibich; Haydn, i. 718 a;
Mozart, ii. 396 b.
Kbeislee, J.; Hoffmann (E.
T. W.).i. 741b.
Kbeislebiana, ii. 71a; iv.
693 a ; Hoffmann (E. T. W.),
i. 741 b ; Nachtstiicke, ii.
442 a; Schumann, iii. 409 a;
Bohner, iv. 549 b.
Kreissle von Hellborn, H. ii.
71 a ; Schubert, iii. 319 a note
etc.
Krenn, M., ii. 71b; Beethoven,
i. 198b: Lorenz, ii. 166 b.
KRETSCHMER,E.,ii.7ib; iv.693b.
Kreutzer, a., ii. 72 b; Art6t
(A. J.), iv. 524 a.
Kreutzer, C, ii. 7 i b ; iv. 693 a ;
Clarinet, i. 364b ; Dorn, i.
455 a; Kind, ii. 56b; Nie-
derrheinische Musikfeste, ii.
457; Oboe, ii. 488 b; Opera,
ii. 522b; Orpheus, ii. 613a;
Song, iii. 623a; Wacht am
Rhein, iv. 343a ; Vaterlan-
dische Kunstlervcrein, iv,
808 a.
Kreutzer, L., ii. 72b.
Kreutzer, R., ii. 72 a ; iv. 693 a ;
Acad^niie de Mus., i. 9a;
Baillot, i. 126a; 13eaulieu,
i. i6oa; Beethoven, i. 178a,
etc.; Berton, i, 237b; Blan-
chard, i. 247 a; Bohrer (A.),
i. 255 a; Ch^lard, i. 341a;
Cherubini, i, 343 a; Concert
Spirituel, i. 385 b; Conserva-
toire de Mus., i. 392a, etc.;
Etudes, i. 497 a ; Guitar, i.
640 b ; Isouard, ii. 24a ; Lacy
(M.),ii. 82b; Lafont (C. P.).
ii. 84a; Lodoiska, ii. 159b;
Massart, ii. 235 b; Mendels-
sohn, ii. 257b; Rovelli (P.),
iii. 183b; Schloesser (L.), iii.
254a; Spohr, iii. 659a; Sto-
race (S.), iii. 720a; Tilmant,
iv. 1 16 a; Tolbecque (A.), iv.
i32b;Tourte,iv. 1 55b; Valen-
tino (H. J. A.), iv. 214a;
Vidal (J.), iv. 261b; Violin-
playing, iv. 294a ; Art6t (A.
J.), iv. 524a.
Kreutzer Sonata, ii. 72 a ; Au-
garten, i. 104 a ; Beethoven,
i. 182 b; Bridgetower, i. 275b.
Kbeuz; Accidentals, i. i8b.
Kbiegeb, a. ; Mus. Lib., ii.
427a; Programme-mus., iii.
36a; Song, iii. 621a.
Kbiegeb, J.; Suite, iii. 756a;
Song, iii. 621a; Zachau, iv.
498 b.
Kbiegk; Dotzauer, i. 457 a.
Keiese ; Niederrheinische Mu-
sikfeste, iv. 731a.
Kbigab, H. ; Song, iii. 630b.
Keoll, F., ii. 73b; iv. 693a;
Bach-Gesellschaft, i. 119a;
Wohltemp. Klavier, iv. 483 b.
Kbommeb, F., ii. 73 b ; iv. 693 a;
INDEX.
85
Schubert, iii. 3206; Sym-
phony, iv. 240.
Kkopfgans ; Baron, i. 143 a.
Krossing; Soncr, iii. 611 a.
Kbov; Song, in. 614&.
Kkugeb, J,, Wind-band, iv.
467 a.
Kbuger, W.; PF. Mus., ii.
733a; PF.-playing, ii. 745.
Kbufft, N. von ; PF. Mus., ii.
727a; PF.-playing, ii. 744.
Kbug, D. ; PF. Mus., ii.
733«.
Keummhorn, ii. 74a ; Cremona,
i. 416a.
Kbumpholz, J. B., ii. 74a;
Haydn, i. 706 &, etc.
Kbumpholz, Mme.,ii. 74b.
Kbumpholz, W., ii. 746; iv.
693 a; Beethoven, i. 167 &,
etc. ; Mandoline, ii. 205 h ;
Specimens, Crotch's, iii. 650a.
Kbuse, J. ; Violin-playing, iv.
298 a.
KucHARZ; Mozart, ii. 391 ft.
KtJCKEN, F. W., ii. 74&; iv.
, 693a ; Abt. F., i. 6a ; Eckert,
i. 4826; Orpheus, ii. 613a;
Song, 623a.
KuFFEL ; Haydn, i. 706b.
KiJHMSTEDT, F., ii. 75a.
KuHNEL ; HofFmeister, i. 743 h.
KuHNEB; Wind-band, iv. 473&.
KuFFEBATH, H. F., ii. 75 &; iv.
693a ; Conservatoire, Biussels,
i. 593 b.
Kugelmann, J.; Chorale, iv.
588&.
KuH, E. ; Marchisio (The Sis-
ters), iv. 710 a.
KuHE, S. ; Seyfried, iii. 478 b.
Kuhe, W., iv. 693b; PF. Mus.,
ii- 733 &; PF.-playing, ii.
745 ; Speidel (W.), iii. 650 a ;
Tomaschek, iv. 133 b.
Kuhlau, F., ii. 75b ; iv. 693b ;
Beethoven, i. 171b; Flute, i.
537 b; Orpheus, ii. 613 a;
PF. Mus., ii. 727b ; Sonatina,
iii. 584a ; Song, iii. 610 a ;
Trio, iv. 172 a.
Kuhnau, J., ii. 76a; iv. 693b;
Dulcimer, i. 469b; Graupner
(C), i. 622a; Klavier-Mus.,
ii. 63 a ; Leij)zig, ii. 115a;
Meister, Alte, ii. 247b; Pro-
gramme Mus,, iii. 36 a; So-
nata, iii. 555 b, etc. ; Suite, iii.
756 a ; Tr^sor des Pianistes,
iv. i68a; Variations, iv. 219 a.
Kulenkamp, C; PF. Mus., ii.
729a.
Kullak, a., ii. 76b.
Kullak, T., ii. 76b; iv. 693b;
Agthe (W. J.), i. 45 a; Bron-
sart, i. 278a; Commer, i.
381a; Dehn, i. 439 b; Marx,
ii. 323a; PF. Mus., ii. 732b;
PF.-playing, ii. 745 ; Ries (A.),
iii. 132a; Scharwenka, iii.
242 a ; Wehli (K,), iv. 432 a ;
Wiierst, iv. 491b; Zopff, iv.
513b; Hofinann (H. K. J.),
iv. 677 b ; PF.-playing, iv.
748b
Kummeb, F. a., ii. 77a; Bas-
soon, i. 154 b ; Cossmann, i.
405 a; Dotzauer, i. 457 a;
Kiel, ii. 56 a; Queiaser, iii.
60b; Stradivari, iii. 733a;
Violoncello-playing, iv. 300 b,
etc.
KuMPF ; Schikaneder, iii. 249b.
KuNST deb Fuge, Die, ii. 77 a;
Bach (J. S.), i. 117 a.
Kunstlied; Lied, ii. 133a;
Song, iii. 620 a.
KuNTZSCH, J. C, ii. 77 a ; Schu-
mann, iii. 384b.
KuNZEN, J. P. ; Baumgarten, L
157a.
Kunzen; Song, iii. 610 a;
Weber, iv. 420a.
Kupelwieseb; Schubert, iii.
345 «•
KupscH, K. G., ii. 77a.
Kubpinski ; Polonaise, iii. lob.
KuBZBECK, Fanny, PF.-playing,
ii. 744.
KussEB. (See Cousseb, i.
412 a.)
Kybib, ii. 77 b; Communion
Service, i. 381 b ; Lydian
Mode, ii. 181 b ; Mass, ii.
226a, etc.; Plain Song, ii.
767 b, etc. ; Requiem, iii.
109a; Response, iii. 1 18 a;
Service, iii. 473 a.
La, ii. 79 a.
Lababbe, Th. ; Parish-Alvars,
ii. 649 a; Song, iii. 597 « J
F^tis, iv. 636 a.
Labbayb ; Ophicleide, ii. 532 a.
Labb^; Baptistin (J.), i. 136b.
Labitzky, J., ii. 79 a ; iv. 694a;
Polka, iii. 9 a ; Waltz, iv.
386b.
Lablache, L., ii. 79 a ; Basili, i.
147b; Beethoven, i. 201b;
Bellini, i. 313b, etc. ; Doni-
zetti, i. 453 a ; Grisi, i. 633 a ;
Laporte, ii. 91b; Malibran,
ii. 202 b; Mario, ii. 317b;
Philh. Soc, ii. 699a; Schu-
bert, iii. 347 a; Singing, iii.
507b, etc.; Sontag, iii. 635a;
Tagliafico, iv. 52a; Thalberg,
iv. 96 a; Un Anno, etc., iv.
30ib; Viardot Garcia, iv.
259 b ; Voices, iv. 335 a, note.
Labocetta ; Strakosch, iii. 734a.
Labobde. (See De la Bobde,
iv. 6iob.)
Lac des Fees, Le, ii. 81 b;
Auber, i. 102 a.
Lachneb, C, ii. 8 lb.
Lachneb, F., ii. 81 b; Loreley,
ii. 166b; NiederrheinischeMu-
sikfeste, ii. 457a; Pauer (E.),
ii. 674b; Rontgen, iii. 144a;
Schubert, iii. 331 a, etc. ; Song,
iii. 630b; Sontag, iii. 635 a;
Stark (L.), iii. 690b ; Suite,
iii. 761a; Vogl (H.), iv.323a;
Wagner, iv. 362 b; Mallinger
(M.),iv. 708b.
Lachneb, Ignaz, ii. 82 a ; Speidel
(W.), iii. 650a.
Lachneb, Thekla,ii. 81b.
Lachneb, T., ii. 81 b ; iv. 694a.
Lachneb, V., ii. 82a; iv. 694a ;
PF. Mu3., ii. 730b; Fibich,
iv. 636a; Levi (H.), iv. 700b.
Lachnith, L. W., ii. 82 a; iv.
694 a; Kalkbrenner, ii. 46 a,
note; Mystferesd'Isis,ii.44ob;
'Zauberflote, iv. 503 b.
Lacombe, L., iv. 694a; PF.
Mus., ii. 732 b; Song, iii.
597b, note; PF. Mus., iv.
748 b; PF.-playing, iv. 748 b.
Lacome ; Rdvue et Gazette Mus.,
iii. 121 b.
Lacoste ; Acad, de Mus., i. 7 b.
Lacy, J., ii. 82 b.
Lacy, Mrs., ii. 82 b; Bianchi
(F,), i. 240a ; Singing, iii.
512a.
Lacy, M. R.,ii. 83b; Lachnith,
ii. 82b; Schoelcher, iii. 258a.
Ladubnee, X. ; PF. Mus., ii.
726 a.
Lady Henbiettb, ii. 83 a. ; Flo-
tow, i. 535 a.
Lady of the Lake, The, ii. 83 a;
Macfarren, G. A., ii. 186 a.
86
Landleb, i.i. 83 a; Dreher, 1.
4630; Lanner (J.), ii. 91a;
Eedoute, iii. 89 a ; Tyrolienne,
iv. 1976; Waltz, iv. 3856.
La Fagb. (See Faugues.)
La Fage, J. A. Lenoir de, ii.
836; Kyrie, ii. 78 a; Mus.
Lib., ii. 426a ; Revue et Gaz.
Mus., iii. 131 &; Hist, of Mus.,
iv. 6766; Sistine Chapel, iv.
794&.
Lafont, C. p., ii. 84a; iv.
694a; Herz, i. 733 a; Milan-
oUo, ii. 330 a ; Paganini, ii.
629a; Schubert (Fr.), iii.
3826; Stradivari, iii. 733a;
Violin-playing, iv. 289 ; Os-
borne (G. A.), iv. 737 a.
Lafont ; Roi des Violons, iii.
146 a.
Lafont ; Randegger, iii. 73 a.
Laforce ; Organ, ii. 603 a.
Lagabde, ii. 84b.
Lagoan^re; Song, iii. 597a.
Laguerre, J., ii. 84& ; iv. 694a.
Laguerre, Mdlle ; Piccinni, ii.
7486.
Lahee, H., iv. 694a.
Lahon ; Aerts (E.), i. 41 a.
Lahorsky; Song, iii. 61 46.
Lahoussate, p. ; Concert Spiri-
tuel, i. 385 a ; Tartini, iv.
61 & ; Violin-playing, iv. 393 a.
Lai. (See Lay, ii. 107 &.)
Laiblin ; Stark, iii. 6906.
Laidlaw, Anna R., ii. 85 a.
Lain^; Conservatoire, i. 3926.
Lajarte, T. de, ii. 85 a. ; Mus.
Lib., ii. 426a.
Lajeunesse, Emma, ii. 85 a;
iv. 519a; Covent Garden
Theatre, i. 413 a; Lamperti,
ii. 89 a; Singing, iii. 510a;
Strakoach, iii. 734b ; Albani,
iv. 519a; Gye, iv. 66iZ>.
Lalande, H. C. Mi^Ric, ii. 85?);
iv. 694a; Garcia, i. 5820;
Laporte, ii. 91&,
Lalande, M. R. de, iv. 694b;
Concert Spirituel, i. 385 a;
Malt rise, ii. 3 00 a; Mus. Lib.,
ii. 421b.
LallaRookh, ii, 86a; iv. 695a;
Horn (C), i. 752b; Paradise
and the Peri, ii. 648 b; Ru-
binstein, iii. 193 a; Spontini,
iii. 673 a.
Lalla Roukh, ii. 86 a; David
(Fa), i. 433 «.
Lalo, E. V. A.,iv.695a; Violin-
playing, iv. 389 ; Lamoureux,
iv. 696 b.
Lamarre ; Auber, i. io3a; Bail-
lot, i. 125b; Bigot, i. 341b;
Violoncello-playing, iv. 300 b.
INDEX.
Lamb, B., ii. 86a; Tudway, iv.
199 b.
Lambert, G., ii. 86a; iv. 695b.
Lambert, H. ; Holmes (A. M.),
iv. 678 b.
Lambert, M. ; Lulli, ii. 173b;
Maitrise, ii. 199b; Mus. Lib.,
ii. 426a; Song, iii. 593b.
Lambeth, H. A., iv. 695b.
Lambillotte, Pfere; Notation,
ii. 468 a; Plain Song, ii.
763 a; Hist, of Mus., iv.
677a.
Lamentations, ii. 86 b; Amen,
i. 60b; Carpentras, i. 317b;
Genet, i. 588 b; Miserere, ii,
335b; Motet, ii. 373b; Ora-
torio, ii. 533 b; Palestrina, ii.
636b, etc.; Plain Song, ii.
768 a; Responsorium, iii.
II 8 b ; Tenebrse, iv. 86 a ; Part-
books, iv. 739 b.
L'Ami. (See MoN Ami.)
Lammert ; Wagner, iv. 363 b.
La Motte ; Concert Spirituel, i.
385 b; Janiewicz, ii. 31a;
Rauzzini, iii. 78 a.
Lamoureux, C, iv. 696a; Con-
cert Spirituel, i. 386a; Patey,
ii. 672 a; Chabrier, iv. 584a;
Indy, d', iv. 684 a; Lalo, iv.
695 b.
Lampe, C, ii. 88 b.
Lampe, F. a. ; Hist, of Mus., iv.
676 a.
Lampe, J. F., ii. 88 b; Carey
(H.), i. 309 b; Mountier, ii.
377b; Opera, ii. 523b.
Lamperti; Sembrich, iii. 458b.
Lamperti, F., ii. 88 b; iv. 696 b;
Lajeunesse, ii. 85b; Marches!
(S.), ii. 215a; Nachbaur, ii.
440 b; Rummel, iii. 205a;
Shakespeare, iii. 484 a; Thurs-
by, iv. 113a; Zandt (M.
van), iv. 499b; Campanini,
iv. 576a; Goldberg, iv. 650b;
Kennedy, iv. 690a; Thorn-
dike, iv. 799 a.
Lampugnani ; Siroe, Re di Per-
sia, iii. 534a.
Lamy-Thibouville ; Violin, iv.
283 b.
Lancers' Quadrille, The, ii.
89 a.
Land, J. P. N. ; Hist, of Mus.,
iv. 674b.
Landi, S. ; Oratorio, ii. 535b, etc. ;
Palestrina, ii. 641b; Steffani,
iii. 695 b, note ; Sistine Chapel,
iv. 794 a.
Landolpi, C. F., ii 89b; Guar-
nieri (J. del Gesu), i. 637b;
Violin, etc., iv. 282b; Testore,
iv. 798 b.
Landoni, p.; Palestrina, ii
640b.
Landsbero, L., ii. 89b.
Landulphus. (See Landolpi,
ii. 89b.)
Landdm; Song, iii. 600 a.
Lang, B. J., iv. 696b; Boston
Mus. Soc, iv. 555 b.
Lang, Jos., ii. 89b; iv. 697a;
Beethoven, i. 190a; Mendels-
sohn, ii. 266a; Song, iii. 630 b.
Lang, R., ii. 90a.
Langdon, R., ii. 90a; Incledon,
ii. 3 b.
Lange; Frege.i. 562 b.
Lanqe, a., ii. 90a; iv. 697a;
Eberl, i. 479 a; Mozart, ii.
385b, etc.; Unger (C), iv.
201 b; Vogler, iv. 325a; We-
ber (Aloysia"), iv. 429 b.
Lange, G.; PF. Mus., ii. 734b.
Lange, U. ; Leipzig, ii. 115 a.
Langemuller; Song, iii. 611a.
Langerberg; Eitner, i. 485 a.
Langhans, W. ; Hist, of Mus.,
iv. 674 b.
Langle, H. ; Lesueur, ii. 125a;
Plantade, iii. ib; Solfeggio,
iii. 549 a.
Langleike; Song, iii. 609 a.
Lang SAM, ii. 90 a.
Langshaw, J., sen., ii. 90b.
Langshaw, J., jun., ii. 90b.
Laniere, N., ii. 90b; iv. 697a;
Eng. Opera, i. 488 b; King's
Band, ii. 58a; Masque, ii.
225b; Mus. Antiqua,ii. 411a;
Mus. School, Oxford, ii. 437 a;
Opera, ii. 507 a.
Lanner, A., ii. 91b.
Lanner, J., ii. 91 a; K^ler B^la,
ii. 49a; Strauss (J.), iii. 737b;
Waltz, iv. 386b.
Lanner, K., ii. 91b.
Lannoy, E. von ; Vaterlandisch©
Kiinstlerverein, iv. 808 a.
Lanz ; Schubert, iii. 353 a.
Lanza, G. ; Stabat Mater, iiL
685 a; Stephens (C.),iii. 710b;
Tree (A.), iv. 800b.
Lanzetti, S. ; Violoncello-play-
ing, iv. 299 b.
Lapicida, E. ; Lamentations, iL
88 a; Schools of Conip., iii.
260a.
Lapicida, G. ; Lamentations, iL
88 a.
Laporte, P. F., ii. 91b; Costa
(M.), i. 406 a; King's Theatre,
The, ii. 58 b; Lumley,ii. 174a;
Malibran, ii. 202 a.
Large, ii. 92 a; Imperfect, L
766b; Long, ii. 165b; Nota-
tion, ii. 471a.
Larghetto, ii. 920.
Lakgo, ii. 92 a; iv. 697a; Ad-
agio, i. 27a ; Tempo, iv.
83 a.
Larigot, ii. 92a; Organ, ii.
593a.
Laris, E. ; Philh. Soc, iv.
746 &.
Larkcom, Agnes; Philh. Soc,
iv. 747 a.
Laroche, J., ii. 92 &.
Laroon, ii. 92 b; Laroche, ii.
g2h.
Laroon, J., ii. 926.
Laroussb, p., Hist, of Mus., iv.
677a.
Laruiveb; Maitrise, ii. 200 a.
Las Infantas, F. de ; Eslava,
i. 494&.
Laschi ; Bassi, i. 151a; Mozart,
ii. 389 a.
Lassalle, J., iv. 697 a ; Singing,
iii. 512 a.
Lassen, R, ii. 926; iv. 697Z);
Song, iii. 630&.
Lasserre, J., ii. 93a.
Lasso, R. de. (See Lassus, ii.
93«.)
Lasson. (See Lassus, ii. 93a.)
Lassus, O. di, ii. 93 a; iv.
6976; Attaignant, i. iooZ>;
Berg, i. 230a; Bodenschatz,
i- 253a; Cecilia, St., i. 329a;
Dehn, i. 439a; Delmotte, i.
440a ; Eccard, i. 481 a ; Fitz-
william Coll., i. 531a; Gar-
dane (A.), i. 5826; Hawkins,
i. 700 &; Ionian Mode, ii.
i8a; Le Jeune, ii. 119a;
Leroy, ii. 123a; Litaniae
LauretansB, ii. 151&; Madri-
gal, ii. 189a; Magnificat, ii.
196a; Mass, ii. 230&; Monte
(P. de), ii. 357a; Motet,
ii. 376b ; Mus. Antiqua, ii.
411a; Mus. Divina, ii. 411a,
etc.; Mus. Transalpina, ii.
416a; Mus. Lib., ii. 423 a;
Mus. School, Oxford, ii. 437a ;
Oratorio, ii. 540a; Ricercare,
iii. 1266; Rochlitz, iii. 141b;
Rore (Cipr. di), iii. 159b;
Schools of Comp., iii. 261b,
etc. ; SteflFani, iii. 695 a ; Tyl-
man Susato, iv. 197b ; Ves-
pers, iv. 257b; Volkslied, iv.
337a; Bumey, iv. 571a;
Mus. Lib., iv. 726a; Rome,
iv. 773b; Sistine Chapel, iv.
794a.
Last Judgment, the, ii. 102 a ;
Spohr, iii. 659 b.
Latilla; Ferrari, i. 513b; Olim-
piade, ii. 496 b.
Latour, de ; Song, iii. 597 a.
Latour, F. T. ; Chappell & Co.,
INDEX.
i- 339 ^ ; Woelfl (J.), iv.
480 a, note.
Latre, J. DE. (See Delattrb,
P.J.)
Latre, O. de. (See Delatrb.)
Latrobe, C. J., ii. 102 a.
Latrobe, J. A., ii. 102 b; iv.
697b ; Hist, of Mus., iv. 676b.
Laub, F., ii. 103b; Cossiuann,
i. 406 a; Violin-playing, iv.
298a.
Lauda Sign, ii. 103 b ; iv. 697 b ;
Mendelssohn, ii. 304a ; Mixed
Modes, ii. 339 a; Sequentia,
iii. 466 a.
Laudi Spieituali, ii. 105 a;
Animuccia, i. 68 6; Oratorio,
ii. 534a; Song, iii. 589a;
Dance rhythm, iv. 606 b.
Lauds, ii. 105b; Antiphon, i.
73 b; Matins, ii. 238 b; Tene-
brse, iv. 86 a.
Lafffenberg, H. von ; Song,
iii. 619a.
Laurent de Rill^, iv. 698 a;
Mus. Periodicals, ii. 429 b;
Orphdon, ii. 612b.
Lauska, F. S. ; Meyerbeer, ii.
321a; PF. Music, ii. 725b.
Lauten-Clavicymbalum ; Bach
(J. S.), i. 1 16 a.
Lauterbach, J, C, ii. 105b;
Philh. Soc, ii. 700a; Ton-
kiinstler Verein, iv. 150b;
Violin-playing, iv. 296 a.
Lavazza ; Testore, iv. 799 a.
Lavenu, L. H., ii. 106 a; Mori
(N.), ii. 365 a; Opera, ii. 524b;
Schools of Comp., iii. 306a;
Wade (J. A.), iv. 344a.
Lavigna ; Verdi, iv. 243 a.
Lavignac ; Indy, iv. 684 a.
Lavigne, a. J., ii. 106 a ; Philh.
Soc,ii. 699b; Vogt, iv. 332 a.
Lavoix, H. ; Revue et Gazette
Mus., iii. 121 b; Wind-band,
iv. 464a, «o^e; Hist, of Mus.,
iv. 676 a, etc.
Lawes, H., ii. 1 06 a; Bar, i.
137^; Coperario, i. 399 a;
English Opera, i. 488 b;
Hymn, i. 763a ; Ives, ii. 26b ;
Laniere, ii. 90b ; Masque, ii.
225b; Mus. Lib., ii. 418a,
etc ; Mus. School, Oxford, ii.
437 «; Opera, ii. 507 a ; Part
Mus., ii. 656 b ; Play ford, H.,
iii. 2b; St. Anne's Tune, iii.
212 a; Schools of Comp., iii.
282a, etc.; Song, iii. 602a,
etc.; Wilson (J.), iv. 462b;
Burney, iv. 571 a ; Psalter, iv.
764a.
Lawes, J., ii. 107a.
Lawes, T., ii. 107 a.
87
Lawes, W., ii. 107 a ; Boyce, i.
268a; Coperario, i. 399a;
English Opera, i. 488 b;
Hymn, i. 763 a; Ives, ii.
26b; Jenkins, ii. 33a ; Masque,
ii. 225b; Mus. Antiqua, ii.
411a; Mus. Lib., ii. 423b;
Mus. School, Oxford, ii.
437 a; Song, iii. 602 b; Tud-
way, iv. 198b; Vocal Scores,
iv. 319 b; Burney, iv. 571a.
Lawrowska, Mme. (See Zbre-
telew, iv. 506 a.)
Lay, ii. 107 b ; Chanson, i. 335b;
Song, iii. 591b.
Lay Clerk. (See Lay Vicar,
ii. 107 b.)
Lay Vicar, ii. 107 b.
Layolle, F. de ; Sistine Chapel,
iv. 794 a.
Lays, F., ii. 107 b; Conserva-
toire, i. 392 b ; Henri Quatre,
i. 728b ; Maitrise, ii. 200a.
Lazarin ; Vingt-quatre Violons,
iv. 266 b.
Lazarini; Strakosch, iii. 735a.
Lazarino ; Alphabet, i. 57 a.
Lazarus, H., ii. 108 a; iv.
698 a ; Trinity Coll., London,
iv. 171b.
Lazzarini, G., ii. 108 a.
Leach, J., ii. io8b ; iv. 698a.
Lead to, ii. io8b.
Leader, ii. 108 b ; Concert-Meis-
ter, i. 384b.
Leading Note, ii. 108 b; As-
cending Scale, i. 97a; Har-
mony, i. 676a; Mass, ii. 227a;
Monodia, ii. 354b ; Mus. Ficta,
ii. 412b; Song, iii. 601 b, etc. ;
Tetrachord, iv. 94 b.
Leander, Brothers ; Vocal Con-
certs, iv. 319a.
Leardini; Mus. Lib., iv. 726a.
Lebert, S. ; iii. 691a; Speidel,
iii. 650 a; Stark (L.), iii.
691 a ; Faisst, iv. 631 b ; Stark,
iv. 796 b.
Lebhaft, ii. 109 a.
Lebceuf, Abbe J. ; Hist of Mus.,
iv. 676b.
Leborne ; Gr. Prix de Rome, i.
618 b ; Wolff, iv. 485 b ; Franck
(C.), iv. 639b; Jonciferes, iv.
086 a : Lamoureux, iv. 696 a.
Lebourgeois ; Gr.Prix deRome,
i. 6i8b.
Lebrun; Attaignant, i. loob.
Lebrun, Francesca, ii. 109a;
Danzi, i. 430 b.
Lebrun, L., ii. 109b; Concert
Spirituel, i. 385 b.
Lebrun R,, ii. no a.
Lebrun, S., ii. 109b. (See
DULCKEN, S.)
88
Lecabpentieb ; Reicha, iii. 98b.
LicLA.iB, J. M., ii. iioa; iv.
698a; Guignon, i. 639b; So-
mis, iii. 553 b; Sonata, iii.
558b; Violin- playingjiv. 292b;
iv. 812b.
Leclebc; Grdtry, i. 627b; No-
tot, iv. 732 b.
Leclodx; Vieuxtemps, iv. 262 a.
Lecocq, a. C, ii. nob; iv.
698 a; Schools of Comp., iii.
304b.
LE90N. (See Lesson, ii. 1 240.)
Ledesma,M.R. ; Eslava,i.495a.
Ledesma, N. ; Eslava, i. 495 a.
Ledgeb-lines, ii. ma; Voices,
iv. 333^.
Leduc, S. ; Concert Spirituel, i.
385 a ; Gavinids, i. 585 b.
Lee, a., ii. nib; iv. 698b;
Song, iii. 607 a ; Waylett, iv.
815b.
Lee, S. ; Violoncello-playing, iv.
301a.
Leeds Musical Festival, ii.
nib; iv. 698b.
Leeves, Rev. W., ii. 11 1 b ; Ha-
rington, i. 691b.
Lef^bube-Wblt, L. J. A., ii.
112a; PF. Mus., ii. 732 a.
Lefebvbe, Ch. ; Gr. Prix de
Rome, i. 6i8b.
Lefebvbe ; Coussemaker, i.
411b; Reicha, iii. 98b.
Lefevbk ; Song, iii. 593 b.
Leffleb, a,, ii. 112a; Schools
of Comp., iii. 285b, note.
Leffleb, J. H., ii. 112a; Tem-
perament, iv. 73 a, note.
Le Foubnecb; Dragonetti, i.
462 a.
Legato, ii. i i 2 b ; Bind, i. 243 a ;
Phrasing, ii. 707b : PF.-play-
ing, ii. 739 a ; Slur, iii. 536 b ;
Touch, iv. 153 b.
Leggiebo, ii. 113b.
Legipont, O. ; Hist, of Mus.,
iv. 674 a.
Legnani, L. ; Guitar, i. 640 b.
Legouix ; Malbrough, ii. 201 a ;
Bizet, iv. 548 b.
3jEGBenzi,G., ii. 113b; iv.698b;
Caldara, i. 297b; Lotti, ii.
167 b; Opera, ii. 503 b; Scar-
latti (A.), iii. 238 b.
Legbos ; Concert Spirituel, i.
385 a; Gluck, i. 602 b; Mai-
trise, ii. 200 a; Mozart, ii.
386a.
L'hebitieb ; Attaignant, i.
loob; Sistine Chapel, iv. 794a.
Lb Hedbteub; Attaignant, i.
loob; Song, iii. 592 b.
Lehmann, Lilli, iv. 698 b ; Wag-
ner, iv. 363b.
INDEX.
Lehmann, Liza ; Philh. Soc., iv.
747 a-
Leigh; Song, iii. 615b.
Leidesdobf, M. J., ii. 114a;
iv. 698 b; Beethoven, i. 171b,
etc. ; Diabelli, i. 442 a ; PF.
Mus., ii. 727a; Schubert, iii.
345 a; Sowinski, iii. 647 b; Va-
terlandische Kiinstlerverein,
iv. 808 a; Vesque v. Piittlin-
gen, iv. 8iib.
Leighton, Sir W., ii. 114 a;
Song, iii. 602 a.
Leipzig, ii. 114b; iv.698b; Ge-
wandhaus Concerts, i. 592 b;
Mendelssohn, ii. 292b, etc.;
Mizler, ii. 339b; Moscheles,
ii. 370a; Mus. Lib., ii. 425a;
Mus. Periodicals, ii. 429b;
Schumann, iii. 398 a; Tho-
masschule, iv. 198 a.
Leisbing, v.; Prince de la
Moskowa, iii. 31b; Rochlitz,
iii. 142a; Vocal Scores, iv.
319b.
Leitebmateb ; Schubert, iii.
357 a.
Leitgeb. (See Leutgeb, ii.
126 a.)
Leit-Motif, ii. 115b; iv. 699a;
Figure, i. 522a; Liszt, ii.
147b; Mendelssohn, ii. 259b;
Motif, ii. 377a; Opera, ii.
521b, etc.; Programme-mus.,
iii. 34b ; Schools of Comp., iii.
^12 a, note; Subject, iii. 753b;
Symphony, iv. 40 a ; Wagner,
iv. 370a and note; Metamor-
phosis, iv. 718 a.
Leitton. (See Leading Note,
ii. 1 08 b.)
Le Jeunb,'C., ii. ii8b; Goudi-
mel, i. 612b; Hymn, i. 761b;
Mus.-printing, ii. 435 b; Part
Mus., ii. 656b; Schools of
Comp., iii. 269a ; Song, iii.
592b; Bourgeois(L.),iv.558a;
Bumey, iv. 570b ; Psalter, iv.
758a ; Trdsor Mus., iv. 802b.
Lejeune, H. ; Instrument, ii. 6b,
note.
Lemaibe, T. ; Hist, of Mus., iv.
677a.
LemaJtbe. (See Maistbe.)
Lembok ; Violin, iv. 284a.
Lemlin, L. ; Programme-mus.,
iii. 35a; Song, iii. 620a.
Lemmens, N. J., ii. 1 20 a; iv.
698 a; Guilmant, i. 639 b;
Regibo, iii. 94 a ; Sherrington
(Mme. Lemmens), iii. 486 b;
Wider, iv. 4540.
Lendwat; Haydn, i. 706 b.
Lenepveu, C. F., iv. 699a; Gr.
Prix de Rome, i. 618 b.
L'Enpant. (See Flannel, E.)
Lenk ; Violin, iv. 284a.
Lengib de la Fage, J. A. (See
La Fage, ii. 83b.)
Lento, ii. 1 20 b ; Tempo, iv, 83 a.
Lenton, J., ii. 1 20b; Toilet
(T.), iv. 132b.
Lenz, W. von, ii. 120b; iv.
699b; Beethoven, i. 201b,
etc.; Filtsch, i. 523a; Hen-
selt, i. 730a; Mus. Periodi-
cals, ii. 427b, etc.; Oulibi-
cheff, ii. 6i6b.
Leo, L., ii. 121a; Aboa, i. 5b;
Auswahl, i. 105 a ; Barbella, i.
138a; Cafaro, i. 295b; Du-
rante, i. 471b; Fitzwilliam
Coll., i. 531a, etc; Jommelli;
ii, 36 b; Latrobe, ii. 103 a;
Mass, ii. 233b; Motet,ii.376a;
Mus. Lib., ii. 421b; Naples,
ii. 445 J ; Olirapiade, ii. 496 b;
Opera, ii. 513b; Oratorio, ii.
.*537&; Pergolesi, ii. 687 a;
Piccinni, ii. 747a; Pitoni, iL
759 a ; Prince de la Moskowa,
iii. 31b; Quantz, iii. 56 a;
Rochlitz, iii. 142 a; Sala, iii.
317b; Scarlatti (A.), iii. 239a;
Schools of Comp., iii. 287a;
Specimens, Crotch's, iii. 650 a;
Stanford, iii. 690 a; Bumey, iv.
571a; Metastasio, iv. 718a.
Lbocadie, ii. 131 a; Auber, L
102 b.
Leolinb, ii. 1 33 a; Flotow, i.
534^-
Leon ; Song, iii. 599 b.
Leon, G.; Schools of Comp., iiL
266 a.
Leonabd, H., iv. 699 b; Habe-
neck, i. 643 a; Viardot Garcia,
iv. 260a ; Violin-playing, iv.
296a ; Gr^goir (J.), iv. 655a.
Leonhabd, Prof. ; Popper, iii.
i6a.
Leoni, L.; Bodenschatz,i. 353b;
Programme Mus., iii. 36 a;
Oriana, ii. 611 b.
LiEONOBE, ii. 122b; iv. 700a;
Beethoven, i. 185 a; Fidelio,
i. 519a.
Leonobe Pbohaska, ii. 122b;
iv. 700 a; Harmonica, i. 663 a.
Lbpobin, J. C. ; Zachau, iv.
499 a.
Lebo. (See Lyba-viol.)
Leeoux ; Gr. Prix de Rome, iv.
654b,
Le Roy. (See Leboy, ii. 123a.)
Lebot, a., ii. 123a; Alford, i.
52b; Attaignant, i. loob;
Ballard, i. 129b; Lassus, ii.
93a, etc.; Le Jeune, ii. ii8b;
Lute, ii. 177b; Mus.-printing,
ii- 435 ^> Notation, ii. 474&>
Schools of Comp., iii. 267 a.
Leschetitzkt, T., ii. 123a; iv.
700a; Schfitt, iii. 425a; Essi-
IJoflF, iv. 629&.
Lescdrel, J. ; Songr, iii. 592 a.
Les Deux Jouknees; Water
Carrier, iv. 384a.
Leslie, H. D., ii. 123a; iv.
700 a; Iminanuel, i. 766 a;
Judith, ii. 44a; Part-song,
ii. 659 a ; Purcell Soc, the,
iii. 53 a ; Schools of Comp., iii.
308 a, etc. ; Singing, iii. 513b;
Soc. of British Musicians, iii.
544a.
Lespy, v.; Hist, of Mus., iv.
675a.
Lessel, F., ii. 1236; Haydn,
i. 716 b.
Lesson, ii. 124a ; Mus. Antiqua,
ii. 420?); Scarlatti (D.), iii.
240 a; Suite, iii. 756 a; Pro-
gramme Mus., iv. 752a.
Lestocq, ii. 1 246; Auber, i.
102 b.
Lesueub, J. F., ii. 124&; iv.
700 a ; Academic de Mus., i.
ga; Berlioz, i. 233a; Cheru-
bini, i. 342 b ; Conservatoire
de Mus., i. 392 a; Cornette
(V.), i. 404b ; Elwart, i. 487 5 ;
Maitrise, ii. 200a; Opera, ii.
523a; Paisiello, ii. 634a;
Persuis, ii. 694b; Prevost (E.),
iii. 296; Eeber, iii. 826; Ros-
sini, iii. 170a; Schloesser, iii.
254a; Spontini, iii. 667 a;
Thomas (C. A.), iv. 103b;
Urhan (C), iv. 208 b.
Liii; VuUlaume (J. B.), iv.
341a.
Letzten Dinge, Die, ii. 126a;
Spohr, iii. 663 a.
Leutgeb, J., ii. 126a; Mozart,
ii. 399 b, etc.
Leutgeb; Mozart, ii. 393b, note ;
Requiem, iii. no a.
Levasseue, N. p., iv. 700a ;
Acad^mie de Mus., i. 9b;
Franchomme (A.), i. 558b;
Garat, i. 581b; Violoncello-
playing, iv. 300 b.
Leveridge, R., ii. 126b; iv.
700 b; Clark (J.), i. 365 a;
Macbeth Mus., ii. 185 a ; Mus.
Lib., ii. 421b, etc.; Purcell
(D.), iii. 52 a; Royal Soc. of
Musicians, iii. 187a ; Song, iii.
604b; Valentini, iv. 213b.
Leversidge, A.; Virginal, iv.
304b.
Levesque; Solfeggio, iii. 547 b.
Levey, R. M., iv. 700b ; Irish
Mus., ii. 22 a.
INDEX.
Levi, H., iv. 700b ; Stark, iii.
690 J; Wagner, iv. 365 a;
Wullner, iv. 492 a.
Levrini; Mariani (A.), iv.
710a.
Lewis, T. & Co., iv. 700b;
Organ, ii, 602a, etc.; Pedal,
ii. 682 b.
Lewita, G. ; Godard (B.), iv.
649 b.
Lewy, C. ; Lucca (Pauline), ii.
170b; Seyfried, iii. 478b;
Mallinger, iv, 708 b.
Leybach, J. ; PF. Mus., ii. 736a.
L'HoMME Arm4 ii. 126b ; Fruy-
tiers, i. 566a; Mass, ii. 226b;
Palestrina, ii. 638 a; Schools
of Comp., iii. 260 a; Subject,
iii. 749 a.
Liadow; Rimsky-Korsakow,iv.
7726.
Libretto, ii. 128b; Academic
de Mus., i. 9b; Meyerbeer, ii.
323b; Opera, ii. 515b, etc;
Planchd, iii. i a ; Schikaneder,
iii. 250a; Scribe, iii. 453a;
Treitschke, iv. 166 a; Trout-
beck, iv. 179b; Wagner, iv.
352 b, etc. ; Bennett (Jos.), iv.
543&.
License, ii. 130b; Nota Cambi-
ta, ii. 466b; Strict Counter-
point, iii. 742 b, etc. ; Wech-
selnote, Die Fux'sche, iv. 430 a.
LiCENZA, iv. 701 a.
Lichfield, H., ii. 131b.
LiCHNOWSKY, C, ii. 131b; iv.
701a; Beethoven, 167 a, etc. ;
Czerny, i. 425 b ; Kraft, ii. 70 a ;
Mozart, ii. 397 b; Rasoumow-
sky, iii. 77a; Schuppanzigh,
iii. 425a.
LiCHNOWSKY, E., ii. 132b.
LiCHNOWSKY, M., ii. 132b;
Beethoven, i. 167 b, etc.
Lichtenegger, Prof, ; iMallin-
ger, iv. 708b.
Lichtenthal, Dr. ; Diet, of
Mus., i. 445b; Idomeneo, Re
di Creta, 'i. 765 a; PF., ii,
720b; Song, iii, 591a.
LiCKL, C. G. ; PF. Mus., ii,
729a.
Lidarti ; Part Mus., ii, 657a.
LiDEL, Jos. ; Regondi, iii. 97 a;
Zeugheer (J.), iv. 507 a.
LiDL, A.; Baryton, i. 147a;
Gamba, Viola da, i. 580b ;
Haydn, i. 706 b.
Lido, Marie de ; Philh. Soc, iv.
747 a.
LiDON, J, ; Eslava, i. 495 a.
Liebe; Gernsheim, i. 590 b.
Liebenberg, Von ; Schubert,
iii. 333 a-
89
Lieblich Gedact, ii. 1326 ;
Organ, ii. 601 b, etc.
Liebmann; Polka, iii. ga.
Liebmann ; Song, iii. 611 a.
Lied, ii. 133a; Form, i, 542 a;
Lay, ii. 107 b; Song, iii. 615b,
etc.
Liedercyclus. (See Lieder-
kreis, ii. 135b,)
LiEDERKREis, ii. 135b; Bcctho-
ven, i. 193b; Jeitteles, ii. 33 a.
LiEDERSPiEL, ii. 136a; Opera,
ii. 519 a ; Vaudeville, iv.
231a.
LiEDERTAFEL,ii.i36a; Manner-
ge.sangverein, ii. 206 a; Or-
pheon, ii, 611 b ; Part-song, ii.
658b; Zelter, iv, 504a.
Lied- form, ii. 133b; Form, i.
553b note; Sonata, iii. 556a.
Lied ohne Worte, ii. 135a;
Mendelssohn, ii. 302 b.
Liehmann, a. ; Dvorak, iv.
621b.
Life let us Cherish, iv. 701 a.
Ligatostil, ii. 136 b.
Ligature, ii. 136b; Briard, i.
275a; Long, ii. 165b; Micro-
logus, ii. 327b; Minim, ii.
333 a; Notation, ii. 473 a;
Perielesis, ii. 691b; Plain
Song, ii. 768 a; Pneuma, iii.
4b; i?odatus, iii. 5a; Proprie-
tas, iii. 43 b; Tie, iv. 113 b;
Zacconi, iv. 497 b; Franco
(M. of Cologne), iv, 641b.
Light, E. ; Dital Harp, i, 449a.
Light of the World, the, ii.
138a; Sullivan (A.), iii, 763 b,
Liliencron, R. Von Jalir-
biicher, etc., ii. 30b ; Song,
iii. 617b, note; Hist, of Mus.,
iv. 675 a.
Lilliburlero, ii. 138 a ; Ballad,
i. 129a; Refrain, iii. 93b;
Song, iii. 603 b.
Lilt, ii. 139 a.
Lily of Killarney, ii. 139b;
Benedict, i. 223b.
LiMBURG Chronicle ; Jahr-
biicher, ii. 30 b; Song, iii.
617 b; Volkslied, iv. 336 b.
Limma; Organum, ii. 6ioa;
Frets, iv. 642 b.
LiMPUS, R., ii. 139 b, iv. 701a;
Organists, Coll. of, iv. 735 a.
LiNCKE, J., ii. 139b, iv. 791b;
Augarten,i.i04a ; Beethoven,
i. 198 b, etc. ; Rasoumowsky,
iii. 77 a; Schubert, iii. 340a,
etc. ; Schuppanzigh, iii. 425a;
Weiss (F,), iv. 433a.
Lincoln, H. C, iv. 701a.
Lincoln' s Inn Fie lds Theatre,
ii. 140a; Rich, iii. 127a.
i
90
LiKD, Jenny, ii. 140 a, iv. 701a,
and 819b; Ahlstroem, i. 46a;
B«cher, i. 160& ; Beethoven,
i. 1 8 1 b, note ; Belletti, i. 2 1 1 & ;
Benedict, i. 322b; Donizetti,
i 453a; Garcia (M.), i.
582b; Goldschmidt, i. 608a;
Lindblad, ii. 142 b; Lumley,
ii. 174a; Mendelssohn, ii.
283 a, etc ; Mendelssohn Scho-
larahip, ii. 310b ; Meyerbeer,
iL 323b; Moscheles, ii. 370b;
Nicolai, ii. 453b ; Nieder-
rheinische Musikfeste, ii.
456a ; Philh. Soc., ii. 700a ;
Singing, iii. 508 a; Soprano,
iii. 635b; Staudigl (J.), iii.
691b; Viardot Garcia, iv.
260a ; Vocalise (to, etc.), iv.
321a; Phillipps (A.), iv. 747b.
Linda di Chamouni, ii 142 b;
Donizetti, i. 454 a.
LiNDBEBG, C. L. ; Hist, of Mus.,
iv. 676 a.
Lindblad, A. F., ii. 142b, iv,
701 a ; Mendelssohn, ii. a 73 a;
Song, iii. 610 b, etc.
Lindemann ; Tresor des Pian-
istes, iv. 1 68 a.
Lindemann, L. M. ; Song, iii.
6iob, etc.
Lindley, R., ii. 142b; Barnett,
i. 141b; Dragonetti, i. 462 a;
Forster (W.),i. 556a ; Opera,
ii. 504b ; Phillips (W. L.), ii.
705b ; Reed (F. G.), iii. 90b ;
Roy. Acad, of Mus., iii. 185 a;
Secco Recitative, iii. 455 a;
Stiastny (B. W.), iii. 713a,
etc. ; Violoncello-playing, iv.
300 b.
Lindley, W., ii. 143 a.
Lindner, A.; Drechsler (K.),
i. 462 b.
Lindner, E. 0. ; Song, iii.
621b, note, etc.; Hist, of
Mus,, iv. 674b, etc.
Lindpaintner, p. J. von, ii.
143 a, iv. 701a; Bassoon, i.
154b; Faust,i.509a; Kucken,
ii. 75 a; New Philh. Soc, ii.
45 2b; Niederrheinische Musik-
feste, ii. 457 ; Opera, ii. 522a ;
Oratorio, ii. 555a; Pischek,
iii. 54b; Romantic, iii. 150b;
Taglichsbeck, iv. 52a; Abert,
iv. 517a.
LiNKB. (See LiNCKE, ii. 139b.)
LiNLEY, Eliza, ii. 144a.
LiNLEY, F., ii. 143b; iv. 701a.
LiNLEY, G., iv. 701 a.
LiNLEY, Maria, ii. 144a.
LiNLEY, 0., ii. 144b; Concentores
Sodales, i. 383b.
LiNLBY, T., ii. 143b, iv. 701a;
INDEX.
Arnold, i. 86 a; English Opera,
i. 489 a ; Glee Club, i. 599 a ;
Pantomime, ii.646b; Paradies
(P. D.), ii. 648 a ; Stanley (J.),
iii. 690a; Vernon, iv, 256a ;
Welsh (T.), iv. 444b.
LiNLEY, T., jun., ii. 144a;
Crouch, i. 421a; Digniun, L
447b; Mozart, ii. 383a, etc.;
Page,ii. 632 b; Violin-playing,
iv. 298b; Violin-playing, iv.
812b.
LiNLEY, W., ii. 144b ; Macbeth
Mus., ii. 185 a.
LiNNERT, 0. W.; Cary (H.), i.
309 a.
LiNTERN ; Harmonious Black-
smith, iv. 667 b.
LiPAWSKY ; Beethoven, i. 168 a.
LiPiNSKi, K. J., ii. 144b;
Gusikow, i. 641b; Melodists'
Club, ii. 249 a; Paganini, ii.
629b; Philh. Soc, ii. 699b;
Schumann, iii. 398 b; Violin-
playing, iv. 298b; Cameval,
iv. 579b; Song, iv. 795 a.
Lira Grande ; Opera, ii. 499b.
Lis ; Song, iii. 595 b.
LiSBETH, ii. 1 45 a ; Mendelssohn,
ii. 309 a.
LiscHEN ET Fritzchen, ii.
145a; Offenbach, ii. 493b.
LiSLEY, J., ii. 145a; Oriana, ii.
611 a.
LissiEUX ; Musette, ii. 410 b.
LiSTENius ; Mus. Lib., ii. 421 a;
Dodecachordon, iv. 616 a.
Liszt, F., ii. 145a, iv. 701a;
Accent, i. 15 a; Arrange-
ment, i. 93b ; Bach-Gesell-
schaft, i. 1186; Ballade, i.
129b; Brendel, i. 274a;
Bronsart, i. 278b ; Biilow,
von, i. 280b, etc. ; Chelard, i.
341 b ; Chopin, i. 349 b ; Con-
certo, i. 389 a; Corneliug, i.
403 a; Cossmann, i. 405 b;
Cramer, i. 413b; Czerny, i.
4256; Dannreuther, i. 430a;
Draeseke, i. 460b; Etudes, i.
496b, etc. ; Field (J.), i. 519b ;
Mltsch, i. 523a; Fingering,
i. 527a; Franz (R.), i. 560a;
Halle, i. 646 b ; Handel-
Gesellschaft, i. 659 a; Hen-
selt, i. 729b; Hiller (Ferd.),
^' 737^5 Jadassohn, ii. 29 a;
Joachim, ii. 35 a; Kroll, ii.
73b; Lassen, ii. 92b; Lenz,
ii. 1 20b; Libretto, ii. 130b;
Magyar Mus., ii. 198b; Ma-
zurka, ii. 242 a ; Mehlig, ii.
245b; Mendelssohn, ii. 276b;
Niederrheinische Musikfeste,
ii. 457; Paganini, ii. 632a;
Pedals, ii. 683 a; PF., ii.
722a; PF. Mus., ii. 730b;
PF.-playing, ii. 739 a, note,
etc.; Piatti, ii. 746b; Pixis
(J.P.),ii. 759b; Pleyel(Mmc),
iii. 3b; Popper (D.), iii. 16 a;
Popper (S.),iii. 16 a; Preludes,
Les, iii. 29 a; Programme
Mus., iii. 34b, etc. ; Raff, iii.
64 a; Ramann (Lina), iii.
68 b; Rappoldi (L.), iii. 76 b;
Recital, iii. 83a ; R^menyi, iii,
107 a ; Revue et Gazette Mu.^i.,
iii. 1 2 T b ; Romantic, iii. 1 5 2 b ;
Rubini, iii. 190b ; Rubinstein
(A.), iii. 191a; Sauret, iii.
230b; Scarlatti (D.), iii. 239b;
Schneider (J. G.), iii. 256a;
Schober, iii. 256b; Schon-
stein, iii. 258b; Schools of
Comp., iii. 298b; Schubert,
iii. 358a, note, etc.; Schu-
mann, iii. 392 b; Schumann
(Clara), iii. 422b; Score, iii.
432; Sgambati, iii. 479a;
Smetana, iii. 538b ; Sonata, iii.
579 a; Song, iii. 6iib, etc. ;
Speidel (W.), iii. 650a; Starck
fl.), iii. 690 b; Stark (L.), iii.
091a; Straus (L.), iii. 737 a;
Studies, iii. 747a; Svendsen
(J. S.), iv. 6b ; Symphonische
Dichtungen, iv. lob; Sym-
phony, iv. 39 b; Tausig, iv.
64b; Thalberg, iv. 95 b;
Thematic Catalogue, iv. 99a;
Timanoff, iv. ii6a; Viardot
Garcia, iv. 259a; Wade, iv.
344a ; Wagner, iv. 351b, etc. ;
Zukunftsmusik, iv. 514a;
Bache (W.), iv. 529b; D' Al-
bert (E.),iv.6o4a; Damrosch,
iv. 605 a ; Meinardus, iv.7i6a;
PF.-playing, iv. 748 b ; Rhap-
sody, iv. 771b; Vaterlandische
Kiinstlerverein, iv. 808 a;
Vesque V. Piittlingen, iv.
812 a.
LiTANiiE Lauretan^, ii. 151 a J
Litany, ii. 151b.
Litany, ii. 151b; Musica Di-
vina, ii. 411a; Response, iii.
117a.
Literes, A. ; Eslava, i. 495 a j
Yriarte, iv. 496 b.
LiTOLFF, H. C, ii. 153b; iv,
704b; PF. Mus., ii. 733 a;
PF.-playing, ii. 743 b; Soc of
British Musicians, iii. 544a ;
PF.-playing, iv. 748 6.
LiTTA, Mile. ; Strakosch, iii,
735 a-
Liturgy; Merbecke, ii. 312a.
LiVERATi ; Royal Acad, of Mus.,.
iii. 185 a.
Liverpool Mus. Festivals, ii.
153&; iv. 704&.
Lloyd, C. H., iv. 7046 ; Univer-
sity Soc. (Oxford), iv. 2066;
Greek Plays, iv. 655 a.
Lloyd, E., ii. 154a; iv. 705a ;
Philh. Soc, ii. 700 & ; Singing,
iii. 5126 ; Tenor, iv. 88a.
Lobe,* J. C, ii. 154 a ; iv. 705 a ;
Haydn, i. 719b; Mendelssohn,
ii. 310b; Mus. Periodicals, ii.
427 b, etc. ; Orchestration, ii.
572b; Dommer, iv. 617a.
LoBGESANG, ii. 154b; iv. 705b;
Hymn of Praise, i. 764a ;
Mendelssohn, ii. 277b, etc. ;
Sinfonie-Cantate, iii. 496 a ;
Symphony, iv. 33 a.
LOBKOWITZ, Prince F., ii. 154b.
LoBKOWlTZ, Prince J. M., ii.
155a; iv. 705 a; Bassi, i.
151a; Beethoven, i. 167a,
etc. ; Eroica, i. 493 b ; Kinsky,
ii. 59b; Kraft (A.), ii. 69b;
Louis Ferdinand (Prince), ii.
169 a; Putzli, iii. 53 b; Wra-
nizky, iv. 490a.
LOBO, A. ; Eslava, i. 494b ; Sis-
tine Chapel, iv. 794a.
LoBSTEiN, J. P. ; Hist, of Mus.,
iv. 675a.
LocATELLi, P., ii. 155b; Corelli,
i. 401 a ; Ldclair (J. M. I'aine),
ii. iioa; Paganini, ii. 629a;
Sonata, iii. 558 b; Tartini, iv.
61 a; Variations, iv. 220a;
Violin-playing, iv. 292b.
LOCHABER NO MORE, ii. 156a.
LOCHEIMEB LlEDERBUCH ; Jahr-
biicher, etc., ii. 30b; Song, iii.
617b; Volkslied, iv. 337 a.
LocHENBURG, G. da ; Lassus, ii.
96 a ; Mus. Lib., ii. 419 a.
LocHER, C. ; Hist, of Mus., iv.
676a.
Lock, M., ii. 157a; iv. 705 a;
Attwood, i. loib; Boyce, i.
268 b; Draghi,i. 461b; Eccles,
i. 481b; English Opera,
i. 488 b; Macbeth Mus., ii.
183a, etc. ; Masque, ii. 225b;
Mus. Antiqua, ii. 411 a ; Mus.
Lib., ii. 421a, etc.; Mus.
School, Oxford, ii. 437a;
Nuances, ii. 483b; Opera, ii.
507 a; Purcell (H.), iii. 46b;
Salmon (T.), iii. 655 b, note ;
Schools of Comp., iii. 282 a;
Song, iii. 603b ; Sympson (C),
iv. 43b; Tune,iv.i87a ; Tud-
way, iv. 199b; Burney, iv.
571 a ; Dorset Garden Theatre,
iv. 617 b.
LoCKEY, C, ii. 158a; Mendels-
sohn, ii. 288 b; Philh. Soc, ii.
INDEX.
699 h ; Williams (Martha), iv.
460a.
Loco, iv. 705 a ; All' Ottava, i.
t)6a.
LocBiAN Mode, ii. 158a; Gre-
gorian Modes, i. 627 a ; Hyper,
i. 764b ; Modes Ecclesiastical,
ii. 341 a, etc. ; Phrygian Mode,
ii. 708 b.
LoDER, E. J., ii. 1 58 b ; iv. 705 a ;
Giselle,i. 597a; Night Dancers,
ii. 458 a ; Opera, ii. 524b; Phil.
Soc, New York, ii. 702 a;
Raymond and Agnes, iii. 79 a ;
Schools of Comp., iii. 306a;
Song, iii. 607 a; Woodyatt,
iv. 486a.
LoDER, J., ii. 159a.
LoDER, J. F., ii. 159a; Ancient
Concerts, i. 64b; Reed (T.),
iii. 90b ; Royal Acad, of Mus.,
iii. 185 a.
LODER, Kate F., ii. 159a ; Philh.
Soc, ii. 699b.
LoDER, W.jii. 159a ; Woodyatt,
iv. 486 a.
LODOISKA, ii. 159 b; Cherubini,
i. 342 a; Kreutzer (R.), ii.
72a ; Storace (S.), iii. 720a.
LoEiLLET, J. ; Suite, iii. 757 a.
LOESCHHORN, A., iv. 705 a;
PF. Mus., iv. 732 b; Studies,
iii. 746b ; Eddy, iv. 625a.
LoEw, J. ; PF. Mus., ii. 736 a.
LoEWE, G. ; Hist, of Mus., iv.
676 a.
LoEWE, J. C. G., ii. 1 59b ; Philh.
Soc, ii. 699 b; PF. Mus., ii.
728b; Song, iii. 629a ; Voigt,
iv. 335 b; Weber, iv. 404a;
Zumsteeg, iv. 514 b ; Bitter,
iv. 548 J ; Quintuple Time, iv.
766b.
LoEWE, J. S., ii. i6ob; iv. 705b.
LoEWE, S., ii. 161 a ; Philh. Soc,
ii. 700b ; Stockhausen (J.), iii.
716a; Stockhausen (J.), iv.
796 b.
LoEWENSKioLD, B. H. ; Seyfried,
iii. 478 b.
LoEWENSTERN, M. von. (See
Apelles.)
L5FFLEB, R. ; PF. Mus., ii.
736 a.
LoGiER, J. B., ii. 161 a ; Agthe
(W.), i. 45a; Blewitt (Jona-
than), i. 249 b ; Chiroplast, i.
346b ; Cutler, i. 424b ; Eager,
i. 479 a ; Mounsey (A. S.), ii.
377a ; Relfe, iii. io6a ; Webbe
(S.,jun.), iv. 387b ; Wieck, iv.
454b.
LoGROSCiNo, Nicolo, ii. 5140,
note ; Finale, i. 523b ; Opera,
ii* 5^ 3b, etc.; Piccinni, ii.
91
747 b; Scarlatti (A.), iii.
239a ; Schools of Comp., iii.
287b.
Lo, He comes, ii. 161 b; Hymn,
i. 763 a.
Lohengrin, ii. 162 a; iv. 705 b;
Wagner, iv. 356 a, etc.
Lolli, a., ii. 162 a; Dittersdorf,
i. 449b; Jamovvick, ii. 32b;
Scordatura, iii. 426b; Violin-
playing, iv. 295 a.
LoMAX, B. ; Hist, of Mus., iv.
676a.
LoMBARDi, L, ii. 162 b; Verdi,
iv. 247 b.
LoMBABDY, School op Musio
OP. (See Milan, ii. 328b.)
Lome Arm^. (See L'Homme
Abme, ii. 126 b,)
LoNATi, C. A. ; Geminiani, i.
587«.
London, ii. 163a; Mus. Lib.,
ii. 419b ; Degrees, iv. 6ioa.
London Academy of Music;
Wylde (H.), iv. 492 b.
London Musical Society, iv.
705 b; Barnby (Jos.), iv.
531a; Dvorak, iv. 623a.
London Sacred Harmonic So-
ciety, The, ii. 163 b ; Surman
(J.), iv. 4b.
London Violin Makers, ii.
163b ; Stainer (J.), iii. 687b ;
Violin, etc, iv. 283a.
Long, ii. 165 b; Dot, i. 455 b;
Imperfect, i. 766 b; Notation,
ii. 471a ; Franco (of Cologne),
iv. 641a.
Longhurst, J. A., ii. 165b.
Longhuest, W. H., ii. 166 a.
Longueval ; Attaignant, i.
I cob.
LoNK, A. ; Sistine Chapel, iv.
794a.
Loops ; Node, ii. 461a.
Loosemore, G., ii. 166b; Tud-
way, iv. 198 b.
Loosemore, H., ii. i66a; iv.
705b; Tudway, iv. 198b.
Loosemore, J. ; Keyboard, ii.
53b; Organ, ii. 592 b; Virgi-
nal, iv. 304 b.
Lord of the Isles, The, ii.
166 a ; Gadsby, i. 574b.
Loreley Die, ii. i66a; Bruch,
i. 279b.
Lorentb ; Mus. Lib.,ii. 423b.
Lorenz, F., ii. i66b; Mozart,
ii. 405 a.
LoRENZ ; Orpheus, ii. 613 a.
LoRENTZ, J.; Song, iii. 609b.
LoRETO, V. ; Oratorio, ii. 535 b.
LoRis. (SeeGLAREANUS,i.598a.)
LoRiTus. (See Glabeanus, i.
598 «•)
^9
LoRTZiNG, G. A., ii. 166&; iv.
7056 ; Czar und Zimnienuann,
1.4250 ; Liederspiel, ii. 136 a ;
Mendelssohn, ii. 277a ; Opera,
ii. 5226; Singapiel, iii. 517a.
Lose; Linke, ii. 1396.
Lossius, L. ; Bass Clef, i. 150 a ;
Mus. Antiqua, ii. 411a; Mu-
tation, ii. 439 a ; Volkslied, iv.
337«-
LoTT ; Violin, iv. 285 a.
LoTTi, A., ii. 167a ; Auswahl,
etc., i. 105 a ; Cantata, i.
305 a; Galuppi, i. 579&;
Graun, i. 621 a ; Greene (M.),
i. 624?); Handel, i. 6505;
Horn, i. 748 &; Latrobe, ii.
103a; Legrenzi, ii. 114a;
Marcello, ii. 210&, etc.; Mus.
Divina, ii. 411a; Mus. Lib.,
ii. 4246; Opera, ii. 505 a;
Part Mus.,ii. 656 b ; Prince de
la Moskowa, iii. 31 &; Roch-
litz, iii. 142 a ; Scarlatti (A.),
iii. 239a ; Schroeter (C. G.),
iii. 318 a; Vocal Scores, iv.
319b; Mus. Lib., iv. 726a;
Venice, iv. 809 a.
LoTTiNi, A., ii. 1 68 5.
Lotto; Violin-playing, iv. 296a.
Louis Ferdinand, Pi-ince, ii.
168&; Beethoven, i. 177a,
etc. ; Dussek (J. L.), i. 4746,
etc. ; Eroica, i. 493 & ; Rad-
ziwil, iii. 63 b.
LouLiE, E., ii. 169b; Metro-
nome, ii. 318&.
LouEE, ii. 169&; Alpenhom, i.
56?); Canarie, i. 302a; Suite,
iii. 759 b.
Lou VET, G. ; Attaignant, i. loob.
LovATTiNi, G., ii. 170a.
Lovell; Mus. Lib., ii. 417b.
LovEK, S. ; iv. 706 a.
Loves Triumph, ii. 170a; Wal-
lace (W. V.),iv. 377b.
Lowe, E., ii. 170a; Chant, i.
337a; Holmes (J.), i. 744b;
Schools of Comp., iii. 282a;
Tudway, iv. 199 a.
Lowe, T., ii. 170a.
Lotset. (See Comp^ire, i. 382 a.)
Lucas, C, ii. 170b; iv. 706a;
Ancient Concerts, i. 64a ;
Bennett, i. 225a; Choral
Harmonists' Soc, i. 352a;
Leslie, ii. 123a; Macfarren
(G. Alex.), ii. 186 a; Royal
Acad, of Music, iii. i86b;
Schools of Comp., iii. 306a;
Soc. of British Musicians, iii.
544a; Walton (W. B.), iv.
490 a; Potter (C.), iv. 751a.
Lucas, Stanley, ii. 170b ; Philh.
Soc, iv. 746 b.
INDEX.
Lucca, ii. 170b; Hist, of Mus.,
iv. 675 b.
Lucca, F. da; Lassus, ii. 96a.
Lucca, G. da; Lassus, ii. 96a.
Lucca, Pauline, ii. 170b; iv.
706a; Covent Garden The-
atre, i. 413 a; Meyerbeer, ii.
324b; Singing, iii. 510b;
Strakosch, iii. 734b.
Lucchesina, M. a., ii. 171b.
(See M archest (L.), ii. 313b.)
Lucia di Lammermoor, ii. 171 b ;
Donizetti, i. 453 a.
Lucio SiLLA, ii. 171b; Mozart,
ii. 384 a.
LucoMBE, Miss ; Philh. Soc, ii.
699 b.
Lucrezia Borgia, ii. 171b;
Donizetti, i. 453a.
Ludford; Mus. Lib., ii. 418a.
LuDwiG, Hermann ; Kastner (J.
G.), iv. 688 a.
LuDWiG, J. ; Stradivari, iii.
733 a ; Violin - playing, iv.
298 a.
LUbeck, C, ii. 171b.
LuBECK, E., ii. 171b; Philh.
Soc, ii. 700a; PF. Mus., ii.
734a; PF.-playing, ii. 745.
LuBECK, L., ii. 171b.
LtJSTNER ; Reissmann, iii. 104 a.
LUtgen ; Tenor Violin, iv. 92 a.
Lugg; Tudway, iv. 199a.
LuGGASCHi, L. ; Schools of
Comp., iii. 266a.
LuiGi ; Pixis (F. W.), ii. 759b.
Luis A Miller, ii. 172a; iv.
706b ; Verdi, iv. 254b.
LuKER; Song, iii. 614b.
LuLLi. (See LuLLY, ii. 172a.)
LuLLT, J. B., ii. 172a; Acade-
mic de Mus., i. 7a; Act, i.
26 a; Anglebert, i. 68 a ; Ar-
mide, i. 83 b ; Ballard, i. 130a ;
Ballet, i. 130b; Ba5s,i. 149 a ;
Cambert, i. 299 b; Comic
Opera,i. 379b; Corelli,i.40ob;
Cousser, i. 412 a; Festivals,
i. 516a; Form, i. 542a; God
save the King,i. 606 b; Grand
Opera, i. 61 7«; Hawkins,
i. 700b; Humfrey, i. 757a; In-
strument, ii. 5b; Intermezzo,
ii. 9a ; Eilavier Mus., Alte, ii.
63 a; Libretto, ii. 1 28 b; March,
ii. 211 b; Minuet, ii. 333 a;
Muffat (G), ii. 407 b; Mus.
Lib., ii. 423 a, etc. ; Opera, ii.
505 b, etc. ; Overture, ii. 618 J ;
Pastorale, ii. 670 a; Perrin,
ii. 693a; Philidor (A.), ii.
703 a; Quinault, iii. 60 b;
Rameau, iii. 70 b; Roi des
Violons, iii. 146 b; Schools of
Comp., iii. 281 a, etc. ; Sounds
and Signals, iii. 645 b; Suite,
iii. 756a ; Symphony, i\r. 11 b ;
Telemann, iv. 69a; Thoinan,
iv. 103 b ; Vingt-quatre Vio-
lons, iv. 266b; Violin-play-
ing, iv. 292 b; Wind-band,
iv. 465 b; Campra (A.), iv.
577 «» Dance rhythm, iv.
606 b ; Lalande, iv. 694b.
LUMBYE, G., ii. 174a.
LuMBYB, H. C, ii. 174a; iv.
706 b; Strohfiedel, iii. 746 a.
LuMLEY, B., ii. 174a; King's
Theatre, The, ii. 58 b; Lind,
ii. 141a; Mendelssohn, iL
289 b.
LuNN, C. H. ; Mus. Periodicals^
ii. 428 a.
Lupi, J.; Fitzwilliam Collection,
i- 531 «» Motett Society, ii.
376 b; Prince de la Moskowa,
iii. 31b; Sistine Chapel, iv.
794a.
Lupo, J., ii. T74b.
Lupo, T., ii. 174b; Leighton,
ii. 114b.
LUPOT, ii. 174b; London Violin-
makers, ii. 165 a; Tourte, iv.
156b; Violin, etc., iv. 283a;
Vuillaume, iv. 341 b.
Lupus, J.; Latrobe, ii. 103b;
Motet, ii. 376 a; Rochlitz, iii.
142a; Sistine Chapel, iv. 794 a;
Tr&or Mus., iv. 802 b.
Lure. (See Loure, ii. 169 b.)
LuRLiNE, ii. 175a; Wallace (W.
V.),iv. 377b.
LusciNius, O. ; Instrument, ii.
5b ; Syntagma Mus., iv. 45a ;
Violin, etc., iv. 275 a; Welsh
Mus., iv. 441b, note,
LusiNGANDO, ii. 175 a.
LusiTANO, D. ; Dankerts, i.
430 a; Vicentino, iv. 261 a j
Dodecachordon, iv. 616 a.
LussY, M. ; Song, iii. 591 b, note,
etc. ; Hist, of Mus., iv. 677a.
LUSTIGE WeIBER von WINDSOR,
ii. 1 76 a; iv. 706b; Nicolai
(0.), ii. 453&-
Lute, ii. 175a; iv. 7066; Abell
(J.), i. 5b; ^olian Harp, i.
38 b; Agricola (M.), i. 45 a;
Alford, i. 52b; Archlute, i.
8 1 b ; Ballard, i. 1 2 9 b ; Bandora,
i. 134 a, etc. ; Banjo, i. 135a;
Bellermann, i. 211a; CsJas-
cione, i. 297a; Chitarrone, i.
347 b; Cither, i. 359 a; Dow-
land (J.), i. 460a ; Ferrabosco
(A.), i. 512b ; Frets, i. 563a ;
Guitar, i. 640 a ; HurdyGurdy,
i. 759a ; Mace, ii. 185b ; Mot-
ley (T.), ii. 368a; Mus. Lib.,
ii. 417b, etc.; Notation, ii.
467a; Opera, ii. 4996; Or-
chestra, ii. 561 &, etc.; Or-
pheoreon, ii. 6126; Rose, iii.
161 a; Ruckers, iii. 1946;
Scordatura, iii. 426 a ; Stops
(Harpsichord), iii. 718a; Ta-
blature, iv. 47 a ; Tallys, iv.
54b, note'. Theorbo, iv. 1006;
Violin, etc., iv. 2695, etc.;
VirJung, iv. 303 a; Zarlino,
iv. 503a; Galilei (V.), iv.
6446 ; Hist, of Mus., iv.
6766; Psalter, iv. 7616,
etc.
Lute, The ; Mus. Periodicals, iv.
7266.
LuTENiST, ii. 177&; iv. 706&;
Dowland (R.), i. 460 & ; Hum-
frey, i. 757a; Hunt (A.), i.
758a; Immyns, i. 7666;
Jones (R.), ii. 396; Maynard,
ii. 241a; Rossetor, iii. 162 b.
LuTHEB, M., ii. 178a; Boden-
INDEX.
schatz, i. 253 a; Chorale, i.
351 a ; Ein' feste Burg, i. 484a ;
Hymn, i. 761a; Part Mus.,
ii. 656 b, etc. ; Specimens,
Crotch's, iii. 6496; Wal-
ther (J.), iv. 381a; Burney,
iv. 570b; Chorale, iv. 588 b;
Dance rhythm, iv. 606 b;
Scheidemann, iv. 781b,
note.
Luther's Hymn, ii. 179b; Psal-
ter, iv. 757 a.
Lutheran Chapel, ii. i8oa ; iv.
706 b.
LuTZ, W. M., ii. 1 80 a.
LuTZ ; Sechter, iii. 455 b.
Luyton; Bodenschatz, i. 253b.
LuzzASCHi, L. ; Franco (of Co-
logne), iv. 642 b.
LvoFF. (See Lwoff.)
LwOFF, A., ii. 1 80 a; iv. 706b;
Part Mus., ii. 656 b; Song,
iii. 613 b, etc.
9a
j Lyceum Theatre, ii. i8ob; iv.
706 b.
Lydian Mode, ii. 181 a; Bee-
thoven, i. 198a, etc.; F, i.
500a; Gregoiian Tones, i»
626a; Major, ii. 200b.
Lynburgia, J. de; Motet, ii.
373 «•
Lyons, C. ; Irish Mus., ii. 19a.
Lyrachord; Cembale d'amore^
i. 330a.
Lyra- Viol ; Tablature, iv. 50 b.
Lyre, ii. 181 b; Cither, i. 359b;
Frets, i. 563 b ; Harp, i. 685 b ;.
Lute, ii. 175a; Soundholes,
iii. 641 a ; Stradivari, iii. 729 b ;.
Violin, etc., iv. 267b, etc.^
Virdung, iv. 303 a.
Lyric, ii. 1825.
Lyrichord ; Sostinente PF.,
iii. 639 a; Swell, iv. 8 b.
Lysberg, C. B. de ; PF. Mus.,.
ii. 733 a.
M.
Maas, J., iv. 706a ; Philh. Soc,
ii. 700b.
Maas, L. ; Boston Mus. Soc,
iv. 556a.
Maatschappij tot Bevorder-
ING DER TOONKUNST, iv. 225a;
707 a.
Mabelltni ; Verdi, iv. 252 b;
Mancinelli, iv. 709 a.
Macaferri; Strakosch, iii.
734a-
Macbeth, ii. 183a; iv. 707a;
Chelard, i. 341 a ; Verdi, iv.
254b.
Macbeth, A., iv. 707 a.
Macbeth Music, ii. 1830; Lock,
ii. 157b; Eccles, iv. 625 a.
Maccherini, G., iii. 185b.
Macdonald ; Hist, of Mus., iv.
674b.
Macdonald, D.; Pibroch, ii.
747 «•
Macdonald, P.; Pibroch, ii.
747 a.
Mace, T., ii. 185b; Hawkins,
i. 700b ; Lute, ii. 176b ; Mus.
Lib., ii. 418a; Stops, iii.7 1 8 a ;
Theorbo, iv. loob; Chest of
Viols, iv. 585 a.
Macpakren, G. a., ii. 185 b ; iv.
707 a ; Additionsd Accompani-
ments, i. 31b; Analysis, i.
63 a; Bennett (Stemdale), i.
327 b ; Charles the Second,
i. 340b; ii. 57 i; Day (A.),
i. 438 a; Devil's Opera, i.
441b; Don Quixote, i. 452b;
English Opera, i. 489 b ; Erba,
i. 491b; Holmes (W. H.), i.
744b ; John the Baptist (St.),
ii. 36 a; Joseph, iii. 40 a;
King Charles Second, ii. 57 b;
Lady of the Lake, ii. 83 a ;
Leit- Motif, ii. 118 a; Masque,
ii. 226a; Mendelssohn, ii.
286b; Monk (E.G.),ii. 353b;
Mus. Antiquarian Soc, ii.
416 b; Mus. Periodicals, ii.
427 b, etc. ; Mus. Soc. of Lon-
don, ii. 431b; OEdipus, ii.
493a; Opera, ii. 524b; Over-
ture, ii. 623 a; Oxford, ii.
624b; Parry (C. H. H.), ii.
651a; Part Mus., ii. 656 b;
Part Song, ii. 659 a; Philh.
Soc, ii. 700 J, etc. ; Popular
Ancient English Mus., iii. 1 6a ;
Professor, iii. 33 a; Purcell
Soc, The, iii. 53 a; Robin Hood,
iii. 139 b ; Royal Academy
of Mus., iii. 1 86b; Schools of
Comp., iii. 306 b, etc. ; Scottish
Mus., iii. 445a, etc.; Soc. of
British Mus., iii. 544 a; Soc.
Mus. Artists, iii. 544 b; Song,
iii. 608 a; Stirling, iii. 715 a;
Stoops to Conquer, She, iii.
717b; Talismano, II, iv. 52b;
Te Deum, iv. 69 a ; Vocal
Scores, iv. 320 a; White
(Maude V.), iv. 451 a ; White
(Meadows), iv. 451b; Zimmer-
mann (Agnes), iv. 507b; Da-
venport (F. W.), iv. 608 a;
Davison (J. W.), iv. 609 a;
Greek Plays, iv. 655 a; Hist,
of Mus., iv. 674b ; Nixon (H.
C), iv. 731b; Prentice (R.),-
iv. 751a.
Macfarren, Natalia, ii. i86b.
Macfabren, W. C, ii. i86b;
Holmes (W. H.), i. 744b;
Part Song, ii. 659 a; Philh.
Soc, ii. 700b, etc. ; PF. Mus.,
ii. 734 a; PF.-playing, ii. 745 ;
Purcell Soc, The, iii. 53 a ;.
Royal Academy of Mus,, iii.
186 b ; Prentice (R.),iv. 751a.
Machault, G. de; Polyphonia,
iii. 12 b ; Song, iii. 5910, etc. ;
Spinet, iv. 795 b.
MachI;te ; Guitar, i 640 b ;.
Song, iii. 600 a.
Macicotaticum, ii. i86b; Medi-
ation, ii. 245 a ; Mus. Figurata,.
ii. 415b; Use, iv. 210b; Gre-
gorian Tones, iv. 657b.
Macintosh ; Royal Academy of
Mus., iii. 185 a.
MacIntyre, J.; Pibroch, ii. 747a.
Mackay; Pibroch, ii. 747a.
Mackenzie, A. C, ii. 187a; iv.
707 b and 820a ; PF. Mus., ii.
735 b; Sainton (P. C. C), iii.
217 a; Schools of Comp., iii.
308 a; University Soc, iv.
207 a; Colomba, iv. 595a;
94
Hueffer, 68ia; Liszt, iv.
703 rt ; London Mua. Soc, iv.
705&; Rhapsody, iv. 772a;
Royal Academy of Mus., iv.
776b.
Mackintosh, J., ii. 187 a.
MA90N, Le, ii. 187a; Auber, i.
T02 5.
Macque, G. di; Mus. Transal-
pina, ii. 416 a; Oriana, ii.
611 a; Mus. Lib., iv. 726a;
Tr^sor Mus., iv. 802b.
Macbopedias ; Intermezzo, ii.
8 a.
McGucKiN, B., iv. 707 a; Sing-
ing, iii. 512 b.
McMuBDiE, J., ii. 187a; Part
Mus., ii. 657 a; Vocal Scores,
iv. 3196, etc.
Madeleine, L. ; Sounds and
Signals, iii. 645 b.
Madeyski, M. ; Song, iv. 795 a.
Madrigal, ii. 187a; Ballets, i.
132b; Canzona,i.3o6b; Cham-
ber Mus., i. 333a; Chanson, i.
336 a; Fantasia, i. 503 a ; Frot-
tole, i. 566 a ; Glee, i. 598a, etc. ;
Hymn, i. 762 a; Intermezzo,
ii. 8a; Marenzio, ii. 216a;
Monodia, ii. 355 a; Morley
(T.),ii.368a; Motet, ii. 374b;
Mus. Antiqua, ii. 410 b; Mus.
Antiq. Soc, ii. 416b; Mus.
Transalpina, ii. 416a; Mus.
Lib., ii. 421b, etc. ; Opera, ii.
499a; Oriana, ii. 6iob; Page
(J.), ii. 632b; Part Song, ii.
057b; Schools of Comp., iii.
262a, etc.; Sonata, iii. 554a;
Song, iii. 587a; Symphony, iv.
13a; Watson (J.), iv. 387a;
Barney, iv. 571 a ; Dance
Rhythm, iv. 606 a ; Verdelot,
iv. 8ioa.
Madrigal Society, ii. 192b;
iv. 707 b; Hawes (W.), i. 699 a;
Hawkins, i. 699b ; Immyns, i.
766 b; Mus. Lib., ii, 421a;
Musicians' Company, London,
ii- 433 « ; Oliphant, ii. 496 b ;
Savile, iii 231 o ; Waits, The,
iv. 375 a.
Madbigale Spirituale; Ora-
torio, ii. 534 a.
Machtig, C. ; PF. Mus., ii.
736 a.
Maelzel, J. N., ii. 194 a ; Beet-
hoven, i. 189b; Loulid, ii
1696; Metronome, ii. 319b.
Mannergesangverein, ii. 206 a ;
iv. 708 a ; Cologne Choral
Union, i. 378 a; Liedertafel,
ii. 136a; Mus. Periodicals, ii.
431a.
Massig, ii. 195 a.
INDEX.
Maestoso, ii. 195a; Tempo, iv.
83a.
Maestro, ii. 195 b.
Maffei, S. ; PF., ii. 710a, etc.
Magazine op Music; Mus.
Periodicals, iv. 726b.
Maggini, p.; Amati, i. 58a;
Belly, i. 220b; Cremona, i.
416a; Violin, iv. 282a.
Maggiolate; Song, iii. 586 b.
Magnificat, ii. 195b; Into-
nation, ii. 12b; Service, iii.
472a, etc.; Vespers, iv. 257b.
Magyab Music, ii. 197a; Dul-
cimer, i. 468b; Hungarian
Mu3., i. 758a; Melody, ii.
250b; Schubert, iii. 330a, etc.;
Song, iii. 611 b; Violin-play-
ing, iv. 298 a ; Zoppa, Alia, iv.
514a; Hist, of Mus., iv.
676b.
Mahillon, Ch. & Co., iv. 708a.
Mahillon, v., iv. 708a; Con-
servatoire, Brussels, i. 592b;
Oboe, ii. 487 a ; Oboe d' am ore,
ii. 489 a; Ruckers (H.), iii.
195b ; Stein (J. A.), iii. 708a ;
Theorbo, iv. loia; Tone, iv.
144 a ; Mus. Instruments Col-
lections, iv. 722b.
Mahler, A. ; Weber, iv. 815 b.
Mahoon; Spinet, iii. 656 a.
Mahu, S. ; Song, iii. 620a;
Chorale, iv. 588 b.
Maid of Artois, ii. 199 a;
Balfe, i. 127a.
Maid of Honour, ii. 199a;
Balfe, i. 127b.
Maier, J. J. ; Rheinberger, iii.
122 b.
Maillard; BertoUi (F.), i.
237a.
Maillart; Prince de la Mos-
kowa, iii. 31b.
Maillart ; Gr. Prix de Rome,
i. 6i8b.
Mailly, Abb^ ; Opera, ii. 506 a.
Mailly; Conservatoire, Brussels,
i. 592b.
Maimo ; Wind-band, iv. 470a.
Mainzeb, J., ii. 199 a; Hullah,
i. 756 a.
Maistre, M. le; Tr^sorMus., iv.
802 b.
MaItrise, ii. 199a; Nieder-
nieyer, ii. 455 b; Ortigue, ii.
614a.
Majestatisch, ii. 200 a.
Ma JO; Ifigenia,i. 765 b; Rossini,
iii. 176 a.
Major, ii 200 a; Interval, ii.
lib; Key, ii. 51b; Minor, ii.
333a; Moll and Dur,ii. 352 a;
Notation, ii. 476 a; Relation,
iii. 105a; Scale, iii. 236a;
Sharp, iii. 485 a; Third, iv.
102 b.
Major, F.; Philh. Soc, iv. 747a.
M A JOR ANO. (See C affarelli, i.
295 b.) ^
Malaguenas ; Song, iii. 599 b.
Malbecq, G. de ; Sistine Clioir,
iii. 520b.
Malbrough, ii. 200b; iv. 7086;
Ballad, i. 129a; Song, iii.
594b; Subject, iii. 750b.
Malcolm, A., ii. 201a.
Maldeghem, R. van; Tr^sor
Mus., iv. 800b.
Maleden; Saint Saens, iii. 215a;
Gottschalk (L. M.), iv. 652b;
Pfeiffer (G.), iv. 746 a.
Malek Adel, ii. 201a; Costa
(M.), i. 406 b.
Malibban, M. F., ii. 201a;
Balfe, i. 127a; Bellini, i. 212b;
Benedict, i. 2226; Beriot, i.
231b; Damoreau, i. 428b;
Drury Lane, i. 467 a ; Garcia,
i. 582 a ; Horn (C. Ed.), i. 753 a;
Mendelseohn, ii. 263a, etc.;
Mus. Periodicals, ii. 429 a;
Nathan, ii. 447 a; Otello, ii.
6156; Pany (J. O.), ii. 65 1 b ;
Rossi (L.), iii. 163a; Singing, 1
iii. 507 b; Song, iii. 595 b; \
Sontag, iii. 6346 ; Templeton, J
iv. 82 a; Uberti, iv. 200 o;
Vaccaj, iv. 212 a; Viardot-
Garcia, iv. 259 a; F^tis, iv. J
635 &• \
Malinconia, La, ii. 203 b.
Maliseb-Knud ; Hailing, iv.
663 rt.
Malling, J. & O.; Song, iii.
6iia.
Mallinger, Mathilde, iv. 7086;
Wagner, iv. 362 b.
Mallorie ; Schools of Comp.,
iii. 273a, note.
Malten, Th^rfese, iv. 708 6.
Malvezzi, C ; Intermezzo, ii,
8a; Peri, ii. 690b.
Manaba ; Mus. Lib., iv. 726a.
Mancando, ii. 203 b.
Manchegas ; Seguidilla, iii.
457a; Song, iii. 598b.
Manchester, ii. 204a; HalW,
i. 646 b ; Mus. Lib., ii. 421b;
Straus (L.), iii. 737a.
Manchicourt, p. de; Attaig-
nant, i. loob ; Tylman Susato,
iv. 197 b
Mancia ; StefFani, iii. 697b.
Mancinelli, L.,iv. 709 a; Sol-fa,
iii. 545 b.
Mancini, C. ; Sistine Chapel, iv.
794a.
Mancini, F. ; Perez (D.), ii.
685 b ; Porpora, iii. 16 b ;
Quantz (J. J.), iii. ^6 a; Si-
face, iii. 492 a.
MancinTjG. ; Bemacchi, i. 234b;
Farinelli (C. B.), i. 506b, etc.;
Solmisation, iii. 552b; Venice,
iv. 809 a.
Mancini, T. ; Sistine Chapel, iv.
794a.
Mancusi ; Strakosoh, iii. 734b.
Mandini; Bassi(L.), i.ie,ia,note.
Mandoline, ii. 2040; iv. 709b;
Alday, i. 51b; Bandora, i.
134a; Instrument, ii. 6h;
Kebec, iii. 81 b; Kose, iii.
161 a; Salvayre, iii. 222b;
Stradivari, iii. 729 b, etc. ;
Krumpholz, iv. 693 a.
Mandyczewski, E. ; Haydn in
London, iv. 6 70b; Nottebohm,
iv. 732b; Pohl (C), iv. 750a.
Manelli, F. ; Opera, ii. 502 b ;
Schools of Comp., iii. 279 a.
Manenti; Mus. Lib., ii. 419a.
Manebia, ii. 206 a; iv. 709 b;
Mixed Modes, ii. 339a.
Manfred ; Schumann, iii. 400 a,
etc.
Manfbedi ; Boccherini, i. 251 a;
Cambini, i. 300 a; Tartini, iv.
61 b.
Manfroce, N. a. ; Naples, ii.
446 a ; Spontini, iii. 667 b.
Mangeot, Frferes; Key, ii. 55 a.
Manier, ii. 206 a; Agr^mens, i.
42b; Bach (C. P. E.), i. 114a.
Manini; Hague (C), i. 643b.
Mankell, C. a. ; Hist, of Mus.,
iv. 674b, etc.
Mann ; Klotz, ii. 65 a.
Manna, G.; Sacchini, iii. 207 a;
Siroe, Re di Persia, iii. 534 a.
Manns, A., ii. 206a; iv. 710a;
Conductor, i. 390b; Crystal
Palace Sat. Concerts, i. 422b;
Reid Concerts, iii. loi b ; Time
beating, iv. 126a; Handel
Festival, iv. 665 a,
Mannstein, H. F.; Hist, of
Mus., iv. 677a.
Mantegazza; Testore, iv. 798 b.
Mantius, E., ii. 207b.
Mantova, G. di. (See Berchem,
J., i. 230a.)
Mantua, ii. 207 b.
Manual, ii. 208 a; American
Organ, i. 60b; Organ, ii. 580b,
etc. ; JPositive Organ, iii. 21b;
Row of Keys, iii. 184 a.
Manzocchi. (See Antebi-Man-
ZOCCHI.)
Manzoletto, ii. aoSa.
Manzuoli, G., ii 208 a; Mozart,
ii. 380 b, etc.
Maometto Secondo, ii. 208 b;
Rossini, iii. 177b.
INDEX.
Mapleson, J. H., ii. 208b;
King's Theatre, The, ii. 58 b;
Roze, iii. 188 a.
Mara, Mme. G. E,, ii. 208 b;
iv. 710a ; Abel (K. F.), i. 5a ;
Agujari, i. 45 b ; Ancient
Concerts, i. 64b; Babbini, i.
io8a; Benini, i. 224a; Bill-
ington (Mrs.), i. 242b; Cor-
vette (J.), i. 331a; Handel,
Commemoration of, i. 657 b;
Haydn, i. 708 a, etc. ; Paradies
(P. D.), ii. 647b; Salomon,
iii. 22 lb; Singing, iii. 506b,
etc. ; Soprano, iii. 635 b ;
Stich (J. W.), iii. 714a;
Storace (S.), iii. 720a; Todi,
iv. 130 b.
Marais ; Academie de Mus., i.
7b.
Marbeck. (See Merbecke, ii.
312a.)
Marcantonio ; Oratorio, ii.
535&-
Marcato, ii. 2iob.
Marcello, B., ii. 210b; Aus-
wahl,i. 105 a; Avi3on,i. io6a;
Cantata, i. 305 a; Galuppi, i.
579b; Gasparini, i. 583b;
Gluck, i. 601 b ; Hawkins, i.
700b; Latrobe.ii. 103a; Lotti,
ii. 168 a; Mus. Lib., ii. 422b,
etc. ; Mus.-printing, ii. 435 a ;
Opera, ii. 515b; Pacchierotti,
ii. 626b; Page (J.), ii. 632 b;
Prince de la Moskowa, iii.
31b ; Rochlitz, iii. 142 a ; Sag-
gio di Contrappunto, iii. 212 a;
Sifege de Corinthe, iii. 492 a;
Specimens, Crotch's, iii. 650a ;
Violoncello-playing, iv. 301 a;
Vocal Scores, iv. 319 b; Mus.
Lib., iv. 726 a.
March, ii. 211 a; Magyar Mus.,
ii. 198b; Quick-step, iii. 60b;
Strauss (J.), iii. 'JS^a, etc. ;
Subject, iii. 751b; Suite, iii.
756 a; Trio, iv. 173 a.
Marchand, L., ii. 213b; Bach
(J. S.), i. 115a; Extempore
playing, i. 498 b; Maitrise, ii.
200a; Mozart, ii. 389b; Ra-
meau, iii. 69 a; Volumier, iv.
Marchand, Marguerite. (See
Danzi, i. 430b.)
Marchesi, L., ii. 213b; Cata-
lani, i. 320a; Marchesini, ii.
215 a; Pacini (G.), ii. 626b;
Pisaroni, ii, 756 a; Todi, iv.
130b.
Marchesi, Mathilda de, ii.
214b; Lamperti, ii. 89a;
Murska, ii. 409 b; Solfeggio,
iii, 549 a; Sterling, iii. 712 a;
95
Wixom, iv. 477<3t; Gerster, iv.
646 b; Krauss, iv. 692 b.
Marchesi, S., ii. 215a; Mus.
Periodicals, ii. 43 1 b.
Marchesini. (See Marchesi,
L., ii. 213 b.)
Marchetti, F. ; Schools of
Comp., iii. 301b.
Marchetto di Padova ; Mus.
Mensurata, ii. 415 b; Or-
ganum, ii. 6ioa; Padua, ii.
627b; Franco (of Cologne),
iv. 641a.
MARCHisio,TheSisters,iv. 710a;
Philh. Soc, ii. 700 a; Sing-
ing, iii. 509 a; Napoleon, iv.
728a.
Marcillac ; Song, iii. 591 a.
Marco; Strakosch, iii. 735a.
Marechal ; Gr. Prix de Rome,
i. 6i8b.
Marella; Catch Club, i. 3226;
Part Mus., ii, 657a.
Marenzio, L., ii. 215 a ; Boden-
schatz, i. 253a; Hawkins, i.
700b ; Intermezzo, ii. 8a ; Ma-
drigaljii, 190a, etc; Magnificat,
ii, 196b; Motet, ii. 3756; Mus.
Divina, ii. 411 b; Mus. Trans-
alpina, ii. 416a; Noel, ii.
462 b; Oriana, ii. 611 b; Page,
ii. 632b; Part Mus., ii. 656b;
Polyphonia, iii. 13 b; Prince
de la Moskowa, iii. 31b; Sag-
gio di Contrappunto, iii. 212a;
Schools of Comp., iii. 264b;
Sistine Choir, iii. 521a; Speci-
mens, Crotch's, iii. 649 b; Vil-
lanella, iv. 264 b; Watson
(T.), iv. 387 a; Burney, iv.
571a; Dance Rhythm, iv.
606a; Mus. Lib., iv. 726a;
Part Books, iv. 740 a ; Sistine
Chapel, iv. 794 «•
Maresi; Strakosch, iii. 735 a.
Maretzek, M. ; Strakosch, iii.
734&.
Margarita. (See Epine, De l*,
i. 490 a.)
Maeguery ; Sounds and Signals,
iii. 645 b.
Maria t>i Rohan, ii. 216b;
Donizetti, i. 454 a.
Mariani, a., iv. 710a; Sing-
ing, iii. 515a; Song, iii.
590b.
Mariani; Gnecco (F.), iv.
649 a.
Mariani; Lamperti, ii. 89a.
Mariano; Miserere, ii. 338a.
Mabimon, Marie, iv. 711a;
Philh. Soc, ii. 700 b.
Mabin; Bochsa, i. 252 a.
Mabini, B. ; Violin-playing, iv.
a88a.
96
Mabini, Fanny G. ; Goldberg
(J. P.), iv. 6506.
Making FALiEKO,ii. 21 65; Doni-
zetti, i. 454a.
Mabio, Conte di Candia, ii.
216&; iv. 711a; Covent
Garden Theatre, i. 4130;
Donizetti, i. 453&; Grisi, i.
634a; Laporte, ii. 91b; Lu-
crezia Borgia, ii. 171b; Mo-
riani, ii. 3656; Singing, iii.
507 h, etc. ; Strakosch, iii.
734&; Tenor, iv. 87 b.
Marionette-theatre, ii. aiyft;
Singspiel, iii. 517 a.
Maritana, ii. 2 18 a; Wallace
(W.V.),iv. 377&.
Mabius; Pianoforte, ii. 7iaa.
Markdll, F. W., ii. 2i8a.
Marlbrook. (See Malbrough,
ii. 2006.)
Marmontel, a. F. ; Conserva-
toire de Mus., i. 3926; PF.
Mus., ii. 732 a; PF.-playing,
ii. 745 a ; Indy, iv. 684 a ;
Plants, iv. 749 &.
Mabner, Der ; Song, iii. 615?).
Marot, C. ; Ballard, i. 130a;
Chorale, i. 351 &; Goudimel,
i. 6126; Handel, i. 655a;
Hymn, i. 761 h ; Le Jeune
(C), ii. 119 &; Mus. Lib., ii.
4236; Schools of Corap,, iii.
267a; Song, iii. 592a, etc.;
Spinet, iii. 651b; Bourgeois
(L.),iv. 558b; Franc (G.),iv.
638 b ; Harmonious Black-
smith, iv. 666 b; Psalter, iv.
754^.
Mabotti; Mus. Lib., ii. 421b.
Marpurg, F. ; Jensen (A.), ii,
33 &.
Marpurg, F. W., ii. 218a; iv.
711 o ; Agi emens, i. 43 a ; An-
drd, i. 66 a; Appoggiatura, i.
75b; Auswahl, i. 105a; Bach
(J. S.), i. ii6a; Bebung, i.
160b ; Fugue, i. 569b ; Imi-
tation, i. 766 a ; Kimberger,
ii. 62 a; Klavier-Mus., Alte,
ii. 63 a ; Meister, Alte, ii.
247 b ; Mozart (L,), ii.
379b; Miiller (A. E.), ii.
408 a; PF. Mus., ii. 724 a;
Pract. Harmony, iii. 24a ;
Quantz, iii. 56b; Sechter, iii.
456 a ; Shake, iii. 480a; Silber-
mann, iii. 494a ; Song, iii.
621b; Valentin! (P. F.), iv.
213a; Hist, of Mus., iv.
674a.
Marriott, Annie ; Singing, iii.
512b; Training School for
Music, iv. 158b; Philh. See,
iv. 746 b.
INDEX.
Marschall, S.; Chorale, iv.
589&.
Mabschneb, H., ii. 218b; iv.
711a; Opera, ii. 522a; Or-
pheus, ii. 613a; PF. Mus.,
ii. 728b; Reissiger, iii. 104a;
Romantic, iii. 150b; Schools of
Comp., iii. 293a, etc. ; Schu-
mann, iii. 386 a, etc. ; Siboni,
iii. 491a; Song, iii. 623a;
Spontini, iii. 681 b; Vampyr,
der, iv. 216 a ; Weber, iv.
404b.
Mabseillaisb, La, ii. 219b ; iv.
711b; Ballad, i. 129a; Chan-
son, i. 335 b; Gossec, i. 611 b;
NavoigSle, ii. 449 b; Rouget
de Lisle, iii. 179 a j Song, iii.
5950-
Mabsh ; Tenor Violin, iv. 92 a.
Mabsh, a., ii. 221 a ; Mus. Lib.,
ii. 421a.
Marsh, J., ii. 221a.
Marshall, ii. 221a; Bennett
(A.), i. 224b ; Oxford, ii.
624b.
Mabsick ; Stradivari, iii. 733 a ;
Trompette, La, iv. 179 a ; Vio-
lin-playing, iv. 296 a ; Lalo, iv.
695 b.
Makson, G., ii. 121 a; Oriana,
ii. 611 a.
Marteau ; Haydn, i. 706b.
Martelaere, J. de; Tr^sor
Mus., iv. 802b.
Martelb, ii. 221 b; Bowing, i.
266 b.
Martha, ii. 221b; Flotow, i.
535 a ; Lady Henriette, ii.
83 a; 'Tis the Last Rose, iv.
129b.
Martin; Baryton, i. 147a.
Martin ; Harmonium, i. 669 a.
Martin ; Roger (J. H.), iii.
144b.
Martin, G. C, iv. 711b ; Royal
Coll. of Mus., iv. 159a.
Martin, G. W.,ii. 221 b; iv. 711b.
Martin, J,, ii. 221b.
Martin, R. ; Dowland (R.), i.
460b.
Martin y Solab, V., iv. 711b;
Augarten, i. 104 a ; Ifigenia,
i. 765b; Mozart, ii. 391a;
Waltz, iv. 385b; Willmann
(M.), iv. 461a.
Martinengo, L. ; Mus. Lib., iv.
726a.
Mabtines, Marianne, ii. 221b;
Metastasio, ii. 315 b ; Mozart,
ii. 397 b.
Maetinez, Mme. ; Strakosch,
iii. 735 «•
Mabtini, a. ; Sistine Chapel,
iv. 794 a.
Martini, Padre, ii. 222a ; Ago-
stini (P.), i. 42 a; Ancient
Concerts, i. 64 b ; Arteaga, i.
96 a; Bertoni, i. 238a; Bo-
logna, i. 259b ; Cambini, i.
299 b; Eximeno, i. 498 a;
Fitzwilliam Coll., i. 531a;
Foggia, i. 539 b ; Fux, i. 570 b ;
Gassmann, i. 583b; Gerbert,
i. 590a ; Gluck, i. 604a ; Jom-
melli, ii. 37 a; Klavier Mus.,
Alte, ii. 63a ; L'homme arm^,
ii. 126b; Mattei, ii. 238b;
Meister, Alte, ii. 247 b; Mel
(R. del), ii. 248 a; Miserere,
ii- 336a; Monteverde,ii. 358a;
Mozart, ii. 382 b ; Mus. Ficta,
ii. 415 a ; Mus. Lib., ii. 424a ;
Naumann (J. G.), ii. 449 a;
Notation, ii. 468 a ; Perti (J.
A.), ii. 695a ; Pisari, ii. 756a ; .
Plain Song, ii. 763 a; Pract.
Harmony, iii. 24 a, etc. ;
Righini, iii. 134 b ; Saggio
di Contrappunto, iii. 2llb;
Sarti, iii. 228a ; Steffani (A.),
iii. 694 a ; Tr^sor des Pianistes,
iv. 168 a; Vogler, iv. 324a;
Hist, of Mus., iv. 674a; Mar-
tin y Solar, iv. 712 a, note\
Sistine Chapel, iv. 794a ; Sab-
batini (P.), iv. 807 a, note.
Mabtini, II Tedesco, iv. 7120.
Mabtucci, G., iv. 712 b.
Marty & Piebne ; Gr. Prix
de Rome, iv. 654b.
Mabtyes, Les, ii, 223a ; Doni-
zetti, i. 454b.
Maex, a. B., ii. 223a; Beet-
hoven, i. 208 b; Bernsdorf, i.
235b; Commer (F.), i. 3Sob;
Hoffmann (E. T. W.), i. 742 a ;
Kalkbrenner, ii. 46b ; Lied-
Form, ii. 133 b, etc. ; Men-
delssohn, ii. 259 a, etc. ; Mid-
summer Night's Dream Mus.,
ii. 328a; Moses, ii. 371a;
Mozart, ii. 405 a; Mus. Pe-
riodicals, ii. 430 a; Paul, St.,
ii. 675 b ; Schlesinger, iii.
253b; Spontini, iii. 679 b;
Stern, iii. 712b; Thayer, iv.
98b; Tiersch,iv. 114b; Towers
(J.),iv. i57a;Ulrich,iv.20ia; -
Vierling, iv. 262 a; Weber, "
iv. 425a; ZopflF, iv. 513b;
Hist, of Mus., iv. 674a, etc. ;
Meinardus, iv. 716a; Rein-
thaler, iv. 770b.
Mabxsen, E., ii. 223b; iv, 712b;
Brahms, i. 270a.
Mabylebone Gardens, ii. 2 2 .? b ;
Arne, i. 84b ; Arnold, i. 86 a ;
Barthelemon, i. 145b j Hook
(J.), i. 746a; Pinto, ii. 754a.
Marzials, T. ; Song, iii. 608 &.
Masacconi, p. ; Madrigal, ii.
1906; Schools of Comp., iii.
266 a.
Masaniello, ii. 2246; Auber,
i. 103 a; Muette de Portici,
ii. 407 &.
Maschek ; Duschek, i. 4726.
Maschera ; Violin-playing, iv.
287&.
Maschinka ; Schubert, iii. 382?).
Masera ; Motett Society, ii.
376&.
Masi ; Becker (J.), i. 161 h.
Masini ; Lainperti, ii. 88 & ;
Verdi, iv. 243 &.
Masnadieri, I, ii. 2246 ; iv.
713a; Verdi, iv. 248?).
Mason, G. ; Mas. Antiqua, ii.
411a.
Mason, H., ii. 2256; American
Organ, i. 61 a; Metzler, iv.
718&.
Mason, J., ii. 225a.
Mason, J. M. ; Thomas (T.), iv.
105 &; Un. States, iv. 203 a.
Mason, L., ii. 225a; Mus. Lib.,
ii.426&, etc. ; Mus. Periodicals,
ii. 427a ; Thayer, iv. 98b.
Mason, L., ii. 2 25&; American
Orcran, i. 61 a ; Metzler, iv.
718&.
Mason, Rev. W., ii. 225b; iv.
7126; Mus. Lib., ii. 4226;
Pianoforte, ii. 716&, note;
Page, ii. 6326.
Mason, W., ii. 2256; Klind-
worth, ii. 64a.
Masotti; Mus. Lib., iv. 726a.
Masque, ii. 2256; iv. 713a;
Acis and Galatea, i. 26a ;
Arne, i. 84?) ; Ballet, i. 130 a ;
English Opera, i. 4886 ; Mus.
Lib., ii. 422 a.
Mass, ii. 226a; iv. 713a;
Aengstlich, i. 38 a; Bach (J.
S.), i. 115&; Benedictus, i.
223&; Cherubini, i. 342 & ;
Communion Service, i. 3816;
Credo, i. 415&; Gloria, i.
600 a; Gradual, i. 61 5 a;
Haydn, i. 719a; High Mass,
i. 7366; Ho!=anna, i. 754?>;
Hymn, i. 760b ; Isaac, ii.
23a ; Josquin Desprds, ii.
42a; Kyrie, ii. 77 &, etc.;
Lassus, ii. 101& ; Lauda Sion,
ii. 103b; L'homme arine, ii.
126&, etc.; Madrigal, ii. i88a ;
Missa Brevis, ii. 338 a; Missa
Papae Marcelli, ii. 338 a;
Missa sine Nomine, ii. 3386;
Missa super Voces Mus., ii.
338?); Motet, ii. 371b, etc.;
Mozart, ii. 401 6 ; Mus. Di-
INDEX.
vina, ii. 411a; Mus. Ant.
Soc, ii. 4i6i; Mus. Lib., ii.
417&, etc. ; Novello (Vincent),
ii. 481a; Offertorium, ii.
494a ; Okeghem, ii. 4946 ;
O Salutaris Hostia, ii. 6146 ;
Palestrina, ii. 635 b, etc. ; Plain
Song, ii. 7686, etc. ; Proske,
iii. 43 & ; Requiem, iii. 109 &;
Sanctus, iii. 2236; Schools of
Comp., iii. 2596, etc.; Sistine
Choir, iii. 5226 ; Solennis, iii.
545 &; Song, iii. 5926, etc.;
Weber, iv. 424a; Zingarelli,
iv. 509 a; Sistine Chapel, iv.
794a.
Massaino, T. ; Bodenschatz, i.
253 a; Mus. Antiqua, ii.
411a; Oriana, ii. 611&; Ho-
sanna, iv.679&; Sistine Chapel,
iv. 794a.
Massakt, L. J., ii. 235 &; iv.
713&; Conservatoire de Mus.,
i. 392 J; Ries (Franz), iii.
132 a; Tua, iv. 183&; Violin-
playing, iv. 296 a.
Masse, F. M. V., ii. 235 J ; iv.
71 3&; Carnaval de Venise, i.
316a ; Conservatoire de Mus.,
i. 393&; Faure, i. 571 a; Gr,
Prix de Rome, i. 6186; Ha-
l^vy, i. 645?); Reine Topaze,
La, iii. 102a; Song, iii. 597a ;
Vivier (E. L.), iv. 3186;
Delibes, iv. 610 b.
Massenet, J. E. F., ii. 236a;
iv. 713&; Gr. Prix de Rome,
i. 618 &; Od^on, ii. 4926;
Song, iii. 597a; Soria (J. de),
iii. 638?); Weist Hill, iv.
434a; De Reszke (E.), iv.
612a.
Masset, N. ; Conservatoire de
Mus., i. 392b.
Massi, G. ; Generali, i. 588 «.
Massin-Turina ; Gr. Prix de
Rome, i. 618 &.
Massol, J. E. A., iv. 714a.
Masson, Eliz., iv. 714b.
Matachins. (See Matassins,
ii. 2365.)
Matassins, ii. 2366; Morris-
Dance, ii. 369 a ; Orcheso-
graphie, ii. 560 a; Hey, iv.
673«.
Matelotte, ii. 2366.
Materna, a. Frau, ii. 236??;
iv. 715a; Wagner, iv. 3636.
Mather, S., ii. 237 a.
Matheson, J., ii. 237a; iv.
715a; Agricola (M.), i. 45a;
Albert, i. 486; Beethoven, i.
179&; Buxtehude, i. 286a;
Clavichord, i. 367?); Con-
ductor, i. 3906; Froberger, i.
97
565 a; Fugue, i. 569b ; Fux,
i. 570a; Graupner, i. 622?);
Handel, i. 6486; Keiser, ii.
48 b; Klavier Mus., Alte, ii.
63 a ; Meister, Alte, ii. 2476;
Murschhauser, ii. 409a ; Opera,
ii. 508 a; Oratorio, ii. 540 a;
Pachelbel, ii. 626b; Pasquini,
ii. 661 a ; Passacaglia, ii.
661 a; PassionMus., ii. 666a;
PF., ii. 710b; Polonaise, iii.
10 a; Schools of Comp., iii.
288b; StefFani, iii. 698b;
Storm, iii. 720b; Suite, iii.
757a; Tr^sor des Pianistes,
iv. i68a; Walther (J.G.),iv.
381b; Zinke, iv. 511a;
Doles, iv. 617a ; Hist, of Mus.,
iv. 677 a; Meinardus, iv.
716a; Scheidemann (H.), iv.
781b.
Mathias; Halevy, i. 645 b.
Mathilde di Shabran, ii.
238a; iv. 715 a; Rossini, iii.
177 b.
Matiegka; Stich (J. W.), iii.
7i4rt.
Matielli; Meister, Alte, ii.
247 b.
Matilda of Hungary, ii. 2380;
Wallace (V.), iv. 377 b.
Matins, ii. 238a; iv. 715a;
Lauds, ii. 105 b; Noccurns, ii.
461 a ; Tenebrae, iv. 86 a.
Matray, G. ; Song, iii. 612 b.
Matrimonio Segreto, ii. 238b;
Cimarosa, i. 358a.
Mattei, Colomba, ii. 238b.
Mattei; Buonoiicini, i. 650a,
note; Handel, i. 650 a.
Mattei, Abbate S., ii. 238b;
iv. 715b; Benelli, i. 223b;
Franzl, i. 557b; Gabussi,
i. 574a; Martini, ii. 222b;
Morlacchi, ii. 366 a ; Panseron
(A.), ii. 645 a ; Rossini,
iii. 164b, etc.; Tadolini, iv.
Mattei, T.; PF. Mus., ii.
736a.
Matteis, D. de; Pergolesi, ii.
686 b.
Matteis, N., ii. 239a.
Matthai, H.; Queisser, iii. 60 a.
Mattheis; Mus. Lib., iv. 726a.
Mattheson. (See Matheson,
ii. 237a.)
Matthews ; Handel, Com-
memoration of, i. 658 a.
Matzka, G.; Thomas (T.), iv.
105b.
Maucotel ; Violin, iv. 283 a.
Maucourt; Spohr, iii. 657 a.
Mauduit ; Le Jeune (Claude),
ii. ii8b.
H
98
Maukel, v., iv. 715 a; Stra-
kosch, iii. 734^-
Mauber, a., ii. 239b.
Maueeb, L. W., ii. 239b; iv.
715 b ; Mendelssohn, ii. 259 a ;
Stern, iii. 712a; Violin-play-
ing, iv. 289.
Maubeb, W., ii. 239b.
Mauby; Conservatoire, i. 392 b.
Mauss, T. ; PF. Mus., ii. 736 a.
Maxwell, T. K., ii. 239 b.
May, E. C, ii. 240a; iv. 715b ;
Schools of Comp., iii. 308 b.
May, Florence, ii. 240 a.
May, 0.; Part Mus., ii. 657 a;
Vocal Scores, iv. 320a ; White
(Maude V.), iv. 451 «•
May-Queen, The, ii. 240 a ; iv.
715b; Bennett (Stemdale), i.
225 b.
Mayence-Ps alter; Mu8.-print-
ing, ii. 433b, note', Mus. Lib.,
iv. 724b.
Mayer, C, ii. '240a ; iv. 715b ;
Etudes, i. 497 a; PF. Mus.,
ii. 728b; PF.-playing, ii.
739a, etc.; Studies, iii. 746b.
Mayer, C. ; Philh. Soc, iv. 747 a.
Mayer, J. S., ii. 240b; iv. 715b;
Donizetti, i. 453a ; Tfigenia, i.
765b; Milan,ii. 329a ; Odeon,
ii. 492 b; Ponchiellijiii. 14a.
Maylabd; Sistine Chapel, iv.
794a.
Maynabd, J., li. 241a; Este, 1.
496 a.
Mayo, Di; Mus. Lib., ii. 4190.
Maye. (See Mayee, J. S., ii.
240 b.)
Mayehofee ; Schubert, iii.
323a, etc.
Maysedee, J., ii. 241 a ; Au-
garten, i. 104a ; Beethoven, i.
190b ; Ernst, i. 492 a ; Merk,
ii. 314a; Panofka, ii. 644b;
Schloesser, iii. 254a ; Schu-
bert, iii. 322 b; Schuppan-
zigh, iii. 425a; Straus (L.),
iii. 737 a; Urban (C), iv.
209a; Vieuxtempg (H.), iv.
262 b; Violin-playing, iv.
297b; Westmoreland (Earl
or),iv.449b; Goldberg (.J. P.),
iv. 640 b; Hauser (M.), iv.
670 a; Kuhe, iv. 693 b;
Vaterlandische Kiinstlerve-
rein, iv. 808 a.
Mazaeinades; Mus. Lib., ii.
426a; Song, iii. 694b; Vaude-
ville, iv. 231b.
Mazas, J. F.,ii. 241b; iv. 715b;
Auber, i. 102a; Violin-play-
ing, iv. 289.
Mazatti ; Schroder-Devrient,
iii. 31 7&-
INDEX.
Mazuel ; Vingt quatre Violons,
iv. 266 b.
Mazueka, ii. 241b; Song, iii.
614a ; Varsoviana, iv. 230b.
Mazzaeelli ; Piccolomini, ii.
751a.
Mazzella, S. ; Passacaglia, ii.
661b.
Mazzinghi, J., ii. 242 a; iv.
715 b; Paradies (P. D.), ii.
647b, note ; Reeve (W.), iii.
92 b.
Mazzocchi, D. ; Notation, ii.
477 a; Oratorio, ii. 535b;
Konie, iv. 774«'
Mazzone; Mus. Lib., iv. 726a.
Mazzoni; Ifigenia, i. 765b; Sol-
feggio, iii. 547 b.
Mazzoni, U. ; Mus. Periodicals,
ii. 431b.
Mazzucato, a. ; Boito (A.), iv.
550a; Singing, iii. 515 b;
Verdi, iv. 252b; Junok, iv.
687 b.
Mazzueana, Dr. ; Lipinski, ii.
144 b.
Mean, ii. 242 b ; Motet, ii. 371b;
Motetus, ii. 376b.
Meantone ; Temperament, iv.
72 a, etc.
Meaes, R., iv. 715b.
Measuee, ii. 243 a; Bar, i.
136b; Common Time, i. 381a;
Notation, ii. 475b.
Measure, ii. 243 a.
Mecanik ; Action, i. 26 a.
Mecchetti, C. ; Diabelli, i.
442 a.
Medaed ; Corbet, F., i. 400a.
Medecin malgre Lui, Le, ii.
245a ; Gounod, i. 613b.
Medee, ii. 243 a; Cherubini, i.
342 a.
Medesimo Tempo, ii. 243 a.
Medial Cadence, ii. 243 a.
Mediant, ii. 244b; Medial
Cadence, ii. 244a ; Modes
Eccles., ii. 342 «.
Mediation, ii. 244b; iv. 715b;
Chant, i. 337 b; Gregorian
Tones, iv. 656 b.
Meeeesstille und Gluckliche
Fahet, ii. 245a; Beethoven,
i. 196a; Mendelssohn, ii.
256 b, etc.
Mefistofele, iv. 715 a; Boito,
iv. 551b.
Mehlig, a., ii. 245b; iv. 716a;
PhUh. Soc, ii. 7oort; PF.-
playing, ii. 745 ; Stuttgart
Conservatoire, iii. 747 b.
MimjL, E. H., ii. 245b; iv.
716a; Bartholomew, i. 146 a;
Beanlieu, i. 160 a ; Berton, i.
237b; Blanchard, i. 247a;
Blaze, i. 248 a ; Bochsa, i.
252 a; Boieldieu, i. 256a;
Conservatoire de Mus. , i. 39 2 a ;
Depart, Chant du, i. 440b;
Gossec, i. 611 b; Grt^try, i.
629b; Harold, i. 731a; Jeune
Henri, Le, ii. 34a ; Joseph, ii.
40a; Lesueur, ii. 125a;
Meister, Alte, ii. 247 b ; Nour-
rit, ii. 479b ; Opera, ii. 522b;
Overture, ii. 621 b ; Paisiello,
ii. 634 a ; Rouget de Lisle, iii.
179b; Schools of Comp., iii.
304a; Solfeggio, iii. 549 a;
Soli^ (J. P.), iii. 549b; So-
nata, iii. 566b ; Song, iii.
594b ; Speyer (W.),iii. 650b;
Tenor Violin, iv. 91a; Wag-
ner, iv. 350 a ; Martini (il
Tedesco), iv. 712 a.
Meibom, M., ii. 247b; Mus.
Antiqua, ii. 411a; Villoteau,
iv. 265b; Hist, of Mus., iv.
673b.
Meifeed ; Conservatoire,!. 392 b.
Meiland; Bodenschatz, i. 253 a.
Meinaedus, L. S., iv. 716a.
Meissen, H. von; Song, iii.
6i6a.
Meistee, Alte, ii. 247 b; Pauer
(E.), ii. 675 a.
Meister, S. ; Volkslied, iv. 337b.
Meister, The; Mus. Periodicals,
iv. 727a.
Meistersinger; Song, iii. 615 ?>.
Meistersinger von Nurnbeeg
DIE, ii. 247b; iv. 716a;
Wagner, iv. 361b.
Mel, Gaudio. (See Goudimel,
i. 612a.)
Mel, R. del., ii. 248 a; iv. 716a;
Madrigal, ii. 191a; Mus.
Transalpina, ii. 416 a; Mus.
Lib., ii. 423a; Motett Soc,
iv. 720a; Trdsor Mus., iv.
802b.
Mela, Signora ; Tenor, iv. 88 a.
Melani, a . ; Programme Mus.,
iii. 36 b.
Melciob ; Diet, of Mus., i. 4460.
Meldert, L. van ; Trdsor Mus.,
iv. 802 b.
Melfio; Mus. Lib., ii. 419a.
Melisma, ii. 248 b; Catch, i.
322 a; Round, iii. i8ob;
Song, iii. 61 8 a.
Mell, D., ii. 248b ; Division
Violin, The, i. 451a; King's
Band, ii. 58a; Violin-playing,
iv. 298 b.
Mellon, A., ii. 248b ; iv. 716b;
Bache (Ed.), i. 120a; Mus.
Soc. of London, ii. 432 a;
Schools of Comp., iii. 306 a;
Victorine, iv. 261a.
Melodeon ; American Organ, i.
61 a.
Melodists' Club, THE,ii. 2486.
Melodkama, ii. 249a; iv. 716&;
Benda (G.), i. 2216; Duo-
drama, i. 4696; Ballad, iv.
Melody, ii. 250a; iv. 716&;
Air, i. 466; Bass, i. 148 a;
Imperfect, i. 7666; Metre, ii.
316b; Mus. mensurata, ii.
415b; Tune, iv. 187a; Part-
writing, iv. 741 b.
Melogbaph ; Extemporizing
Machine, i. 499 b.
Melophone ; Kegondi, iii. 97 a.
Melophonic Society, The, ii.
252 a.
Melopiano, ii. 252b; Kirkman,
ii. 61 b ; Repetition, iii. loS b ;
Sostinente, PF., iii. 639b,
Melusine, ii. 252b; Mendels-
sohn, ii. 272b.
Melzi, L. ; Milan, ii. 329 b.
Mendel, F. ; Wacht am Ehein,
iv. 343 a.
Mendel, H., ii. 252b ; iv. 716b;
Diet, of Mus., i. 446a ; Mus.
Periodicals, ii. 430 b ; Eeiss-
inann, iii. T04a.
Mendelssohn-Baktholdy, J.L.
Felix, ii. 25.^a ; iv. 716b;
Accents, i. 1 8 b ; Accompani-
ments, i. 25 a; Additional
Accompaniments, i. 31 a,
etc. ; Air, i. 47 a ; Albert,
Prince, i. 49 a ; Alsager, i.
57 a; Analysis, i. 62 b; An-
cient Concerts, i. 64b ; An-
dantino, i. 65 a; Andre, i.
66b; Animate, i. 68b; Anti-
gone, i. 73b; Antiphon, i.
74a ; A quatre Mains, i. 80a;
Argyll Rooms, i. 82b ; Arioso,
i. 83 a ; Arpeggio, i. 88 b; Ar-
rangement, i. 91b, etc. ; Atha-
lie, i. loob ; Attvvood, i.
loib; Bach (W. F. K), i.
113a; Bach (J. S.), i. 117b;
Barmann, i. 1 2 2 b, etc. ; Baillot,
i. 125b ; Ball, i. 128a ; Ballad,
i. 129b; Barcarole, i. 138b;
Bartholomew, i, 145 b ; Basset
Horn, i. 151a; Bassoon, i.
154a; Baton, i. 155b; Beau-
lieu, i. i6oa ; Becher, i. i6ob;
Becker (C. F.), i. i6ia ; Beet-
hoven, i. 169 a, etc. ; Beiden
NefFen, Die, i. 210b; Bene-
dictus, i. 223b ; Bennett
(Sterndale), i. 225 a, etc.;
Bergamasca, i. 230b; Berger,
i. 231a; Bigot, i. 241b; Bir-
mingham Festival, i. 244b ;
Blaes(Mme.E.),i. 246 b; Bour-
INDEX.
ges (J.M).,i. 264a; Brendel,
i. 273b; Bruch, i. 279a; Can-
tata, i. 305 b; Capriccio, i.
307 a ; Caradori- Allan, i.
308 a ; Chelard, i. 341 b ;
Cherubini, i. 344 a; Chorale,
i. 351a ;^ Chorley, i. 353b;
Christus, i. 355 a; Clarinet, i.
363b; Concert, i. 384b; Con-
certo, i. 388 b; Conductor, i.
390a, etc.; Cooper, i. 398b;
Cossmann, i. 405 b ; David
(Ferd.), i. 433 a; Dorn, i.
455 a; Dot, i. 456b; Double
bass, i. 457b; Double bassoon,
i. 459a ; Drum, i. 464a ; Duo-
drama, i. 469b; Dussek (J.
L.), i. 476b; Eckerfc, 1,482 b;
Ein' feste Burg, i. 484 a ; Eli-
jah, i. 486a; Ertmann, i.
494 a; Evers, i. 498 a; Ex-
tempore Playing, i. 499 a ;
Extravaganza, i. 500a ; Flu-
gel, i- 535&;.riute,_ i. 537b;
Fodor-Mainvielle, i. 538a;
Form, i. 552a ; Franchomme,
i. 558 b; Franz, i. 560 b;
Frege (Mme.), i. 562b ; Gade,
i. 574a; Gauntlett, i. 584b;
GesellschaftderMusikfreunde,
i. 591 «; Gewandhaus Con-
certs, i. 593 a ; Glee Club, i.
599a; Glover (W.), i. 600 a ;
Gusikow, i. 641 b ; Halevy, i.
645a, note ; Handel, i. 653b ;
Harmonic, i. 666 a; Helm-
holtz, i. 727a ; Hensel (F.C.),
729 b; Henselt, i. 730 a;
Herz, i. 733a ; Hiller (Ferd.),
i. 737 a; Horn, i. 751b; Hors-
ley, i. 754a; Improvisation,
ii. 2 a ; Inteiiude, ii. 7b; In-
termezzo, ii. 9b; Intonation,
ii. 13 a; Israel in Egypt, ii.
25b ; Jahrbiicher, ii. 30b; Joa-
chim, ii. 34b; Jubilate, ii. 44a ;
Jullien, ii. 45 b: Jupiter, ii.
46 b ; Kalkbrenner, ii. 46 b ;
Kalliwoda, ii. 47 b; Klengel,
ii. 64a ; Klingemann, ii. 64b ;
Kufferath, ii. 75 b; Lang, ii.
89 a; Lauda Sion, ii. 104b;
Leipzig, ii. 114b, etc.; Leit-
Motif, ii. 1 1 8b; L^ocadie,
ii. 121 a; Libretto, ii. 129b,
etc.; Liedform, ii. 133b;
Lied ohne Worte, ii. 135a;
Liederspiel, ii. 136 a ; Lind,
ii. 141b; Lindblad, ii. 142 b;
Lindpaintner, ii. 143a; Lis-
betli, ii. 145a ; Liverpool
Mus. Fest., ii. 154a ; Lobe,
ii. 154b; Lobgesang, ii. 154b;
Lockey,ii.i58a; Loder(Kate)
ii. 159b; Loreley, Die, ii.
99
i66a ; Magnificat, ii. 197a;
Mantius, ii. 207 b; March, ii.
213a; Marschner, ii. 219a;
Marx,ii. 223b; Meeresstille, ii.
245 a; Melodrama, ii. 249 b;
Melody, ii. 250a; Melusine,
ii. 252 b; Midsummer Night's
Dream Mus., ii. 328a ; Mise-
rere, ii. 336b, etc.; Mori, ii.
365 a ; Moriani, ii. 365 b ;
Moscheles, ii. 370a, etc. ;
Moses, ii. 371a; Motet, ii.
376a; Mounsey (Eliz.), ii.
377b ; Mus. Lib.,ii.42i a, etc. ;
Nachruf, ii. 440 b ; Naumann
(M. E. A.), ii. 449 b; Neit-
hardt, ii. 451b ; Neukomm, i.
452a; Niederrheinische Mu-
sikfeste, ii. 456a, etc.; Noc-
turne, ii. 461a; Non Nobis,
ii. 464a; Notation, ii. 476b;
Nottebohm, ii. 479 a; Nourrit
(L.), ii. 480 b; Novello, ii.
481 b ; Oboe d'Amore, ii. 488 b ;
Octet, ii. 492 a; (Edipus, ii.
492 b; O'Leary, ii. 496 b;
Ophicleide, ii. 532 b ; Oratorio,
ii- 555 <^> etc.; Orchestra, ii.
564 a, note, etc. ; Orchestration,
ii.569a; Orpheus,ii.6i3a,etc.;
Overture, ii. 623 a; Parish-
Alvars, ii. 649 a; Part-song,
ii. 658 b; Passion Mus., ii.
664 b; Paul, St., ii. 675 b;
Pause, ii. 676a; Philh. Soc,
ii. 698b; PF. Mus., ii. 729b;
PF.-playing, ii. 741 b, etc. ;
Piatti (A.), ii. 746b ; Pierson
(H. H.), ii. 752a; Pittmau
(J.), ii. 759 b; Plaidy, ii.
763a; Plancl)d, iii. I a; Pleyel
(Mme.), iii. 3b ; Prelude, iii.
28 b; Programme-music, iii.
39a; Pohlenz, iii. 55a ; Quar-
tet, iii. 58 a, etc. ; Quintet, iii.
61 a; Raff, iii. 64a; Rasou-
movvsky, iii. 77b; Real Fugue,
iii. 80 b; Reformation Sym-
phony, iii. 93 a ; Reichardt
(A.), iii. 100 a ; Reinecke,
102 a ; Rellstab (H. F. L.), iii.
106 b, etc.; Rietz (E.), iii. 132 b;
Rietz (Jul.), iii. 132b, etc.;
Robert le Diable, iii. 138b;
Robinson (J.), iii. 140 b ; Rode,
iii. 143a; Romantic, iii. 151a;
Rossini, iii. 173 b, etc. ; Rous-
selot, iii. 182b; Rudersdorff,
iii. 199a; Ruy JBlas, iii. 206b;
Sac. Harmonic Soc, iii. 210a,
etc. ; Sainton, iii. 216b; Sain-
ton Dolby, iii. 217a; Sal-
tarello, iii. 222a; Santini, iii.
226a; Sartoris, Mrs., iii.
229b ; Scarlatti (D.), iii. 239b;
H 2
100
Scena, iii. 241a; Schauroth,
iii. 242b; Schechner-Waagen,
iii, 243b; Schelble, iii. 244a;
Scherzo, iii. 245 b, etc. ;
Schleinitz, iii. 253 a ; Schneider
(F. J.), iii. 255 b; Schneider
(J. G.), iii. 256a; Schools of
Comp., iii. 294 a,etc.; Schroder-
Devrienfc, iii. 317a; Schubert,
iii. 356 b; Schubring, iii. 383 a,
etc. ; Schumann, iii. 389 h,
etc. ; Schumann (Clara), iii.
422a ; Score, iii, 4326 ; Score,
arranging from, iii. 435 a ;
Scotch Symphony, The, iii.
437 b, etc. ; Service, iii. 474b;
Shaw, iii. 485 rt, etc. ; Sinfonie
Cantata, iii. 496 a ; Singaka-
demie, iii. 5160; Sistine Choir,
iii. 521a, note; Sketches, iii.
533 «; Sivori, iii. 534b; Slur,
iii- 537 « ; Smart (Sir G.
T.), iii. 537b; Soc. of British
Mus., iii. 544 b; Soldaten-
liebschaft, iii. 545 b; Son and
Stranger, iii. 554a ; Sonata,
iii' 577^5 Song, iii. 6iob,
627a; Songs without words,
iii. 632b; Sont.ig, iii. 635 J;
Speyer (W.), iii. 650 J ; Spohr,
iii. 659 b; Spontini, iii. 681 b;
Spruche, iii. 683 a; Staniaty,
iii. 689a; Stern, iii. 712a;
Strauss (J.), iii. 738 b; Stroh-
fiedel, iii. 746 a; Subject, iii.
750 a; Symphony, iv. 31a,
etc. ; Szymanowska, iv. 45 b ;
Stimpson (J.), iv. 46b ; Taran-
tella, iv. 59 b ; Taubert, iv.
64 a ; Tenebne, iv. 86 b ; Thal-
berg, iv. 97 a, etc. ; Thematic
Catalogue, iv. 99 b; Thibaut,
iv. loib; Thomson (J.), iv.
107 b ; Time, Beating, iv. 1 2 2 b,
etc. ; 'Tis the last rose, etc., iv.
129a; Treatment of Organ,
iv. 163 b ; Trdsordes Pianistes,
iv. 168 b; Trio, iv. 172b;
Trombone, iv. 178b; Truhn,
iv. i8oa ; Tune, Act Tune, iv.
187a; Variations, iv. 229a;
Velluti, iv. 236 a ; Verhulst,
iv. 255b; Viardot-Garcia, iv.
260 b ; Violin-playing, iv.
297 a; Violoncello-playing, iv.
301 a ; Vocal Scores, iv. 320 a ;
Vogler, iv. 328 a ; Voigt (Hen-
riette), iv. 335 b; Wagner, iv.
348b, etc.; Waldteufel, iv.
376a ; Wallace (Lady), iv.
376 b; Walmisley (T. A.), iv.
378 b; Walpurgisnight, iv.
379 b ; Wasielewsky, iv. 384 a ;
Weddingof Camacho,iv.43ia ;
Wesley (Rev. C), iv. 446 b;
INDEX.
Wieck, iv. 454b ; Wilder, iv.
457a; Williams (Sisters), iv.
459b; Wind-band, iv. 473b;
Wohltemperirte Clavier, iv.
483 a; Wuerst, iv. 491b;
Zelter, iv. 505 a ; Zopf, iv.
513b; Dance - Rhythm, iv.
6070; Davison, iv. 609 a;
Dorffel (A.), iv. 6i6b; Ewer
& Co., iv. 630a; Faisst, iv.
631b; Heinze, iv. 671a; Hu-
morous Mus., iv. 682b ; Philh.
Soc, iv. 746 b ; Toy Symphony,
iv. 800 a ; Vesque v. Puttlin-
gen, iv. 812 a.
Mendelssohn Quintet Club,
iv. 717 a.
Mendelssohn Scholarship, ii.
310b; iv. 717b; Lind, ii.
142 a ; Mendelssohn, ii. 294rt ;
Shakespeare, iii. 484 b ; Sulli-
van, iii. 761b; Swinnerton
Heap, iv. 9b; White (Maude
v.), iv. 45irt ; Corder (F.),iv.
598 a ; D' Albert (E. F. C), iv.
604 a.
Menendez y Pelayo, Don M. ;
Hist, of Mus., iv. 676a.
Menestrel, Le, ii. 311a ; Mus.
Periodicals, ii. 429b.
Menestrier, C. F. ; Plain Song,
ii. 763 a ; Hist.of Mus., iv. 677 a.
Menetriers ; Guignon (J. R.),
i. 639 a ; Roi des Violons, iii.
145b; Song, iii. 585 b.
Mengal, J. ; Gevaert, i. 591b;
Regibo, iii. 94 a; Song, iii. 595 b.
Mengozzi, B., ii. 3 rib.
Mennegand; Violin, iv. 283a.
Meno Mosso, ii. 311b; Tempo,
iv. 83 rt.
Menter, J., ii. 312a.
Menter, Sophie, iii. 16 a; Pop-
per, iii. 15b; Philh. Soc., iv.
746b.
Merbecke, J., ii. 312 a; iv.
717b; Accents, i. 17a; Bene-
dicite, i. 222a; Benedictus, i.
223b; Cantate Domino, i.
305 b; Cathedral Mus., i.
324a; Chant, i. 336b; Com-
munion Service, i. 381b;
Creed, i. 415 b; Deus Mise-
reatur, i. 441 a ; Gloi-ia, i.
600 a; Hawkins, i. 700 b; In-
troit, ii. 15b ; Jubilate, ii. 43b;
Kyrie, ii. 79 a; Litany, ii.
152a; Long, ii. 165b; Mundy
(John), ii. 408 b ; Mus. An-
tiqua, ii. 411a; Mus. Lib., ii.
418 a, etc. ; Mus.-printing, ii.
435 « i Nunc Dimittis, ii.
485 a; Offertorium, ii. 494 a;
Plain Song, ii. 765 a ; Re-
sponse, iii. ii6ff, etc.; Rim-
bault, iii. 135a; Schools of
Comp., iii. 270b, etc. ; Service,
iii. 472 b; Psalter, iv. 758b,
note.
Mercadante, S., ii. 312 a; iv.
717b; Bellini, i. 212a; Don-
zelli, i. 454 b; Giuramento, i.
597 a; Grisar (A.), i. 632a;
Lablache, ii. Sob; Mus. Lib.,
ii. 420 a, etc. ; Naples, ii.
446a; Nourrit (Louis), ii.
480b; Opera, ii. 525a; Ro-
mani, iii. 148 a ; San Carlo, iii.
a23b; Schools of Comp., iii.
301a; Tamburini, iv. $6a;
Tosti, iv. 151b; Unger (Caro-
line), iv. 202 a ; Zingarelli, iv.
510a; Metastasio, iv. 7180;
Roberto Devereux, iv. 772 b.
Mercandotti ; Ballet, i. 132 a.
Mercator, M., iv. 717 b.
Mercer ; Cliant, i. 338b.
Merci, L., ii. 313a.
Merck ; Conservatoire, Brussels,
i. 592 b.
Mercure de France, ii. 312 b.
Mereaux, Le Froid de, iv. 7 1 7 b ;
PF. Mus., ii. 729a; PF.-
playing, ii. 744.
Meric, Mme. de, ii. 313b.
Meric, Mme. (See Lalandb,
ii. 85 b.)
Merighi, a., ii. 313b.
Merighi, v.; Pezze, ii. 697a;
Piatti, ii. 746 a; Quarenghi,
iv. 766 a.
Merk, J., ii. 313b; iv. 717b;
Lincke, ii. 140a; Mayseder,
ii. 241 b ; Mendelssohn, ii.
266 a ; Violoncello - playing,
iv. 300 b.
Mebkel, G.,ii. 314a ; iv. 717b;
PF. Mus., ii. 734 a ; Schneider
(J. G.), iii. 256a ; PF. Mus.,
iv. 748 b.
Merkel, J. ; Hist, of Mus., iv.
675a.
Merklin, SchUtze & Co., iv.
718 a; Barker, i. 140a; Dau-
blaine et Callinet, i. 431 b.
Merlo, G. a. ; Sistine Choir,
iii. 520b.
Merlotti. (See Mebulo, ii.
3H&-)
Merrick, A. ; Bishop (J.), i.
246 a.
Mersan, du ; Chanson, i. 336 a ;
Song, iii. 597b.
Mersennus, ii. 314a ; Archlute,
i. 81 a; Flageolet, i. 531b;
Musette, ii. 410 a ; Mus. Lib.,
ii. 418a, etc. ; Musurgia Uni-
versalis, ii. 438 b ; Partial
Tones, ii. 654a ; Plain Song,
ii. 763 a ; Psaltery, iii. 44 b ;
Serpent, iii. 470a ; Si, iii.
490 &; Sounds and Signals,
iii. 644b; Spinet, iii. 653a;
Tuning, iv. 187b; Virginal,
iv. 305 a ; Zarlino, iv. 502 a ;
Hist, of Mus., iv.674a.
Merula, Tarquinio ; Violin-
playing, iv. 288 &.
Merulo, C, ii. 314b ; Boden-
schatz, i. 253b; Catelani, i.
323b; Opera, ii. 499a; Ricer-
care, iii. 126b; Toccata, iv.
130 a ; Tr^sor des Pianistes, iv.
i68b; Zarlino, iv. 502 b; Bur-
ney,iv. 571 a; Dance-Rhythm,
iv. 607 b ; Mus. Lib., iv. 726a;
Porta, iv. 750b.
Meslanges; LeJeune, ii. 119b.
Mesotonic. (See Mean Tone.)
Messanza. (See Quodlibet,
iii. 62 a.)
Messer, F. ; Hecht, iv. 670b.
Messiah, ii. 315 a; Hallelujah,
i. 646 b; Handel, i. 651a;
Naumann, ii. 449 a; Overture,
ii. 621a; Pastorale, ii. 670b.
Mesto, ii. 315 b.
Mestbino; Haydn, i. 706b;
Kreutzer (R.), ii. 72 a; Violin-
playing, iv. 289.
Metamorphosis, iv. 717b.
Metastasio, p., ii. 315b; iv.
718a; Da vies, i. 435 a;
Haydn, i. 704 b ; Jommelli,
ii. 37 a; Libretto, ii. 130a;
Martines (M.), ii. 221b; Mo-
zart, ii. 384a; Opera, ii. 505 a,
etc. ; Traetta, iv. 157b.
Methfessel, a. G., iv. 718 b;
Weber, iv. 398 a.
Meton, V. ; Eslava, i. 495 a.
Metre, ii. 316b; Accent, i.
12a; Lauda Sion, ii. 104a;
Le Jeune, ii. 119a ; Quantity,
iii. 55 b; Spondee, iii. 665 a;
Trochee, iv. 174 b.
Metronome, ii. 318a ; iv. 718b;
AflSlard, i. 41 a ; Beethoven,
i. 189a; Maelzel, ii. 194b,
etc. ; Tempo, iv. 82b.
Metru; LuUy, ii. 172 a.
Mettenleiter, D. ; Mus. Lib.,
ii. 425 a; Hist, of Mus., iv.
675 a.
Metzler; iv. 718b.
Metzner; Weber, iv. 402 b.
Meude-Monpas ; Diet, of Mus.,
i. 445 a.
Meves, a. A. C, ii. 320b.
Meyer, G. ; Dodecachordon, iv.
616 rt.
Meyer, L. von ; PhUh. Soc, ii.
699 b; PP. Mus., ii. 731b;
PF. -playing, ii. 743a, etc.;
Queisser, iii. 60 b.
INDEX.
Meyer, Waldemar; Violin-play-
ing, iv. 298 a.
Meyerbeer, G., ii. 320b; iv.
719a; Abbey (J.), i. 2 a ; Aca-
demic de Mus., i. 7a, etc.;
Act, i. 26 a; Ander, i. 65 b;
Barmann, i. 122b; Ballabile,
i. 128a; Bass Clarinet, i. 149b;
Bassoon, i. 154a; Beer, i.
162 a; Blaze de Bury, i. 249a;
Cabel (M. J.), i. 290a; Cas-
telli (J.), i. 319b; Chopin, i.
350b; Clarinet, i. 363 b; de-
menti, i. 373a; Crociato in
Egitto, II, i. 419 a; Dinorah,
i. 448 b; Dussek, i. 476 b;
Ein' feste Burg, i. 484 a;
Ella, i. 486b ; Etoile du Nord,
L', i. 496 b ; Fackeltanz, i.
501 a ; Feldlager in Schlesien,
i. 510b; Faure, i. 571a;
Gansbacher, i, 575 a; Gong, i.
609b; Grand Opera, i. 617a;
Handel-Gesellschaft, i. 659 a;
Harmonie, i. 666 a; Hiller, i.
737 a; Huguenots, Les, i.
755b; Leit-Motif, ii. ii8a;
Lind, ii. 140 b; Lucca, ii.
171a; Mendel, ii. 252 b;
Mendelssohn, ii. 257b, etc.;
Metastasio, ii. 316 a; Mus.
Lib., ii. 420a, etc.; Naudin,
ii. 448 b; Opera, ii. 525b;
Pardon de Ploermel, ii. 648 b ;
Pierson (H. H.), ii. 752a;
Pitch, ii. 758 rt, note; Pol-
lini, iii. 9b; Pougin, iii.
23b; Prophfete, Le, iii. 41a;
Ranz des Vaches, iii. 76 a;
Rataplan, iii. 78 a; Robert le
Diable, iii. 138a; Robinson
(F.), iii. 140b ; Roger, iii.
144b; Rossini, iii. 171a, etc.;
Schools of Comp., iii. 301a,
etc.; Schumann, iii. 406b;
Score, iii. 432 b; Scribe, iii.
453 Of » Seniiramide, iii. 461 a ;
Siciliana, iii. 491b; Spohr, iii.
657b; Spontini, iii. 681 b;
Strauss (J.), iii. 738 b ; Struen-
see, iii. 746b; Subject, iii.
750 a; Timbales, iv. ii6b;
Tomaschek, iv. I33rt; Ulrich
(H.), iv. 201 a; Urban, iv.
209a ; Velluti, iv. 236 a ; V^-
ron,iv. 2.56a; Viardot-Garcia
(Mme.), iv. 259b; Vogler, iv.
327b, etc. ; Wagner (Johanna),
iv. 345 b; Wagner, iv. 350 b,
etc. ; Weber, iv. 394 b, etc. ;
Wind-band, iv. 473b; Afric-
aine, L', iv. 518 b; Levasseur,
iv. 700b; Napoleon, iv. 727b.
Meyers ; Square Piano, iii.
683 b.
101
Meysenberg ; Viardot-Garcia
(Mme.), iv. 259a.
Mezzadri; Testore, iv. 799 a,
Mezzo, ii. 326a; Singing, iii.
509 a, etc.
Mi ; E, i. 478 a ; Tonic Sol-fa, iv.
145 a, note.
Michael, T., Leipzig, ii. 115 a.
Michaeli ; Mus. Lib. ii. 42 2 a.
Michalesi, Aloysia ; Krebs
(K. A.), ii. 70b ; iv. 693a.
Michel, F. ; Hist, of Mus., iv.
676a.
Michelet ; Mario, ii. 217 a.
MiCHELi, B., ii. 326b; Zenobia,
iv. 506 a.
MiCHEROUT, De ; Rudersdorff
(H.), iii. 199 a.
MiCHEROUx; Novello (Clara), ii.
481b.
MicHOT, A ; Sistine Chapel, iv.
794a.
MiCKSCH, J.; Schroeder Devrient,
iii. 317b ; Weber, iv. 402b.
Ml CONTRA Fa, ii. 326 b; Lo-
crian Mode, ii. 158a; Mixo-
lydian Mode, ii. 339 a ; Mus.
Ficta, ii. 414 a ; Mutation, ii.
439 a ; Quinta falsa, iii. 60b ;
Si contra Fa, iii. 491 a.
MiCROLOGUS, ii. 326 b ; iv. 719 a ;
^olian Mode, i. 40b ; Alpha-
bet, i. 57 a, note ; Dowland (J.),
i. 460b; Ligature, ii. 137b;
Martini, ii. 222 a, note ; Nota-
tion, ii. 4/0 rt; Ornithopar-
cus (A.), ii. 611 b; Pedal
j point, ii. 679 rt; Proportion,
! iii. 42 b, note ; Strict counter-
point, iii. 740b ; Zacconi, iv.
I 497 a ; Guido, iv. 659 b ; Mus.
Lib., iv. 724a; Ornithopar-
I c!is, iv. 736 rt.
[ Midsummer Night's Dream
: Music, ii. 328 a ; Bergamasca,
I i. 230b; Bishop, i. 245 a;
I Mendelssohn, ii. 259a, etc.;
I Overture, ii. 623a.
Mierzwinski ; Tenor, iv. 87 b ;
j Philh. Soc, iv. 746b.
' MiGLiOBUCCi ; Bisliop (J.), i.
246 b.
I MiGNON, iv. 719 a ; Thomas (C.
A.), iv. I04rt.
: Mikado, The, iv. 719a; Sulli-
van (A.), iv. 797 b.
'M'Kay, Iver; Philh. Soc., iv.
I 747 a.
Milan, ii. 328b ; iv. 719a ; Ac-
cademia, i. lib; Lombardy
I Schoolof Mus., ii. 163a; Mus.
Periodicals, ii. 431b; Scala,
La, iii. 234a; Vaccaj, iv.
212 a ; Bazzini, iv. 533 a.
i Milanollo, Teresa and Maria,
102
ii. 3295; iv. 719a; Philh.
Soc, ii. 699b ; Violin- playing,
iv. 289 ; Grdgoir (E.), iv.655&.
Milchmeyeb; Klengel, ii. 64 a.
Milder-Hauftmann, p. A., ii.
330 a ; Mendelssohn, ii. 255 b ;
Opera, ii. 520a; Schubert, iii.
335^; Spontini, iii. 672b, etc.;
Weber, iv. 423 b.
MiLDNER ; Violin- playing, iv.
289 ; Wiener, iv. 455a.
Military Drum, ii. 331 a. (See
DRUM,i. 465b.)
Military Music ; Neithardt
(A.),ii. 451a ; Oboe, ii. 486a;
Saxhorn, iii. 233b ; Wind-
band, iv. 470 a; Gilraore, iv.
647 a.
Millar, T. ; Addison (J.), 1.
30 b.
Millard, Mrs. ; Song, iii. 607 a.
Millaut ; Reicha, iii. 98 b.
Miller, Ed., ii. 331a; Linley
(R), ii. 143b.
MiLLEViLLE, A. ; Frescobaldi, i.
563a.
MiLLico, G., ii, 331 a ; Soprano,
iii. 636 a.
Millot; David (F.), i. 432a.
Mills, S. ; Leipzig, ii. 115 b.
Milton, J., ii. 331b; Hawkins,
1. 700 b; Leighton, ii. 114b;
Oriana, ii. 6iia; Burney, iv.
570b; Psalter, iv. 763a.
MiNACCiANDO, ii. 331b.
MiNARTi ; Saggio di Contrap-
punto, iii. 212a.
MiNGOTTi, Regina, ii. 331b;
Gizziello, i. 597 b; Hasse, i.
694b ; Soprano, iii. 635b.
Mini; Verdi, iv. 252b.
Minim, ii. 332 b; Hemiolia, i.
727b; Notation, ii. 471a.
MiNiscALCHi ; Mus. lib., iv.
726a.
MiNKOUS; Delibes, iv. 6iob.
Minnesinger ; Madrigal, ii.
187 b ; Song, iii. 615 a ; Volks-
lied, iv. 336 b.
Minor, ii. 333a; iv. 719a;
Ascending Scales, i 97 a ;
Helmholtz, i. 727a; Interval,
ii. lib; Key, ii. 51b; Moll
and Dur, ii. 352 a ; Notation,
ii. 476 a ; Relation, iii. 105 a;
Scale, iii. 236 a; Third, iv.
102 b.
Minor Canons, ii. 333a; Vicars
Choral, iv. 260b.
MiNORET ; Lalande, iv. 695 a.
Minstrels ; Musicians' Comp.,
London, ii. 432b; Song, iii.
600b, etc.
Minuet, ii. 333a; Branle, i.
271b; Form, i. 544a, etc.;
INDEX.
Overture, ii. 621 a ; Passepied,
ii. 662b; Redoute, iii. 89a;
Sonata, iii. 555a, etc. ; Sub-
ject, iii. 751b; Suite, iii.
756a, etc.; Symphony, iv.
13a; Trio, iv. 172b, etc.;
Viganb, iv. 264a.
Mioduszewski, M. ; Song, iv.
795 a.
Mire9KI,F.; Clari(G.),i. 360b;
Song, iv. 795 a.
Mireille, ii. 335 a ; Gounod, i.
614a.
Miremont ; Klotz, ii. 65 b.
Miserere, ii. 335b; iv. 719a;
Allegri, i. 54a; Bai, i. 125a;
Baini, i. 288b; Leo, ii. 121a;
Lotti, ii. 167 b ; Mendelssohn,
ii. 268 a; Mozart, ii. 383 a;
Sistine Choir, iii. 523a ; Tene-
brse, iv. 86 a.
Misonne, v.; Sistine Chapel,
iv. 794 a.
MissA brevis, ii. 338 a.
MissA de Angelis, iv. 719a.
MissA Pap^ Maecelli, ii.
338a; iv. 719b; Kyrie, ii.
78a; Mass, ii. 229b; Pales-
trina,ii.637a,etc. ; Schools of
Comp., iii. 263b, etc.
Miss A sine Nomine, ii. 338 b.
Miss a super Voces Music ales,
ii. 338 &.
Mistichanza. (See Quodlibet,
iii. 62 a.)
Mitchell, J., ii. 338 b.
MiTTAG, J. G. ; Filtsch (C), i.
523a ; Rappoldi (E.), iii. 76;
Thalberg, iv. 95 a ; Hist, of
Mus., iv. 676 a.
MiTTERWURZER, A. ; Wagner, iv.
354 a, etc.
Mixed Cadence, ii. 338 b.
Mixed Modes, ii. 338b; Mane-
ria, ii. 206 rt ; Modes Eccles.,
ii- 343 «; Maneria, iv. 709 b.
Mixed Voices, ii. 339 a ; Voices,
iv. 334a.
Mixolydian Mode, ii. 339 a;
Modes Eccles., ii. 343a.
Mixture, ii. 339 b; Organ, ii.
MizLER, L. C, ii. 339b; iv.
719b ; Bach, i. ii6b; Beller-
mann (C), i. 211b; Piano-
forte, ii. 712 a.
MOCHINI ; Schools of Comp., iii.
273a, note.
Mock Doctor, Tl\e, ii. 339b;
Gounod, i. 614a.
MocsoNYi; Magyar Mus., ii.
198 b.
Mode, ii. 340 a; Imperfect, i.
766b; Large, ii. 92 a; Long,
ii. 165b; Notation, ii. 471b;
Prolation, iii. 40 b; Propor-
tion, iii. 42 a ; Rest, iii. 119b;
Time, iv. 117b; Time Signa-
ture, iv. 1266; Zacconi, iv.
497a; Franco (of Cologne),
iv. 641b.
MoDERATO, ii, 340b; Tempo,
iv. 83 a.
MoDERNE, J.; Part-books, iv.
741a.
Modes Ecclesiastical, ii. 340 b;
iv. 719b; ^olian Mode, i.
39 b ; Alphabet, i. 56 b ; Am-
brosian, i. 59b ; Authentic, i.
105a; Bach (J. C), i, iiia;
Bach (J. S.), i. ii6b, etc.;
Dominant, i. 452b; Dorian,
i. 454b; Glareanus, i. 598 a;
Gregorian Modes, i. 627a;
Harmony, i. 669 b ; Hexa-
chord, i. 734a, etc. ; Hyper,
i 764b; Imperfect, i. 767 a;
Initials, Absolute, ii. 3b;
Ionian Mode, ii. 17 b; Loc-
rian Mode, ii. 158b; Luther,
ii. 178a; Lydian Mode, ii.
181 b; Madrigal, ii. iSjb;
Maneria, ii. 2060; Mass, ii.
226a; Medial Cadence, ii.
243 a, etc.; Mediant, ii.
244a; Micrologus, ii. 327b;
Mixolydian Mode, ii. 339a;
Modulation, ii. 347 b; Modu-
lations, Regular and Conceded,
ii. 351b; Monodia, ii. 3-;4b;
Motet, ii. 376 a; Mus. licta,
ii. 413 b; Notation, ii. 474 « ;
Okeghem, ii. 495 b ; Partici-
pant, ii. 655 b; Phrygian
Mode, ii. 708 b; Plagal Modes,
ii. 760b, etc. ; Plain Song, ii.
763b, etc.; Real Fugue, iii.
80a; Reciting Note, iii. 86b ;
Schools of Comp., iii. 259b;
Score, iii. 429a; Solniisa-
tion, iii. 551a; Song, iii.
618 a; Subject, iii. 748b;
Tones, Gregorian, iv. 144a;
Transposition of Modes, iv.
161 b; Voices, iv. 333b; Zar-
lino, iv. 502 a; Dodecachor-
don, iv. 615 a; Hucbaldus, iv.
680b ; Part- writing, iv. 741 a ;
Psalter, iv. 756b, etc. ; Val-
lotti, iv. 806 b.
MoDiNHA ; Song, iii. 600b.
Modulation, ii. 343b; Beet-
hoven, i. 203 a; Change, i.
332b; ^ Chromatic, i. 355b;
Diminished Intervals,!. 448a;
Form, i. 548a; Harmony, i.
675b, etc.; Passaggio,ii. 662 a;
Resolution, iii. 115a; Ro-
mantic, iii. 150b, etc. ; Schu-
bert, iii. 366 a; Sequence, iii.
4646; Subject, iii. 752a;
Supertonic, iv. 3&; Transition,
iv. 159a; Part- writing, iv.
741 h ; Psalter, iv. 761 a; Val-
lotti, iv. 806 &.
Modulations, Eegular and
Conceded, ii. 351 &; Medial
Cadence, ii. 244a ; Mediant,
ii. 244 a ; Modes Eccles., ii.
3426; Mus. Ficta, ii. 414 a;
Participant, ii. 655 b; Part-
writing, iv. 741 &•
Modus lascivus; Ionian Mode,
ii. iSa; Song, iii. 601 &.
MoESER ; Violin - playing, iv.
289.
MoiNE, H. le ; Adam, L., i. 29 a;
PF. Mus., ii. 7276.
Molinara, La, ii. 351 &; iv.
719&; Paisiello(G.), ii. 6336.
MoLiQUE, B., ii. 351 J ; iv. 719&;
Carrodus, i. 31 7&; Clay, i.
3696; Gabriel, i. 571 & ; Jul-
lien, ii. 45 b; Mus. Soc. of
Lond., ii. 431b; Orpheus, ii,
613 b; Regondi, iii. 97 b; Ro-
velli, iii. 183b; Shakespeare,
iii. 484b; Soc. of British Mus.,
iii. 544a; Violin-playing, iv.
298 b; Violoncello-playing, iv.
301a; Waley, iv. 376 a.
Moll and Dur, ii. 352 a.
MoLLE, H. ; Tuihvay, iv. 198 b.
MOLLENHAUER, E. ; Strakosch,
iii. 734a.
Molloy; Irish Mus., ii. 22a;
Song, iii. 608 b.
MoMBELLi; Tamburini, iv. 56 a.
MoMiGNT; Diet, of Mus., i.
445a ; Harmonics, i. 664a.
MoNACHUS, G. ; Faux- Bourdon,
i. 509 a.
MoN Ami. (See Curte, J. de.)
MoNASTERio ; Violin-playing, iv.
296a.
Monbelli; Philh.Soc, ii. 700a.
MoNCRiF, De; Mus. Lib., ii.
427 a..
Monday, J., iv. 719b.
Monday Popular Concerts,
The, ii. 352a; iv. 719b; Ana-
lysis, i. 63 a; Benedict, i.
223a ; Chappell & Co., i. 339b;
Concert, i. 384a ; Joachim, ii.
35 a; St. James's Hall Concert
Room, iii. 215 a ; Davison, iv.
609 a.
Mondonville, J. J. C. De, ii.
352b ; Maitrise,ii. 200a; Vio-
lin-playing, iv. 289 b.
MoNFE; Galuppi, i. 579 b.
Monferrina, ii. 353a.
Monfort; Song, iii. 597 a.
MoNGiNi; Singing, iii. 511a;
Tenor, iv. 876.
INDEX.
MoNiuszKO, S., ii. 353a; iv.
719b; Song, iii. 614a; Cui,
iv. 601 b.
Monk, E. G., ii. 353b; Joseph,
ii. 40a; Ouseley, ii. 6i8a;
Oxford, ii. 624b; Swinnerton
Heap, iv. 9 b.
Monk, W. H., ii. 353b; iv.
820a; Hymn, i. 764a.
M onnet, J. ; Harmonious Black-
smith, iv. 666 b.
Monochord, ii. 354a ; -<Eolian
Harp, i. 38 b ; Clavichord, i.
366 b, etc. ; Harpsichord, i.
688b; Hemiolia,i. 727b; Jack,
ii. 27a; Micrologus, ii. 327 a;
Musurgia Universalis,ii. 438b;
Rameau, iii. 69 a; Scheibler,
iii. 243 b ; Trasuntino (V.), iv.
162 a; Tromba Marina, iv.
174b; Violin, etc., iv. 267 b,
etc.
MoNODiA, ii, 354 a ; Homophone,
i. 746^; Notation, ii. 475 rt;
Opera, ii. 498b; Oratorio, ii.
534a; Peri, ii. 690b; Poly-
phonia, iii. 12a; Schools of
Comp., iii. 278b, etc, note;
Song, iii. 587b, etc.; Strict
Counterpoint, iii. 740a, note;
Schiitz (H.), iv. 46 a; Thor-
ough-bass, iv. io8b; Viadana,
iv. 258b; Part- writing, iv.
741a.
Monotone, ii. 355 a; Accents,
i. 17a.
MoNPou, F. L, H., ii. 355 a;
Choron, i. 354a ; Song, iii.
595 rt, etc.
Monro, H., ii. 355b.
MoNS, P. de. (See Monte, ii.
356b.)
MoNSiGNY, P. A., ii. 355 b; Con-
servatoire, i. 392 a ; Deserteur,
Le, i. 441a; Duni, i. 469 b;
Gluck, i. 602 b ; Navoigille, ii.
449b; Opera, ii. 523a; Phi-
lidor, ii. 704b; Piccinni, ii.
749 b; Song, iii. 594 b.
Montagnana; Cremona, i. 416 rt.
MoNTAGNANA, A.,ii. 356 b; Sing-
ing, iii. 506 a.
Montagnana, R. da; Sistine
Chapel, iv. 794 a.
MONTANARi; Bini, i. 243 b.
MoNTANARi; Soriano, iii. 638 b.
Monte, L. de ; Tr^sor Mus,, iv.
802 b.
Monte, P. de, ii. 356b; Del-
motte, i. 440 a; Hawkins, i.
700 b; Mus. Transalpina, ii.
416 a; Schools of Comp., iii.
261b; Song, iii. 592 b ; Oriana,
ii. 611 b; Mus. Lib., iv. 726 a ;
Part-books, iv. 740 b, note ;
103
Sistine Chapel, iv. 794 a; Tr^sor
Mus,, iv. 802 b.
Monteclair; AcaddmiedeMus,,
i. 7b; Maltrise, ii. 200 a.
Montemayor, F. de ; Eslava, i.
495 «•
MoNTEMONT, A. ; CI^ du Caveau,
iv. 594 a.
MoNTESiNOS,A.; Eslava, i. 495 a;
Gr. Prix de Rome, i. 6i8b.
MoNTEVERDE, C, ii. 357a; Air,
i. 47 a ; Ambros, i. 59 a ; Ar-
tusi (G. M.), i. 96 b; Cavalli,
i. 328a; Ferrari (B.),i. 513a;
Figured Bass, i. 522a; Flo-
rence, i. 533b; Hawkins, i,
700 b; License, ii. 131 rt; Mass,
ii. 231a; Milan, ii. 329a;
Monodia, ii. 354b ; Mus. Lib.,
ii. 422b ; Opera, ii. 501b, etc. ;
Overture, ii. 6i8b; Polypho-
nia, iii. 13b; Saggio di Contrap-
punto, iii. 279a, etc.; Score,
iii. 429b; Song, iii. 593a;
Suspension, iv. 5 rt; Symphony,
iv. II a; Violin-playing, iv.
287b ; Zacconi, iv. 497b ; Zar-
lino, iv. 503 a ; Dance Rhythm,
iv. 606 b; Mus. Lib., iv. 726rt;
Part- writing, iv. 741 a ; Rome,
iv. 774a; Sistine Chapel, iv.
794 rt.
MoNTFOET ; Gr. Prix de Rome,
i.6i8b; Mendelssohn, ii. 268a.
Montgeroult, Mme.de; Reicha,
iii. 98 b.
Monticelli, a. M., ii, 360 a.
Montigny-R]£maury, C, ii.
36ort; Philh. Soc, ii. 700b ;
Vinning, iv. 267 rt.
Montpelier; Mus. Lib., ii.
426b.
Montre; Organ, ii. 601 rt.
MoNTU ; Attaignant, i. loob.
Monzi ; Ifigenia, i. 765 h.
Moonlight Sonata, ii. 360 b;
Beethoven, i. 181 rt, etc,
Moore, J. W. ; Diet, of Mus., i.
446 b.
MooRE,T,,ii.36ob; Irish Music,
ii. 19 b, etc. ; Lochaber no
more, ii. 156b; Macfarren
(G.), ii. 186 b; Paganini, ii.
631a; Stevenson (Sir J.), iii.
713 rt; Thomson (G.),iv. 107a;
Tis the last rose, etc., iv.
129a.
Moorehead, J., ii. 3620.
MoosER, A., ii. 362 rt; Organ,
ii. 603 rt.
Mora ; Milanollo (Teresa), ii.
329b.
Morales, C, ii. 362 a; Es-
lava, i. 494b; Guerrero, i.
637b; Josquin Despr^s, iL
104
4ol> ; L'Homme arm^, ii.
127a; Magnificat, ii. 196a;
Motet, ii. 375&; Mus. An-
tiqua, ii. 41 1 o, etc. ; Mus.
Lib., ii. 421b; Rochlitz, iii.
141 Z>; Saggio di Contrappunto,
iii. 212a; Schools of Comp., iii.
263a, etc. ; Sistine Choir, iii.
521a; Yriarte (Don T. de),
iv. 496b; Alfieri, iv. 520b;
Sistine Chapel, iv. 794 a.
MOKALT, G., ii. 362 b.
MoRALT, J., ii. 362 b; Menter,
ii. 312a; Zeugheer, iv. 507a.
MoKALT, J. B., ii. 362 b; iv.
719 b; Zeugheer, iv. 507 a.
MoBALT, P., ii. 362 b; Menter
(J.), ii. 312 a.
MoRALT, ii. 362 b.
MoBANi; Strakosch, iii. 734 a.
MoRARi, A.; Lassus, ii, 96a;
Latroije, ii. 103 a.
MoRATTi ; Haydn, i, 706 b.
Mordent, ii. 362b; iv. 719b;
Agrt^mens, i. 42 b; Beat, i.
158a; Notation, ii. 477 b;
Shake, iii. 479 b,
MoREiRA, B. V. de S^; Socie-
dade de Quartetos do Porto,
iii. 543a ; Song, iii. 600b.
Morel; Song, iii. 597a.
MoRELLi, G., ii. 365 a; Haydn,
i. 706 b.
MoRENDO, ii. 365 a.
MoRESCA ; Opera, ii. 501 a ;
Dance- Rhythm, iv. 606 b.
MoRESCHi ; Haydn, i. 707b.
MoRETTi; Fraschini (G.), i.
560b; Mus. Lib., iv. 726a.
Mori, F., ii. 365 a; Ryan, iii.
207 b; Soc. Armonica, iii.
543 a; Vinning, iv. 266 b.
Mori, N., ii. 365 a; Dando, i.
429b; Lavenu, ii, io6a; Men-
dslssohn, ii. 274b; Philh. Soc.,
ii. 698 a ; R. Acad, of Mus., iii.
185a; Violin-playing, iv.298b.
MoRiANi, N.,ii. 365a, iv. 719b;
Singing, iii. 511a.
MoRiARi ; Latrobe, ii. 103 a.
MoRiCHELLi, A. B., ii. 365 b.
MoRiGi, A., ii, 365 a; Asioli, i.
99 a.
MoKiGi, P., ii. 366 a.
MoRiSQUE ; Orch^sographie, ii.
560 b.
MoRKOVA, v.; Hist, of Mus.,
iv. 675b.
MoRLACCHi, F., ii. 366 a, iv.
719b; Marschner, ii. 219a;
Mattei, ii. 239a; Rossi-Scotti,
iii. 163b; Weber, iv. 401b;
Weigl (Jos,, jun.), iv. 432b;
Mus. Lib., iv. 726a.
MoRLEY, T., ii. 367b, iv. 72 a;
INDEX.
Ballad, i. 129a; Ballets, i.
T32b; Bar, i. 136b; Bar-
nard (Rev. J.), i. 140b ;
Bennet (J.), i. 224b; Bind,
i. 243a; Bonny Boots, i. 260a;
Boyce, i. 267 a; Byrd, i.
287a; Canzonet, i. 306 b; Ca-
thedral Mus., i. 325a; Este
(T.), i. 496 a ; Fa-la, i. 501a ;
Ferrabosco (A.), i. 512a;
Fugue, i. 569 a; Gastoldi, i.
584a; Hawkins, i. 700 b;
Hymn, i. 762b; Imperfect, i.
767a; Lesson, ii. 124b; Ma-
drigal, ii. 187b, etc.; Micro-
logus, ii. 327b; Motet, ii.
372 a; Mundy (W.), ii. 409a;
Mus. Antiquarian Soc, ii.
416b; Mus. Lib., ii. 418a,
etc. ; Mus. Printing, ii. 435 a ;
Oriana, ii. 611 o; Part Mus.,
ii. 656 b; Part-song, ii. 658 a;
Pavan, ii. 676b; Proportion,
iii. 41b; Redford (J.), iii. 89 a;
Schools of Comp., iii. 277 a,
etc. ; Sheppard, iii. 486 b ; Spe-
cimens, Crotch's, iii. 649 b;
Strict Counterpoint, iii. 740 b;
Subject, iii. 750 a; Suite, iii.
755 a; Turini, iv. 190b; Tud-
way, iv. 198a; Villanella, iv,
264b; Violin-playing, iv, 287a;
Virginal Mus., iv. 308 a, etc. ;
Vocal Scores, iv. 320 a; White
(Rob.), iv. 452a; Zacconi, iv.
497 a; Burney, iv. 570b;
Byrd, iv. 573a; Dunstable,
iv. 620a; Hist, of Mus., v.
674b; Mus. Lib., iv. 723b,
etc; Part-books, iv. 740b;
Psalter, iv. 759 a, etc.
MoBLEY, W., ii. 368 b; Isham,
ii. 24 a.
Morn able; Attaignant, i. loob.
MORNINGTON, G. C. W., EaRL
of, ii. 368b; iv. 720a; Bar-
rington, i. 144b ; Catch Club,
i. 322b; Glee, i. 599a; Part
Mus,, ii, 656b, etc.; Professor,
iii- 33« ; Trin. Coll., Dublin, iv.
170b; Vocal Scores, iv. 320a,
MoRO, Angelica ; Lamperti, ii.
89 a.
MoRRA ; Strakosch, iii. 734b.
Morris Dance, ii. 369 a; iv.
720a; Orclidsographie, ii.
560a.
Morris, R. L. ; Hist, of Mus,,
iv. 674b.
MoBEOCCHi, S. R.; Hist, of Mus.,
iv. 675 b.
Morrow, W. ; Trumpet, iv. 804b,
MoBTiER de Fontaine, ii. 369 b,
iv. 720a ; PF.-pIaying, ii.
745, iv, 748 b.
Mortimer, P. ; Hist, of Mus.,
iv. 677 a.
Morungen, H. von. ; Song, iii.
615a.
MoscA ; Ifigenia, i. 765 b ; Ros-
sini, iii. 165 b.
Moscheles, I., ii. 369b, iv.
720a; Alsager, i. 57a; Ar-
gyll Rooms, i. 82b ; Ascher, i.
97b; Augarten,i. 104a; Bach,
i. II 8 b ; Bach-Gesellschaft,
i. ii8b; Beethoven, i, 169b,
etc. ; Birmingham Festival,
i. 244a; Blahetka, i. 247 a;
Cadenza, i. 294 b ; Clementi,
i* 373 «; Conductor, i. 390a;
Cramer (J. B.), i. 413b, etc. ;
Dannreuther, i. 430 a ; DuEsek
(J. L,), i. 476b; Elijah, i.
486a; Ertmann (Mme.), L
494a; Etudes, i. 496b, etc.;
Extempore -playing, i. 499 a;
Fidelio, i. 519a; Filtsch, i.
523a; Forbes, i. 539b; Ga-
litzin, i. 576a ; Gernsheim, i.
590 b; Glee Club, i. 599 a;
Grieg, i. 630b; Handel-Ge-
sellschaft, i. 659 a; Harpsi-
chord, i. 691 a ; Henschel, i,
729a; Herz, i. 732b, etc.,
Horsley (C. Ed.), i. 754a;
Improvisation, ii. 2a; Ivanoff,
ii. 260. ; Jaell, ii. 30 a ; Leip-
zig, ii. 115 b; Lied ohne Worte,
ii. 135a; Lind, ii, 140b; Li-
tolff, ii, 153b; Mayseder, ii.
241b; Melodists' Club, ii.
249 a; Mendelssohn, ii. 256 b,
etc.; Meyerbeer, ii. 322a;
Neukomm, ii. 452a; Nieder-
meyer, ii. 455 a ; Oberthfir, ii.
485 b; O'Leary, ii. 496 b; Pa-
ganini, ii. 630 b ; Part Mus.,
ii.656b; Pauer (E.), ii. 674b;
PF. Mus., ii. 728a; PF.-
playing, ii. 738b; Pitman
(J.), ii. 759 a; Pleyel (Mme.),
iii. 3b; Rea (W.), iii. 79a;
Riedel, iii. 129 b ; Royal Aca-
demy of Mus., iii. 185b;
Rubinstein, iii, 1 92 b ; Schelble,
iii. 244 a ; Schindler, iii.
251a; Schools of Comp., iii.
308 b; Schumann, iii, 385 a,
etc.; Schumann (Clara), iii.
422a; Shake, iii. 480a; Si-
boni, iii. 491a; Sloper, iii.
536b.; Smith (Sidney), iii.
541b; Sowinski, iii. 647 b;
Stiehl, iii. 714b; Studies,
iii. 747 a; Sullivan, iii. 761b;
Swinnerton Heap, iv. 9b;
Taylor (F.), iv. 66 b ; Thema-
tic Catalogue, iv. 99 b; Thom-
son (J.), iv. 107 b; Torrance,
iv. 151a; ViardotGarcia, iv.
260 a; Waley, iv. 376 a; We-
ber, iv. 399 a; Wehli, iv.
432a; Bache (W.), iv. 5296;
Beringer, iv. 545 a; Bishop
(Ann), iv. 547 a ; Brassin (L.),
iv. 5626; Buck (Dudley), iv.
567a; Dietrich (A. H.), iv.
614b; Philh. Soc, iv. 7466;
Vaterlandische Klinstlerve-
rein, iv. 808 a ; Vesque v. Piitt-
lingen, iv. 81 1&.
MoscHiNi, B.; Madrigal, ii.
190b; Pisaroni, ii. 756a;
Schools of Comp., iii. 266 a.
MosE IN Egitto, ii. 371a, iv.
720a; Rossini, iii, i68b.
MosEL, I. F. edler von, ii.
370b, iv. 720a ; Additional
Accompaniments, i. 31b; Al-
brechtsberger, i. 51a; Schu-
bert, iii. 333b; Vaterlandische
Kiinstlerverein, iv. 808 a.
MosENTHAL, J.; Thomas (T.),
iv. 105 b.
Moses, ii. 371a; Mendelssohn,
ii. 271b.
MosEwiDS, J. T., ii. 371a;
Bach (J. S ), i. 117b; Reiss-
mann, iii. 104 a ; Schubert, iii.
MosKOWA. (See Prince de la
MosKOWA, iii. 30b.)
MoszKOWSKi, M., ii. 371b, iv.
720a; PF.-playing, ii. 745;
Philh. Soc, iv, 747 a.
Motet, ii. 371b, iv. 720a;
Anthem, i. 70 a; Bodenschatz,
i- 253 a; Gradual, i. 615 b;
Hiller (Joh. A.), i. 739b;
Hymn, i. 760b; In Nomine,
ii. 3b; Lassus, ii. looa; Mass,
ii. 232b; Mus. Antiqua, ii.
. 410b; Mus. Antiquarian Soc,
ij.4i6b; Mus,Divina,ii.4iia;
Mus. Lib., ii. 418a, etc.;
Nanini (G. M,), ii. 444 a;
Noel, ii. 462 b; Offertorium,
ii. 494a ; Palestrina, ii. 639 a;
Plain Song, ii. 769b; Salve
Regina, iii. 223a ; Schools of
Comp., iii. 259b, etc. ; Song,
iii. 592 a ; Vespers, iv. 257b ;
Burney, iv. 570b; Chorale, iv.
588b.
MoTETT Society, The, ii. 376b;
Palestrina, ii. 042 b; Rim-
bault, iii. 1350.
Motetus, ii. 367b.
Motif, ii. 377 a; Figure, i.
520b; Theme, iv. 99b.
Motion, ii. 377 a ; Progression,
iii. 40a.
Mott, I. ; Sostinente PF., iii.
639 b.
INDEX.
Mottl, F., iv. 720b.
Mouche; Hurdy Gurdy, iv.
683 b.
Mougenot; Violin, iv. 284 a.
Moulinier; Maltrise, ii, 199 b.
MouLU, P. ; Sistine Chapel, iv.
794 a.
MouNSEY, A. S., ii. 377a; Bar-
tholomew, i. 145b; Roy. Soc.
of Female Musicians, iii. 188 a;
Song, iii. 608 b.
MouNSEY, E,,ii. 377b; Mendels-
sohn, ii. 277 b, note.
Mount, G. ; British Orchestral
Soc, i. 277a; Trinity Coll.,
London, iv. 171b; Fricken-
haus (Fanny), iv. 642 b.
Mount op Olives, ii. 378 a;
Beethoven, i. i8ob, etc.;
Christus am Oelberge, i.
355b; Engedi, i. 488 a.
Mountain Sylph, THE,ii. 377b;
Barnett (J.), i. 141a.
Mount-Edgcumbe, R. E., Earl
OF, ii. 377b; Bass, i. 149a;
Zenobia, iv. 506 a.
Mountier, ii. 377b.
MouRET, Jos.; Ballet, i. 130b;
Concert Spirituel, i. 385 a;
Philidor (Anne), ii. 703b;
Vaudeville, iv. 231b.
MOUSQUETAIRES DE LA ReINE,
Les, ii. 378a; Hal^vy, i.
645 a.
Mouthpiece, ii. 378a; Bass
Flute, i. 150b; Basset-Horn,
i. 150b; Clarinet, i. 361b;
Horn, i. 747 b ; Trumpet, iv.
181 b.
Mouton, J., ii. 378b, iv. 720b;
Attaignant, i, loob ; Divitis,
i. 451a; Hawkins, i. 700b;
Inscription, ii. 4b; Mass, ii.
228b; Motet, ii. 373 a;
Schools of Comp. , iii. 265 a,etc ;
Song, iii. 592b; Tylman Su-
sato, iv. 197b; Willaert, iv.
459 a; Burney, iv. 570b;
Dodecachordon , i v. 616a;
Part-books, iv. 739b; Sistine
Chapel, iv. 794 a.
Movement, ii. 379a; Adagio,
i. 2 7 b ; Finale, i. 5 23 b ; Form,
i. 548 Of,, etc ; Sonata, iii.
555a, etc.; Satz, iv. 780b.
Mozart, Constanze, ii, 406 a.
Mozart, K., ii. 406 a.
Mozart, L.,ii. 379b; Appog-
giatura, i. 75 b; Baryton, i.
146b; Dot, i. 456a; Eberlin,
i. 480 a ; Haydn (M.), i.
702 a; Nardini, ii. 446b;
StefFani (A.), iii. 696 a;
Violin, iv. 279 b, etc ; Violin-
playing, iv. 292 a; VVoelfl
105
(Jos.), iv. 477b; Violino-
piccolo, iv. 813 a.
Mozart, W. A,, ii. 379b; iv.
720b; Academic de Mus., i.
ga, etc ; Accent, i. 14a, etc. ;
Acis and Galatea, i. 26 a; Act,
i. 26a; Adamberger (V.), i.
29a; Additional Accompani-
ments, i. 31b, etc.; ^olian
Mode, i. 40b; Agujari, i.
45 b; AUegri, i. 54a; Amicis,
i. 61 b; Andrd, i. 66a, etc;
Anfossi, L 68 a; Appoggia-
tura, i. 76 a, etc. ; A Quatre
Mains, i. 80 a; Artaria, i. 95 b;
Ascanio in Alba, i. 97 a;
Attack, i. lOob; Attwood, i.
loia; Augarten, i. J04a;
Auswahl, i. 105a; Ayrton, i.
107b; Bach (C. P. K), i.
113b; Ball, i. 128a; Bar-
rington, i. 144b; Barthel, i.
145a; Baryton, i. 147a;
Bass, i. 149a; Basset Horn,
i. 151a; Bassi, i. 151a; Bas-
soon, i. 153b; Bastien et
Bastienne, i, 154b; Beale, i.
157b; Beethoven, i, 164a,
etc.; Bells, i. 219a; Belmonte
und Constanza, i. 221a;
Bennett (Sterndale), i. 225a;
Bernasconi, i. 235 a; Bo-
logna, i. 259a; Bonno, i.
260a; Cadenza, i, 294b;
Caecilia, i. 294b ; Cannabich,
i. 303 a; Cantata, i. 305 a;
Cassation, i. 319a; Catalani,
i. 321a; Cavalieri (K.), i.
327b; Cavatina, i. 328a;
Chamber Music, i. 332 b;
Chrismann,i. 355 a; Cimador,
i. 358 a; Clarinet, i. 363 a,
etc.; Clementi, i. 372b, etc. ;
Clemenza di Tito, i, 374a;
Coda, i. 376b ; Concerto, i.
387b, etc; Contredanse, i.
396 b; Cosi fan Tutte, i.405b ;
Curioso indiscreto, II, i. 424 a ;
Davidde Penitente, i. 434a;
Divertimento, i. 450b ; Don
Giovanni, i. 452b; Dot, i.
456 b; Double Bassoon, i.
459 a; Double Concerto, i.
459 a; Duodrama, i. 469 b;
Duschek, i. 472b; Eberl, i.
479 a; Eberlin, i. 480a;
Ecclesiasticon, i. 481 b; Eroica,
i. 493 a; Extempore playing,
i. 498b, etc. ; Extravaganza,
i. 499 b; Eybler, i. 500 a;
Fandango, i. 502 a; Fantasia,
i, 503b; Fasch, i. 508b;
Ferrarese del Bene, i. 513a;
Fiala, i. 518b; Finale, i.
523b; Fischer (L.), i. 529a;
106
Fischer (J. C), i- 5296 ; Finta
Giardiniera, i. 531a; Finta
Semplice, i. 531a; Flute, i.
537b; Form, i. 5466, etc.;
Fuchs, i. 566 a; Fugue, i.
5696; Fux, i. 570b; Gali-
mathias, i. 576a; Gassmann,
i. 584a; Gelinek, i. 587a;
Gesellschaft derMusikf reunde,
i. 591 &; Girelli, i. 5966;
Gluck, i. 602 &; Gossec, i.
612a; Grand Piano, i. 6 18 a;
Gretry, i. 628?); Gyrowetz, i.
642 a; Hafner, i. 6436;
Handel, i. 653b ; Harmony, i.
682a, etc.; Hasse, i. 695a;
Haydn (M.), 701a, etc.;
Haydn, i. 708 b, etc. ; Helm-
holtz, i. 727a; Hoffmann (E.
T. W.), i. 742 a ; HofFmeister,
i. 742b; Holmes (Ed.), i.
744 a; Holzbauer, i. 745 a;
Horn, i. 749a, etc. ; Hummel,
i. 757 b; Idomeneo Ee Di
Creta, i. 765 a; Imitation, i,
766a ; Impresario, L',i. 768 a ;
Introduction, ii. 14a ; Jahn,
ii. 30a ; Janiewicz, ii. 30b ;
Jommelli, ii. 37b; JuUien, ii.
45 b ; Jupiter, ii. 46 b ; Kara-
jan, ii. 48a; Kelly, ii. 49b;
Kirchgessner, ii. 6 1 a ; Kochel,
ii. 68 a; Kozeluch, ii. 69 a;
Kraft, ii. 69b ; Kyrie, ii. 78b ;
Lablache, ii. 79 b; Lachnith,
ii. 82b, note; Landler, ii. 83b;
Lange, ii. 90 a; Latrobe, ii.
103 a; Leipzig, ii. 115 a;
Leit- Motif, ii. 1 1 8 b ; Leutgeb,
ii. 126a; Lichnowsky, ii.
132a ; Linley (T.), ii. 144a ;
Lorenz, ii. i66b; Lucio Silla,
ii. 171b; Mandoline, ii.
204b; Manzuoli, ii. 208a;
Mara, ii. 209b; March, ii.
213a; Martines, ii. 222a;
Martini, ii. 222b; Mass, ii.
234a; Mendelssohn, ii. 268 a ;
Messiah, ii. 315 b; Metasta-
sio, ii. 316a ; Meyerbeer, ii.
321b; Minuet, ii. 334a;
Miserere, ii. 336b; Modula-
tion, ii. 346 a, etc. ; Motet, ii.
376 a; Muller (The Brothers),
ii. 408a ; Mus. Lib,,ii. 423 a,
etc. ; Mus. Periodicals, ii.
431a ; Mysliweczek, 11.4400;
Myst^res d'Isis, ii. 440b ;
Niemetschek, ii. 458a ; Nis-
sen, ii. 460 b; Nocturne, ii.
461a; Nohl,ii. 463 b; Nonet,
ii. 464 a ; Nottebohm, ii.
479 a; Novello, ii. 481a;
Noverre, ii. 483a ; Nozze di
Figaro, ii. 483 b; Oca del
INDEX.
Cairo, ii. 490a; Odeon, ii.
492a; Opera, ii. 517b, etc.;
Operetta, ii. 531b; Oratorio,
ii- 553a ; Orchestra, ii. 565b,
etc. ; Orchestration, ii. 567 b ;
Orpheus, ii. 613 a; Oulibicheff
(A. von), ii. 6i6b ; Overture,
ii. 621b; Paradis (M. T. von),
ii. 648 a ; Parisian Symphony,
ii. 649b ; Part Mus., ii. 657a;
Patter-song, ii. 673b; PF.,
ii. 717b; PF. Mus,, ii.
725a; PF.-playing, ii. 737b,
etc.; Pichel, ii. 751b; Pil-
grime von Mekka, ii. 753b ;
Pleyel (I. J.), iii. 3a ; Pohl
(C. F.), iii. 5a; Pollini(F.),
iii. 9a; Polonaise, iii. 10 b;
Ponte, iii. 15 a; Pract. Har-
mony, iii. 24 a; Quartet,
iii. 57a, etc.; Queisser (C.
T.), iii. 60 a; Quintet, iii.
61 a; Raaff (A.), iii. 63a;
Ramm (F.), iii. 72b; Rane-
lagh House, etc., iii. 74 b ;
Recitative, iii. 85 b ; Redoute,
iii. 89 b; Reichardt (F.), iii.
100 a, note; Reissmann (A.),
iii. 104a; Re Pastorale, iii.
107b; Requiem, iii. iioa,
etc.; Rietz (J.), iii. 133a;
Rochlitz, iii. 141b; Salieri, iii.
219b; Sarti, iii. 228b; Sar-
toretti, iii. 229b; Scena, iii.
240b ; Schachtner, iii. 241 a ;
Schack, iii. 241 b ; Schau-
spieldirector, der, iii. 242 b;
Schenck, iii. 245 a ; Schikane-
der, iii. 249 b ; Schobert,
iii. 257a ; Schools of Comp.,
iii. 288 b, etc. ; Schubert,
iii. 320a, etc.; Score, iii.
430 b; Sechter, iii. 456 a;
Semler, iii. 461a; Seraglio,
the, iii. 466b; Serenata, iii.
468 a, etc. ; Sestet, iii. 475 b ;
Seyfried, iii. 478 a, etc. ; Sing-
spiel, iii. 517a; Sketches, iii.
528a, etc, ; Sonata, iii. 569a;
Song, iii. 624 a; Sordini, iii.
636b ; Specimens, Crotch's,
iii. 650a; Spohr, iii. 661 a;
Spontini, iii. 666 a; Stadler,
iii. 686a; Stein (J. A.),
iii. 708a ; Stein (M. A.), iii.
708 b; Stich (J. W.), iii.
714a ; Storace (A.), iii. 719a;
Strinasacchi (R.), iii. 744b ;
Subject, iii. 750a, etc. ; Siiss-
mayer, iii. 754^ > Swieten, iv.
9a; Symphony, iv. 17a, etc.;
Tenducci, iv. 86 a; Tenor
Violin, iv. 9 1 a, etc. ; Thema-
tic Catalogue, iv, 99b, etc, ;
Tr^sor des Pianistes, iv. 168 a.
etc.; Trio, iv. 172a; Trom-
bone, iv. 178a; Turca,
Alia, iv. 190b; Umlauf (I,),
iv. 201 a ; Variations, iv.
223 a, etc. ; Violin-playing, iv.
293b; Violoncello - play ing,
iv, 300 a; Vocal Scores, iv.
320a ; Vogler, iv. 324b,
etc. ; Volksthumliches Lied, iv.
338 a; Wagenseil (G. C), iv.
345 a; Wallace (Lady), iv.
376b; Walsegg (Graf von),
iv. 380 a; Waltz, iv. 386 a;
Weber, iv. 388a, etc. ; Weber
Family, iv. 429b; Weigl (J.,
jun.), iv. 432a; Wilder (J.
A, V. van), iv. 457a; Will-
raann (M,), iv. 461a ; Wind-
band, iv. 473 a ; Winter
(P.), iv. 475 b ; Zaide, iv.
499a; Zauberflote, iv. 503b;
Ach Gott vom Himniel, iv.
518a; Dance Rhythm, iv.
608a; Dies IraD, iv. 614a;
Doles, iv. 617a; Haessler(J.
W.), iv. 662 a; Humorous
Mus., iv. 683a; Janiewicz,
iv. 685 a ; Licenza, iv. 701 a ;
Martin y Solar, iv. 712 a;
Schiick, iv. 781a; Venice, iv.
809 a.
Mozart, W. A., ii. 406 a ; Pauer
(E.), ii. 674b ; Vaterlandische
Kiinstlerverein, iv. 808 a.
MOZARTEUM OF SaLZBUKG, ThB,
ii. 406 b.
Mozartstiftung, The, ii. 406 h.
Mozzati; Haitzinger (A.), i.
644 a.
Mraw ; Haydn, i. 706 b.
MuDD; Tudway, iv. 199 a.
McDiE, T. M., ii. 406 b ; Howell
(J,), i, 754b; Soc. of British
Musicians, iii, 544a.
MiJGLiN, H. ; Song, iii. 6i6b.
MUhlen. (See Zur-Muhlen,
iv. 8i8b.)
Mdelas, D. ; Eslava, i, 495 a.
MtJLLER, A. C, ii. 408 a.
MUller, a. E., ii. 408 a; iv.
722 a; Bachgesellschaft, i.
119a; Fesca, i. 514b; Leip-
zig, ii. 115a; PF. Mus., ii.
726a; PF.-playing, ii. 737b;
Mozart, iv. 721a.
MiJLLER, A. T., ii. 408 a ; Coss-
mann, i. 405 b ; Double Bass,
i. 458 a; Hausmann (R.), iv.
670 a.
Muller, B., ii. 408 b.
Muller, C. G, ; Queisser,
iii, 60b; Dorffel (A.), iv.
6i6b.
Muller, C. H. ; A quatre
Mains, i. 80 a.
MiJLLEE, Christ., iv. 722 a;
Organ, ii. 6026.
MiJLLEB, F. F. G., ii. 408 a.
MUllee, Gottlieb ; Wagner, iv.
MiJLLER, H., ii. 408 &.
MiJLLEE, Iwan, iv. 722a.
MuLLER, K., ii. 408 &.
MuLLEE, K. F., ii. 408 a ; Maurer
(L. W.), ii. 2396; VioKn-play-
ing, iv. 289.
MuLLER, K. W. ; Gewandhaiis
Concerts, i. 593 a.
MuLLEE, Max, ii. 408 &.
MiJLLER, Sophie ; Schubert, iii.
341 6, etc.
MuLLER, T. H. G.,ii. 408a.
MuLLEE, W., ii. 408&; Schu-
bert, iii, 327a, etc.
MtJLLEE, Dr. W. C. ; Hist, of
Mus., iv. 674 a.
MiJLLEE, W. E. ; Ertmann, i.
494a.
MtJLLER, Wenzel, iv. 722 a;
Orpheus, ii. 6130, etc.; Part
Song, ii. 659<jf; Singspiel, iii.
517a; Song, iii. 62 2 & ; Weber,
iv. 399 «, etc.
MuTHEL ; PF., ii. 7165.
MUETTE DE POETICI, La, ii.
4076; Auber, i. 1026; Masa-
niello, ii. 2246.
MuFFAT, A. G., ii. 407 &, iv.
722 a; Agremens, i. 42 5;
Fux, i. 570 a ; Handel, i.
654b ; Klavier-Mus., Alte, ii.
63a; Meister, Alte, ii. 2476;
Mus. Lib., ii. 423a.
MuFFAT, Georg, ii. 4075.
MuFFAT, Gottfried, ii. 408a.
Muff AT, J. E., ii. 408 a.
MuFFAT, Th. ; Tresor des Pian-
istes, iv. 168 a.
MuGNiE, J.; Programme Mus.,
iii. 376.
MuLDEE, R. ; Seyfried, iii. 47S&.
MuLHOLLAND, J.; Irish Mus.,
ii. 28 a.
MuLLiNEE, T. ; Tally s, iv. 52 b.
MuNCK,E. de; Patti(C.),ii.674a.
MuNDY, J., ii. 408 & ; Este, i.
496 a; Lupo (J.), ii. 1746;
Oriana, ii. 61 la; Programme
Mus,, iii. 356; Schools of
Comp., iii. 277a; Virginal
Mus., iv. 308a ; Burney, iv.
570b.
MuNDY, W., ii. 409a; Bar-
nard, i. 140b ; Mus. Lib., ii.
422a; Schools of Comp., iii.
2*j 7,0 , note -y Tudway,iv. 198&.
MuNGAN,D.; Irish Mus., ii. 19 a.
MuEEE, B. de S. (See Ber-
NAED, IL TeDESCO, i. 234?).)
MuEEE, Louise; Prudent, iii.44a.
INDEX.
Murgia; Song, iii. 5996.
MuRiS, J. de ; License, ii.
131a ; Minim, ii. 333 a;
Mus. Mensurata, ii. 415b;
Notation, ii. 467?), etc. ; Orga-
num, ii. 6ioa ; Plica, iii. 4a ;
Quaver, iii. 596 ; Dance
Rhythm, iv. 605?).
MuESCHHAUSEE, ii. 409a; Kla-
vier-Mus.,Alte, ii. 63a.
MuESKA, I. di, ii. 4096; iv.
820 a; Marchesi (Mathilde),
ii. 214& ; Philh. Soc, ii. 700a ;
Strakosch, iii. 7346.
MusAED, ii. 409 &; Promenade
Concerts, iii. 40 & ; Quadrille,
iii. 55 &; Reicha, iii. 986;
Strauss (J.), iii. 737 &.
Muscatblut; Song, iii. 6i6a.
Musette, ii. 410a ; Bagpipe, i.
123a; Baton (Charles), i.
1556; Borjon, i. 261a; Ga-
votte, i. 586a ; Hurdy Gurdy,
i. 758 &; Oboe, ii. 4866; Pas-
torale, ii. 6706; Shepherd's
Pipe, iii, 486 a.
MusiCA Antiqua, ii. 41 o& ;
Smith (J. S.), iii. 541 a.
MusiCADiviNA,ii.4i i a; Proske,
iii. 43 &.
MusiCA Ficta, ii. 41 2 & ; iv.
7226; Mass, ii. 227a; Micro-
logus, ii. 3276 ; Modes Eccles.,
ii. 343 a ; Notation, ii. 474?) ;
Otthoboni, ii. 6 16 a; Tetra-
chord,iv.94&,??o^e; Thorough-
bass, iv. 1086.
MusiCA Figueata, ii. 415 b.
MusiCA Mensueata, ii. 415 b;
Bar, i. 136b; Breve, i. 274a ;
Imperfect, i. 766 b ; Large,
ii. 92a; Ligature, ii. 136b;
Micrologus, ii. 327b; Nota-
tion, ii, 470 a, etc, ; Petrucci,
ii. 696 b ; Ravenscroft, iii.
78b; Rest, iii. Ii8b; Semi-
breve, iii. 459a, etc.; Sistine
Choir, iii. 520a; Time-table,
iv. 127b; Franco, iv. 640 a ;
Tunsted, iv. 805 a.
MusiCA Peactica ; Morley (T.),
ii. 368 a.
MusiCA Sacra. (See Alfieei,
iv. 520 b.)
Musica Transalpina, ii. 416 a;
Este, i. 496 a; Madrigal, ii.
191a; Oriana, ii. 611 a;
Yonge, iv. 495 a ; Part- books,
iv. 740 a.
Musical Antiquarian Society,
ii. 416 a; Chappell & Co.,
339 b; Rimbault, iii. 135a;
Taylor (Ed.), iv. 66a.
Musical Association, The, ii.
417a ; iv. 722b.
107
Musical Banquet ; DowlanJ
(R.), i. 460 b.
Musical Box. (See Snuffbox,
Musical, iii. 542 a,)
Musical Branch; Irish Mus.,
ii. 20b.
Musical Feasts, ii. 417 a.
Musical Glasses, (See Har-
monica, i, 662 a.)
Musical Instruments, iv.
722b.
Musical Libraries, ii. 417 b;
iv. 723a ; Dragonetti, i, 462 /> j
Ely Cathedral, i. 487 b ; Gesell-
schaftd. Musikfreunde,i.39i b ;
Otthoboni (Cardinal), ii. 615 b;
Rimbault, iii. 135b; Rome,,
iv. 775^ » Santini, iii. 226a;
Naples, iv. 727 a; Sacred
Harmonic Soc, iv. 778 a;
Sistine Chapel, iv. 793 a.
Musical Library ; Ayrton,
(W.), i. 107b.
Musical Miscellany ; Jones
(Ed.), ii. 39a.
Musical Opinion ; Mus. Period-
icals, iv. 726b.
Musical Periodicals, ii. 427a;
iv, 726a and 820a; Allge-
meine Mus. Zeitung, ii. i I5rt ;
Cseciha, i. 294b ; Harmonicon,
i.663 b ; M^nestrel, Le,ii. 311a;
Mercure de France, ii. 312b ;
Orpheon, ii. 611 b; Rdvue et
Gazette Mus., iii. 121b; Sig-
nale fur die Mus. Welt, iii.
492 b,
Musical Review ; Mus. Period-
icals, iv. 726 b.
Musical Society ; Mus. Period-
icals, iv. 726b,
Musical Society of London,
The, ii. 431b; Concert, i.
384a; Salaman, iii. 217 b.
Musical Union, ii, 432 a; iv,
727a; Analysis,!, 63a; Con-
cert, i. 384a ; Ella, i, 486b,
Musical World ; Mus. Periodi-
cals, ii. 427a ; Organists, Coll.
of, iv. 735 b.
Musicians' Company of the
City of London, ii. 432b,
Music Peinting and Pub-
lishing, ii. 433a; iv. 727a;
Artaria, i. 95 b ; Attaignant, i.
loob ; Ballard, i, 129b ; Barre
(A,), i. 142 b; Berg (A.), i.
230a ; Boosey & Co., i. 260b ;
Breitkopf and Hartel, i, 272a,
etc. ; Chappell & Co., i. 339b ;
Cocks & Co., 375 b ; Cramer &
Co., i. 414b ; Diabelli, i. 442 a ;
Este (T.), i. 495 b; Ewer &
Co., ii. 482b; Fournier, i.
557a; Gando (N.), i. 581a;
108
Gardane, i. 582 b ; Haslinger,
i. 693 6 ; Hoffmeister, i.
742 b; Kistner, ii. 62 a;
Leroy, ii. 1 23a ; Litolff, ii.
1536; Nageli, ii. 4420;
Novello & Co., ii. 482 a; Pe-
ters, ii, 6956; Petruccio, ii.
696 a; Play ford (J.), iii. 2b;
Kichault, iii. 1 2 7 b ; Ricordi, iii.
129 a ; Rieter Biedermann, iii.
132b; Scheurmann, iii. 248b;
Schlesinger, iii. 253b ; Schott
(Sohne), iii. 315 o ; Schuberth
& Co., iii. 382b; Senff (B.),
iii. 462 b ; Simrock, iii. 495 a ;
Spina, iii. 650 b ; Tallys (T.),
iv. 53 a; Troupenas, iv. 179b;
Tylman, Susato, iv. 196 b ;
Walsh (J.), iv. 380 a ; Wessel
& Co., iv. 448 b; Whistling,
iv. 450a ; Ashdown & Parry,
iv. 448 b; Augener & Wool-
house, iv. 525b; Bote und
Bock, iv. 556 b ; Ditson (0. &
Co.), iv. 614b; Ewer & Co.,
iv. 630 a.
Music, Histories of. (See
INDEX.
Histories op Music, iv.
673b, etc.)
Music School, The, Oxford, ii.
437a ; iv. 727b ; Bac. of Mus.,
i. 121 a; Mus. Lib., ii. 422a.
MUSIK, KONIGLICHE HOCH-
SCHULE pUr, ii. 437 b; Joa-
chim, ii. 35a; Reissmann, iii.
104b; Rudorff, iii. 202 a;
Spitta, iii. 656 b; Herzogen-
berg, iv.672b.
MusiKALiscHE Zeitung. (See
Allg. Mus. Zeitung, i. 55 b.)
Musikalisches Offer, ii.
438a; iv. 727b; Art of
Fugue, i. 96 b; Bach (J. S),
i. 115b, etc.; Subject, iii.
749 b.
MusiNjO. ; Philh. Soc.,iv.746b.
MussiNi, N. ; Sarti, iii. 229a.
Mustafa; Sistine Choir, iii.
521b, etc.
MuSTEL, v., ii. 438 a; Har-
monium, i. 667 b.
MusuRGiA Universalis, ii.
438 b ; Kircher, ii. 60 b.
MuTA, ii. 439 a.
Mutation, ii. 439 a ; Alphabet,
i. 56b ; B., i. 107a ; Fugue, i.
567b; Hexachord, i. 734b;
Si, iii. 490a, note; Sistine
Choir, iii. 522b; Solmisation,
iii. 550b; Ut, Re, Mi, iv.
2 II b ; Voices, iv. 333 a ; Pen-
tatonic Scale, iv. 745 b.
Mutation Stops, ii. 439b;
Mixture, ii. 339b ; Organ, ii.
683 b, etc.
Mute, ii. 439b; Orchestra, ii
562 a; Sordini, iii. 636a;
Vuillaume, iv. 341b.
Muzio ; Strakosch, iii. 734b.
Myer Marks; Digitorium, i
447 a.
Mtkisch, a. ; Haydn, i. 716 b.
My Mother bids me bind my
HAiR,ii.440a ; Haydn, i, 720a.
Mysliweczek, J., ii. 440a; iv.
727b; Olimpiade, ii. 496 b;
Vogler, iv. 324b; Mus. Lib.,
iv. 726 a.
Mysteries; Intermezzo, ii. 8a.
MystI:res d'Isis, Les, ii. 440b ;
iv. 7a7b; Lachnith, ii. 82b.
N.
Naaman, ii, 440a ; Costa (M.),
i. 406 b.
Nabucco, ii. 440a; iv. 727a;
Verdi, iv. 254b.
Nachbaur, F., ii, 440 a; iv.
727a; Wagner, iv. 362b.
Nachdruck, Mit, ii, 440b.
Nachez, T. ; Violin-playing,
. iv. 298 a; Philh. Soc, iv,
747 a.
Nachruf, ii, 440b; iv. 727a.
Nachschlag, ii, 440b ; Agr^-
mens, i, 43 a, etc, ; Shake, iii,
481b, note; Slide, iii. 535a.
Nachspiel, ii. 442 a.
Nachtanz; Tourdion, iv, 154b,
Nachthorn; Organ, ii, 602 b.
Nachtigal,0. (See Luscinius.)
NachtstUckb, ii. 442 a; Schu-
mann, iii. 421a,
Nadaud ; Chipp (E, T.), i. 346 a.
Nadermann; Bochsa, i. 252 a;
Conservatoire deMus.,i, 392 b;
Krumpholz (J. B.), ii. 74 a.
Nadeshda, iv. 727a; Thomas
(A. Goring), iv, 103b.
Nageli, J. G., ii. 442 a; iv.
727a; Beethoven, i. 182a;
Mus. Lib., ii. 427a; Song,
iii, 623 a ; Weber, iv, 395 a ;
Life let us cherish, iv. 701a,
NiENiA, ii. 442b; iv. 727a;
Motet, ii. 374 a,
Naldi, G,, ii, 442 b ; Philh, Soc,
ii. 698a; Vocal Concerts, iv.
319&.
Naldi, A. (See Bardella, i.
139a,)
Naldi, Mile., ii, 443 a.
Naldi, R. ; Sistine Chapel, iv,
794 a,
Naldini, Sante ; Miserere, ii.
336 a.
Nalson, Rev. V., ii. 443 a;
Tudway, iv. 199b.
Nanini, G. B., ii, 443 a; Ago-
stini (P,), i. 42 a ; Madrigal, ii.
190a; Motet, ii. 375b; Mus,
Divina, ii. 412 a; Plain Song,
ii. 769 a; Schools of Comp.,
iii, 204b; Part-writing, iv.
741a; Rome, iv, 7740.
Nanini, G. M,, ii, 443 b ; AUe-
gri, i. 64 a; Anerio, i. 67 a;
Foggia, i. 539 a; Gardane
(A.), i, 582b; Goudimel, i.
612 a; Madrigal, ii. 190a;
Magnificat, ii. 196 a ; Mise-
rere, ii. 336 a ; Motet, ii.
375 b, etc, ; Motett Soc, ii.
376 b; Mus. Divina, ii. 411b;
Mus, Transalpina, ii, 416a;
Noel, ii. 462 b; Palestrina, ii.
638 b; Plain Song, ii, 769 a;
Prince de la Moskowa, iii,
31b; Rochlitz, iii. 141b;
Schools of Comp,, iii. 264b;
Sistine Choir, iii. 521a; Sori-
ana (F.), iii, 638 b; Valentini
(P.), iv, 213a; Rome, iv,
773b; Sistine Chapel, iv. 794a.
Nannetti ; Strakosch, iii. 734b.
Nannino. (See Nanini.)
Nantier-Didiee, C. B. R., ii
444 a.
Naples, ii. 444b; iv. 727 a;
Accademia, i. lib; Conser-
vatorio, i. 394b ; Mus, Lib,, ii.
425b ; Mus, Periodicals, ii.
431b; Rossi (Lauro), iii. 163b;
San Carlo, iii. 223a ; Scarlatti
(A.), iii. 239a; Spontini, iii
665a; Tinctoris, iv. 128a;
Hist, of Mus,, iv. 675 b.
Napoleon, A., iv. 727b.
Napravnik, E. ; Song, iii. 614a.
Nardini, p., i. 446a ; iv. 728a ;
Baillot, i. 125b; Brunetti, i.
280a ; Cambini, i. 300 a; Cam-
i
pagnoli, i. 3006; Cartier, 1.
318a; Ferrari (D.), i. 51 3&;
Janiewicz, ii. 31a; Linley
(T.), ii. 144a ; LoUi, ii. 162 a ;
Mozart, ii. 3826 ; Pichel (W.),
ii. 751&; Scordatura, iii. 426a;
Sonata, iii. 5586; Tartini, iv.
606 ; Violin-playing, iv. 292 a.
Nares, J., ii. 4466; iv. 728a;
Arnold (S.), i. 86&, etc.;
Attwood, i. 101 a; Ayrton,
i. 106&; Butler, i. 2866;
Camidge (M.), i. 300 a ;
Carnaby (W.), i. 316a; Ca-
thedral Music, i. 325 &; Holder
(J.), i. 743 a ; Part Music, ii.
656?); Schools of Comp., iii.
286b; Smith (J. S.), iii. 540 &;
Vocal Scores, iv. 319&;
Camidge, iv. 576 a.
Nasco; Mus. Lib., iv. 726a.
Nasolini; Oddon, ii. 492?).
Nason ; Organ, ii. 591 a.
Nassat ; Organ, ii. 602 &.
Nat ALE, P. ; Kome, iv. 774 a.
Natali ; Strakosch, iii. 734a.
Natalucci ; Sgambati, iii. 479 a.
Nathan, I., ii. 447 a.
National Concerts, ii. 447 a.
National Mus. Teachers' As-
sociation ; Tourjee (E.), iv.
155 «i United States, iv. 204a.
National Training School for
Music, ii. 4476; iv. 728a;
Sullivan, iii. 7636; Training
School, iv. 1586; D'Albert
(E.), iv. 604 a.
Natural, ii. 4476 ; Accidentals,
i. 15 a; Key, ii. 52 a; Key
and Keyboard, ii. 53a, etc.;
Mus. Ficta, ii. 415 a.
Natural Harmonics ; Har-
monics, i. 665 a.
Nau, Maria D. B. J., ii. 448 a.
Naudin, E., ii. 448?).
Naub, J. ; Bach (J. Ch.) , i. 1 11 a ;
Loewe (J. C. G.), ii. 160 a.
Naumann, Emil, ii. 4496; iv.
728a; Mendelssohn, ii. 2956;
Song, iii. 591a; History of
Mus., iv. 6756.
Naumann, Ernst, ii. 449 a;
Schneider (J. G.), iii. 256 a.
Naumann, J. G., ii. 4486;
Auswahl,i. 105 a ; Harmonica,
i. 6626; Latrobe, ii. 103a;
Mus. Lib., ii. 422&; Oratorio,
ii. 5526; Orpheus, ii. 613a;
Weber, iv. 403a ; Mus. Lib.,
iv. 726a.
Nava, G., ii. 449&; iv. 728a;
Santley, iii. 226a; Welch (J.
B.),iv. 4346.
Navarro ; Eslava, i. 4946; Sag-
gio di Contrappunto, iii. 212a.
INDEX.
Navoigille, ii. 4496; Marseil-
laise, ii. 220&.
Naylor, J., iv. 728a.
Nazard; Organ, ii. 603 &.
Neander ; Bodenschatz, i. 253 a.
Neapolitan Sixth, ii. 450 a.
Neate, C, ii. 450 a; Beethoven,
i. 194 a, etc. ; Choral Harmo-
nists' Soc.,i. 352a; Danneley,
i. 430 a ; Philh. Soc, ii. 698 a ;
PP. Mus., ii. 727a ; PF.-
playing, ii. 744 ; Programme,
iii. 38a, note; Roy. Soc. of
Musicians, iii. 187&; Salaman,
iii. 2176 ; Thayer, iv. 986.
Nebra, J. de ; Eslava, i. 495 a ;
Yriarte, iv. 4966 ; Sistine
Chapel, iv. 794a.
Needler, H., ii. 450b ; Mus.
Lib., ii. 419&.
Neefe, C. G., ii. 450b; Beet-
hoven, i. 163 a, etc. ; Sing-
spiel, iii. 517a; Song, iii.
621b; Willmann, iv. 460b,
note ; Zemire & Azor, iv. 505 b.
Negri; Latrobe, ii. 103a; Ly-
ceum Theatre, ii. 181 a ; Wil-
liams (Sisters), iv. 459 b.
Negri, M., ii. 451a.
Negri, R., ii. 451a.
Negro-music, iv. 728b; United
States, iv. 806 a.
Neige La, ii. 451a; Auber, i.
102 b.
Neithardt, a. H., ii. 451a;
Bach (J. C), i. iiia; Erk,
i. 492a ; Part Music, ii. 656b.
Nel Cor Piu, ii. 451b.
Nencini ; Haydn, i. 706b.
Nenna, p. ; Mus. Divina, ii.
412b; Venosa (P. of), iv.
237b ; Villanella, iv. 264b.
Neri, M. ; Tenor Violin, iv.
89b; Violin-playing, iv. 288 b.
Neri, St. P. ; Animuccia (G.),
i. 68b; Laudi Spiritual!, ii.
105 a; Oratorio, ii. 534a;
Palestrina, ii. 638 b, etc. ; Soto,
iii. 639b; Dance rhythm, iv.
606 b.
Neron, ii. 451b; Rubinstein,
iii. 192 a.
Neruda, a., ii. 451b.
Neruda, F., ii. 451 b.
Neruda, Jakob, ii. 451b.
Neruda, J. B., ii. 451 b.
Neruda, J. C, ii. 451b.
Neruda, L., ii. 451b.
Neruda, Mad. N., ii. 451b ; iv.
730a; Jansa, ii. 32 b; Philh.
Soc, ii. 699 b ; Schools of
Comp., iii. 311a; Stradivari,
iii. 733 «; Vieuxtenips, iv.
263 a; Violin- playing, iv.
298 a ; Hall^, iv. 662 a.
109
Nessleb, v., iv. 730a.
Netherlands, Music of the ;
Vander Straeten, iv. 216b;
Hist, of Mus., iv. 675 5.
Neub Zeitschrift fur' Musik ;
Brendel, i. 273b ; Mus. Perio-
dicals, ii. 431 «; Schumann,
iii. 389 b; Zopff, iv. 513 b;
Zukunftsmusik, iv. 5140.
Neuendorff, a.; Philh. Soc,
New York, ii. 702 a.
Neukirchner; Bassoon, i. 154b.
Neukomm, S. C, ii. 452 a ; Clari-
net, i. 364b ; Dussek (J. L.),
i. 475b ; Handel Gesellschaft,
i. 659a ; Haydn (M.), i. 702 a ;
Haydn, i. 715 b, etc.;
Latrobe, ii. 103 a; Mendels-
sohn, ii. 263a, etc. ; Mozart
(W. A.), ii. 406 a ; Mus. Lib.,
ii. 422b ; Part Mus., ii. 656b ;
Stabat Mater, iii. 685 a.
Neum^ ; Notation, ii. 467 b,
etc. ; Pneuma, iii. 4b ; Qui-
lisma, iii. 60b ; Semibreve, iii.
459a; Stave, iii. 692a, etc.;
Torculus, iv. 150b; Tractu-
lus, iv. 800 a.
Neumark, G., iv. 730 b ; Cho-
rale, i. 351b; iv. 589a.
Neupert, E. ; Song, iii. 611 a;
Hartvigson (A.), iv. 669b.
Neusiedler, H. ; Lute, ii. 177b ;
Song, iii. 61 9 a, note.
Neusiedler, M. ; Lute, ii. 176b,
Nevada. (SeeWixoM,iv.477a.)
New Philharmonic Society,
The, ii. 452b; iv. 730b;
Analysis, i. 63 a ; Wylde
(H.). iv. 492 b.
Newark, W. ; Cornyshe (W.),
i. 404b ; Burney, iv. 570b.
Newey, J. ; Gresham Mus. Pro-
fessorship, i. 627b.
Ney. (SeeBiJRDE-NEY,iv.568a.)
NiBELUNGEN, Der Ring des, ii.
453 « ; iv. 730a ; Wagner, iv.
359a.
Nichelmann; Klavier Musik,
Alte, ii. 63 a; Song, iii. 621b.
Nicholson, C, ii. 453a; James
(W. N.), ii. 30 b.
Nicholson ; Royal Academy of
Mus., iii. 185 a.
Nicode, J. L., iv. 730b j PF.
Mus., ii. 736a.
NicoLAi, 0., ii. 453 a ; Dorn, i.
455 a; Marches], ii. 214b;
Mendel, ii. 252b.
NicoLAi; Burney, iv. 571a.
NicoLiNi, E. N., ii. 453b; iv.
731b; Singing,iii.5iia; Patti,
iv. 745 a.
NicoLiNi, N. G., ii. 454a ; Gri-
maldi, i. 632 a; Haym, i.
110
723 a; Soprano, iii. 636 a;
Swiney (O.), iv. 10 a.
NicoLO. (SeelsouARDjii. 24a.)
NicoLSON, R., ii. 455 a ; Hey ther,
i. 735'^ ; Oriana, ii. 611 a.
NiEDEKMEYEB, L., ii. 455 a;
Cecilia, St., i. 329b ; Maltrise,
ii. 200a; Mass, ii. 235a; Or-
tigue, ii. 614 a ; Prince de la
Moskowa, iii. 31a; Robert
Bruce, iii. 138a; Song, iii.
597 a; Stradella (A.), iii.
723b; Stradella, iii. 724a;
Faur^, iv. 633 b.
NiEDERRHEINISCHE MUSIKFESTE,
ii. 456b ; iv. 731 b ; Festivals,
i. 6 16 a; Hiller, i. 737b;
Mendelssohn, ii. 371a, etc.;
Ries (Ferd.), iii. 131b; Rietz
(J.), iii. 133a; Schumann,
iii. 402a, etc.; Spohr, iii.
659b ; Spontini, iii. 682 a ;
"Wiillner, iv. 491b.
NiELD, J. ; Madrigal Soc., ii.
194 a.
Niemann, A., ii. 458 a ; iv.
731a; Wagner, iv. 360b, etc.
Niemann, O., iv. 731a.
Niemetschek, F. X., ii. 458 a;
Mozart, ii. 395 a, etc.
NiEMECZ; Haydn, i. 716b.
NiEST ; Popper (Sophie), iii.
16a.
Night Dancers, The, ii. 458 a ;
Loder (Ed.), ii. 159a; Wilis,
The, iv. 458b.
Nightingale, J. ; Caecilian
Society, i. 295 a.
NiLSSON, Christine, ii. 458 a;
iv. 731 a; Philh. Soc, ii. 700a ;
Rossini, iii. 176a; Singing, iii.
510a; Strakosch, iii. 734b;
Wartel, iv. 383 b.
Ninth, ii, 459 a.
NiSARD,T.,ii.6i4a, no^e; Chan-
son, i. 336a; Ortigue,ii. 614a;
Song, iii. 697 b; Vogler, iv.
331 &.
NisLE; Haydn, i. 716 b.
NissEN, G. N. von, ii. 460 b;
Mozart, ii. 405 a.
NissEN, Henriette; Garcia, i.
582 b.
NiTHART VON ReUENTHAL ;
Song, iii. 615 b.
NiTRAMi ; Saggio di Contrap-
punto, iii. 212 a.
Nixon, H. C, iv. 731 b.
Nixon, H. G., iv. 731a.
Nixon, J. C, iv. 731 b.
NoBLET, Mile.; Ballet, i. 132a.
Nocturne, ii. 460b; Chopin,
i. 350b; Field (J.), i. 519b,
etc.; Form, i. 542a, etc.;
Eiitr' Acte, i v. 628 a.
INDEX.
Noctubns, ii. 461a; Matins, ii.
238 a.
Node, ii. 461a; Clarinet, i.
361 a ; Partial Tones, ii. 653b ;
Temperament, iv. 77 a.
Nodus Salomonis, ii. 461b ;
Musurgia Universalis, ii. 438b;
Valentini (P.), iv. 213 a.
Noel, ii. 462a; Chanson, i.
335 b; Hymn, i. 761a; Na-
nini (G. M.), ii. 444a ; Nowell,
ii. 483b; Oratorio, ii. 533a;
Song, iii. 592 a; Carol, iv.
581a; Song, iv. 795 a.
Noel, C. F. L., ii. 463 b; iv.
732a; Beethoven, i. 164a,
note, etc. ; Mozart, ii. 405 a ;
Mus. Periodicals, ii. 428b ;
Wagner, iv. 350a, note; Wal-
lace (Lady), iv. 376b; Hist,
of Mus., iv. 674b, etc.
NON NOBIS DOMINE, ii. 464 a;
Subject, iii. 751a.
NoN PLUS ULTRA, ii. 465 a ; Dus-
sek (J. L.), i. 4'j'ja; Nageli,
ii. 442 b; Woelfl (Jos.), iv.
480a.
None, ii. 463 b.
Nonet, ii. 464 a.
NoNNE Sanglante, La, ii. 465 a ;
Gounod, i. 613 b.
Nonnen-Geige. (See Tbomba-
Marina, iv. 174b.)
Nobblin ; Conservatoire de
Mus., i. 392 b; Franchomme
(A.), i. 558b ; Sauzay (C. E.),
iii. 230 b ; Violoncello-playing,
iv. 300 b.
Noecombe, D., ii. 465 a; iv.
732 a; Oriana, ii. 611 a.
Noedblom; Song, iii. 6iob.
NoBDiCA, L. ; Philh. Soc., iv.
747 «•
Nordisa; iv. 732 a; Corder
(F.), iv. 598a.
Noedbaak, R. ; Song, iii. 611 a.
NoEMA, ii. 465a; iv. 732a; Bel-
lini, i. 212b.
Noeman; Mus. Lib., ii. 422 a.
NOEMAN, B. ; London Violin-
makers, ii. 164 a ; Violin, iv.
281a.
NoBMAND,L*Abb^. (SeeNiSAED,
ii. 614 a, note.)
NoEMANN, L. ; Leipzig, ii. 115 b ;
Neruda (Mrae.), ii. 452a;
Song, iii. 61 ob.
NoBEis, J. ; London Violin-
makers, ii. 164 b.
NoEBis, T., ii. 465 b; Handel,
Commemoration of, i. 658 a.
NoBBis, W., ii. 465 b; Tudway,
iv. J 99 b.
NoBTH, F., Lord Guildford, ii.
465 b.
NoETH, Hon. Roger, ii. 465 b;
Macbeth Mus., ii. 1830;
Matteis (N.), ii. 239 a ; Hist,
of Mus., iv. 674a.
NoEwicH Festival, ii. 466 a ;
iv. 732 a; Bacon, i. 288 a;
Festivals, i. 516b ; Spohr,
iii. 660 a; Taylor (Ed.), iv.
66 a.
NosciMBENi; Milan, ii. 329a.
NosTiz, von; Duschek (F.), i,
472 b.
NoTA Cambita, ii. 466a; Wech-
selnote, die Fuxsche, iv.
430a.
Notation, ii. 466b; iv. 732 a;
Accents, i. 17a; Acuteness,
i. 27a; Agricola (M.), 1.450;
Bagpipe, i. 1230; Bourgeois
(L.), i. 263b; Briard (E.), i.
275a; Granjon (R.), i. 619a;
Imperfect, i. 767 a; Key and
Keyboard, ii. 53a; Ledger
Lines, ii. ma; Ligature, ii.
136b; Lute, ii. 1 7 7 a ; Micro-
logus, ii. 327a; Mus. Men-
surata, ii. 416 a ; Mus.-
printing, ii. 433b, etc. ; Orga-
num,ii. 609a; Perne,ii. 692b;
Plain Song, ii. 764a ; Plica,
iii. 4a; Podatus, iii. 5a;
Point, iii. 6b; Prolation, iii.
40b; Proportion, iii. 42 a;
Quilisma, iii. 60b; Rest, iii.
118 b; Rousseau, iii. 181 a;
Score, iii. 427a, note; Semi-
breve, iii. 459a, etc.; Semi-
croma, iii. 460a ; Semifusa, iii.
460 a ; Semiminima, iii. 460b ;
Semiquaver, iii. 460 b ; Stave,
iii. 692a; Tablature, iv. 47a;
Time, iv. 117b; Torculus, iv.
150b ; Welsh Music, iv. 441 b;
Zacconi, iv. 497 a ; Conse-
cutive, iv. 597 a; Evacuatio,
iv. 630a; Franco (of Co-
logne), iv. 642 a ; Guido
d'Arezzo, iv. 660a ; Hanboys
(J.), iv. 664a ; Hist, of Mus.,
iv. 677 a; Hothby, iv. 679b;
Hucbaldus, iv. 680 b.
Note, ii. 479 a; Crotchet, i.
421a; Demisemiquaver, i.
440 a; Minim, ii. 332 b;
Quaver, iii. 59 a; Semibreve,
iii. 459 a; Semiquaver, iii.
460b ; Stave, iii. 692 a.
Notot, J., iv. 732 a.
NoTTEBOHM, M. G., ii. 479a ; iv.
732 b ; Albrechtsberger, i. 51 a;
Beethoven, i. 162 a, etc. ; Dia-
belli, i. 442 a; Mus. Periodi-
cals, ii. 430 a; Path^tique, ii.
672b; Schubert, iii. S.l^a,
370b; Sechter, iii, 456a;
i
Seyfried, iii. 4786; Sketches,
iii. 528b; Straus (L.), iii.
737a; Tenth Symphony, iv.
92 & ; Thematic Catalogue, iv.
99 1>; Vaterlandische Kiinst-
lerverein, iv. 807 &.
NoTTURNO. (See Nocturne, ii.
460 b.)
NouRRiT, A.,ii, 479b ; Academie
de Musique, i. 9b; Chopin,
i- 350^ t Conservatoire, i.
392 b; Garcia, i. 582 a; Hiller
(Ferd.), i. 737 a; Mendels-
sohn, ii. 276a; Parisienne,
La, ii. 650a; Poliuto, iii. 7b;
Rossini, iii. 172a; Schubert,
iii. 357« ; Spontini, iii. 667a;
Stoltz, iii. 717a; Wartel, iv.
383 b; Castellan, iv. 582 b;
Falcon (Marie C), iv. 632a.
NouRRiT, L., ii. 479 b ; Garat, i.
581b.
NovELLETTEN, ii. 480b; Schu-
mann, iii. 409 a, etc.
NovELLis, de; Strakosch, iii.
735a-
NovELLO, C, ii. 481b.
NovELLO, Clara, ii. 48 1 b ; Handel
Festival, i. 658 b; Men-
INDEX.
delssohn, ii. 275a; Philh.
Soc, ii. 699a; Scotish Mus.,
iii. 45 1 b ; Singing, iii. 510b, etc.
NovELLO, J. A., ii. 482 a. (See
NovELLO, Ewer & Co., ii.
482 a.)
NovELLO, M., ii. 482 a.
NovELLO,V.,ii.48ob ; Accompani-
ment, i. 24b ; Arrangement,
i. 93 b; Choral Harmonists'
Soc, i. 352a ; Choron, 1.3540;
Classical Harmonists, i. 352 a ;
Dragonetti, i. 462 a; Holmes
(Ed.), i. 744a; Improperia, ii.
2a; Mendelssohn, ii. 274b, etc.;
Miserere, ii. 336a; Philh. Soc,
ii. 698 a ; Stokes, iii. 717a.
NovELLO, Ewer & Co.,ii. 482 a;
iv. 732b; Lied ohne Worte,
ii. 135 b ; Mus. Periodicals, ii.
427a, etc.; Mus. -printing, ii.
436b; Novello (Vincent), ii.
482 a; Orpheus, ii. 613 a;
Part-Song, ii. 659b; Tours
(B,), iv. 155 a; Ewer & Co.,
iv. 630b.
NovERRE, J. G., ii. 483 a;
Mozart, ii. 386 a; Treitschke
(M.), iv. 1 66 a.
Ill
NowAKOWSKi, J. ; PF. Mus., ii.
729b; PF.-playing, ii. 744;
Song, iv. 795 a.
NowELL. (See Noel, ii. 462 a.)
NozzE Di Figaro, ii. 483 b; iv.
732b; Mozart, ii. 390b.
Nuances, ii. 483b; iv. 732b;
Beethoven, i. 205 b ; Nota-
tion, ii. 477 a; Oratorio, ii.
535 &.
Nucci, B. ; Venice, iv. 809 a.
NtJSKE ; Guitar, i. 640 J.
NuiTS BLANCHES, ii. 484 b; Hel-
ler, i. 725a.
NuiTTER, C. ; Hist, of Mus., iv.
675 a.
Number, ii. 484b; Opus, ii.
532b.
Nunc dimittis, ii. 484b; Ser-
vice, iii. 472 a, etc.
NuNCiNi; Frezzolini, i. 564a.
Nuqalde, C. J. ; Eslava, i.
495 «•
Nut, ii. 485 b; Bow, i. 264b;
Fingerboard, i. 524b ; Violin,
iv. 285a.
Nux, P. V. de la; Gr. Prix de
Rome, i. 61 8 b.
NroN, C. (See Lafont, C.)
O.
Oakeley, Sir H. S., ii. 485 a ;
iv. 733«; Edinburgh Pro-
fessorship of Mus., i. 483 a;
Mus. Lib., ii. 418 b ; Professor,
iii' 33 ft; Purcell Society,
iii. 53a; Reid Concerts, iii.
1 01 b, etc. ; University Society,
iv. 207 a; Mus. Instruments,
iv. 722b.
Obbligato, ii. 485 b; Accom-
paniment, i. 20a, etc.; Ad-
ditional Accompaniments, i.
31a.
Oberon, ii. 485 b; Benedict, i.
223 a ; Weber, iv. 408b, etc.
Obertas, iv. 733 a.
Oberthur, C, ii. 485 b.
Oblique Motion ; Contrary Mo-
tion, i. 396 a ; Motion, ii.
377a-
Oblique Piano, ii. 486 a.
Oboe, ii. 486a ; Barret, i. 144b;
Basset- Horn,i. 151a; Bassoon,
i. 151b, etc.; Benda (G.), i.
221 b; Besozzi (A.), i. 238b;
Boehm (T.), i. 254b; Bom-
bardon, etc., i. 259b; Cor
Anglais, i. 400 a; Crozier, i.
421 «; Czerwenka, i. 426b;
Ferlendis, i. 512 a; Fiala, i.
518b; Fischer (J. G.), 1.5290;
Fladt, i. 531a; Handel, i.
648 a, etc. ; Harmonics, i.
665 b; Hautboy, i. 698 b;
Hoffmann (G.), i. 742 a; In-
strument, ii. 6b; Keys, ii. 55 b;
Lavigne, ii. 106 a; Mouth-
piece, ii. 37Sb ; Musette, ii.
410b; Notation, ii. 478a;
Orchestra, ii. 561b, etc.; Or-
chestration, ii. 567 a, etc.;
Organ, ii. 595 a; Parke (J.), ii.
650a; Parke (W.T.),ii. 650b;
Philidor (M.), ii. 702b, etc.;
Philidor (J.), ii. 703 a ; Ramm,
iii. 72 b ; Reed, iii. 90a; Shep-
herd's Pipe, iii. 486 a; Sor-
dini, iii. 637 b; Timbre, iv.
117a; Tone, iv. 143b; Tri^-
bert, iv. 169 a ; Vogt (G.), iv.
331b; Walmisley (T. A.), iv.
379 a; Wind-band, iv. 467 b,
etc. ; Brod, iv. 565 b.
Oboe d'Amore, i'i. 488 b; Ad-
ditional Accompaniments, i.
34 b ; Flute d' Amour, i. 5 38 a ;
Oboe, ii. 486 a.
Oboe di Caccia, ii. 489 a;
Additional Accompaniments,
i. 34b; Instrument, ii. 6b;
Oboe, ii. 486 a; Orchestra, ii.
563 b; Passion Mus., ii. 667a;
Tenoroon, iv. 88 b.
OBRECHT,J.,ii. 489b; Josquin,ii.
41a; Madrigal,ii.i88«; Mass,
ii. 227b; Motet, ii. 372a, etc. ;
Mus. Antiqua, ii. 411a; Pe-
trucci, ii. 696 b; Peutinger,
ii. 697a ; Recte et Retro, iii.
88 a ; Schools of Comp., iii.
260a, etc. ; Vereeniging, etc.,
iv. 255a; Dance rhythm, iv.
606 a ; Dodecachordon, iv.
6i6a; Part-books, iv. 739b;
Sistine Chapel, iv. 794 a.
Oca DEL Cairo, L', ii. 490 a;
Mozart, ii. 389b.
O'Cahan, R. ; Irish Mus., ii.
19a.
O'Callaghan, G. ; Irish Mus.,
ii. 22 a.
Ocarina, ii. 490a.
O'Carolan, T., ii. 490 ft; Irish
Mus., ii. 19 a.
Occasional Oratorio, iv. 733b;
Handel, i. 651b; Rule, Bri-
tannia, iii. 203 b.
OccuRSUS ; Organum, ii. 610 a.
Ocha, Dall' ; Campagnoli, i.
300 b.
Ochetto, ii. 491a; Hocket, i.
741a.
112
OcHSENKHUNS; Lute, ii. 177 b.
OcKENHEiM. (See Okeghesi, ii.
4946.)
O'CoNALLON, T. ; Irish Mus., ii.
19 a.
O'CONALLON, W. ; Irish Mus.,
ii. 19 a.
OcoN, E. ; Song, iii. 599b.
Octave, ii. 49 1 b ; Diapason, i
442 h ; Interval, ii. 1 1 6.
Octave, ii. 492 a; Organ, ii.
5836, etc.; Principal, ii.
315.
Octave Flute. (See Piccolo,
ii. 7506.)
Octave, Short ; Organ, ii. 588 a,
etc. ; Spinet, iii. 653a.
Octet, ii. 492 a ; Mendelssohn,
ii. 258b ; Schubert, iii. 339b.
O'Daly, G. ; Irish Mus., ii. 19 a.
Oddus, F.; Sistine Chapel, iv.
794 «•
Ode, ii. 492a; Lyric, ii. 182b;
Schools of Cornp., iii. 291 a ;
Song, iii. 621a.
OofeoN, ii. 492b.
Odington, W., iv. 734a; Mus,
Mensurata, ii. 415b; Nota-
tion, ii. 471b; Organum, ii.
6ioa; Hist, of Mus., iv.
673 b.
CEdipus, ii. 492b; iv. 734a;
Mendelssohn, ii. 281a, etc.
Oesten, M,, ii. 493 a.
Oesten, T., ii. 493a; PF. Mus.,
ii. 731a.
OrrENBACH, J., ii. 493a; iv.
734a ; Adam (A. C), i. 28b;
Belle Helfene, La, i. 211a;
Lecocq, ii. nob; Lischen et
Fritzchen, ii. 145a; Orph^e
aux Enfers, ii. 6iib; Schools
of Comp., iii. 304b ; Vert-
vert, iv. 257 a; Humorous
Mus., iv. 683 a.
Ofeertobium, ii. 494 a; Com-
munion Service, i. 38 1 b ; Mass,
ii. 232b; Motet, ii. 371b;
Plain Song, ii. 767 a; Ke-
quiem, iii. 109a; Schools of
Comp., iii. 264 a ; Service, iii.
472 b.
Ofterdingen, H. von; Song,
iii. 615a.
Oginski, G., ii. 495b.
Oginski, M., ii. 494a.
Oginski, I\I. C, ii. 495 b ; Polo-
naise, iii. lob.
Okeghem, J., ii. 494 b ; Agri-
cola (A.), i. 44 a; Brumel, i.
279b; Busnois, i. 285b; Cres-
pel, i. 417 a; Harmony, i.
671a; Hawkins, i. 700 b;
Josquin, ii. 40 b, etc. ; Mass,
ii. 227b; Motet, ii. 372a;
INDEX.
Mus. Antiqua, ii. 411a; Pe-
trucci, ii. 696b, etc.; Poly-
phonia, iii. 13b; Rochlitz, iii.
141b; Schools of Comp., iii.
260 a, etc. ; Burney, iv. 570b;
Dance-Rhythm, iv. 606 a ; Do-
decachordon, iv. 6 16 a; Sis-
tine Chapel, iv. 794 a.
Okey, M.; Pachmann, V. de,
iv. 738 a.
Oldfield, T. ; Virginal Mus.,
iv. 308 b.
Old Hundredth Tune, ii. 495 b;
iv. 734b; Hymn, i. 762b;
Ionian Mode, ii. 18 a; Le
Jeune, ii. 119b, note; Part
Mus., ii. 656 b; Savoy, iii.
231a; Sons of the Clergy, The,
iii. 633b ; Havergal, iv. 670b;
Psalter, iv. 754b.
O'Leary, A.,ii.496b; PF. Mus.,
ii. 736 a ; Stanford, iii. 689 b.
O'Leary, R., ii. 496 b.
Ole. (See Polo, iii. 9 b.)
OLE Bull. (See Bull, Ole, iv.
568 b.)
Ole Olsen; Song, iii. 611 a.
Olimpiadb, ii. 496 b; Metas-
tasio, iv. 718 b.
Oliphant, T., ii. 496b ; Madri-
gal Soc, ii. 194a; Hist, of
Mus., iv. 677a.
Oliva ; Haydn, i. 706 b.
Olivo, S. ; Milan, ii. 329a.
Olleta, D. ; Eslava, i. 495 a.
Oloff, Eph. ; Song, iv. 795 a.
Olstani ; Saggio di Contrap-
punto, iii. 212a.
Olympie, ii. 497 a ; Spontini, iii.
669 b, etc.
Ondbicek; Philh. Soc, iv.
747 a.
O'Neill, A. ; Bunting (Ed.), i.
283a ; Irish Mus., ii. 19a.
Ongueval, van ; Trdsor Mus.,
iv. 802 b.
Onslow, G., ii. 497 a; Clarinet,
i. 364b ; Colporteur, Le, i.
378b; Mendelssohn, ii. 257b;
Philh. Soc, ii. 698b; PF.
Mus., ii. 727a; Quartet, iii.
57b; Quintet, iii. 61 a; Reicha,
iii. 98 a; Sestet, iii. 475b;
Violoncello - playing, iv.
301a.
Open Pipe; Organ, ii. 573a,
etc.
Opera, ii. 497b; iv.754b; Acad«^-
mie de Mus., i. 6 b, etc ; Act,
i. 26a; Ballet, i. 130a;
Barbieri, i. 138b; Bardi, i.
1 39 a ; Beggar's Opera,i. 209 a ;
Blaze, i. 248 b; Caccini, i.
290b ; Comic Opera, i. 379b,
etc. ; English Opera, i. 488 S,
etc. ; Farce, i. 504 a; Finale,
i- 523 &; Florence, i. 533b;
Gluck, i. 602a, etc.; Grand
Opera, i. 617a; Harpsi-
chord, i. 688 a; Intermezzo,
ii. 7b; Introduction, ii. 15a;
Keiser,ii. 48 b ; Lajarte,ii. 85 b ;
Libretto, ii. 128b, etc.; Mag-
yar Mus., ii. 198b; Masque, ii.
a 2 5b; Melodrama, ii. 249a;
Mendelssohn, ii. 304 a; Mo-
nodia, ii. 354b, etc. ; Mozart,
ii. 402b, etc.; Mus. Anti-
quarian Soc, ii. 418b; Ora-
torio, ii. 533 a, etc. ; Orchestra,
ii. 562 a; Overture, ii. 6i8b,
etc. ; Pasticcio, ii. 669 a, etc. ;
Pastorale, ii. 670a; Peri, ii.
691a; Recitative, iii. 83a,
etc. ; Rehearsal, iii. 97b ; Re-
lation, iii. 105 b; Ritornello,
iii. 137a ; Romantic, iii. 150b,
etc. ; Scarlatti (A.), iii. 237b;
Scena, iii. 240 b ; Schools of
Comp., iii. 279 a, etc. ; Secco
Recitative, iii. 454b ; Singing,
iii. 497b, etc.; Singspiel, iii.
516a ; Sonata, iii. 554b ; Song,
iii. 588 b; Symphony, iv. 11 a,
etc. ; Wagner, iv. 366b, etc.;
Weber, iv. 410b, etc; Zac-
coni, iv. 498 a; Cavalli, iv.
583 b; Dance-Rhythm*iv.6o6b;
Galilei, iv. 644 a; Hist, of
Mus., iv. 677 a.
Op^ra Bouffe, ii. 530b.
Opera Buffa, ii. 530b; Comic
Opera, i. 380 a ; Intermezzo,
ii. 8 a, etc. ; Logroscino, ii.
614a; Opera, ii. 513b, etc.;
Piccinni.ii. 747 b, etc. ; Schools
of Comp., iii. 304b.
Opera Comique, ii. 531a;
Acaddmie deMus.,i. 7b ; Act,
i. 26a; Auber, i. 102 b;
Banchieri, i. 133b; Boiel-
dieu, i. 257a; Chanson, i.
336 a; Comic Opera, i. 379 b;
Duni, i. 469 a ; Grdtry, i.
629a ; Mehul, ii. 247 a ; Mon-
signy, ii. 356 a; Offenbach, ii.
493a ; Opera, ii. 522 b, etc ;
Schools of Comp., iii. 281a,
etc; Tilmant, iv. 116 a;
Valentino, iv. 214b; Vaude-
ville, iv. 231b; Ventadour
Theatre, iv. 238 a.
Opera Comique, The, ii. 531a;
iv. 735 a. (See above.)
Opera, English, ii. 531 a.
Opera, French, ii. 531a.
Opera, German, ii. 531a.
Opera, Grand, ii. 531b.
Opera, Italian, ii. 531b.
Opera Seria ; Opera, ii. 513b.
^
Operetta, ii. 531 &; Lecocq, ii.
ma; Mozart, ii, 382 a ; Offen-
bach, ii. 493b; Pergolesi, ii.
687 a ; Planquette, iii. i a ;
Schools of Comp., iii. 306 &,
etc. ; Singspiel, iii. 517a ; Sul-
livan, iii. 762 a, etc.
Ophicleide, ii. 531 &; Eupho-
nium, i. 497 &; Frichot, i.
5646; Instrument, ii. 6a \
Keys, ii. 556; Serpent, iii.
470 &.
Oppdbe. (See Ossia, ii. 615 a.)
Opus, ii. 5326; Number, ii. 484?).
Oratorio, ii. 533 a; iv. 735 a;
Accompaniment, i. -226; Ani-
muccia, i. 686 ; Florence, i.
5336; Handel, i. 650&, etc. ;
Harpsichord, i. 688 a ; Laudi
Spiritual!, ii. 105 a ; Libretto,
ii. 130a; Magnificat, ii. 197 a;
Mass, ii. 234a, etc.; Men-
delssohn, ii. 303b, etc; Mo-
nodia, ii. 354 h, etc. ; Orches-
tra, ii. 561 &, etc. ; Overture,
ii. 623a; Passion Mus., ii.
6656; Pastorale, ii. 670b;
Recitative, iii. 83 a ; Relation,
iii. 105b ; Sacred Har. Soc.,iii.
210a; Schools of Comp., iii.
287a, etc.; Secco Recitative,
iii. 454b; Zacconi, iv. 498 a;
Dance Rhythm, iv. 606b ; Hist,
of Mus., iv. 677a.
Orazii e Cubiazii, Gli, ii. 560 a ;
iv- 735 «; Cimarosa, i. 358 b.
Orchesogbaphie, ii. 560 a ; Ar-
beau, i. Sob; Matassins, ii.
2 36 b ; Morris Dance, ii. 369 a ;
Passacaglia, ii. 661 a; Pas-
samezzo, ii. 662 a; Passepied,
ii. 662b; Pavan, ii. 676a;
SInk-a-pace, iii. 517b; Sounds
and Signals, iii. 644 a ; Tour-
dion, iv. 154b; Trihoris, iv.
169b; Waltz, iv. 385a.
Orchestra, ii. 560b; iv. 735 a;
Additional Accompaniments,
i. 30b, etc.; Band, i. 134a;
Instrument, ii. 5 a, etc. ; Ora-
torio, ii. 544 b, etc. ; Orches-
tration, ii. 567a ; Wind-band,
iv. 464 a, etc.
Orchestration, ii. 567 a; Ad-
ditional Accompaniments,
i. 34b; Berlioz, i. 232 b;
Handel, i. 653 a; Mendels-
sohn, ii. 302 a ; Opera, ii,
501 b, etc, ; Oratorio, ii. 551 b ;
Orchestra, ii. 562b; Overture,
ii. 622b; Passion Mus., ii.
667a; Rameau, iii. 71a; Re-
gistration, iii. 94b ; Romantic,
iii. 150b, etc.; Rossini, iii.
176a; Schubert, iii. 36 3 a ,
INDEX.
etc. ; Score, arranging from,
434 b; Score, playing from,
iii. 4370 ; Symphony, iv. 13 b,
etc.; Tenor- violin, iv. 90a,
etc,; Thibaut, iv. 102 a;
Thomas (C. A.), iv. 104b;
Wagner, iv. 371a, etc. ; We-
ber, iv. 416 a; Wind-band,
iv. 467 b ; Hist, of Mus., iv.
676a.
Orchestrina, iv. 735 a.
Ordres, iv. 735 a; Suite, iii.
756b.
Orfeo ed Edridice, ii. 573a;
Gluck, i. 601 b; Orphde et
Euridice, ii. 611 b.
Organ, ii. 573a; iv. 735a;
Abbey (J.), i. aa; Accom-
paniment, i. 21 b; Action, i.
26b; Adams, i. 29b; Addi-
tional Accompaniments, i.
30b, etc.; Adlung, i. 37b;
Albrechtaberger, i. 50 b ; An-
them, i. 71a; Apollonicon, i.
74a; Avery, i. 105 b; Bach,
i. nob, etc.; Bach (J. S.),
i. 114b, etc.; Barker, i. 139b;
Barnby, i. 145 «; Beckwith, i.
161 b; Bedos de Celles, i,
162 a; Bellows, i. 314b; Best,
i. 239 a; Bibl, i. 241a;
Blewitt, i. 249 a; Blow, i.
250a ; Bombardon, i. 259b ;
Bull,]. 281b; Burney, i. 284a;
Buxtehude, i. 286b; Csecilia,
i. 294 b; Camidge, i. 300a;
Cavaille, i. 327a; Child, i.
345 b; Chipp (E.), i. 346 a;
Choir Organ, i. 349 a; Chris-
mann,i.355a; Ciaja,i. 357«;
Clarke (J.), i. 365 a; Clarke
_(Whitfeld),i. 365 b; Clicquot,
i. 374a; Colombi, i. 378a;
Combination-pedals, i. 377a;
Composition-pedals, i. 382 b;
Cooke (B.),i. 396b; Cooper,
i. 398b ; Corfe, i. 402 b ; Cor-
net, i. 403 b; Couplers, i.
410a; Crang and Hancock,
i. 415a; Cremona, i. 416a;
Croft, i. 419a; Crotch, i.
420b ; Dallam, i. 427b ; Dau-
blaine and Callinet, i. 431 a ;
Diapason, i. 442 b; Double-
bass, i. 458a; Doubles, i.
460a; Ducis, i. 467b; Dupuis,
i. 470b; Echo, i. 482 a;
Egan, i. 483 b; Electric Ac-
tion, i. 485 a; Elliot, i. 486b ;
Elvey (Sir G.), i. 487 a ; Elvey
(S.), i. 487a; England, i.
488 a ; Faux-bourdon, i. 509 a ;
Fifteenth, i. 520b ; Flight, i.
532 b ; Flowers, i. 5 35 a ; Flue-
work, i. 535b; Flute work, i.
113
538 a ; Forster and Andrews,
i- 5.55^; Foundling Hospital,
i- 557 « ; Eree Reed, i. 562a ;
Frescobaldi, i. 563a ; Fro-
berger, i. 565 a ; Fux, i. 570a ;
Gabler, i. 571a; Gabriel
(A.), i. 571b; Gauntlett, 1.
584a; Gawler, i. 586a;
Gedackt-werk, i. 586 b; Gei-
gen-principal, i. 586 b ; Gems-
horn, i. 588 a; Gerber, i.
589 a; Gibbons, i. 594 a;
Gibbons (0,), i, 594b ; Glover
(W,), i. 600a; Glyn and
Parker, i. 604b ; Goldberg,
i. 607b; Goss (J.), i. 6iob;
Gray and Davison, i. 622b;
Great Organ, i. 625 a; Green
(S,), i, 624a ; Greene (M,), i.
624a; Griffin (T,), i. 631b;
Guest, i, 638 a ; Guilmant, i.
639b; Gunn,i,64ia; Handel,
i, 652 b; Harmonic-stops, i.
665 b; Harmonium, i. 666 b;
Harris (R.), i. 692a; Hart
(P,), i. 693 a; Hassler, i.
697a; Haupt (C), i. 697b;
Hawkins (Jas,), i. 699 a;
Haydn (M.), i. 701a ; Hayes
(P.), i. 722b; Hayes (W,),i.
723a; Hedgeland, i. 724a;
Henstridge, i. 730 a ; Her-
schel (F.), i. 732b; Herzog, i.
733a; Hesse, i. 733b ; Hewe,
i. 733 i ; Hill, i. 736b ; Hine,
i. 740b; Kingston, i. 741a;
Hodges (E.), i, 741a; Hol-
der, i. 743 a; Holdich, i.
743 b; Homilius, i, 745 b;
Hopkins, i. 746 b; Horsley
(W.), i. 753b; Howard, i.
754b ; Howgill, i, 754b ; Hoy-
land, i. 755 a ; Instrument, ii.
6a; Interlude, ii. 7 b ; Isham,
ii. 24a; Jackson, ii. 28a;
Jacob, ii. 28b; James (J.),ii.
30b; Jeffries, ii. 33a; Jeux
d'anches, ii. 34a ; Jones (J.),
ii. 39 b; Keeble, ii. 48 a;
Kelway, ii. 50a; Kent, ii.
50b; Keraulophon, ii. 51a;
Kerl, ii. 51a; Key (II.), ii.
53b, etc; Kittel, ii. 63a;
Kollmann, ii, 68 b ; Krebs (J.
L.), ii. 70b; Krebs (J. T.),
ii. 70b; Krummhorn, ii. 74a;
Kuhnau, ii. 76 a; Lachner,
ii. 81 a; Lambert, ii. 86a;
Langshawe, ii. 90b ; Larigot,
ii. 92a; Lefdbure-Wdly, ii.
112a; Lemmens, ii. 120a;
Lieblich Gedact, ii. 132b;
Limpus, ii. 139b; Loosemore,
ii. 1 66 a; Lowe, ii. 170a;
Manual, ii. 208 a; Marchand,
I
114
ii. 2i3l>; MarkuU, ii. 218a;
Marpurg, ii. 218b; Mendels-
sohn, ii. 270b, etc. ; Merkel,
ii. 314a; Merulo, ii. 3^4^;
Mixture, ii. 339&; Monk
(E. G.), ii. 353b; Mooser, ii.
362a; Mounsey (Ann S.), ii.
377a; Mozart, ii. 3806, etc. ;
Muflfat (A.G.),ii.407 b ; Muffat
(G.), ii. 4076; MuUer (A.),
ii. 408 a; Mundy (J.), ii.
408 b; Musical Libraries, ii.
425 b; Musical Periodicals,
ii. 428 b; Mutation-stops, ii.
439 b ; Nachspiel, ii. 442 a ;
Nares, ii. 446 b ; Naumann,
ii. 449b; Notation, ii. 478a,
etc. ; Novello (V.), ii. 481a ;
Oakeley, ii. 485 a; Octave,
ii. 492a ; Orchestra, ii. 564a ;
Organ-part, ii. 608 b; Organo,
ii. 608 b ; Organum, ii. 608 a,
etc. ; Ou8eley,ii. 617 b ; Over-
blowing, ii. 6i8a ; Pachelbel,
ii. 626b; Parsons, ii. 652b;
Partial-tones, ii. 654b ; Peace,
ii. 677b; Pedals, ii. 68 ib,
etc.; Philips (A.), ii. 705a;
Pipes, vibration of air in, ii.
754b ; Pneumatic Action, iii.
4b ; Porta, iii. 18 b ; Portman,
iii. 19a ; Posaune, iii. 20a ;
Positive Organ, iii. 21b; Post-
lude, iii. 226 ; Praetorius, iii.
26 b; Prey er, iii. 306; Princi-
pal, iii. 31b; Proportion, iii.
43a; Purcell (H.), iii. 47a;
Rameau, iii. 69 a; Rank, iii.
75a ; Rea, iii. 79b ; Reading,
iii. 79 b ; Reay, iii. 81 a ; Reed,
iii. 89b; Reed-stop, iii. 90a;
Regal, iii. 93b ; Regibo, iii.
94 a; Register, iii. 94 a;
Registration, iii. 94 b; Rein-
ken, iii. 103 a ; Resultant
Tones, iii. 119 b ; Reutter, iii.
1 2 1 a ; Rheinberger, iii. 122b;
Richardson (V.), iii. 127b;
Richter (E. F. E.), iii. 28b;
Riem, iii. 130a; Rimbault,
iii. 135a; Rink, iii. 136a;
Roberts, iii. 138b; Robinson
(J.), iii. 139b; Roseingrave,
iii. 161 b ; Row of Keys, iii.
184a; Russell, iii. 205 b;
Saint Saens, iii. 215b; Sal-
cional, iii. 218a ; Sale (J. B.),
iii. 2i8b; Scarlatti (D.), iii.
239b; Schneider (J. G.), iii.
255 b; Schools of Comp., iii.
2800, etc. ; Schulze, iii. 384 b,
etc. ; Score, iii. 434 a ; Scot-
son-Clark, iii. 452 b; Ses-
quialtera, ii. 475 a; Silber-
mann, iii. 494a, etc.; Smart
INDEX.
CH.),iii. 538a; Smith (Father),
iii. 5390 ; Smith (J. S.), iii.
540b; Snetzler, iii. 542 a;
Solo-organ, iii. 552b, etc. ;
Solo-stop, iii. 553b ; Sonata,
iii. 577b; Spark, iii. 647b;
Speechley, iii. 650 a ; Spinet,
iii. 653b ; Spitzflote, iii. 656b ;
Stainer (J.), iii. 658a ; Stave,
iii. 693a; Stein (J. A.), iii.
708a; Stewart, iii. 713a;
Stimpson, iv. 46 b ; Stirling,
iii. 715 a; Stopped-pipe, iii.
717b; Stops (Organ), iii.
719 a; Strogers, iii. 746 a;
Stroud, iii. 746 b; Sweelinck,
iv. 7b; Swell (Harpsichord),
iv. 8b; Swell-organ, iv. 8b;
Tablature, iv. 47 a; Tallys,
iv. 52b; Tansur, iv. 57b;
Tell-tale, iv. 70a ; Tempera-
ment, iv. 71b, etc.; Tierce, iv.
114b; Timbre, iv. 117a;
Tomkius, iv. 134b; Touch,
iv. 153b; Tracker, iv. 157a;
Transposing Instruments, iv.
159b; Travers, iv. 163a;
Treatment of Organ, iv. 163 a ;
Tremulant, iv. 167a ; Tuba
Mirabilis, iv. 184a; Tudway,
iv. 185b; Tuning, iv. 189b;
Turini, iv. 1905 ; Turle, iv.
191a; Turpin,iv. 195b; Tye,
iv. 196 b; Unda Maris, iv.
2oib; Upham, iv. 208a;
Venetian Swell, iv. 236b ;
Verdi, iv. 242 a, etc. ; Viada-
na, iv. 2586 ; Vierling, iv.
262a; Vilback, iv, 264b;
Viola da Gamba, iv. 267 b;
Violin Diapason, iv. 287a ;
Violoncello, iv. 299b; Vio-
lone, iv. 301a; Virdung, iv.
303 b; Vocalion, iv. 320b;
Vogler, iv. 328a, etc. ; Voic-
ing, iv. 335a, etc.; Voix
Celeste, iv. 336 a ; Voluntary,
iv. 339 a ; Vorspiel, iv. 340 b ;
Vox Humana, iv. 340 b ;
Wainwright (R.), iv. 375a;
Walker (E. F.), iv. 376 a;
Walker (J. and Sons), iv.
376 a; Walmisley, iv. 378 b;
Walond, iv. 379b ; Walter, iv.
381a; Walther (J. G.), iv.
381b; Webbe, iv. 387 b;
Weldon, iv. 435 a; Wesley
(C), iv. 445b, etc. ; Wesley
(S.), iv. 445 b, etc. ; Wesley
(S. S.), iv. 447 a, etc. ; West-
brook, iv. 448 b ; White (R.),
iv. 451b ; Whiting, iv. 453b ;
Williams (G.), iv. 4596;
Willing, iv. 460a ; Willis, iv.
460a i Wise, iv. 476 b ; Wolf,
The, IV. 485a ; Worgan (J.),
iv. 486a; Wotton, iv. 489b;
Zachau, iv. 498 b ; Zarlino,
iv. 503a ; Antegnati, iv.
523a ; Archer (F.), iv. 523b ;
Armes (P.), iv. 723a, note;
Aylward, iv. 526a; Batiste
(A. E.), iv. 532 a; Beale, iv.
533a ; Benoist (F.), iv. 543b ;
Bevington & Sons, iv. 546b ;
Bishop & Son, iv. 547 b;
Bishop (John), iv. 647 b;
Blitheman, iv. 549 a ; Bridge
(J. F.), iv. 564b; Bridge
(J. C), iv. 564b; Bridge
(R.), iv. 565 a; Broderip,
iv. 565b; Bruckner (A.), iv.
566a ; Bryceson (Bros.), iv.
567 a; Bryne (A.), iv. 567 a;
Buck (D.), iv. 567b; Buck
(Z.), iv. 568a ; Byfield (J.),
iv. 571b; Byfield, Jordan, &
Bridge, iv. 571b; Byrd, iv.
571b; Chorton, iv. 591a;
Coward, iv. 601 o ; Dallery,
iv. 604 b; Dubois, iv. 619a;
Eddy, iv. 625a; Faisst, iv.
631b; Farmer (J.), iv. 633a ;
Faure, iv. 633b; Fink (C),
iv. 636b; Franck (C), iv.
639b; Garrett, iv. 646 a;
Gem (A.), iv. 646b; Glad-
stone, iv. 648 a ; Glock-
enspiel, iv. 648 b ; Gr^goir,
iv. 655b ; Hammerschmidt
(A.), iv. 663a ; Hildebrand,
iv. 673a; Hiles, iv. 673a;
Hist, of Mus., iv. 676a ;
Hodges, iv. 677b; Jardine
& Co., iv. 685 a ; Jones, iv.
686b ; Jordan (A.), iv. 686b ;
Lahee (H.), iv. 694a ; Lang,
iv. 697 a; Lewis (T.), iv.
700b; Lincoln, iv. 701a;
Lloyd (C. H.), iv. 704b;
Martin (G. C), iv. 711b;
M^reaux, iv. 717b; Merk-
lin, Schulze & Co., iv. 718 a;
Miiller, iv. 722a; Nay lor,
iv. 728a; Nixon, iv. 731a;
Notot, iv. 732 b; Organists,
College of, iv. 735b; Par-
ratt, iv. 738b ; Pieterez (A.),
iv. 749a ; Redhead, iv. 769a ;
Renn, iv. 770b; Robartt, iv.
772b; Roberts, iv, 772b;
Robson, iv. 773 a; Rogers, iv.
773 a; Roose, iv. 776 b; Sal-
vayre,iv.779a ; Scheidemann,
iv. 781a; Scheldt, iv. 7820;
Schein, iv, 784b ; Schund, iv.
79 1 b ; Schwarbrook, iv, 791 b ;
Sweetland, iv. 798 a ; Tel-
ford, iv. 798 a; Toepfer, iv.
799b; Torrian, iv. 799 b; Val-
lotti, iv. 806 a; Van Os, iv.
807a ; Vowles, iv. 813&.
Obgan-Pabt, ii. 608 &.
Obganistbum ; Hurdy-Gurdy,
i. 7596; Violin, iv. 272a.
Obganists, College of, iv. 735 a.
Obgano, ii. 608 &; Pieno, ii.
752a.
Oeganophone, iv. 736 a.
Oeganum, ii. 608 &; Cathedral
Music, i. 324a; Consecutive,
i. 391b; Faux-bourdon, i,
509 a; Harmony, i. 669 b,
etc.; Micrologus, ii. 327a;
Notation, ii. 4695; Organ,
ii. 579&; Polyphonia, iii. 12 a,
etc.; Quintoyer, iii. 61 a;
Schools of Comp., iii. 259b;
Strict Counterpoint, iii. 740 a ;
Consecutive, iv. 597 a; Dia-
phonia, iv. 613a.
Oegenyi, Aglaia, ii. 610&; iv.
736 a ; Philh. Soc, ii. 700a ;
Viardot-Garcia, iv. 260 a.
Oegue Expeessif, ii. 6iob ;
Debain, i. 4386; Fourneaux,
i- 557 « > Harmonium, i. 666a.
Oriana, The Triumphs of, ii.
610b; iv. 736a; Trionfo di
Dori, ii. 61 ib.
0 Richard, 6 mon Roi ; Grdtry,
i. 628b ; Richard C. de Lion,
iii. 127a; Song, iii. 594b.
Orlandini ; Strakosch, iii. 734b.
Orlandini; Ifigenia, i. 765 b.
Orlando. (See Lassus, ii.93 a.)
Orloff, G. V. ; Song, iii. 591a ;
Hist, of Mus,, iv. 675b.
Ornaments. (See under Grace
Notes, i. 615a.)
Ornithopabcus, a., ii. 611 b;
iv. 736 a; Micrologus, ii.
327a; Mode, ii. 340b; Mus.
Lib., ii. 421a; Proportion,
iii. 42 b ; Strict Counterpoint,
iii. 740^; Zacconi, iv. 497 a;
Mus. Lib., iv. 725b.
Orphabion. (See Obpheoreon,
ii. 612 b.)
Orphee aux Enfebs, ii. 611 b;
Offenbach, ii. 493 b.
Orph^e et EuBmicE, ii. 6iib;
Gluck, i. 60 lb.
ORPHiiON, L', ii. 611 b.
Orpheon, ii. 611 b; Part-song,
ii. 659 b ; Pasdeloup, ii. 660 a;
Wilhem, iv. 457 b.
Orpheoreon, ii. 612b ; Pandora,
ii. 644b.
Orpheus, ii. 613 a; Part-song,
ii. 659b; Ewer & Co., iv. 630a.
Orpheus IBritannicus, ii. 614a;
Opera, ii. 507 b ; Playford, iii.
2b; Purcell, iii. 46b, etc.;
8ong, iii. 604 a.
INDEX.
Orpheus Caledonius; Scottish
Mus., iii. 452 a.
Orridge, Ellen A., iv. 736 b;
Singing,iii. 512a; Philh. Soc,
iv. 746 b.
Orsini, a. ; Rome, iv. 775 a.
Ortells ; Eslava, i. 495 a.
Orti ; Nachbaur, ii. 4400.
Ortigue, J. L. d', ii. 514a; Die.
of Mus., i. 445b; Maitrise, ii.
200a; Niedermeyer, ii. 455b;
R<^vue et Gazette Mus., iii.
I2ib.
Ortiz, D. ; Eslava, i. 494b ;
Mus. Divina, ii. 412a, etc.;
Saggio di Contrappunto, iii.
212a; Schools of Comp., iii.
263 a, etc.; SistineCh.,iv.794a.
Orto, M. de ; Schools of Comp.,
iii. 260b; Dodecachordon, iv.
6 16 a; Part-books, iv. 739b;
Sistine Chapel, iv. 794 a.
0 SALUTAEIS HOSTIA, ii. 614b.
Osborne, G. A., ii. 615 a; iv.
"• 737 « ; Beriot, i. 231b ; PF.
Mus., ii. 729b; PF.-playing, ii.
744 ; Roy. Academy of Mus.,
iii. i86b ; Waley, iv. 376 a.
0 SCOTT ; Mus. Lib., ii. 421b.
OscuLATUS, F. ; Bodenschatz, i.
253^-
Osgood, M. ; Phil. Soc, ii. 700 b ;
Singing, iii. 512 a.
Osiander, L. ; Chorale, iv. 588 b.
OssiA, ii. 615 a.
OsTiNATO, ii. 615 b.
Oswald; Lincke, ii. 139b.
Oswald, A. C. ; Philh. Soc, iv.
747a.
Otello, ii. 615b; iv. 737a;
Rossini, iii. 167 b, etc ; Verdi,
iv. 250b.
Ott, J.; Song, iii. 6i8b, note,
etc; Volkslied, iv. 337a.
Ottani ; Blangini, i. 247 b; Mar-
tini, ii. 222b; Pellegrini (F.),
ii. 683 b.
Ottavino. (See Piccolo, ii.
750 &•)
Otteby. (See Hothby, i. 754b.)
Ottey, Mrs. ; Gamba, Viola da,
i. 580b.
Otthoboni, Cardinal P., ii. 615b ;
Corelli, i. 401 a ; Scarlatti
(A.), iii. 238b; Scarlatti (D.),
iii. 239b; Stabat Mater, iii.
684b; Steffani, iii. 699 a.
Otto-Alvsleben, M., iv. 737 a ;
Philh. Soc, ii. 700 b.
Otto, E. JuL,ii. 616 a ; Kretsch-
mer, ii. 71b; Merkel, ii.
314a ; Dietrich, iv. 614b.
Otto, F., ii. 6i6a; Orpheus, ii.
613a ; Part-song, ii. 659a.
Otto, V.j Leipzig, ii. 115 a.
115
OuLiBiCHEFF, A. von, ii. 616a;
Beethoven, i. 208 b ; Mozart,
ii. 405 a ; Mus. Periodicals, ii.
427b ; Stabat Mater, iii. 684b.
Ou peut-on £tee mieux, ii.
6i6b; Grdtry, i. 628a; Song,
iii. 594 b.
OuBS, L', ii. 6i6b; Haydn, i.
721b.
OuEY, Mme. Belleville-, ii.
617a; iv. 737b; Czemy, i.
425b; Philh. Soc, ii. 699b;
PF. Mus., ii. 729b; PF.-play-
ing, ii. 739 a, note, etc ; iv.
748 b.
OusELEY, Rev. Sir F. A. G.,
ii. 617b; iv. 737b and 820b ;
Anthem, i. 71a, etc. ; Chant,
i. 338b; Kent, ii. 51a; Mus.
Association, ii. 417a; Mus.
Lib., ii. 423a ; Mus. Society
of London, ii. 431 b ; Professor,
iii. 32b; Purcell Society, iii.
53 a; Schools of Comp., iii.
308a, etc. ; Service, iii. 474b ;
Spinet, iii. 656a; Stainer
(J.), iii. 688a; Benevoli, iv.
543 b ; Hist, of Mu8., iv. 674b,
etc.; Naumann, iv. 728a.
OVEE-BLOWING, ii. 6i8a.
Oveeend, M., ii. 61 8a.
OvEESPUN, ii. 61 8 a.
OVEESTBINGING, ii. 6x8 a.
Oveetones, ii. 6i8b ; ^olian
Harp, i. 38b ; Beats, i. 159b ;
Partial Tones, ii. 653 b ; Treat-
ment of Organ, iv. 163 b.
OvEETUEE, ii. 6i8b; iv. 737b;
Accompaniment, i. 22b; An-
alysis, i. 62b; Form, i. 550a,
etc.; Introduction, ii. 14b;
Opera, ii. 499 a, etc. ; Prelude,
iii. 28a; Rondo, iii. 156b;
Schools of Comp., iii. 279b;
Subject, iii. 752a, etc. ; Suite,
iii. 760b; Symphony, iv. 11 a,
etc.; Working-out, iv. 489b;
Dance Rhythm, iv. 607 b.
OvvEBO. (See Ossia, ii. 615 a.)
OxENFOED, J. ; Mus. Periodicals,
ii. 427 b.
OxFOED, ii. 623 b; iv. 737 b;
Bach, of Mus., i. 121a; Hey-
ther, i. 735b; Mus. Lib., ii.
421b, etc.; Mus. School, Ox-
ford, ii. 43 7 a ; Ouseley, ii. 6 1 7 b,
etc. ; Professor, iii. 32 b; Uni-
versity Soc. , i V. 206 a ; Degrees,
iv. 6100; Doctor of Mus., iv.
615a.
Ox-Minuet, the, ii. 624b ;Haydn,
i. 'J 20a, note; Seyfried, iii. 478b.
Oystebmaybe, Jehan ; Virginal-
Mus., iv. 310a.
Ozi, E. ; Bassoon, i. 154 b.
la
116
INDEX.
Pacchiakotti; Schools of Comp.,
iii. 2686, note.
PACCHIEBOTTI, G., ii. 625 a; iv.
737 a; Bertoni,!. 238a; Dra-
gonetti, i. 461 h ; Gabrielli, ii.
573b; Handel, Commemora-
tion of, i. 658 a; Haydn, i.
7096 ; Lebrun, ii. 109&; Sing-
ing, iii. 506 a; Soprano, iii.
636 a.
Pacchioni; Saggio di Contrap-
punto, iii. 212 a.
Paccini, a., ii. 6265.
Pacellds, a. ; Bodenschatz, i.
Pachelbel, J., ii. 6266; Aus-
wahl, i. 105 a ; Bach (J. C), i.
iioa; Bach (J. S.), i. 114&;
Buxtehude, i. 286&; Scheidt,
iv. 783b.
Pacher, a. J. ; PF. Mus., ii.
732 a; PF.-playing, ii. 744.
Pachmann, V. de, iv. 737 a;
Philh. Soc, iv. 7466.
Pacini, G., ii. 626?); iv. 738 a;
Opera, ii. 525 a; Pasta, ii.
668 &; Pixia (F.), ii. 7596;
linger, iv. 202 a ; Metastasio,
iv. 718b; Vianesi, iv. 812a.
Paciotti, p. p. ; Mus. Divina,
ii. 412b; Sistine Chapel, iv.
794 a.
Paddon, J. ; Jackson (of Exeter),
ii. 27 b.
Padilla - T - K AMOS, iv. 524 b,
note; Art6t (M.), iv. 524b.
Padova, M. de. (See Mae-
CHETTO.)
Padua, ii. 627b; Accademia, i.
lib, etc.
Paer, F., ii. 627b; iv. 738a;
Academic de Mus., i. ga;
Baryton, i. 147a; Bellini, i.
214a ; Billington (Mrs.), i.
242 a ; Cherubini, i. 343 a ;
Conservatoire, i. 392 b;
Gounod, i. 613 a; Gras, i.
619a; Henri Quatre (Vive),
i. 729a; In questa Tomba, ii.
4a; L^onore, ii. 122b; Liszt,
ii. 145 b;' Mendelssohn, ii.
257b; Opera, ii. 5 2 o a ; Paga-
nini, ii. 628b ; Pellegrini (F.),
ii. 683b ; Siboni (G.), iii. 491 a ;
Viardot- Garcia, iv. 259a;
Metastasio, iv. 718 a.
Paez, J. ; Eslava, i. 495 a.
Paganini; Lamperti, ii, 89 a.
Paganini, N., ii. 628 a ; Baillot,
P.
i. lasb; Bazzini, 1. 1575;
Berlioz, i. 233b; Bowing, i.
266 a ; Camaval de Venise,
• i. 316a; Durand, i. 471a;
Ernst, i. 492 a; Escudier, i.
494a; Etudes, i. 497a; Fay-
oUe, i. 510b ; Guitar, i. 640b ;
Harold en Italic, i. 6850;
Kontski (A. de), ii. 69a ;
Lafont, ii. 84a ; Laidlaw, ii.
85 a; Lipinski, ii. 144b;
Mendelssohn, ii. 262 a; Mus.
Lib., ii. 423a; Oury, ii.
617 a; Panny, ii. 644 b;
Eolla, iii. 147 a; Kossini,
iii. 169b; Schools of Comp.,
iii. 310b; Schubert, iii.
3500; Schumann, iii. 387b;
Scordatura, iii. 426b; Sivori,
iii. 534a, etc. ; Staccato, iii.
685 a; Stradivari, iii. 733b,
note; Tartini, iv. 62a; Tromba
Marina, iv. 175b; Vieux-
temps, iv. 262 b; Violin-play-
ing, iv. 295 a; Wallace (W.
V.),iv. 377 a; Bull(01eB.),
iv. 569 a, etc.
Page, J., ii. 632 a ; Anthem, i.
72 a.
Page, Le ; Vingt quatre Violons,
iv. 266 b.
Pagin ; Violin-playing, iv.
293a.
Pagliarino. (See Paliaeino.)
Paine, J. K., ii. 632 b ; Leipzig,
ii. 115b; United States, iv.
202 b.
Paisible, ii. 633 a.
Paisiello, G., ii. 633 a; iv. 738 a;
Barber of Seville, i. 138 a,
etc.; Billington (Mrs.), i.
242 a ; Chelard, i. 341 a ; Cheru-
bini, i. 3420; Cimarosa, i.
358a; Clementi, i. 372b;
Coccia, i. 375b; Coltellini, i.
379 a ; Durante, i. 471 a ; Fer-
rari (G. G.), i. 513b; Galli
(F.), i. 577b ; Haydn, i. 708b ;
Lesueur, ii. 1 25 ci ; Logroscino,
ii. 514a, note; Mazzinghi, ii.
242 a; Metastasio, ii. 316a;
Molinara (La), ii. 351b;
Mozart, ii. 389b, etc.; Mus.
Lib., ii. 420a ; Naples, ii. 445 b,
etc. ; Nel Cor piti, etc. ,ii. 451b;
Oddon, ii. 492b; Olijupiade,
ii. 496 b ; Opera, ii. 514 b ; Ora-
torio, ii. 550 a; Rossini, iii.
167a; Sarti,iii. 228b; Schools
of Comp., iii. 287b; Serva
Padrona, la, iii. 471 o ; Stabat
Mater, iii. 684b; Vaccaj, iv.
212a; Wilder, iv. 457 a;
Zenobia, iv. 506a.
Paix, J. ; Passamezzo, ii. 662 a ;
Scheidt, iv. 782 b.
Paladilhb, E., ii. 634b ; iv.
738 a; Gr. Prix de Rome, i.
618 b; Song, iii. 597 a.
Palebmi; Lamperti, ii. 890.
Palestina. (See Palestrina,
ii. 635 a, note.)
Palesteina, G. p. da, ii. 635 a;
iv. 738 a; Abbatini (A. M.),
i. lb; Accents, i. 17a; Agaz-
zari, i. 41b; Aldrich, i. 52a ;
Amen, i. 60b ; Anerio (G.), i.
67 b; Aniniuccia (G.), i. 68 b;
Arrangement, i. 93 b; Asola,
i. 99 a; Auswahl, i. 105a;
Baccusi,i. io8b; Bai, i. 125a;
Baini, i. 288b; Barre (A.),
i. 142 b; Canto Fermo, i.
306 a; Caraccio, i. 307 b; Car-
pentras, i. 317b; Cavaccio, i.
327a; Chant, i. 337b; Cifra,
i- 357^; Colombani, i. 378a;
Fitzwilliam Collection, i.
531a; Foggia, i. 539a;
Giovanelli, i. 596 a ; Goudimel,
i. 612 a; Gounod, i. 613 a;
Gradual, i. 615 b; Guidetti, i.
639 a; Harmony, i. 672 a,
etc. ; Hawkins, 1. 700 b ;
Hexachord, i. 735 b; Hymn,
i. 760b; Improperia, ii. la,
etc. ; Inscription, ii. 4 b,
etc.; Ionian Mode, ii. 18 a;
Jannaconi, ii. 31a; Kand-
ler, ii. 47b; Kyrie, ii. 77 b;
Lamentations, ii. 86 b, etc. ;
Lassus, ii. 94b, etc. ; Lauda
Sion, ii. 104 a ; Leipzig, ii.
115 a; L'Homuie Axmi, ii.
127a, etc.; Litaniae Laure-
tanse, ii. 151b; Lydian Mode,
ii. i8ib; Madrigal, ii. 189b,
etc.; Magnificat, ii. 196a;
Mass, ii. 22^b, etc.; Mel, ii.
248 a ; Miserere, ii. 336 a ;
Missa Brevis, ii. 338 a; Missa
Papa Marcelli, ii. 338 a; Mo-
tet,, ii. 374b, etc.; Motett
Soc, ii. 376 b; Mus. Divina,
ii. 411a, etc.; Mus. Transal-
pina, ii. 416a; Mus. Lib., ii.
419 a, etc, ; Mus.-printing, ii.
434b, etc. ; Nanini (G. M.),
ii. 443b ; Neukomm, ii. 452b;
Non nobis, ii. 464a; Offer-
torium, ii. 494 a ; Oriana, ii.
61 lb; Otthoboni, ii. 615 &;
Part Mu8ic,ii.6566; Pasquini,
ii. 660b; Pitoni, ii. 759 « ;
Plain Song, ii. 764a, etc.;
Polyphonia, iii. 136; Praenes-
tinus, iii. 246 ; Prince de la
Moskowa, iii. 31b; Keal
Fugue, iii. 81 a; Requiem,
iii. 109a, etc.; Ricercare, iii.
126b; Eochlitz, iii. 141b;
Roseingrave (T.), iii. 162a;
Saggio di Contrappunto, iii.
212a; Salve Regina, iii. 223a;
Schools of Comp., iii. 263 b, etc. ;
Sistine Choir, iii. 521a; So-
riano, iii. 638b; Specimens,
Crotch's, iii. 649 b ; Stabat
Mater, iii. 684a ; Subject, iii.
749 a, etc. ; Tantum Ergo, iv.
58a; Thibaut, iv. loib;
Turin i, iv. 190 b ; Veni Creator
Spiritus, iv. 237 a; Vespers, iv,
257b ; Vittoria, iv. 313b, etc. ;
Vocal Scores, iv. 319b; Voices,
iv. 333^; Wagner, iv. 369a;
Zacconi, iv. 497 a; Alfieri,
iv. 520b; Burney, iv. 570b;
Part-books, iv. 740a; Sistine
Chapel, iv. 793b, etc.; Veni
Sancte Spiritus, iv. 808 b;
Victimae Paschali, iv. 812 b.
Palffy, Count F. von, ii. 643 a ;
Beethoven, i. 196b.
Paliabino; PF., ii. 700b, etc.
Palicot, L. ; Pedalier, iv. 745 b ;
Philh. Soc, iv. 747 a.
Palla, Scipione della ; Shake,
iii. 480b, note.
Pallavicino, C. ; Opera, ii.
503b; Oratorio, ii. 537b;
Burney, iv. 571a.
Pallavicinus, B. ; Bodenschatz,
i. 253b; Mus. Transalpina, ii.
416 a.
Palmer, R. ; Psalter, iv. 763a.
Palmerini; Mattei (S.), ii.
239 a.
Palmiebi; Strakosch, iii. 735 a.
Paloschi ; Ricordi, iii. 129 a.
Palotta, M., ii. 643a; Wagen-
seil, iv. 344b.
Paminger, L.; Mus. Divina,
ii. 412 b.
Pammelia, ii. 643 a ; Catch, i.
322a; Ravenscroft, iii. 78b;
Round, iii. 180 a, etc. ; Burney,
iv. 571a.
Pamphilon, E. ; London Violin-
maker, ii. 163b; Violin, iv.
281 a, etc.
Pandean Pipe, ii. 643 b ; Alpha-
bet, i. 56 b; Instrument, ii.
6a; Organ, ii. 573b; Pipes,
ii. 755 «• '
INDEX.
Pandora, ii. 644b ; Bandora, i.
134a; Kit, ii. 62b; Morley,
ii. 368 a ; Orpheoreon, ii. 612 b,
etc.
Pane, D.; Sistine Chapel, iv.
794a.
Pange Lingua; Tantum Ergo,
iv. 58 a.
Panizza, G. ; Naudin, ii. 448 b.
Pannt, J., ii. 644b; Pearsall,
ii. 678 a; Vaterlandische,
Ktinstlerverein, iv. 808 a.
Panofka, H.,ii. 644b; iv. 738a.
Panormo, v.; London Violin-
makers, ii. 165 a.
Panseron, a., 'ii. 644 b ; Con-
servatoire, i. 392 b; Gr.
Prix de Rome, i. 618 b ; Mali-
bran, ii. 201 b; Romance, iii.
148a; Rossini, iii. 170b; Song,
iii. 595 b.
Pantaleon, ii. 645 a ; Dulcimer,
i. 469 a ; Hebenstreit, i. 469 a;
Pianoforte, ii. 712 b.
Pantheon, ii. 645 a.
Pantomime, ii. 645 b; Rich, iii.
127a.
Paolucci, G.; Fux, i. 570b;
Martini, ii. 222 b.
Pape, J. H., ii. 646b; Cottage
Piano, i. 407 b; Extempo-
rising Machine, i. 499 b ; Piano-
forte, ii. 720b, etc. ; Pleyel &
Co., iii. 4a ; Square Piano,
iii. 683 b; Wornum, iv. 489 b.
Papillons, ii. 647 a; Schumann,
iii. 408 a, etc.
Papini, G., ii. 647a ; Philh. Soc,
ii. 700 b; Strakosch, iii. 735 a.
Papini; Pacini, ii. 62 7tt.
Pappenheim, iii. 54 a.
Papperitz, R. ; Taylor (F.), iv.
66h.
Paque, G., ii. 647 b ; Philh. Soc,
ii. 700a.
Paque, P., ii. 647 b.
Parada; Diets, of Mus., i.
446 a.
Paradies, p. D., ii. 647 b; Form,
i. 545 b; Klavier-Musik, Alte,
ii. 63 a; Linley (T.), ii. 143b;
Mara, ii. 209 a ; Meister, Alte,
ii. 247b; PF. Mus., ii. 724a;
Sonata, iii. 665 b; Specimens,
Crotch, iii. 650a ; Symphony,
iv. 14b; Tr^sor des Pianistes,
iv. i68a.
Paradis, ii. 648 a.
Paradis, Marie T.von, ii. 648 a ;
Mosel, ii. 370b; Mozart, ii.
389&.
Paradise and the Peri, ii.
648 b; Bennett (Sterndale), i.
225b; Schumann, iii. 397a,
etc. ; Lalla Rookh, iv. 695 a.
117
Paradisi. (See Paradies, ii.
674b.)
Pabdessus; Tenor Violin, iv.
89 b.
Pardon de Ploermel, Le, ii.
648b; Meyerbeer, ii. 324b,
etc.
Parepa-Rosa, E. p. de B., ii.
648b; Philh. Soc, ii. 700a;
Rosa, iii. 159b; Singing, iii.
512 a ; Strakosch, iii. 734b.
Parfait ; Mus. Lib., ii. 426 a.
Paris, A. ; Gr. Prix de Rome, i.
6i8b; Lesueur, ii. 125b;
Chevd, iv. 585 b.
Parish- Alvars, E., ii. 649 a;
iv. 738a; Bochsa, i. 252 a;
Seyfried, iii. 478 b.
Parisian Symphony, The, ii.
649 b; Mozart, ii. 400 b.
Parisienne, La, ii. 649 b; iv.
738a; Chanson, i.335b.
Parisina, ii. 650 a; Bennett
(Sterndale), i. 229a; Doni-
zetti, i. 454 a.
Parisius, F. ; Sistine Chapel,
iv. 794a.
Parke, J., ii. 650 a; Baumgar-
ten, i. 157a.
Paeke, M., ii. 650b; Ancient
Concerts, i. 64b.
Parke, W. T., ii. 650 b; Glee
Club, i. 599 a; Vauxhall
Gardens, iv. 234 a.
Parker, D. ; London Violin-
makers, ii. 164 b.
Parker, Monk of Stratford :
Mus. Antiqua, ii. 411 a.
Parker; Organ, ii. 597a.
Parlando, ii. 650 b.
Parma, N. ; Bodenschatz, i.
253&-
Paemigiano, p. p. ; Saggio di
Contrappunto, iii. 212 a.
Paeodi; Lumley, ii. 174a;
Pasta, ii. 668 b.
Paeratt, W., iv. 738 a; Royal
College of Mus., iv. 159a;
University Soc, iv. 206 a;
Greek Plays, iv. 655 a.
Parry, C. H. H., ii. 650b ; iv.
738b; PF. Mus., ii. 735 b;
Royal College of Mus., iv.
159a; Schools of Comp., iii.
308 a, etc. ; Song, iii. 608 b ;
University Soc, iv. 206 a;
Greek Plays, iv. 655 a;
Rhapsody, iv. 772a; Univer-
sity Mus. Soc, iv. 806b.
Parry, Ashdown and Wessel,
iv. 448 b.
Parry, J. 0., ii. 651b; Reed,
iii. 91 a ; Wade, iv. 344a.
Parry, John, ii. 651 a ; Eistedd-
fod, i. 484 b; Melodists' Club,
118
The, ii. 249 a ; Mus. Periodi-
cals, ii. 427a; Roy. Soc. of
Musicians of Great Britain,
iii. 187&.
Pabby, J., ii. 6516; Eanelagh
House and Gardens, iii. 74b ;
Welsh Mus, iv. 443 a; Hist.
of Mus., iv. 6745.
Pabby, Jos., ii. 652 a; Schools
of Comp., iii. 308 a.
Pabsifal, ii. 652a; iv. 739a;
Wagner, iv. 364 b, etc.
Pabsons, J,, ii. 652 &.
I'absons, R., ii. 652a ; Barnard,
i. 140a; Mus. Lib., ii. 4186;
Schools of Comp.,iii. 2706, etc. ;
Tudway, iv. 199 a ; Virginal
Mus., iv. 309&; Burney, iv.
5706 ; Mus. Lib., iv. 723a.
Pabsons, W.; Hymn, i. 762 a;
Psalter, iv. 757&.
Pabsons, Sir W., ii. 652b;
King's Band of Mus., ii. 58a ;
Knyvett (C), ii. 676.
Paes, Quinta. (See Quintus,
iii. 61 a.)
Pabtant poub la Syeib, ii.
6526; Drouet, i. 463b ; Hor-
tense, i. 754a ; Song, iii.
595 &•
Pabt-books, iv. 739 a ; Mus.
Ficta, ii. 413 a; Schools of
Comp., iii. 273a, etc.; Score,
iii. 427a ; Sextus, iii. 478a;
Sistine Choir, iii. 5 2 1 a ; Voices,
iv. 334 a.
Pabt du Diable, La, ii. 653 a ;
Auber, i. loi h.
Pabtenio, D. ; Cesti, i. 331b.
Pabthenia, ii. 653a; Fantasia,
i. 503b ; Hawkins, i. 700b ;
Mus. Antiquarian Soc, ii.
416b; Mus. Lib., ii. 422b;
Mus.-printing, ii. 436 b; PF.-
playing, i. 736 a, wo^e; Suite,
iii. 755a ; Trdsordes Pianistes,
iv. i68a; Virginal, iv., 304b.
Pabtial Tones, 653b ; Har-
monics, i. 663 b; Overtones,
ii. 6i8b; Resultant Tones, iii.
119 b ; Temperament, iv. 77 a.
Pabticipant, ii. 655 b; Modes
Eccles,, ii. 342 a, etc.
Pabtie, ii. 656a ; Suite, iii. 756 a.
Pabtimenti, ii. 656 a.
Paetita. (See Pabtie, ii.
656 a.)
Pabtition, ii. 656 a; Score, iii.
426 a.)
Pabtitue. (See Pabtition.)
Paet-music, ii. 656 a; HuUah,
i. 756b.
Paet-song, ii. 657b; Glee, i.
599a; Laudi Spiritual!, ii.
: 05 b ; Liedertafel, ii. 1360;
INDEX.
Madrigal, ii. 192b; Mendels-
sohn, ii. 303 b; Noel, ii.
463 b ; Orpheus, ii. 61 3 a, etc. ;
Robinson, iii. 140 a ; Schools
of Comp., iii. 278b; Singer's
Lib., iii. 496 a ; Hist of Mus.,
iv. 677 a.
Pabt-wbitino, iv. 741 a ; Nota
Cambiata, ii. 466 b ; Notation,
ii. 469 b; Octave, ii. 491b;
Organum,ii. 6iob ; Quintoyer,
iii. 61 a ; Schools of Comp,, iii.
280b; Strict Counterpoint,
iii. 740a, etc.
Pabvi, J. ; Sistine Chapel, iv.
794a.
Pascal Bbuno, ii. 659b ; Hatton
(J. L.), i. 697 a.
Paschb ; Mus. Lib., ii. 417 b.
Pasdeloup, J. E.,ii. 659b; iv.
744a ; Concert, i. 384b ; Las-
serre, ii. 93 a; Orph^on, ii.
612 a ; Godard, iv. 650 a.
PASQDALATi,ii.66ob ; iv. 744b ;
Beethoven, i. I7ab; Seyfried,
iii. 478 b.
Pasqdale; Saggio di Contrap-
punto, iii. 213a.
Pasquali, N., iv. 744 b.
Pasquali; Sacchini, iii. 207 b.
Pasqualini ; Soprano, iii. 636 a.
Pasquin ; Sistine Chapel, iv.
794a.
Pasquini, B., ii. 660b ; Casini,
i. 318b; Gasparini, i. 583b;
Opera, ii. 504a ; Scarlatti (D.),
iii. 239a.
Passacaglia, ii. 661 a ; iv. 744b ;
Chaconne, i. 331b; GrouYid-
bass, i. 634b ; Seguidilla, iii.
457 b, no^e.
Passage, ii. 661 b.
Passagio, ii. 661 b.
Passamezzo, ii. 662 a; Polon-
aise, iii. 10a ; Virginal Mus.,
iv. 308 6, etc.
Passecaille. (See Passacag-
lia, ii. 661 a.)
Passepied, ii. 662 b ; Specimens,
Crotch, iii. 649 a; Suite, iii.
759 b, etc.
Passebbau ; Attaignant, i.
1 00 b.
Passebini ; Kelly, ii. 49 b.
Passing Notes, ii. 662b ; Har-
mony, i. 678a, etc ; Melody,
ii. 251a, etc; Nota Cambiata,
ii. 466 a; Root, iii. 158b;
Thoroughbass, iv. nob, etc. ;
Wechselnote,Die Fux'sche,iv.
430b.
Passion Music, ii. 663 b; iv.
; Bach (J. S.), i. 117a ;
h Society, The, i. 120a;
Bennett (Stemdale), i. 225b;
Handel, i. 649b, etc. ; Lassus,
ii. 98b ; Mendelssohn, ii.
256a, etc. ; Motet, ii. 373a ;
Oratorio, ii. 533b, etc ; Sing-
spiel, iii. 516 a; Song, iii.
619 a ; Schiitz, iv. 46 a ; Zelter,
iv. 505 b. ^^
Pasta, G., ii. 667b; Albertazzi,
i. 49b ; Bellini, i. 212b; Doni-
zetti, i.453a ; Herold, i. 731 b ;
Lamperti, ii. 89 a; Mendels-
sohn, ii. 279b; Otello, ii.
615b; Paisiello, ii. 634b;
Philh. Soc., ii. 699 a ; Singing,
iii. 507 b; Soprano, iii. 635 b;
Veiled Voice, iv. 235 b ; Borghi
(A.), iv. 554b; Masson (E.),
iv. 714b.
Pastebwitz ; Auswahl, i. 105 a ;
Rochlitz, iii. T42a.
Pasticcio, ii. 668 b; Opera, ii.
502 a, etc.
Pastoe ALE, ii. 670 a; iv. 745 a;
Opera, ii. 506b; Peri, ii.
691 a ; Siciliana, iii. 491 b.
Pastobale, Sonata, ii. 670b;
iv. 745 a ; Beethoven, i. 1 80 bi
Pastobal Symphony (Messiah),
ii. 670b; Handel, i. 657a;
Piffero, ii. 753a.
Pastobal Symphony, The, ii.
671b; Beethoven, i. i86b,
etc. ; Knecht, ii. 66 a ; Px'o-
gramme Mus., iii. 38 a ; Pro-
metheus, iii. 41 a.
Pastoubelle ; Pastorale, ii.
670a; Song, iii. 5850.
Patabtus, a. ; Bodenschatz, i.
253&-
Patavini, a. ; Spinet, iii. 652 a.
Pateb Nosteb ; Plain Song, ii.
767 b.
Patey, Janet M., ii. 672a;
Philh. Soc, ii. 700 a ; Sing-
ing, iii. 512 b.
Patey, J. G., ii. 672 a.
Path6tique, ii. 67ab; Beet-
hoven, i. 178 b, etc.
Patino, C. ; Eslava, i. 494b;
Yriarte, iv. 496 b.
Paton, Mary A., ii. 672b; iv.
745 a; Philh. Soc, ii. 699 a;
Singing, iii. 512a; Soprano,
iii. 635 b; Weber, iv. 409b;
Wood (Mrs.), iv. 4860.
Patbick, R., ii. 673b ; iv. 745a ;
Arnold, i. 86 b; Tudway, iv.
198 b.
Pateochoum Musices, ii. 673b;
Berg (Adam), i. 230a.
Patteb-song, ii. 673b.
Patti, A., ii. 673 b; iv. 745 a;
Covent Garden Theatre, i.
413a; Donizetti, i. 453b;
Nicolini (E.), ii. 454a ; Pin-
suti, ii. 754a; Rossini, iii.
176a ; Singing, iii. 510a, etc. ;
Soprano, iii. 635?) ; Strakosch,
iii. 734a ; Nicolini (E.), iv.
731 &.
Patti, C, ii. 674a ; Philh. Soc.,
ii. 7006; Singing, iii. 506&;
Strakosch, iii. 734 &.
Patti, C, ii. 674 a.
Pauana. (SeePAVAN, 11,676 a.)
Pauee, E.jii. 674b; Gernsheim,
i. 5906 ; Harpsichord, i. 691 a;
Klavier-Mus. Alte, ii. 63 a;
Kuhlau, ii. 76 & ; Meister Alte,
ii. 247?) ; Mus. Periodicals, ii.
4286; Philh. Soc, ii. 700a;
Royal College of Mus., iv.
159a; Sechter, iii. 456 a;
Streicher, iii. 739 b ; Zimmer-
mann (Agnes), iv. 507 &.
Pauer; Haydn, i. 706 5.
Paufleb; Song, iii. 614a.
Pauken, iv. 745 a. (See Ket-
tle-drums, ii. 51b.)
Paul, 0.,ii. 675 b ; Die. of Mus.,
i.446a ; Harpsichord, i.691 b ;
Mus. Periodicals, ii. 430 b;
Pianofoi-te, ii. 710b, etc.;
Hist, of Mus., iv, 675b, etc.
Paul, St., ii. 675 b; Mendels-
sohn, ii. 271 b, etc.
Paulsen; Bull (Ole B.), iv,
568 b.
Paulus; Wind-band, iv. 470a.
Pause, ii. 675 b ; Fermata., i.
512a; Notation, ii. 474b;
Point d'orgue, iii. 6h; Corona,
iv, 559 a.
Pa van, ii, 676 a; iv. 745 a;
Dowland, i, 460b ; Orchdso-
graphie, ii, 560 a ; Padua, ii,
627b; Passamezzo, ii, 662a ;
Polonaise, iii, loa ; Suite, iii,
755a; Variations, iv. 217b;
Virginal Mus., iv. 308 a,
etc,
Pavesi ; Odeon, ii, 492 b.
Paxton, S., ii. 677a ; iv. 745a;
Catch Club, i. 322b; Glee, i.
599a.
Paxton, W., ii. 677a; Part-
Music, ii. 656 b.
Payer, H. ; PF. Mus., ii. 727a;
Vaterlandische Kiinstlerver-
ein, iv. 808 a.
Peabodt Concerts, ii. 677 a.
Peace, A. L., ii. 677b; Sab-
batini, iv. 807 a.
Pearce, E, ; Ravenscroft (T.),
iii. 78b.
Pearman ; Addison, i. 30b.
Pearsall, R. L., ii. 678a ; Bris-
tol Madrigal Soc., i. 276b;
Panny, ii. 644b; Part Mus,,
ii. 656 b ; Part-song, ii. 659 a ;
INDEX.
Schnyder von Wartensee, iii.
256 a.
Pearson, H. (See Pierson, ii.
752a.)
Pearson, J. ; Martin, G. C, iv.
711b.
Pearson, M. (See Peerson, ii,
683b,)
Pechon; Maitrise, ii. 199 b.
Peczival; Haydn, i. 706 a.
Pedalibr, ii. 678 b; iv, 745 a;
Alkan, i. 53b; Schumann, iii.
421a.
Pedal Point, ii. 678 b; Fugue,
i. 567a, etc.; Harmony, i,
684a; Inversion, ii. 17a;
Point d'orgue, iii. 6 b ; Tonal
Fugue, iv, 135b, etc.
Pedals, ii. 681 b; iv. 745 b;
Bernard, i. 234 b ; Cembalo, i,
330b; Harp, i. 687a; Harp-
sichord, i, 690a ; Notation, ii,
478b; Organ, ii. 580b, etc, ;
Pianoforte, ii. 717 a, etc ; Sor-
dini, iii. 636 a, etc. ; Sweelinck,
iv. 8a; Taskin (P.), iv. 63a ;
Touch, iv. 154a; Treatment
of the Organ, iv. 164a ; U. C,
iv, 200 a; Verschiebung, iv,
256 b; Vogler, iv, 325 b;
Wolff (A.), iv. 485b.
Pedrotti; Verdi, iv. 252 a.
Peerson, M,, ii. 683b; Este
(T,), i. 496a; Leighton, ii,
114b; Madrigal, ii, 191b;
Motet, ii. 375b; Virginal
Mus,, iv. 309a, etc.; Carol,
iv. 581a.
Pelestbino. (See Palesteina,
ii. 635 a, note.)
Pellegrini, F,, ii, 683b ; Sin-
clair, iii. 495 b ; Falcon (Marie
C), iv, 632a.
Pellegrini, G., ii, 684 a,
Pellegrini, V. (See Valebi-
ANO, iv. 214b,)
Pellegrini, ViN.; Sistine Chapel,
iv. 794a.
Pellesier ; Opera, ii. 529 b.
PELLETAN,Mlle,; Gluck,i. 604a,
Pelletier ; Metronome, ii, 3 1 8 b,
Pembebton, E, ; London Violin-
makers, ii. 163 b.
Penalosa, F. ; Eslava, i. 494b.
Penet; Sistine Chapel, iv. 794a.
Pennaueb ; Diabelli, i. 442 a ;
Schubert, iii. 345 a.
Pentachord ; Abel (K. F.), i.
4b.
Pentachord ; Modes Eccles., ii.
341a.
Pent atonic Scale, iv. 745 b;
Scotish Mus., iii. 438 a ; Welsh
Mus., iv. 442 b ; Negro Mus.,
iv. 728b.
11»
Pentatonon, iv. 745 b.
Pkpoli, Count; Dragonetti, i.
462 a.
Pepusch, J. C, ii. 684a ; Aca-
demy of Ancient Mus,, i. 106 ;
Babell, i. 287a ; Beggar's
Opera, i. 209b; Berg (G.), i.
230b ; Boyce.i. 267a; Britton,
i. 277b ; Cecilia, St., i. 329b ;
Cooke, i. 396b ; Epine, De 1', i.
490b; Grassineau, i. 620a;
Handel, i. 649 b; Hawkins, i.
700 a; Howard, i. 754 b;
Immyns(J,),i. 766a; Keeble,
ii. 48 a ; Lincoln's Inn Fields
Theatre, ii. 140a; Mus. Lib,,
ii, 421b; Mus. School, Oxford,
ii. 437 a; Nares, ii. 446 b;
Non nobis, ii. 464a; Opera,
ii. 508b, etc.; Rawlings, iii.
79 a ; Royal Soc. of Musicians,
iii. 187a; Smith (J, C), iii,
540 a; Steffani, iii. 698 b;
Travers, iv. 162b; Violon-
cello-playing, iv. 300 a; Vir-
ginal-music, iv. 306 a,
Perabo, E,, ii. 685a; Schubert,
iv. 786b.
Peralta ; Lamperti, ii, 89 a.
Percussion, ii. 685 a; Suspen-
sion, iv. 4 b.
Percy, John, ii. 685 b; Song,
iii, 607 a.
Perdendosi, ii. 685 b,
Perego, C; Plain Song, ii.
763a.
Pebeja, B. R. ; Bologna, i.
259a.
Peretti; Kelly, ii, 49 b,
Perez y Alvarez, J.; Eslava,
i. 495 a.
Perez, D.,ii, 685b; Mattel (C),
ii. 238b ; Mus. Lib., ii. 420a;
Olimpiade, ii. 496 b; Opera,
ii. 514b; Scotch Snap, iii.
437b; Siroe, re di Persia, iii.
534a; Solfeggio, ill. 547b;
Todi, iv. 130b; Zenobia, iv.
506a ; Mus. Lib., iv, 726a.
Perez, P.; Sistine Choir, iii.
520b.
Perfect, 11. 686 a; Cadence, i.
290b, etc. ; Harmony, 1.6750;
Hemlolia, 1. 727b; Hidden
Fifths and Octaves, 1. 736 a;
Imperfect, 1. 767 a, etc, ; In-
terval, 11. 12 a; Mass, ii.
227a; Mus. ficta, ii. 413a;
Temperament, iv. 72 b.
Pergetti, 11. 686 a ; Soprano, iii.
636 a.
Pergola, la, 11, 686 a.
Pergolesi, G. B,, ii, 686 a; iv,
746 a; Auswahl, 1, 105a;
Cantata, 1. 305 a; Comic
120
Opera, i. 380a; Cooke (B.),
j. 397 a; Duni, i. 469 a; Fitz-
williain Collection, i. 531a;
Grecco, i. 624a; Handel,
i. 6546; HiUer (J. A.), i.
739b; Intermezzo, ii. ga;
Kyrie, ii. 78 b; Latrobe, ii.
103 a; Marylebone Gardens,
ii. 224a; Mass, ii. 234a;
Monsigny, ii. 356 a; Motet,
ii. 376a; Mus. Lib.,ii. 420a;
Naples, ii. 445 b; Olimpiade,
ii. 496 i; Opera, ii. 614b;
Palotta, ii. 643 a; Rochlitz,
iii. 142 a; Salve Regina, iii.
223a; Schools of Comp., iii.
287b ; Serva Padrona, La, iii.
471 a; Specimens, Crotch's, iii.
650a; Stabat Mater, iii. 684b;
Villarosa, iv. 265 a ; Vinci, iv.
266a; Walsh (J.), iv. 380b;
Metastasio, iv. 718a; Mus.
Lib., iv. 726 a.
PEUi,»r.,ii. 690b; Bardi, i. 139a;
Cacoini, i. 290b; Cantata, i.
304 b; Cavalieri, i. 327 a;
Figured Bass, i. 522a; Flor-
ence, i. 533b; Harmony, i.
673a, etc. ; Mus. Lib., ii. 425b;
Opera, ii. 498a, etc.; Or-
chestra, ii. 562 a ; Pergola, la,
ii. 686 a ; Recitative, iii. 83 a;
RitorneUo, iii. 137a; Schools
of Comp., iii. 278 b ; Score, iii.
429b; Secco Recitative, iii.
454b ; Specimens, Crotch's, iii.
649b; Symphony, iv. 11 a;
Thoroughbass, iv. io8b Zac-
coni, iv. 497 b; Burney, iv.
571a; Mus. Lib., iv. 726a;
Rome, iv. 774a; Schiitz, iv.
788 a.
Pebianez, p. ; Eslava, i. 494b.
PERiELESis,ii.69ib; Plain Song,
ii. 767 a; Pneuma, iii. 4b.
Perigoukdine, ii. 692 a; Speci-
mens, Crotch's, iii. 649a.
Pebinus, H.; Bodenschatz, i.
254a-
Period, ii. 692 a; Figure, i.
520b ; Form, i. 542 b ; Phrase,
ii. 706 a.
Perle du Bbesil, La, ii. 692 b ;
David (F^l.), i. 433 a.
Pebne, F. L., ii. 692 b; Chanson,
i. 336a; Conservatoire de
Mus., i. 392b, etc.; FayoUe,
i. 510a; La Fage, ii. 83b;
Hist, of Mus., iv. 675 a.
Perotti, G. a. ; Mattel (S.), ii.
239a; Hist. ofMu8.,iv. 675b;
Mus. Lib., iv. 726a. ^
Perbin, a. ; Wind-band, iv. I
469 a, note; Hist, of Mus., iv.
6770. !
INDEX.
Pebbin, p. (I'Abbe), ii. 693a;
Acadt^mie de Mus., i. 6b;
Ballet, i. 130b; Cambert, i.
299b; Libretto, ii. 130 a;
Lulli, ii. 172b.
Pebrino ; Olimpiade, ii. 496b.
Pereonbt Thompson ; Tempera-
ment, iv. 70 b, note, etc. ;
Tetrachord, iv. 94 a, note.
Perrot; Ballet, i. 132 a.
Pebby, G., ii. 693 a; Rainforth,
iii. 67 b; Sacred Harmonic
Soc., iii. 211 a.
Pebsiani, Fanny, ii. 693 b;
Covent Garden Theatre, i.
413 a; Donizetti, i. 453 a;
Laporte, ii. 91 b ; Malibran, ii.
202 b; Philh. Soc, ii. 699b;
Singing, iii. 508 a ; Soprano,
iii. 635 b; Tacchinardi, iv.
51b; Viardot Garcia, iv. 259 b.
Pebsonelli, Lotti, ii. 167 b.
Pebsuis, L. L. L. de, ii. 694a ;
Lesueur, ii. 125b; Valentino,
iv. 214a.
Peru, J. A., ii. 694b; Aldov-
randini, i. 51b; Auswahl, i.
105a; Bologna, i. 259b; Fitz-
william Coll., i. 531a; Mar-
tini, ii. 222a; Opera, ii. 504a ;
Pract. Harmony, iii. 24 a ;
Saggio di Contrappunto, iii.
212a; Subject iii. 750b.
Pes; Round, iii. 180 a; Schools
of Comp., iii. 268 b ; Score, iii.
433&.
Pesante, ii. 695 a.
Pesaro, D. de; Ruckers, iv.
777«.
Pesohi ; Haydn, i. 706b.
Peschka-Leutner, M., ii. 695 b ;
Philh. Soc, ii. 700 b.
Pessard, E.; Gr. Prix de Rome,
i. 618b.
Peter Schmoll; Weber, iv.
393 &, etc.
Peter, St., ii. 695 b ; Benedict, 1.
223a.
Peters, C. F., ii. 695 b; HofF-
meister, i. 742 b; Schubert, iii.
336 b; Thematic Catalogue,
iv. 99b.
Petersen, N., Svendsen (0.), iv.
7a; Mus. Lib., iv. 724b.
Petit, J. le ; Sistine Chapel, iv.
794 a.
Petbeius, J., ii. 696 a.
Petbella, E. ; ii. 695 b; iv.
746 a; Verdi, iv. 2526.
Petbi; Violin-playing, iv. 298 a.
Petbie; Irish Mus., ii. 22a.
Petbillo ; Corelli, i. 401 b.
Peteini; Plantade (0. H.), iii.
lb.
Petbino; Mus. Lib., iv. 726 a.
Petrovitch ; Strakosch, iii.
73.«>o.
Peteucci, O. dei, ii. 696 a;
iv. 746a; Catelani, i. 323b;
Madrigal, ii. 188 a; Motet, ii.
374a, etc.; Mus. Lib., ii.
419b, etc.; Mus.-printing, ii.
433 b; Schmid (A.), iii. 254b;
Schools of Comp., iii. 260b,
etc.; Song, iii. 586b, etc.-;
Part-books, iv. 739 b.
Pettit, W. ; ii. 696 b.
Petzmayeb, J., iv. 746 a; Zither,
iv. 512 a.
Petzold, G. L., iii. 683b.
Peutinqeb, C; ii. 696 b.
Pevebnaoe, a. ii. 697 a; Tr^sor
Mus., iv. 802 b.
Pezze, a., ii. 697 a.
Pfeifpeb; Beethoven,!. 163a.
Pfeiffeb, a. F. ; Hist, of Mus.,
iv. 674 b.
Pfeifpeb, G., iv. 746 a.
Pfbetschnee; Klotz, ii. 65 a.
Pfudel, E. ; Mu8. Lib., iv.
724b, etc.
Phalesius ; Mus.-printing, ii.
435 &» Notation, ii. 474b;
Vaet, iv. 212 b; Waelrant,iv.
344&-
Phelyppes, Sir J.; Schools of
Comp., iii. 270 b.
Philadelphia, ii. 697a.
Philemon et Baucis, ii. 698 a;
Gounod, i. 614a.
Philhabmonic Society, li. 698 a;
iv. 746 a; Albert, Prince, i.
49 a ; Analysis, i. 62 b; Ander-
son (Mrs.), i. 65 b; Argyll
Rooms, i. 82 a; Ashley (C.
J.), i. 98b; Attwood, i. loob;
Ayrton (W.), i. 107 a; Beet-
hoven, i. 1940, etc. ; Bennett
(Sterndale), L 225b; Bishop
(Sir H.), i. 245 a ; Chappell &
Co., i. 339b; Cherubini, i.
343 a; Choral Symphony, i.
352b; Concert, i. 384a; Costa,
i. 406b; Ousins, i. 424b;
Dance, i. 429 a; Dulcken, i.
469 a ; Griffin (G. E.), i. 631 b;
Janiewicz, ii. 31a; Mendels-
sohn, ii. 263a, etc.; Moscheles,
ii. 370a ; Mounsey (E.), ii.
377b; Mus. lib., ii 421a;
Novello (V.), ii. 481a; Re-
hearsal, iii. 976 ; Salomon, iii.
221 b; Smart (G.), iii. 537a;
Spohr, iii. 659 a; Tenth Sym-
phony, iv. 92 b; Wagner, iv.
359 a, etc.
Philhabmonic Society op New
York, the, ii. 701 b ; Concert,
i. 3846; Thomas (Th.), iv.
1 06 a.
Philharmonic Society, Brook-
lyn, ii. 702 a ; Thomas (Th.),
iv. 1 06 a.
Philidor, Andr£ (L'ain^), ii.
702b; LuUy, ii. 172 i, note;
Roi des Violons, iii. 146 a;
Song, iii. 594 a; Sounds and
Signals, iii. 645 & ; Vingt-
quatre Violons, iv. 266 a.
Philidor, Anne, ii. 703 &; Con-
cert Spirituel, i. 385 a.
Philidor, F. A. D., ii. 703 b;
Gluck, i. 6026; Maitrise, ii.
200 a.
Philidor, F., ii. 7036.
Philidor, F., ii. 704 b.
Philidor, Jac. (Le Cadet), ii.
703 a.
Philidor, Jac, ii. 704 J.
Philidor, J., ii. 702 b.
Philidor, M. Dan., ii. 702 b.
Philidor, M. D., ii. 702 b.
Philidor, M., ii. 703 b.
Philidor, N., ii. 705 a.
Philidor, P., ii. 704b.
Philippes. (See Verdelot.)
Philippon, de la Madeleine ;
Cl^ du Caveau, iv. 593 b.
Philippon. (See Monte, P. de.)
Philipps, Peter, ii. 705 a;
Hawkins, i. 700b ; Passa-
mezzo, ii. 662 a; Schools of
Comp., iii. 273a, note; Simp-
son (T.) iii. 495 a ; Virginal
Mus., iv. 308 b, etc.
Phillipps, a., ii. 705 a.
Phillipps, Adelaide, iv. 747 a.
Phillips, H., ii. 705 b; Ancient
Concerts, i. 65 a ; Bellamy
(R.), i. 211 a; Mendelssohn,
ii. 285a ; Monk (E.), ii. 353b ;
Singing, iii. 512 b; Table
Entertainment, iv. 51a.
Phillips, W. L., ii. 705 b ; Soc.
British Musicians, iii. 544a.
Philp, E., iv. 748 a.
Philpot, J. ; Anderson (Mrs.),
i. 65 b.
Philtre, Le, ii. 706a ; Auber,
i. loib.
Phinor; Mus. Lib., iv. 726 a.
Phinot ; Bodenschatz, i. 253a.
Phrase, ii. 706a ; Air, i. 46b ;
Figure, i. 520 b ; Form, i.
541b, etc.; Period, ii. 692b;
Rhythm, iii. 123a, etc.
Phrasing, ii. 706a ; iv. 748a ;
Accent, i. 13a; Scherzando,
iii. 245 b; Slur, iii. 536 b;
Touch, iv. 153b; Treatment
of the Organ, iv. 164b.
Phrygian Mode, ii. 708b ; E.,
i. 478 a ; Gregorian Modes, i,
626a; ModesEccles.,ii. 341a;
Song, iii. 610 a.
INDEX.
Physharmonica, ii. 709 a ; Bla-
hetka, i. 247 a ; Hannonium,
i. 667a; Reedstop, iii. 90a;
Schulz (Ed.), iii. 383b; Sera-
phine, iii. 466 b.
PiACERE, A, ii. 709 a.
Piacevole, ii. 709 a.
Pianette, ii. 709 a.
Piangendo, ii. 709 a.
Pianissimo, ii. 709 b.
Piano, ii. 709 b.
Pianoforte, ii. 709 b; iv. 748 a ;
Action, i. 26 b; Andr^ (J.),
i. 66 b; Bach (J. N.), i.
112a; Bechstein, i. i6ob;
Becker,i. 161 a ; Belly, i. 220b ;
Bluethner, i. 250a; Boesen-
dorfer i. 254 b ; Broad wood, i.
277b, etc. ; Cabinet Piano, i.
290a; Check, i. 341 a; Chicker-
ing, i. 345 a ; Clavichord, i.
366 b; Clavier, i. 369 b; Col-
lard, i. 377b ; Cottage Piano,
i. 407b; Cramer, i. 413b;
Cristofori, i. 417b; Damper,
i. 429a; Dulcimer, i. 468b;
Erard, i. 490 b, etc. ; Forte, i.
556a ; Grand Piano, i. 6i8a ;
Grasshopper, i. 619b; Ham-
mer, i. 647 b ; Harpsichord, i.
688 a; Herz, i. 733 a; Hop-
kinson, i. 747a; Hopper, i.
747a; Instrument, ii. 7a;
Jack, ii. 26b; Key, ii. 53a;
Kirkman, ii. 6ib; Melopiano,
ii. 252b; Mute, ii. 439b;
Notation, ii. 478b; Oblique
Piano, ii. 486 a ; Overspun, ii.
6 1 8 a ; O verstringing, ii . 6 1 8 a ;
Pantaleon, ii. 645 a ; Pape, ii.
646 b; Pedalier, ii. 678b;
Pedals, ii. 681 b, etc. ; Pianette,
ii. 709 a; Piccolo Piano, ii.
751a; Pleyel (C), iii. 3a;
Rimbault, iii. 135b; Schied-
mayer, iii. 249a; Schroeter,iii.
318a; Silbermann, iii. 494a,
etc.; Smart (H.), iii. 537b;
Sordini, iii. 636 a, etc. ; Sosti-
nente Pianoforte, iii. 639 b;
Square Piano, iii. 683 a ; Stac-
cato, iii. 685a; Stein,iii. 708 a,
etc.; Steinway & Sons, iii.
709 b; Stodart, iii. 716b;
Streicher, iii. 739 b; String,
iii. 745a, etc.; String-plate,
iii. 746a; Taskin, iv. 63a;
Temperament, iv. 72a, etc.;
Tone, iv. 142 b, etc. ; Transpos-
ing Instruments, iv. 160 a;
Tuning,iv. i89a,etc. ; Upright
Gr. Piano, iv. 208 b; Vidal,
iv. 261 b; WelckervonGonters-
hausen, iv. 434 b; Wolf, The,
iv. 485a; Wolff(-^0»iv.485b;
121
Wrestplank, iv. 490 b; Bord,
iv« 554^5 Brinsmead, iv.
565 a; Forsyth, iv. 637 b;
Hist, of Mus., iv. 676 a.
Pianoforte Music, ii. 724a;
iv. 748 a.
Pianoforte-playing, ii. 736 a;
iv. 748 b; Alkan, i. 63 a;
Anderson (Mrs.), i. 65 b;
Bach (C. P. E.), i. 114a;
Beethoven, i. i66a ; Bennett
(Stemdale), i. 225b; Berger,
i. 231a; Blabetka, i. 247a;
Biilow, i. 280b; Chopin, i.
349 a; Claus, i. 366 a; Cle-
ment],i.372tt; Cramer(J.B.),
i. 413b, etc. ; Czerny, i. 425a ;
Digitorium, i. 447 a; Dohler,
i. 452a ; Dreyschock, i. 463a;
Dulcken, i. 469 a; Dussek, i.
473a; Etudes, i. 497a ; F^tis,
i. 517a; Filtsch, i. 523a;
Fingering, i. 525a; Goddard,
i. 604b ; Halle, i. 646b; Hel-
ler, i. 725a; Henselt, i. 729b;
Herz, i. 732 b; Hiller (Ferd.),
i« 737 <^; Hummel, i. 757b;
Jaell, ii. 30 a; Janotha, ii.
32 a; Kalkbrenner, ii. 46a;
Klind worth, ii. 64 a ;. Kontski,
De, ii. 68 b; Krebs (M.),
ii. 70b; Legato, ii. 112b;
Leggier o, ii. 113b; Lesche-
titzky, ii. 123a; Liszt, ii.
145 a; Lubeck (E. H.), ii.
171b; Mayer (C), ii. 240a;
Mehlig (Anna), ii. 245 b;
Mendelssohn, ii. 298b, etc.;
Menter, iii. 16 a; Montigny-
Rdmaury, ii. 360 a ; Mortier
de Fontaine, ii. 369 b ; Mosche-
le8,ii. 369b; Mozart, ii. 395b;
etc. ; Osborne, ii. 61 5 a ; Oury,
ii. 617a; Paradis (M.), ii.
648a; Pauer, ii. 674b; Phras-
ing, ii. 706 a ; Pianoforte, ii.
719b; Plaidy,ii. 763 a; Pleyel
(Ign.), iii. 3a ; Pleyel (Mme.),
iii. 3b; Potter (C), iii. 22b;
Prudent, iii. 43b; Rappoldi
(Kahrer L.), iii. 76 b ; Ravina,
iii. 78 b; Rendano, iii. 107 b;
Ries (Ferd.), iii. 131b; Ro-
senhain, iii. 162 a; Rubinstein
(Anton), iii. 191a; Rubin-
stein (Jos.), iii. 193 a; Rubin-
stein (N.), iii. 193 a; Scarlatti
(D.), iii. 240a ; Scharwenka
(X.),iii. 242 a; Schauroth(D.),
iii. 242b; Schirmacher, iii.
253a ; Schroeter (J. S.), iii.
318a; Schubert, iii. 360 a;
Schumann, iii. 407b ; Schu-
mann (Clara), iii. 421b, etc.;
Sonata, iii. 565 a ; Staccato,
122
iii. 685a; Steibelt, iii. 699l>;
Studies, iii. 746 b; Tausig, iv.
646; Taylor (F.), iv. 666;
Thalberg, iv. 956; TimanofF,
iv. 116a; Touch, iv. 152b;
T&rk, iv. 1 86 a; Weber, iv.
425 a ; Wieck (F.), iv. 454a ;
Wieck(M.), iv. 455 a; Will-
mers, iv. 462 a; Woelfl, iv.
4775, etc.; Wrist-touch, iv.
490b; Zimmermann (A.), iv.
507 b; Bache (W.), iv. 529b;
Beringer (0.), iv. 5450;
Brandes, iv. 562a; Brassin
(L.), iv. 562 b; Briill, iv.
666 b; Davies (F.), iv. 608 b;
Dupont (A.), iv. 621a; Essi-
poft',iv. 629b; Frickenhaus, iv.
642 5; Fumagalli, iv. 643 b;
Golinelli, iv. 651a; Hartvig-
8on (F.), iv. 669 a; Kuhe
(W.), iv. 693 b; Loeschhorn,
iv. 705a; M^r^aux, iv. 717b;
Napoleon, iv. 727b; Nicode,
iv. 730b; Pachmann (V. de),
iv. 737a; Plants, iv. 749b;
Samara, iv. 780a ; Weitz-
mann, iv. 816 b.
Piano Mecanique, ii. 745 a.
Piano- VIOLIN, ii. 745 b ; Hurdy
Gurdy, i. 759 b; Praetorius, iii.
26 a; Sostinente Pianoforte,
iii. 639 a.
Piantanida; Milan, ii, 329a.
Piatti, a., ii. 746 a ; iv. 749 a ;
Bergamasca, i. 230 b ; Holmes
(A.), i. 743 b; Mendelssohn,
ii. 284b; Monday Popular
Concerts, ii. 352b; Monfer-
rina, ii. 353a ; National Con-
certs, ii. 447 b; Philh. Soc,
ii. 699b ; Schools of Comp.,
iii. 310b; Soc. British Mu-
sicians, iii. 544a ; Stradivari,
iii. 731b; Straus (L.), iii.
737a ; Violoncello-playing, iv.
300b, etc.; Wartel (A. T.),
iv. 383b; Welsh (T.), iv.
444b; Wilson (M. A.), iv.
463b; Golinelli, iv. 651a;
Hausmann (R.), iv. 670a ;
Napoleon, iv. 728a ; Quaren-
ghi, iv. 766 a.
Piatti, ii. 746 b; Cymbals, i.
425 a ; Drum, i. 466b.
PiBKOCH, ii. 746 b; Bagpipe, i.
123b, etc.
PiCANDER ; Passion Music, iv,
^7450.
PicciNNi, G., ii. 750a.
PicciNNi, L., ii. 749 b.
PicciNNi, L. A., ii. 750 a.
PicciNNi(N).,ii. 747 a ; iv. 749 a ;
Academic de Mus., i. 8a;
Anfossi,i.67b; Bass, i. 149a;
INDEX.
Bemetzrieder i. 221a; Ber-
ton, i. 237a; Cimarosa, i.
358a; Durante, i. 471a;
Finale, i. 523b ; Fux, i. 570b ;
Gazzaniga, i. 5860; Gluck, i.
602 b, etc. ; Grand Opera, i.
617 a, etc.; Iphig^nie en
Tauride, ii. 18 b; Jommelli,
ii. 37a; Leo, ii. 121a; Lo-
groscino,ii, 5140,710^6 ; Mayer,
ii. 240 b; Mozart, ii. 383 a, etc. ;
Naples, ii. 445 b; Noverre, ii.
483 a; Olimpiade, ii. 496 b;
Opera, ii. 514 b, etc. ; Oratorio,
ii. 552 a, etc. ; Pacchierotti, ii.
625b; Sacchini, iii. 207 a;
Saint Huberty, iii. 214a;
Schools of Comp., iii. 287b ;
Siroe, re di Persia, iii. 534a ;
Spontini, iii. 665 a, etc. ;
Zenobia, iv. 506 a ; Metasta-
sio, iv. 718 a.
PicciOLi, G. A. ; Schools of
Comp., iii. 266 a.
Piece, ii. 750a.
Piece Pipe, ii. 750 a.
Piccolo, ii. 750 b ; Flute, i.
536b; Octave Flute, ii. 492 a;
Orchestra, ii. 565 b ; Ottavino,
ii. 615b.
Piccolo Piano, ii. 751a; Cot-
tage Piano, i. 407 b.
PiccoLOMiNi, Maria, ii. 751a;
iv. 749a ; Lumley, ii. 174a ;
Singing, iii. 508 a ; Campana,
iv. 576 a.
PiCHEL, W., ii. 751b ; Baryton,
i. 147 a; Violin-playing, iv.
289.
PiCHi, G. ; Virginal Mus., iv.
309 a.
Pickhaver; Mus. Lib., ii.41 8 b.
Piece, ii. 751b.
PiECZONKA, A. ; PF.-playing, ii.
736 a.
PiENO, ii. 752 a.
PiERANZOViNl ; Drum, iv. 61 8b.
Pierre, De la; Vingt-Quatre
Violons, iv. 266 J.
Pierre De la Eue. (See Rub,
iv. 778a.)
PlERSON, H. H., ii. 752 a ; Edin-
burgh Prof, of Mus., i. 483a;
Jerusalem, ii. 34 a; Parry
(C. H. H.), ii. 651a ; Profes-
sor, iii. 33a ; Reid, iii. loia ;
Schools of Comp., iii. 308 a.
PiETEREZ, A., iv. 749 a.
PiiTON, L. ; Compare, i. 382 b ;
Sistine Chapel, iv. 794 a.
PiETOSO, iv. 749 a.
PiETRO iL Grande, ii. 753 a;
JuUien, ii. 45 b.
PiFPARO ; Organ, ii. 603 a.
PiPFERO, ii. 753a; Pastoral
Symphony, ii. 670b ; Shawm,
iii. 485 b.
PiGGOTT, F., ii. 753a.
PiGGOTT, F., jun., ii. 753 a.
PiGNOTTA ; Opera, ii. 504a.
Pns ; CU du Caveau, iv. 593 b.
PiLET, A. ; Lamoureux, iv. 696 a.
Pilgrimb von Mekka, Die, ii.
753^^; iv. 749<*; Cluck, i.
601 b.
PiLKiNGTON, F., ii. 753b; Este
(T.), i. 496 a; Leighton, ii.
114b; Mus. Antiqua,ii.4iia;
Oriana, ii. 6t i a ; Part Music,
ii. 657a; Virginal Mus., iv.
308a, note; Vocal Scores, iv.
320a.
PiLLANT, L., Hist, of Mus., iv.
676a.
Pills to purge Melancholy;
D'Urfey, i. 472 a.
Pilotti ; Belletti, i. 211b; Mat-
tel, ii. 239 a.
Pinafore, H.M. S., ii. 753b; g
Sullivan, iii. 762 b. ■
PiNCE ; Acciaccatura, i. i8b ;
Mordent, ii. 362 b, etc.
PiNELLi; Rome, iv. 775a.
PiNELLO, J, B. ; Bodenschatz,
i. 253b; Mus. Transalpina, ii.
416 a.
Pino; Pisaroni.ii. 756a.
Pinotti, Teresa; Lablache, ii.
80 a.
PiNSUTi, C, ii. 753b ; iv. 749a;
Part-song, ii. 659 a; Patey
(Janet), ii. 672 a; Wynne
(Edith), iv. 8 18 a.
PiNTELLi; Sistine Chapel, iv.
794a.
Pinto, G. P., ii. 754a ; Dussek,
i. 476b; PF. Mus., ii. 727b;
Salomon, iii. 221b; Violin-
playing, iv. 298 b.
Pinto, Mrs. (See Brent, iv.
563a.)
Pinto, T., ii. 754a ; Fisher, i.
530a ; Violin-playing, iv.
298b; Brent (Charlotte), iv.
663a.
Pinto; Tosti, iv. 151b.
PioccHi ; Saggio de Contrap-
punto, iii. 212 a.
Piozzi, G., ii. 754b ; Banti, i.
135 b ; Pacchierotti, ii. 625 b.
PiPELARB, M. ; L*Homme Armd,
ii. 127a; Schools of Comp.,
iii. 260b ; Sistine Chapel, iv.
7940 ; Trdsor Mus., iv. 803a.
Pipe and TABOR,i. 754b ; Tabor,
iv. 51a ; Vidal (F.), iv. 261b.
Pipes, Vibration op Air in,
"• 754^ > Barrel Organ, i.
144a; Node,ii.46ia; Stopped
Pipe, iii. 717 b.
Pippo. (See Mattei, F.)
PiBATA II, ii. 755 & ; iv. 749a;
Bellini, i. 21 2 5.
Pirates of Penzance, The, ii.
756a ; Sullivan, iii. 762 &.
PiRON ; Cld du Caveau, iv.
593 &.
PiSARi, P., ii. 756 a ; Jannaconi,
ii. 31a; Sistine Chapel, iv.
794a.
PiSARONi, B. E., ii. 756a;
Laporte, ii. 916; Mendels-
sohn, ii. 263 a; Singing, iii.
5106; Tamburini, iv. 56a.
PiscHEK, J. B., iii. 54a; Jul-
lien, ii. 45 a, etc. ; Lindpaint-
ner, ii. 143a; Nachbaur, ii.
440a; Philh. Soc., ii. 6996;
Schott (A.), iii. 314& ; Song,
iii. 614& ; Stark, iii. 690& ;
Staudigl, iii. 6916; Kuhe
(W.), iv. 693 &.
PiSENDEL ; Graun (J. G.), i.
620&; Veracini (F. M.), iv.
2 39 a J Violin - playing, iv.
289.
PiSTOCCHi, F. ; Bass, i. 148b;
Bernacchi, i. 234a; Bologna,
i. 259?) ; Fabri, i. 500&;
Morigi (P.), ii. 366 a; Negri,
ii. 451a; Nicolini, ii. 454a;
Opera, ii. 505 a ; Oratorio, ii.
5376; Burney, iv. 571a.
Piston, ii. 7566; Cornet, i.
4036; Sax (C. J.), iii. 232 a,
etc. ; Valve, iv. 215 a.
PiSTRUCCi; Barcarolle, i. 139 a.
Pitch, ii. 757 & ; Bass, i. 148 a ;
Beats, i. 159a; Clarinet, i.
364a ; Concert-pitch, i. 3846;
Conservatoire de Mus., i. 393 a ;
Diapason, i. 442 h ; Griesbach,
i. 6316; Helmholtz, i. 7266;
Hoffmann (G.), i. 742 a;
Horn, i. 750a ; Interval, ii.
II a ; Kneller Hall, ii. 67 a ;
Monochord, ii. 354a ; Organ,
ii. 5806, note, etc. ; Partial
Tones, ii. 6536; Piston, ii.
7566; Proportion, iii. 42 a;
Scale, iii. 2356, etc. ; Schei-
bler, iii. 244 a ; String, iii.
745 a ; Temperament, iv. 70 &,
etc.; Tuning, iv. 189a;
Tuning-fork, iv. 190 a ; Chor-
ton, iv. 591 a ; Ellis (A. J.),
iv. 627 a.
PiTCHPiPE, ii. 7586; Tuning,
iv. 189 a.
PiTONi, G. C, ii. 759 a; Feo, i.
511&; Leo, ii. 121 a; Mus.
Divina, ii. 41 1 a ; Palestrina,
ii. 6356, note; Requiem, iii.
109 b ; Schools of Comp., iii.
287a J Sketches, iii. 5266;
INDEX.
Dies Irae, iv. 614a; Rome,
iv. 774 a.
PiTTERLiN ; Fesca (F. E.), i.
514^-
PiTTMAN, J., ii. 759 a; iv. 749 a;
Rea, iii. 79 a.
PiUTTi, M. ; United States, iv.
204 a.
PiVAjG. ; Steffani, iii. 697 b.
Prxis, F., ii. 759b.
Pixis,F.W., ii. 759b; Booklet,
i. 252 b; Kalliwoda (J. W.),
ii. 47 a ; Violin-playing, iv.
298b.
Pixis, J. P., ii. 759 b ; iv. 749 a ;
Gabriel (V. A.), i. 571b;
Mendelssohn, ii. 257b; Os-
borne, ii. 615 a ; PF. Mus., ii.
727b; PF.-playing, ii. 744;
Vaterlandische Kiinstlerve-
rein, iv. 808 a.
Pizzicato, ii. 759b ; iv. 749 a ;
Instrument, ii. 6b ; Opera, ii.
501b; Paganini, ii. 632 a.
Violin- playing, iv. 288a.
Plach Y, W. ; PF. Mus., ii. 7 2 7 a ;
Vaterlandische Kiinstlerve-
rein, iv. 803 a.
Plagal Cadence, ii. 760 a ;
Cadence, i. 291 a ; Hai-mony,
i. 676b; Imperfect, i. 768b;
Subdominant, iii. 747 b.
Plagal Modes, ii. 760 a ;
./Eolian Mode, i. 40 a ; Au-
thentic, i. 105 b; Gregorian
Modes, i. 626a; Hyper-, i.
764b ; Modes Eccles., ii. 341 b,
etc.; Participant, ii. 655b;
Plain Song, ii. 764a, etc.
Plaidy, L., ii. 763a ; Bache (E.),
i. 1 20b; Leipzig, ii. 115b;
O'Leary, ii. 496b ; Paul (0.),
ii. 675 b; Riedel, iii. 129b;
Rontgen, iii. 144a; Smith
(Sydney), iii. 541b; Studies,
iii. 746b ; Sullivan, iii. 761b;
Taylor(F.),iv.66b; Bache(W.),
iv. 529b ; Beringer, iv. 545 a.
Plain Chaunt. (See Plain
Song, ii. 763 a.)
Plain Song, ii. 763 a ; Accents,
i. 1 8 b, etc. ; Accidentals, i.
19 a ; Ambrosian Chant, i. 60 a,
etc. ; Anthem, i. 71a; Anti-
phon, i. 73 b; Bar, i. 136b;
Canto fermo, i. 306 a, etc. ;
Cathedral Mus., i. 324a ;
Chant, i. 337 b; Counterpoint,
i. 407 b; Discant, i. 448 b;
Faux-bourdon,i. 509a; F^tis,
i. 517a; Gradual, i. 615b;
Gregorian Modes, i. 627a;
Helmore, i. 727b; Hymn, i.
760b, etc. ; Imperfect, i.
767a; Improperia, ii. la;
123
Initials, Absolute, ii. 3a; In-
tonation, i. 12a; Introit, ii.
15a; Ionian Mode, ii. 1 8 a ;
Kyrie, ii. 77 b, etc. ; La Fage,
ii. 83b, etc.; Lamentations,
ii. 86b; Large, ii. 92 a ; Lauda
Sion, ii. 104a, etc. ; Lauds, ii.
105 b; Lesueur, ii. 124b;
Ligature, ii. 136b; Litania?
Lauretanse, ii. 151b; Litany,
ii. 152 a; Long, ii. 165 b;
Macicotaticum, ii. 186 b, etc. ;
Magnificat, ii. 195b, etc.;
Maneria, ii. 206 a, etc.;
Mass, ii. 226a ; etc.;
Medial Cadence, ii. 243 a;
Mediant, ii. 244b; Mer-
becke, ii. 312 a ; Micrologus,
ii. 327 a; Miserere, ii. 335 b,
etc. ; Mixed Modes, ii. 3386 ;
Modes Eccles., ii. 343 a, etc. ;
Modulations, ii. 351b; Motet,
ii. 372 b; Mus. Ficta, ii.
412b; Mus. Mensurata, ii.
415 b; Mutation, ii. 439 a.;
Niedermeyer, ii, 455 b; Ni-
sard, ii. 614a, note; Nota-
tion, ii. 470 a, etc ; Ochetto,
ii. 491a; Offertorium, ii.
494a ; Oratorio, ii. 533 b, etc. ;
Organ, ii. 581b, etc. ; Orga-
num, ii. 608b, etc. ; Ortigue,
ii. 614a; 0 Salutaris Hostia,
ii. 614b; Participant, ii.
656 a; Passion Mus., ii.
663b; Perielesis, ii. 691b;
Phrygian Mode, ii. 709a;
Plagal Modes, ii. 760a;
Pneuma, iii. 4b ; Podatus, iii.
5 a ; Prick Song, iii. 30 a ;
Prime, iii. 30b; Requiem, iii.
109 a, etc.; Response, iii.
116 a; Responsorium, iii.
ii8b; Rhythm, iii. 123a;
Salve Regina, iii. 222 a;
Sanctus, iii. 223b; Schools of
Comp., iii. 312a; Score, iii.
427b; Sequentia, iii. 466a j
Serpent, iii. 470a ; Singing,
iii. 497 b; Sistine Choir, iii.
520 a ; Stabat Mater, iii.
684a; Stave, iii. 692 b; Sub-
ject, iii. 747 b, etc. ; Tantum
Ergo, iv. 58b; Te Deum, iv.
68 a; Tenebrae, iv. 86 a;
Tenor, iv. 86b ; Use, iv. 210b;
Variations, iv. 217a; Veni
Creator Spiritus, iv. 237a;
Vesperale,iv. 257 a ; Vesper?,
iv. 257b; Vroye, iv. 341a;
Westminster, iv. 449 b ; Al-
fieri, iv. 520a; Burney, iv.
570b; Gregorian Tones, iv.
655 b, etc. ; Missa de Angelis,
iv. 719a; Tractus, iv. 800a.
124
Planch^, J. R., iii. la; Li-
bretto, ii. 1 30 a ; Mendelssohn,
ii. 2756; Weber, iv. 420 a,
etc.
Planelli, a. ; Hist of Mas.,
iv. 677 a.
Planquettb, R., iii. 1 o.
Plantade, C. p., iii. 2 a.
Plantade, C. H., iii. i h ; Bou-
langer (Marie), i. 2636; Con-
servatoire de Mus., i. 392 a,
etc.; Mendelssohn, ii. 257b;
Song, iii. 595 a.
Plants, F., iv. 7496; Philh.
Soc., ii. 700 J.
Plantinus, C. ; Notation, ii.
474b.
Platania; Verdi, iv. 2520.
Platel ; Servais, iii. 47 1 a.
Platensis, p. (See Rub,
Pierre de la.)
Playebas; Song, iii. 599 a.
Platford, iii. 2a; iv. 749b;
Baltzar, i. 133&; Chant, i.
337 a; Este (M.), i. 495 b;
Mus. Lib., ii. 418 a, etc. ;
Mus. -printing, ii. 435 a ; Par-
thenia, ii. 653 a; Pastoral
Symphony, ii. 671 a ; Purcell
(Henry, the elder), iii. 46a,
etc. ; Quaver, iii. 60 a; Ke-
•corder, iii. 87 a; Rigadoon,
iii. 134a; Round, iii. i8ob;
Scotish Mus., iii. 448b ; Semi-
quaver, iii. 460 & ; Shake, iii.
4806 ; Sir Roger de Coverley,
iii. 519a; Song, iii. 602&,
note, etc. ; Sympson, iv. 43 h ;
Tablature, iv. 50 &; Violin,
iv. 277a ; Virginal, iv. 304b ;
Hey, iv. 673a ; Hist, of Mus.,
iv. 6766; Psalter, iv. 7646.
Pleasants, T., iii. 26.
Plectrum; Cither, i. 359a;
Guitar, i. 640 & ; Harpsichord,
i. 688 b; Jack, ii. 26 a.
Plenius, R. ; Sostinente PP.,
iii. 639 a, etc. ; Swell, iv. 8 b.
Pleyel, C, iii. 36; iv. 749b.
Pleyel, I. J., iii. 2 b ; Drechsler
(J.), i. 462b ; Franzl, i. 557b ;
Haydn, i. 711a, etc. ; JuUien,
ii. 45 a ; Kalkbrenner, ii. 46 a ;
Mozart, ii. 396b; Mus. Lib.,
ii. 424a; Part Music, ii. 657 a;
PF. Mus., ii. 725 a; Rouget
de Lisle, iii. 179 a ; Specimens,
Crotch's, iii. 650 a; Steibelt, iii.
701 b ; Thomson (G.), iv. 107 a.
Pleyel, Mme., iii. 3b ; iv. 749b ;
Philh. Soc, ii. 699 b; PF.-
playing, ii. 744; Viard-Louis,
iv. 342 a.
Pleyel & Co., iii. 4a ; iv.
749 b J Cottage Piano, i. 407 b;
INDEX.
Pape, ii. 646 b; Pedalier, ii.
678b; PF., ii. 719b, etc. ;
Pleyel (Ig.), iii. 3a; Trans-
posing Instruments, iv. i6ob;
WolflF(A.),iv. 485 b J Wornum,
iv. 489b; Pfeiffer (G.), iv.
746 a.
Plica, iii. 4 a.
Plintivo, iii. 40.
Ployer, Barbara; Mozart, ii.
396 a, etc.
Plus Ultra, iii. 40 ; Non plus
ultra, ii. 465 a.
Pneuma, iii. 4b; Accents, i.
17 a; Perielesis, ii. 691b;
Plain Song, ii. 766 b.
Pneumatic Action, iii. 4b ;
Barker, i. 139b; Organ, ii.
599a, etc.
Pochette ; Kit, ii. 62 b.
Poco, iii. 5 a.
PoDATUS, iii. 5 a.
PoHLY; Rheinberger, iii. 122b.
POELCHAU, G., iii. 5a; Dehn,
i. 439 a-
PoHL, C. F., iii. 50 ; iv. 750a ;
Beethoven, i. 167 a, note;
Eitner, i. 485 a ; Harmonica,
i. 662b, etc. ; Haydn in Lon-
don, i. 722a; Jahn, ii. 30a,
note; Mus. Periodicals, ii.
428 b, etc.; Schubert, iii.
332 a, note, etc. ; Sechter, iii.
456 a; Thematic Catalogue,
iv. 99 a.
PoHL, Dr. R., iii. 5b; Schu-
mann, iii. 402 b, etc. ; Ton-
kiinstlerverein, iv, 150a;
Wagner, iv. 374b.
PoHLENZ, C. A., iii. 54b ; iv.
750a; Frege, i. 562a; Ge-
wandhaus Concerts, i. 593 a;
Leipzig, ii. 115b; Mantius, ii.
207b ; Mendelssohn, ii. 282a ;
Orpheus, ii. 6 1 3 a ; Part Music,
ii. 657a ; Weinlig, iv. 816 a.
PoiGNARE, B. ; Sistine Choir, iii.
520b.
Point, iii. 5b; Dot, i. 455b;
Imperfect, i. 767 a, etc. ; Liga-
ture, ii. 137b; Notation, ii.
471 b, etc. ; Prolation, iii. 40 a ;
Stave, iii. 692 a; Zacconi, iv.
497 &•
Point d'Orgue, iii. 6b ; Pause,
ii. 675 b; Pedal Point, ii.
678 b; Thoroughbass, i v. 1 1 o b ;
Corona, iv. 599 a.
Point op Alteration ; Dot, i.
455 &» Notation, ii. 471b,
etc. ; Point, iii. 6 a.
Point op Augmentation ; Dot,
i, 455 J; Notation, ii. 471b,
etc. ; Point, iii. 5 b.
Point of Division; Dot, i. 455 b\;
Notation, ii. 471b; Point,
iii. 6 b.
Point op Perfection ; Dot, i.
455^; Notation, ii. 472 b;
Point, iii. 6 a.
Points, iii. 7 a ; Counterpoint, i.
407 b.
Poise, F., iii. 7 a.
PoiSEL, Baron von ; Vogler, iv.
329b.
PoisoT, C. E. ; Rameau, iii. 7 2 6 ;
Hist, of Mus., iv. 675 a, etc.
PoiTEViN, G. ; Maitrise, ii.
199b; Campra, iv. 576 b.
POLACCA, iii. 7b; Polonaise, iii.
lob ; Specimens, Crotch's, iii.
649 b.
POLAROLI, (See POLLABOLLO.)
Pole, W., iii. 7b; Beats, i.
1 60 a ; Madrigal Soc. , ii. 1 94 a ;
Mus. Association,The,ii. 41 7a;
Mus. Periodicals, ii. 428a.
PoLi; Zumsteeg, iv. 514b.
PoLiDORi; BaiUot, i. 125 a.
PoLiUTO, iii. 7b; Donizetti, i
454a
PoLiziANO, A. ; Mantua, ii.
207b; Stradella, iii. 722b.
Polka, iii. 8a; Song, iii. 614b ;
Strauss (J.), iii. 738 b.
PoLKO, E. ; Mendelssohn, ii.
273 a, etc.
PoLLANi; BaiUot, i. 125b.
PoLLAROLLO; Lotti, ii. 167 b;
Scarlatti (D.), iii. 239b.
PoLLEDRO, G. B., iii. ga; iv.
750a; Pugnani, iii. 45b;
Stradivari, iii. 732a; Violin-
playing, iv. 289.
PoLLET ; Reicha, iii. 98 b.
PoLLiNi, F., iii. ga; iv. 750a;
Pedals, ii. 683 a; PF. Mus.,
ii. 726b; PF.-plajring, ii.
741b; Toccata, iv. 130a;
Zingarelli, iv. 509 a; PF.
Mus., iv. 748 b.
POLLITZER, A., iv. 750a.
Polly, iii. ga; Opera, ii. 523b;
Beggar's Opera, i. 209 b,
Polo, iii. 9b; Fandango, i
502 b.
Polonaise, iii. loa ; iv. 750a ;
Branle, i. 271b; Cadence,*!.
2930; Fackeltanz, i. 501 a;
Form, i. 546 a; Oginski (M.
C), ii. 494b; Polacca, iii. 7b;
Song, iii. 614a; Specimens,
Crotch's, iii. 649 b; Suite, iii.
759b, etc.
PoLONiNi, A., iii. lib.
PoLONiNi, E.jiii. lib; iv. 750a.
PoLSKA, iii. lib.
PoLYEUCTE, iii. 12a; Gounod, i.
614b.
PoLYODio ; Schools of Comp., iii.
388a, note; Part-writing, iv.
743 «•
PoLYPHONiA, iii. 12 a; Addi-
tional Accompaniments, i.
32a, etc.; Bach (J. C), i-
iria; Bach (J. S.), i. ii6a;
Harmony, i.6706, etc.; Homo-
phone, i. 7460; Mass, ii. 226a;
ModesEccles., ii. 3436; Mono-
dia, ii. 354 a; Monteverde,
ii. 358a; Motet, ii. 37aa,
etc.; Motetus, ii. 3766; Mus.
Figurata, ii. 41 56; Notation,
ii. 475 a; Opera, ii. 498 &,
etc.; Oratorio, ii. 540a, etc.;
Passing Notes, ii. 663 a, etc. ;
PF.-playing, ii. 737 a; Pla-
gal Modes, ii. 7626; Schools
of Comp., iii. 259a, etc. ; and
288a, note ; Sistine Choir, iii.
520a ; Song, iii. 631 a; Strict
Counterpoint, iii. 740 a ; Sub-
ject, iii. 749 a ; Homophone,
iv. 6796; Part-books, iv. 739a;
Part- writing, iv. 741 a ; Ver-
tical & Horizontal, iv. 81 1&.
PoLTSCHANSKY ; Strauss (J.), iii.
737«.
PoLZELLi; Haydn, i. 7076, etc.
Pommeb; Bassoon, i. 151 &;
Oboe, ii. 486 a.
PoMPONio Nenna. (SeeNENNA.)
PoMPOSO, iii. 14a.
PoNCELET ; Conservatoire, Brus-
sels, i. 592 &.
Ponchard; Garat, i. 581 &;
Mario, ii. 217a; Levasseur
(N. p.), iv. 700a.
PoNCHiELLi, A., iii. 14a; iv.
750a; Schools of Comp., iii.
301 h.
Poniatowski, J. M., iii. 14&.
Pons, J., iii. 14& ; Eslava, i.
495 a.
PoNSiccHi, C; Hist. ofMus.,iv.
676a.
PoNTAC, D. ; Eslava, i. 494b.
PONTE, J. van ; Mus. Lib.,
iv. 726 a J Tr^sor Mus., iv.
803 a.
PoNTE, L. da, iii. 15 a; Fer-
rarese del Bene, i. 513a ; Mo-
zart, ii. 390 &, etc. ; Opera, ii.
529&-
PoNTiCELLO, iii. 1 5 0 ; Harmonics,
i. 665 a; Sul ponticello, iii.
7645.
Pontifical Choir. (See Sistine
Choir, iii. 519a.)
PoNTio, P. ; Schools of Comp.,
iii. 266 a ; Bumey, iv. 570&.
Poole, E., iii. 156.
Poole, Miss, iii. 15 &. (See
Dickons, Mrs., i. 4446.)
PoPP, A. ; Zeugheer, iv. 507 a.
INDEX.
Popper, D., iii. 15 b; Violon-
cello-playing, iv. 301 a.
Popper, Mme. (See Menter,
Sophie.)
Popular Ancient English Mu-
sic, iii. i6a; iv. 750a; Chap-
pell & Co., i. 339&; Macfarren
(G.), ii. 186&.
Pordbnoni; Mus. Transalpina,
ii. 416a; Mus. Lib., iv.
726a.
POBGES, H. ; Wagner, iv. 374b.
PORPOBA,N.,iii. 16&; Caffarelli,
i. 396a; Farinelli, i. 504a,
etc.; G^brielli (C), i. 573a;
Gazzaniga, i. 586a; Hasse (J.
A.), i. 694a, etc. ; Haydn,
i, 704 a; Ifigenia, i. 765 b;
Klavier-Mus. Alte, ii. 63 a;
Lincoln's Inn Fields Theatre,
ii. 140a; Lotti, ii. 167b;
Martines, ii. 221b; Metas-
tasio, ii. 316a; Mingotti, ii.
332a; Montagnana, ii, 356b;
Mus. Lib., ii. 420a ; Naples,
ii. 445 a; Opera, ii. 513 b;
Oratorio, ii. 549b ; Paradies,
ii. 647b ; Pract. Harmony, iii.
24 a ; Scarlatti (A.), iii. 239 a ;
Schools of Comp., iii. 287 a;
Semiramide, iii. 461a; Se-
nesino, iii. 462b ; Singing, iii,
505 a; Solfeggio, iij. 547 b;
Tresor des Pianistes, iv. 168 a ;
Vinci, iv. 266a; Mus. Lib.,
iv. 726 a ; Venice, iv. 809 a.
PoRPORiNO; Frederick the Great,
i. 562a; Mara, ii. 209a.
Pobsile; Metastasio, ii. 316 b.
Porta, C., iv, 750 a; Hawkins,
i, 700b; Madrigal, ii, 190b;
Merulo, ii. 314b; Milan, ii,
329a; Mus. Divina, ii. 411b;
Oriana, ii. 611 b; Schools of
Comp., iii. 266 a ; Bumey, iv.
67i«.
Porta, F. della, iii. 18 b; Mo-
tett Soc, ii. 376b; Saggio di
Contrappunto, iii. 212 a.
Porta, G. ; Acaddmie de Mus.,
i. ga; Bioni (A.), i. 243b;
Lotti, ii. 167b; Mus. Lib., iv.
726a.
Portalupis, F. di ; Spinet, iii.
652 a.
Portamento, iii, i8b; Agre'mens,
i, 43 a, wo^e; Appoggiatura, i.
75 a ; Slur,iii.537a; Solfeggio,
iii. 547 a.
Portative; Organ, ii. 575b;
Virdung, iv. 303 b.
Porte de Voix ; Agr«?mens, i.
43a, note; Portamento, iii.
i8b.
PoRTiB ; Stave, iii. 691 b.
125
Portenari, F.; Padua, ii. 627b;
Mus. Lib., iv. 726 a.
Portense, Florilegium, iii. 18 b.
(See Bodenschatz, i. 2530.)
Porter, S., iii. 18 b; Goodban
(T.), i. 609b.
Porter, W. J., iii. 19a.
Porter, W., iii. 19 a.
PoRTEViN, J. ; Roi des Violons,
iii. 146 a.
PORTINABO. (See PORTENARL)
PoRTMAN, R., iii. 19 a; Mus.
Lib., ii. 418 b; Tudway, iv.
198 b.
PORTMANN, J. G., iii, 19 a,
Portogallo, iii. 19 b ; iv. 75 1 a ;
Catalani, i. 321a; Simao, iii.
495 a,
Posaune, iii. 20a; Organ, ii.
584a; Sackbut, iii. 209a;
Trombone, iv. 176 a.
PoscHWA ; Haydn, i, 706a.
Position; Trombone, iv. 177^.
Positions, iii. 20a; Shift, iii.
487 b; Tartini, iv. 61 a.
Positive Organ, iii. 21 b; Organ,
ii, 575b and 588b; Virdung,
iv, 303 b.
Postans, Miss. (See Shaw, A.,
iii. 485 a.)
POSTHORN, iii. 2 lb.
Posthumous, iii. 22 a.
POSTILLON DE LONGJUMEAU, Le,
iii. 22a; Adam, i. 27b,
PosTiLLONS, iii. 22a; Posthorn,
iii. 22 a.
PosTLUDE, iii. 22 a; Nachspiel,
ii. 442 a.
PoTENTiNi; Strakosch, iii. 734 b.
PoTHiER, Pfere, J. ; Hist of Mus.,
iv. 6766.
Potier; Conservatoire, i. 393 a.
P0TO9KI, Tg. ; Song, iv. 795 a,
PoT-PouBRi, iii. 22b; Diverti-
mento, i. 451a.
Pott, A,, iii. 22b; iv. 751a;
Philh. Soc, ii. 699b; Spohr,
iii. 663 b.
Potter, P. Cipriani, iii. 22b ; iv.
751a; Bach Soc, i. 120a;
Beethoven, i. 194b ; Bennett
(Sterndale), i. 225a; Cusins,
i. 424b; Holmes (W. H.)
i. 744 b; Lavenu, ii. 106a;
Lucas, ii. 170b; Macfarren
(W. C), ii. 1 86 b; Madrigal
Soc, ii. 194a; May (E. C),
ii. 240a; Mudie, ii. 406b;
Mus, Lib,, ii, 421a ; O'Leary,
ii. 496b; Pauer, ii. 675 «;
Philli. Soc, ii. 698b ; Phillips
(W. L.), ii. 705 b; PF. Mus.,
ii. 728 a; PF.-playing, ii.
744; Pinsuti, ii. 753b; Pye,
iii- 53^5 Koyal Academy of
126
Mus., iii. 185 a, etc. ; Schools of
Comp., iii. 308 6 ; Soc. British
Musicians, iii. 544 a ; Stephens
(C. E,), iii. 711a; Thayer, iv.
98 b ; Thomas (H.), iv. 104b ;
Thomas (J.), iv. 105a; Tie,
iv. 114a; Woelfl, iv. 480b;
Wylde, iv. 492b; Zimmer-
mann (Agnes), iv. 507 b.
PoTTEB, R.; Philh. Soc., ii.
698 a.
PouGiN, A., iii. 23b; iv. 751a;
Boieldieuji. 255a, nofe; F^tis,
i. 517 b; Rameau, iii. 72 b;
Revue et Gazette Mus., iii.
I2ib; Verdi, iv, 240a, etc.;
Diet, of Mus., iv. 613a; Hist,
of Mus.,iv. 675a.
Powell, W., iii. 24a.
Practical Harmony, iii. 24a;
iv. 751a ; dementi, i. 372 a.
Pbadanus, H.; Eslava, i. 495 a.
Pbadher ; Fdtis, i. 5 1 7 a ; Herz,
i. 732b; Hiinten, i. 755a;
Song, iii. 595 a.
Pbaeger, F. C. W., iii. 24b;
PF. Mus., ii. 731b.
Pr^nestinus. (See Pales-
trina, ii. 635 a.)
PR.ETORIUS, B., iii. 26b.
Pr/Etobius, G., iii. 266.
Pr^etgrius, H., iii. 26 b ; Boden-
schatz, i. 253a ; Scheidemann,
iv. 781a.
PR.ETORIUS, Jac., iii. 26 b ; Cho-
rale, iv. 589a; Scheidemann,
iv. 781a.
Pb^torius, Joh., iii. 26 b.
PB.ETOBius,M.,iii.24b ; iv.751 a ;
Bass Clef, i. 150 a ; Boden-
schatz, i. 253a; Clavichord,
i. 368 b ; Clavicytherium, i.
2696; Fingering, i. 525b;
Gabrieli (G.), i. 572 a; Gamba
Viola da, i. 580b ; Lute, ii.
177a; Mus. Lib., ii. 418 b,
etc.; Organ, ii. 581b, etc.;
Passamezzo, ii. 662 a; Psal-
tery, iii. 44 b; Quodlibet, iii.
62 a; Regal, iii. 93b; Roch-
litz, iii. 142 a; Ruckers, iii.
195b; Schools of Comp., iii.
280a, etc. ; Sink-a-pace, iii.
517b; Song, iii. 620b; Syn-
tagma Musicum, iv. 44 b;
Theorbo, iv. loob ; Trans-
posing Instruments, iv. i6oa ;
Virginal, iv. 305 b ; Volkslied,
iv. 337b; Chorale, iv. 588b;
Hist, of Mus., iv. 674 a, etc. ;
Mus. Lib., iv. 724b; Schein,
iv. 784b.
Praga, E. ; Boito, iv. 5510.
Pball-tbillbb ; Mordent, ii.
364 a, etc. ; Shake, iii. 479 b.
INDEX.
Pratensis, J. ; Mus. Antiqua,
ii. 41 1 a.
Pbato ; Ifigenia, i. 765 b ; Jom-
melli, ii. 36 b.
Pratt, J., iii. 26b; Mus. lib.,
ii. 422 b.
Pratt ; Zenobia, iv. 506 a,
Pratten, F. S., iii. 27 a.
Pratten, Mrs. S., iii. 27 a; Gui-
tar, i. 641 a.
Pratten, R. S., iii. 27 a.
Preambdlum. (See Pbelude,
iii. 28 a.)
Pre aux Clebcs, Le, iii. 270;
Harold, i. 732 a.
Precentor, iii. 27a ; Leipzig, ii.
114b; Cantor, iv. 578 a.
Preces ; Response, iii. i i6a, etc. ;
Tallys, iv. 53 b.
Pbeciosa, iii. 27b; Weber, iv.
417 a, etc.
Pbediebi, L.-A., iii. 27 b; Mar-
tini, ii. 222a; Metastasio, ii.
315b, etc.; Sa^o di Con-
trappunto, iii. 2 1 2 a ; Zenobia,
iv. 506 a.
Pbefaces ; Plain Song, ii. 767 b.
Pbeghieba, iij. 27 b.
Preindl, J., iii. 28a; Bibl (A.),
i. 241a.
Prelleur, p., iii. 28a.
Prelude, iii. 28a; Allemande,
i. 55 b; Opera, ii. 504b; Over-
ture, ii. 623b; Preambulum,
iii. 27a; Schools of Comp., iii.
281a; Suite, iii. 756a, etc.;
Vorspiel, iv. 340 b.
Preludes, Les, iii. 29a; Liszt,
ii, 149 b.
Prentice, R., iv. 751a; Hist,
of Mus., iv. 676 a.
Preparation, iii. 29 a; Per-
cussion, ii. 685 b ; Suspension,
iv. 4 b.
Presa, iii. 29 a ; Inscription, ii.
5 a ; Notation, ii. 474b.
Pressenda ; Stradivari, iii.
732a; Violin, iv. 283a.
Prestand ; Organ, ii. 594 a, etc.
Prestissimo, iii. 29b.
Presto, iii. 29 b ; Tempo, iv. 83 a.
Preston (of York) ; Organ, ii.
590 a.
Preti, a. ; Oriana, ii. 611 b.
Provost, E., iii. 29b; Gr. Prix
de Rome, i. 618 b; Lesueur,
ii. 125 b.
Prevost, G. ; Sistine Chapel,
iv. 794 a.
Pri^vost, L., iii. 30 a.
Preyeb, G., iii, 30a ; iv. 751b;
Sechter, iii. 456 a; Straus
(L.), iii. 737 a; Strauss (J.),
iii. 739a ; PoUitzer, iv. 750a.
Preyeb, Professor ; Partial
Tones, ii. 654 b; Resultant
Tones, iii. 120b; Ellis, iv.
627a.
Pbick Song, iii. 30 a; Counter-
point, i. 407 b; Morley
(Thomas), ii. 368 o.
Pbiest, J., iii. 30 a; Purcell
(H.), iii. 46b.
Pbieto, J. ; Eslava, i. 495 a.
Pbimavbba dell' Arpa ; Mus.
Lib., ii. 419a; Schools of
Comp,, iii. 266 a; Mus. Lib.,
iv. 7260.
Prime, iii. 30 a.
Primer, iii. 30 b.
Primo, iii. 30b ; Secondo, iii.
456 b.
Prince db la Moskowa, iii.
30b.
Princess Ida, iv. 751b; Sulli-
van, iii. 762 a.
Principal, iii. 31b; Octave, ii.
492 a; Organ, ii. 583b, etc.
Principal - WORK ; Flue- work,
i- 535^; Flute-work, i. 5380.
Prinetti ; Rossini, iii. 164a,
Pbing, I., iii. 32b; Horsley
(W.).i.753&-
Pbing, Jac, iii. 32 a; Concen-
tores Sodales, i. 383 b ; Horsley
(W.), i. 753b.
Pbing, Jos., iii. 32 a; Horsley
(W.), i. 753 b.
Printz, W. C. ; Hist, of Mus,,
iv. 674 a.
Pbiobis ; Sistine Chapel, iv.
794a.
Probst ; Choral Fantasia, i.
352 a; Kistner, ii. 62 a;
Schubert, iii, 346 a, etc,
Proch, H,, iii., 32 b; Nicolai,
ii. 453b; Peschka, ii, 695b.
Prochaska ; Polka, iii. ga.
Prodigal Son, The, iii. 326;
Sullivan, iii, 762 a,
Pbodoscimus de Beldomandis ;
Mus. Mensurata, ii. 415b;
Organum, ii. 6 10 a; Padna,
ii. 627b.
Professional Concerts; Abel
(K.), i. 5a; Concerts, i. 3840.
Professob, iii. 32b; iv. 751b;
Bennett (Sterndale), i. 225b ;
Cambridge, i. 300 a ; Greene,
i. 625 a; Macfarren (G.), ii.
i860; Ouseley, ii. 618 a;
Randall (J.), iii. 73 a; Reid,
iii. lOob; Staggins, iii. 686 b ;
Stanford (C. V.), iii. 689b;
Stewart (Sir R.), iii. 713a;
Tudway, iv. 185b; Wesley
(S. S.), iv. 447 a; Stanford
(C. v.), iv. 796b.
Programme, iii. 33b; Analysia,
i. 62 b, etc.
Programme Music, iii. 34a ; iv.
751b; Battle of Prague, i.
1566; Beethoven, i. 190 b,
etc.; Bennett (Sterndale), i.
225b; Berlioz, i. 2326; Cha-
racteristic, i. 340 a ; David
(F^l.), i. 432 b; Eroica, i.
493a; Form, i. 541a; Gom-
bert, i. 609 a; Jannequin,
ii. 31b; Knecht, ii. 66 a;
KoUmann, ii, 68 b; Kotzwara,
ii. 69 a; Kuhnau, ii. 76 b;
Leit-motif, ii. 1166; Lesson,
ii. 124a; Liszt, ii. 147b, etc. ;
Mendelssohn, ii. 302 a ; Mundy
(J.), ii. 409 a; Mus. Lib., ii.
422 a; Overture, ii. 623 a;
Pastoral Symphony, the, ii.
672 a; Schools of Comp., iii.
285 b ; Steibelt, iii. 704 a ;
Storm, iii, 720a ; Suite, iii.
756b; Symphony, iv. 26 a,
etc. ; Virginal Mus., iv. 308 a,
note; Vogler, iv. 325b, etc, ;
Humorous Mus., iv. 683 a.
Progression, iii. 40 a ; Ac-
companiment, i. 25a; Har-
mony, i. 670b, etc.; Zacconi,
iv. 497 a.
Prohazka, W. ; Song, iv. 795 a,
Proksch; Smetana, iii, 538b,
Pkolation, iii. 40 a ; Imperfect,
i. 766b ; L'Homme Ai-me, ii,
127b; Micrologus, ii. 327b ;
Mode, ii. 340b ; Notation, ii.
471b, etc.; Proportion, iii.
42a, etc.; Time, iv. 117b,
etc. ; Time-signature, iv.
127a ; Zacconi, iv. 497a.
Promenade Concerts, iii. 40b;
iv. 752 a.
Prometheus, iii. 41a; Beet-
hoven, i. 1 80 a; Eroica, i.
493 b ; Pastoral Symphony,
The, ii. 672 a.
Prophj^te, Le, iii. 41a; Meyer-
beer, ii. 323b.
Proportio; Salt.irello, iii. 221b.
Proportion, iii. 41a; iv. 752 a;
Imperfect, i. 76 7 a ; L'Homme
Armd, ii. 127a; Mode, ii.
340 b ; Notation, ii. 471 b, etc. ;
Prolation, iii. 40 b; Sesqui,
iii. 475 a; Zacconi, iv. 497 b.
Proposta, iii. 43 a ; Risposta,
iii. 136 b.
Proprietas, iii. 43 a.
Prore; Gardane, i. 582 b.
Prose. (See Sequentia, iii.
46.5 &.)
Prose de l'Ine ; Noel, ii. 462 a ;
Schools of Comp., iii. 268b.
Proske, K., iii. 43b ; Kyrie, ii.
78 a; Mus. Divina, ii. 411 a ;
Mus. Ficta, ii. 413 a, nole\
INDEX.
Mus. Lib., ii. 425 a; Pales-
trina, ii. 637b, wo^e, etc. ; Plain
Song, ii. 769a, note] Schools
of Comp., iii. 312a; Score,
iii. 428a; Dodecachordon, iv.
6i6a.
Prosody ; Accents, i. 17 a, note ;
Arsis, i. 95 b; Conservatoire
de Mus., i. 393b; Hymn, i.
760 a ; Lawes,ii. 107 a ; Lully,
ii. 173a; Metre, ii. 316b;
Salieri, iii. 219b; Song, iii.
632 a.
Prout, E. B. a., iii. 43 b; iv.
752a; Mus. Periodicals, ii.
428 a, etc. ; PF. Mus., ii.
736a ; Purcell Soc, iii. 53a ;
Schools of Comp., iii. 308 a ;
Schubert, iii. 333 a ; Thomas
(A. G.), iv. 103 b ; Handel
Gesellschaft, iv. 665 b.
Provesi, F. ; Verdi, iv. 241b.
Provost; Conservatoire de Mus.,
i. 392b.
Prowett ; Mus. Lib., ii. 417b.
Pruckner, Caroline, iv. 752a;
Schmitt (C), iii. 255a.
Pruckner, D. ; Klindworth, ii.
64a ; Stark, iii. 690b.
Prudent, E., iii. 43b; Philh.
Soc, ii. 699b ; PF. Mus., ii.
732b; PF. -playing, ii. 743 a,
etc. ; Levey (W. C), iv. 700b.
Prume, F. H., iii. 44a; Violin-
playing, iv. 296 a.
Prumier, a., iii. 44a.
Prumier, C, iii. 44 b.
Psalmody. (See Hymn, i. 7 5 9 b. )
Psalms; Ballard, i. 130a;
Cathedral Music, i. 324a,
etc.; Hymn, i. 760a; In-
tonation, ii. 1 2 fl ; Introit,
ii. 15a ; Lassus, ii. 95b, etc.;
Marcello, ii. 211 a; Mendels-
sohn, ii. 303b, etc.; Ouseley,
ii. 6i8a ; Plain Song,ii. 765a,
etc. ; Schools of Composition,
iii. 265 a, etc. ; Vesperale, iv.
257 a; Bourgeois, iv. 558 a,
etc. ; Gregorian Tones, iv.
655 b; Eedhead, iv. 769 a;
Wennerberg, iv. 816 b.
Psalter, iv. 752b; Bourgeois
(L.), i. 263b; Byrd, i. 287 a,
etc. ; Cathedral Music, i.
325 a; Damon, i. 428a ; Day,
i. 438 a; Dowland, i. 460 a;
Este, i.496a ; Forbes, i. 539b;
Goudimel, i. 612b; Hooper
(E.), i. 746b ; HuUah, i. 756b ;
Jacob, ii. 28 b; Le Jeune, ii.
119b; Mus. Antiquarian So-
ciety, ii. 416 b ; Mus.-printing,
ii. 433 b, note ; Old Hundredth
Tune, ii. 495 b j Playford, iii.
127
2a; Purcell (D.), iii. 52a;
Pavenscroft, iii. 78 b; Schools
of Comp., iii. 271a; Bour-
geois, iv. 558 b, etc. ; Hanover,
iv. 666 a; Hist, of Mus., iv.
676b; Mus. Lib., iv. 724b;
Part-books, iv. 740b ; Susato,
iv. 805 b. (See also Hymn, i.
759 b, etc.)
Psaltery, iii. 44b; Citole, i.
359 b ; Clavecin, i. 366 a ;
Dulcimer, i. 468b ; Harpsi-
chord, i. 688b ; Lyre, ii. 182 a ;
Pota, iii. 1 79 a ; Ruckers,
iii. 194b ; Strohfiedel, iv.
797a.
Pucitta, v., iii. 45a; iv. 765b.
Puebla; Song, iii. 598 a.
Puente, Del ; Strakosch, iii.
734&.
Puget, L., iii. 45b; Romance,
iii. 148a; Song, iii. 597 a.
Puget, P. ; Gr. Prix de Rome, i.
618 b.
PUGNANI, G., iii. 45 b; Borghi,
i. 260 b; Bruni, i. 280 a;
Janiewicz, ii. 31 a ; PoUedro,
iii. 9a; Rust (Fr.), iii. 206a;
Somis, iii. 553b ; Stradivari,
iii. 732 a ; Violin- playing, iv.
292 a; Viotti, iv. 301b.
PuGNi; Ballet, i. 132b.
PuiG y Alsubide, J. ; Roses, iii.
162 b; Song, iii. 599b.
PuNTO. (See Stick, iii. 714a.)
PUPPO, G., iii. 46a; iv. 765b;
Boccherini, i. 251b; Violin-
playing, iv. 289.
Purcell, D., iii. 52a; Cecilia,
St., i. 3296; CLirk (J.), i.
365 a ; Division Violin, i.
451a ; Mus, Antiqua, ii.
411a; Needier, ii. 450 b;
Walsh, iv. 380 b ; Weldon,
iv. 435 a ; Dorset Garden
Theatre, iv. 618 a.
Purcell, E., iii. 46 a.
Purcell, Ed., iii. 51b; Royal
Soc. Musicians, iii. 187 a, etc.
Purcell, F., iii. 52 a.
Purcell, Frances, iii. 52 a.
Purcell, H., iii. 51b.
Purcell, H,, iii. 46a; Burney,
iv. 571a.
Purcell, Henry, iii. 46 a; iv.
766 a; Accompaniment, i.
22a; Ancient Concerts, i.
64b; Anthem, i. 71a, etc. ;
Arnold (S.), i. 86b; Bartle-
man, i. 146 a ; Bass, i. 148 a ;
Bass Clef, i. 150a; Blow, i.
250 a; Boyce, i. 267b ; Canon,
i. 304b; Cathedral Mus., i.
325b; Cecilia, St., i. 329a;
Courteville (R,), i. 411a;
128
Greed, i, 4156 ; Division Vio-
lin, 1.4510; D'Urfey, i. 473 a;
English Opera, i. 489 a, etc. ;
Farmer (Th.), i. 507 a; Finger-
ing, i. 526a, etc. ; Fitzwilliam
Collection, i. 5306 ; God save
the King, i. 606 &; Ground-
bass, i. 634b, etc. ; Hall (H.),
i. 646a; Handel, i. 653 a;
Harmony, i. 680 & ; Hawkins,
i. 700&; Holmes (E.), i.
744 a; Hudson (M.), i.
755 a; Hunt (A.), 758 a;
Lilliburlero, ii. 138a, etc.;
Lock, ii. 158a; Macbeth
Music, ii. 183 b, etc. ; Mus.
Antiqua, ii. 411a; Mus.
Antiquarian Soc, ii. 4166;
Mus. Libraries, ii. 418a, etc.;
Novello (V.), ii. 481a; Oboe
di Caccia, ii. 489 a; Ode, ii.
493a; Opera, ii. 507a, etc.;
Orpheus Biitannicus, ii. 614 a ;
Overture, ii. 6186; Page, ii.
632b; Part Music, ii. 656b;
Part-song, ii. 658 a; Playford,
iii. 2 a, etc. ; Priest, iii. 30a ;
Programme Music, iii. 36 a;
Round, iii. i8ob; Schools
of Comp., iii. 383a, etc.;
Service, iii. 472 b, etc.;
Shore (C), iii. 488b; Siface,
iii. 492 b; Sonata, iii. 558b;
INDEX.
Song, iii. 603b, etc.; Sons of
the Clergfy, iii. 633b; Speci-
mens, Crotch's, iii. 6500 ;
Subject, iii. 750 b ; Suite, iii.
756 a; Te Deura, iv. 68 b,
etc. ; Trdsor des Pianistes, iv.
168 a; Trinity Coll., Dublin,
iv. 171a; Tune, iv. i87tt;
Tudway, 199 a ; Variations,
iv. 319b; Voices, iv. 334b;
Weldon (J.), iv. 435 a ; York-
shire Feast Song, iv. 4960;
Dorset Garden Theatre, iv.
6180; Mus. Lib., iv. 733b j
Tonal Fugue, iv. 799 b.
PUBCELL, K., iii. 52 b.
PuBCELL, M., iii. 52 a.
PuRCELL, Matthew, iii. 53 b.
PuRCELL, T., iii. 52 b; Humfrey,
i. 7.S7 a ; King's Band, ii.
58 a ; Specimens, Crotch's, iii.
649 b ; Burney, iv. 571 a.
PuRCELL Club, The, iii. 53b;
Taylor (E.), iv. 66a.
Pdrcell Commemoration, The,
iii. 53 a.
PuROELL Society, The, iii. 53a;
iv. 766 a.
PuBDAY, C. H. ; Mus. Periodi-
cals, ii. 437a; Analysis, iv.
521b.
PuBFLiNG, iii. 53a ; Belly (Vio-
lin, i. 3 20 b.)
Pdbitani, I, iii. 53b; Bellini,
i. 213b.
Pubitan's Daughter, The, iii.
53b; Balfe, i. 137b.
PuBKis, J. ; Apollonicon, i. 750;
Interlude, ii. 7 b.
PuscHMAN, A. ; Song, iii. 6 16 a.
Putzli, iii. 53 b.
Puzzi ; Iloyfd Academy of
Music, iii. 185 a.
Pyat; Singing, iii. 513 a.
Pye, K. J., iii. 53b ; Koyal Aca-
demy of Music, iii. 185 a.
Pygot ; Part-books, iv. 740a.
Pyne, G., iii. 54 a.
Pyne, Jas.; Addison (J.), i.
30 b.
Pyne, J. K., iii. 54a.
Pyne, J. K. ; Mus. Instruments,
Collection of, iv. 723a.
Pyne, L. F., iii. 54a ; iv. 766 b;
English Opera, i. 489 b; Harri-
son (W.), i. 692b ; Mellon, ii.
248 b; Philh. Soc, ii. 669b;
Opera, ii. 524 b ; Singing, iii.
512 a; Thirl wall (A.), iv.
103 a.
Pybker, J. L. ; Schubert, iii.
325a, etc.
Pyrophone ; Kastner (G. F. E.),
iv. 688 b.
Pythagorean Comma j Comma,
i. 380b.
Q.
Q uadbat. (See Accidentals, i.
19 a.)
Quadrille, iii. 55 a; Contre-
danse, i. 396 b ; Cotillon, i.
407b; Jullien, ii. 44b; Strauss
(J.), iii. 738b.
QuADRio, II. ; Accademia, i.
lob; Song, iii. 591a.
QuADRis, J. de; Lamentations,
ii. 88 a.
QuADRUPLUM ; Organum, ii.
609 a.
QuAGLiATi, p. ; Opera, ii. 502 a;
Violin-playing, iv. 288 a.
Quality; Timbre, iv. ii6b;
Tone, iv. 141 b.
Quantity, iii. 55b.
QuANTZ, J. J., iii. 55b; Benda
(F.), i. 221 a; Carestini, i.
309a; Flute, i. 537b; Fran-
ciscello, i. 558b ; Frederic the
Great, i. 561b; Nicolini,
ii. 455a; Song, iii. 621b;
Tartini, iv. 6 1 a ; Tesi
Tramontini, iv. 93 b; Trio,
iv. 172a; Vivaldi, iv. 317 b;
Violoncello-piccolo, iv. 813 a.
QuARANTOTTi. (See Corelli.)
QUARENGHI, G., iv. 766 a.
Quarles, C, iii. 56b.
Quart-geige, i v. 766 b ; Violino
Piccolo, iv. 813 a.
Quarterly Mus. Magazine, iii.
56 b; Bacon, i. 288 a.
Quarterly Mus. Review; Mus.
Periodicals, iv. 726b.
Quartet, iii. 56 b; Beethoven,
i. 304 a \ Chamber Music,
i. 333 b; Form, i. 647a;
Haydn, i. 719a; Mendels-
sohn, ii. 302 b ; Mozart, ii.
399 a, etc ; Miiller (The Bro-
thers), ii. 408a; Rasoumowsky,
iii. 77a ; Schumann, iii. 414b.
Quartet Double, iii. 59 a ;
Spohr, iii. 66 ib.
Quartett Association, The,
iii. 59a.
Quasi, iii. 59 a.
Quatre Fils Aymon, Les, iii.
59a; Balfe, i. 127a.
Quaver, iii. 59 a ; iv. 766 b ;
Anerio (G.), i. 67b ; Notation,
ii. 471a, etc.; Slur, iii. 537a.
Queisser; C. T., iii. 60 a ; Trom-
bone, iv. 178 b.
Quick-step, iii. 60b.
QuiLiSMA, iii. 60 b; Notation, ii.
468 a.
QuiNAULT,P.,iii.6ob ; Academic
de Mus., i. 7a; Act, i. 26a;
Libretto, ii. 130a; LuUi,
ii. 172b; Vaudeville, iv.
331b.
Quint ; Organ, ii. 583b, etc.
QuiNTA FALSA, iii. 6ob ; Modes
Eccles., ii. 343 a ; Mus. Ficta,
ii. 414 a, etc.
Quintern; Virdung, iv. 303 a.
Quintet, iii. 60 a; Chamber
Mus;, i. 332b; Mendelssohn,
ii. 259a, 286b; Mozart, ii.
399b; Onslow, ii. 497b; Schu-
bert, iii. 351a; Schumann,
iii. 415 a.
QuiNTiANi ; Mus. Transalpina,
ii. 416a.
QuiNTOLET ; Triplet, iv. 173&.
Quinton; Violin, iv. 2776.
QuiNTOYEB, iii. 61 a.
Quintuple Time, iii. 61 b; iv.
766 &; Accent, i. 15 a; Adol-
INDEX.
fati, i. 38 a ; Song, iii. 612 6 ;
Time, iv. T2oa.
QuiNTUS, iii. 61 a; Notation, ii.
474 a; Sextus, iii. 478 a;
Vagans, iv. 212b; Voices,
129
iv. 334 a; Part-books, iv.
740&.
Quire. (See Choir, i. 349 a.)
QuoDLiBET, iii. 62 a; Round, iii.
i8obj Variations, iv. 221a.
R.
IvAAFF, A., iii. 62 a; Bernacchi,
i. 234&; Mozart, ii. 385&,
etc. ; Perez, ii. 6856.
Rabasia, p. ; Eslava, i. 495 a.
Rabatinsky, Mme. ; Goldberg
(J.), iv. 650&.
Rabuteau ; Gr. Prix de Rome,
i. 618&.
Raccolta Generale, iii. 63a ;
iv. 766a; Choron (A.), i.
353&; Real Fugue, iii. Sob,
note.
Raccolta di Musica Sacra,
iv. *j66a', Tenebrse, iv. 86 b;
Alfieri, iv. 520a.
Radecke; Whiting, iv. 453b.
Radetzky March ; Strauss
(Job.), iii. 738a.
Radical Cadence, iii. 63b.
Radicati, r. ; Bertinotti (T,),
i. 236a.
Radichi ; Scbroder-Devrient, iii.
317b.
Radoux ; Orphe'on, ii. 612 b.
Radziwil, a. H., Prince, iii.
63b; Chopin, i. 350a; Dus-
sek, i. 474a ; Faust, i.
509a; Louis F. (Prince),
ii. 168 b ; Mendelssohn, ii.
262 b.
Raff, J. J., iii. 64a ; iv. 766a ;
Arrangement, i. 93b; Jaell,
ii. 30 a; Mendelssohn, ii.
295b; Part-Song, ii. 659a;
PF. Mus., ii. 733 a ; Scherzo,
iii. 248 a; Schools ofComp.,
iii. 296 a, etc. ; Sestet, iii.
475b; Side-drum, iii. 492a;
Sonata, iii. 581a; Song, iii.
630 b; Symphony, iv. 40a;
Tausig, iv. 65 a ; Trio, iv.
172b; Wilhelmi, iv. 457b;
PF. Mus., iv. 748b; Rhap-
sody, iv. 772a.
Ragot, J. ; Schools of Comp.,
iii. 260a ; Sistine Choir, iii.
520b.
Raillard, Abb^ ; Notation, ii.
468 a.
Raimondi ; Haydn, i. 706 b.
Raimondi, p., iii. 67 a ; Stabat
Mater, iii. 685 a.
Raimundus; Mus. Lib., ii.
419a.
Rainforth, E., iii. 67b; Philh.
Soc, ii. 699b.
Rakoczy March; Ruzicka, iii.
206 b.
Rallentando, iii. 67 b; Tempo,
iv. 84b.
Ralston, W. R. S. ; Song, iii.
614 b, note; Hist, of Mus., iv.
675b.
Ramann, B., iii. 68 b; Song, iii.
630 b.
Ramann, L., iii. 68a ; iv. 766a;
Liszt, iv. 701b, note.
Ramanzetti ; Stornello, iii.
721a.
Rambaux ; Violin, iv. 283 a.
Rameau, C, iii. 69a, note.
Rameau, J. F., iii. 69a, note.
Rameau, J.P., iii. 68 b; iv. 766 b;
Academic de Mus., i. 8a;
Festivals, i. 516 a ; Funda-
mental Bass, i. 569b ; Gluck,
i. 601 a, etc. ; Gossec, i. 611 a ;
Grand Opera, i. 617a; Har-
monics, i. 664a ; Harmony,
i. 681 a ; Klavier Mus., Alte,
ii. 63b ; Lesson, ii. 124a ;
Libretto, ii. 128b; Maitrise,
ii. 199b; March, ii. 211b;
Marchand, ii. 213b; Mar-
purg, ii. 2 i8b ; Meister, Alte,
ii. 247b; Mus. Lib., ii. 424a ;
Opera, ii. 516a ; Partial
Tones, ii. 654a; Pougin, iii.
23b ; Robinson (M.), iii.
139b; Rousseau (J. J.), iii.
i8ib; Schools of Comp., iii.
289b; Suite, iii. 756b; Tam-
bourin, iv. 55 a; Tresor des
Pianistes, iv. 168 a; Trial,
iv. 168b; Variations, iv.
222b; Campra, iv. 577a;
Dance Rhythm, iv. 607 a;
De la Borde (J. B.), iv. 6iob ;
Part-writing, iv. 742 a ; Val-
lotti, iv. 806 b.
Ramm, F., iii. 72b; Fladt, i.
531a ; Mozart, ii. 385 a, etc. ;
Oboe, ii. 488 a.
Ramos ; Eslava, i. 494 b.
Rampollini, M. ; Madrigal, ii.
190b ; Schools of Comp., iii.
266a.
Ramsey, R., iii. 73a; Tudway,
iv. 198b.
Randall, iii. 73 a.
Randall, J., iii. 73a ; Crotch,
i. 420 b ; Professor, iii. 33a.
Randall, R., iii. 73a.
Randall, W., iii. 73a. (See
Walsh, John, iv. 380b.)
Randegger, a., iii. 73a ; iv.
766b ; Royal Acad, of Mus.,
iii. 1 86 b; Singing, iii. 515 b ;
Leslie (H.), iv. 700a ; Nor-
wich Festival, iv. 7 3 2 a ; Philh.
Soc., iv. 747 a; Thorndike,
iv. 799a.
Randel ; Song, iii. 6iob.
Randhartingeb, B., iii. 73 b;
Liszt, ii. 145b; Muller (W.),
ii. 408b ; Schubert, iii. 326b,
etc.
Ranelagh, iii. 74a.
Rank, iii. 75a.
Ransford, E., iii. 75 a.
Ranz des Vaches, iii. 75b;
Alpenhorn, i. 56 b; Oboe di
Cuccia, ii. 489a ; Pibroch, ii.
747 a ; Specimens, Crotch's,
iii. 649 a.
Rappoldi, E., iii. 76 a ; Violin-
playing, iv. 297 b.
Rappoldi, L. (Kahrer), iii. 76 b.
Rasoumowsky, a. K., iii.
76b;iv.767a; Beethoven, i.
i86a, etc. ; Galitzin, i. 576a;
Lincke, ii. 139b; Schubert,
iii. 340a; Schuppanzigh, iii.
425a; Sina, iii. 495b; Weiss
(F.), iv. 433a.
Rataplan, iii. 78a.
Rattenfanger von Hameln;
Nessler (V.), iv. 730b.
Ratti, B. ; Mus. Divina, ii.
412 b; Porta (C), iv. 751a.
Ratti, L. ; Sistine Chapel, iv.
794a.
Rauch; Beethoven, i. 200a.
Rauzzini, M., iii. 78 a.
Rauzzini, v., iii. 78a; iv. 767a;
Addison, i. 30a; Ashe, i.
98a; Braham, i. 269a;
Dickons, i. 444 b; Haydn, i.
130
7i2b; Horn (C. E,), i. 753 ^;
Incledon, ii. 2 & ; Janiewicz,
ii. 31a ; Kelly, ii. 49b; Lacy
(J.),ii. 82b; Mozart, 11.3840;
Sacchini, iii. 208 a ; Storace
(Ann), iii. 719a; Turk, iv.
191a.
Ravensckopt, J., iii. 78 b; iv.
767a ; Hawkins, i. 700b.
Ravenscroft, T., iii. 78b; iv.
767a; B;ir, i. 136b; Bennet
[j.), i. 224b; Hymn, i. 762b,
etc.; Melisma, ii. 248b; Old
Hundredth Tune, ii. 496 a ;
Pammelia, ii. 643 a ; Part-
Song, ii. 658 a; Programme*
mu8.,iii.36a;Round,iii. i8oa,
etc. ; Schools of Comp., iii.
271a; Dunstable (J.), iv.
620a; Part-books, iv. 740 b ;
Psalter, iv. 754b, etc,
Ravina, J. H., iii. 78 b; PF.
Mus., ii. 732b ; PF.-playing,
ii. 743b; PF. Mus.,iv. 748b;
PF.-playing, iv. 7485.
Rawlings, R., iii. 79a.
Rawlings, T., iii. 79 a.
Rawlings, T. A., iii. 79a ; Song,
iii. 607 a.
Ray, p.; Lamperti, ii. 88b;
Milan, ii. 329a.
Rayman, J. ; London Violin
Makers, ii. 163a ; Violin, iv.
281a.
Raymond and Agnes, iii. 79a;
iv. 767a; Loder (E. J.), ii.
159a.
Razumovsky, D. ; Hist, of Mus.,
iv. 675 b.
Re, iii. 79a ; D, i. 426a.
Rea, W., iii. 79a; Schools of
Comp., iii. 309 b.
Reading, J., iii. 79b; Part-
Mus., ii. 656 b.
Reading, J., iii. 79b.
Reading, J., iii. 79b; Stanley,
iii. 690 a.
Reading, Rev. J., iii. 80a.
Real Fugue, iii. 80a ; iv.767a;
Fugue, i. 567a, note; Ga-
brieli (A.), i. 572 a; Hexa-
chord, i. 734 a, etc. ; Sanctus,
iii. 224a; Schools of Comp.,
iii. 263 b ; Subject, iii. 748 b ;
Tonal Fugue, iv. 134b ; Part-
writing, iv. 743 a.
Re ay, S., iii. 81 a; Part-song,
ii. 659a.
Rebab ; Guzla, i. 642 a.
Rebec, iii. 81 a; iv. 767a;
Aniati (A.), i. 58a; Bow, i.
264b; Cordier,i.40ob; Frets,
i. 563 b; Gerber (H. N.), i.
589a; Kit, ii. 62 b; Lyre,
ii. 182a; Violin, iv. 269 a,
INDEX.
etc. ; Wind-band, iv. 464a,
etc.
Rebel, F., iii. 82 a; Concert
Spirituel, i. 385 a.
Rebel, J., iii. 82a; Violin-
playing, iv. 292 b.
Rebeb, N. H., iii. 82a; Con-
servatoire de Mus,, i. 392 b;
David (Fel.), i. 432 a ; Diet, of
Mus., i. 446b; Pougin, iii.
23 b; Sarasate, iii. 227 b;
Song, iii. 597a; Taudou, iv.
64b; Godard, iv. 649a.
Reboux, Mdlle. ; Wagner, iv.
361a.
Recital, iii. 83a; Concert, i.
384&.
Recitative, iii. 83 a; iv. 767 a;
A Battuta, i. i b; Accompani-
ment,i.23a; Caccini,i. 290b;
Carissimi, i. 314b; Chorus, i.
354b; Florence, i. 533b;
Gluck, i. 602a; Harpsichord,
i. 688a; Jommelli, ii. 38 a;
Lindley , ii, 143a; Melodrama,
ii. 249b ; Melody, ii. 250a,
etc.; Modulation, ii. 346a;
Monodia, ii. 354b ; Monte-
verde, ii. 359 a; Opera, ii.
498b, etc. ; Oratorio, ii. 534a,
etc. ; Peri, ii, 690 b ; Scena,
iii, 240b; Schools of Comp.,
iii, 286a; Secco Recitative,
iii, 454b; Stiastny, iii, 713a ;
Thoroughbass, iv. 108 b.
RECiTiNG-NoTE,iii.86a ; Modes
Eccles., ii. 342b; Gregorian
Tones, iv. 656 b.
Recokder, iii. 86 b; Flageolet,
i. 531b; Organ, ii. 589b;
Scotish Music, iii. 445 b;
Virdung, iv. 303 b.
RecoedingMusic, etc., iv. 767 a,
Recte et Retro, per, iii. 87b ;
Canon, i, 304a ; Imitation, i.
766 a; Rovescio, Al, iii. 183b;
Tonal Fugue, iv, 139 b,
Redeker, L. D. a,, iii, 89 a;
Philh, Soc, ii. 700 b,
Redemption, iv. 769 a; Gounod,
iv. 769 a.
Redford, J., iii. 89b; Ac-
companiment, i. 20b ; Cathe-
dral Mus., i. 325a ; Hawkins,
i. 700 b; Motett Society, the,
ii. 376b; Schools of Comp.,
iii. 270 b.
Redhead, R., iv. 769a ; Chant,
i. 338&-
Redi, F. ; Tesi-Tramontini, iv.
93b,
Redi, T. ; Siface, iii, 492 a.
Redois, J. ; Schools of Comp.,
iii. 260a; Sistine Choir, iii,
520 b.
Redoute, iii, 89a ; Ridotto, iii.
129 b.
Redowa, iii, 89b; Varsoviana,
iv. 230 b.
Ree, a.; Hartvigson (F.), iv.
669a.
Reed, iii. 89b ; Alphabet, i. 56b;
Bagpipe, i, 1 23b, etc; Clarinet,
i. 361b; Organ, ii, 573a, etc.
Reed, A., iv, 769a.
Reed, Priscilla, iii. 91b; Parry
(J. O,), ii, 651b; Vauxhall
Gardens, iv, 234a.
Reed, R,, iii, 91b.
Reed, T. G., iii. 90b; iv, 769a ;
Parry (J. O,), ii, 651b; Soc,
of British Musicians, iii, 544a.
Reed, W,, iii, 91 b.
Reedstop, iii. 90 a; Jeux d'
Anches, ii. 34a; Krummhom,
ii, 74a ; Organ, ii. 574a, etc. ;
Regal, iii. 93 b; Tenoroon, iv,
88 b,
Reel, iii, 91b; Bagpipe, i, 124b;
Gow, i. 615 a ; Irish Mus., ii,
2 1 b ; Polska, iii. lib; Scor-
datura, iii, 426 a; Scotch
Snap, iii, 437 b ; Scotch Mus,,
iii, 450 a ; Strathspey, iii.
735 «.
Rees ; Diet, of Mus., i. 446b.
Rees, E. ; Philh. Soc, iv. 7470.
Reeve, W., iii. 92 a ; Opera, ii.
524a ; Quintuple Time, iii.
61 b ; Shield, iii. 487 a.
Reeves, E., iii. 93 a; Patey
(Janet), ii, 6720,
Reeves, H,, iii, 93 a; Singing,
iii, 512b; Philh, Soc, iv. 746b.
Reeves, J. Sims, iii. 92 b; Cooke,
i. 398a ; Handel Festival, i.
658b; JuUien, ii. 45 a; Na-
tional Concerts, ii. 447 b ;
Philh. Soc, ii. 699 b; Schira,
iii. 252a; Singing, iii. 512a,
etc; Tenor, iv. 88a; Thal-
berg, iv. 95 b.
Reformation Symphony, The,
iii. 93 a; iv. 769b; Mendels-
sohn, ii. 265 a, etc.
Refrain, iii. 93b; iv. 769b;
Chanson, i. 335 b; Song, iii.
6 1 8 b ; Ture-lure, iv. 805 a.
Regal, iii. 93b; iv. 769b;
Positive Organ, iii. 21b;
Virdung, iv. 303 b.
Regan, A. (See Schimon, iii.
250b.)
Regenbogen ; Song, iii. 61 6b.
Regibo ; Ophicleide, ii. 531b.
Regibo, a. B. M., iii. 93b;
Ruckers, iii. 194b, etc. ; Mus.
Instruments, iv. 723a.
Regis, Joh. ; L'homme arm^, ii.
127a; Madrigal, ii. i88a;
i
INDEX.
131
Schools of Comp., iii. 260a;
Sistine Chapel, iv. 794 a.
Kegisteb, iii. 94a ; Organ, ii.
583 «.
Kegister, iii. 94 a ; Chest-voice,
i. 344^; Singing, iii. 504a,
etc. ; Voce di Petto, iv. 321 & ;
Voice, iv. 332 a, etc.
Registration, iii. 94 & ; Treat-
ment of the Organ, iv. 165a.
Eegius, B. ; Bodenschatz, i.
254a.
Eegxart; Song, iii. 620&.
Kegnier ; Conservatoire de
Mus., i. 392 &, etc.
Regondi, G.,iii. 97a; iv. 770a;
Concertina, i. 387 a ; Guitar, i.
640 &.
Rehearsal, iii. 97 &.
Reicha, a. J,, iii. 98 a ; Adam
(A. C.), i. 28a; Beethoven,
i. 1646; Berlioz, i. 233a;
Clarinet, i. 3646; Conserva-
toire de Mus., i. 3926; Cuvil-
lon, i. 425a ; Elwart, i. 4876 ;
Farrenc (L.),i. 508a; Flotow,
i. 534 &; Flute, i. 538 a;
Fugue, i. 5696 ; Grisar, i.
632a; Haydn (M.), i. 702a;
Horn, i. 752a ; Hiinten (F.),
i- 755^ > Liszt, ii. 145^;
Musard, ii. 409 &; Neefe, ii.
451a; Onslow, ii. 497 a;
Quintuple Time, iii. 61 &;
Rossini, iii. 170a; Rousselot,
iii. 1 826; Sauzay, iii. 230&;
Schunke, iii. 424a ; Trio, iv.
172a; Viardot-Garcia, iv.
259a ; Vieuxtemps, iv. 2626 ;
Wind-band, iv. 4736; Kast-
ner (G.), iv. 688a; Mer^aux
(J. A.), iv. 717& J Varney, iv.
807 a.
Reicha, Jos., iii. 98 a.
Reich ardt, A., iii. 99a; iv.
770a; Philh. Soc, ii. 700a.
Reichardt, C; Adlung, i. 376.
Reichardt, Gus. ; Part Mus.,
ii. 656a ; Song, iii. 623a.
Reichardt, J. F., iii. 996; iv.
770a; Auswahl, etc., i. 105a ;
Beethoven, i. 188 a, note, etc.;
Duschek (F.), i. 4726; Eck
(J.), i. 482a; Ertmann, i.
493 &; Fesca,i.5i4&; Frederic
the Great, i. 561 &; Haydn, i.
715a; Himmel, i. 740a ; In
questa Tomba oscura, iL 4a ;
Liederspiel, ii. 136a; Men-
delssohn, ii. 272a, etc. ; Mo-
zart, ii. 392 6 ; Muller (A. E.),
ii. 408 a ; Mus. Periodicals,
ii. 431 a ; Olimpiade, ii. 4966 ;
Opera, ii. 519a; Orpheus, ii.
613a; Ries (Ferd.), iii. 131a;
Romantic, iii. 151 &, note;
Singspiel, iii. 517a; Song, iii.
623a, etc; Stein (F.), iii.
709a; AVeigl (J., jun.), iv.
432 &; Zumsteeg, iv. 5146.
REICHER-KlNDERMANN,iv. 770 a.
Reichmann; Wagner, iv. 365 a.
Reid, Gen. J., iii. 100& ; iv.
770b; Mus. Lib., ii. 418&;
Pierson (H. H.), ii. 752a;
Professor, iii. 33 a.
Reid Concerts, iii. loi a ; Con-
cert, i. 3846; Oakeley, ii.
485a; Thomson (J.), iv, 107 &.
Reilly, M. ; Irish Mus., ii.
19 a.
Reina; Strakosch, iii. 734&.
Reinagle, a. R., iii. 102 a.
Reinagle, H., iii. 102 a.
Keinagle, J., iii. 102 a.
Reincke. (See Reinken, J. A.,
iii. 103a.)
Reine de Chypre, La, iii. 102 a ;
iv. 770& ; Haldvy, i. 645 &.
Reine de Saba, La, iii. 102 a ;
Gounod, i. 614a.
Reine Topaze, La, iii. 102a;
Masse (V.), ii. 2356.
REiNECKE,K.,iii.i02a;iv.77ob;
Arrangement, i. 936 ; Berger,
i. 231a; Bruch, i. 279a;
Gewandhaus Concerts, i. 593 a,
etc. ; Grieg, i. 630& ; Philh.
Soc, ii. 700 a; PF. Mus.,
ii. 73 5&; PF.-playing, ii.
745; Quodlibet, iii. 62 a;
Rontgen (J.), iii. 144 a ; Schools
of Comp., iii. 2986; Scotson
Clark, iii. 45 2 & ; Shakespeare,
iii. 4845 ; Sonatina, iii. 584a;
Song, iii. 6306 ; Stanford, iii.
6S9&; Svendsen (J.), iv. 6a',
Swinnerton Heap, iv. 9b;
Beringer (Oscar), iv. 545 a;
Davies (Fanny), iv. 608 b;
Niederrheinische Musikfeste,
iv. 731.
Reiner, J.; Mus. Divina, ii.
412 b.
Reinhold, C. F., iii. 103a;
Addison (J.), i. 30 a; Callcott
(J. W.), i. 298a; Handel,
Commemoration of, i. 658 a.
Reinhold, H., iii. 102 b.
Reinhold, T., iii. 103 a ; Waltz
(G.),iv. 382 a.
Reinken, J. A., iii. 103 a; iv.
770b; Bach (J. S.), i. 114b;
Sweelinck, iv. 8a ; Bach (J.
S.), iv. 527a ; Scheidemann
(H.), iv. 782a; Vereeniging,
etc., iv. 811 b.
Reinmar der Alte; Song, iii.
615a.
Reinthaleb, K., iii. 103b; iv.
770b; Jephthah, ii. 33 b;
Oratorio, ii. 558 a.
Reissiger, C. G., iii. 103 b.
Reissiger, K. G., iii. 103b;
Auswahl, etc., i. 105 a; Clari-
net, i. 364b; Ecclesiasticon,
i. 482 a; Horn, i. 752 a;
Merkel, ii. 314a; Nieder-
rheinische Musikfeste, ii. 4571
Orpheus, ii. 613b; PF. Mus.,
ii. 728b ; Pierson (H. H.), ii.
752a; Song, iii. 623a; Turan-
dot, iv. 190b; Wagner, iv.
353b; Weber's last Waltz, iv.
430 a; Metastasio, iv. 718 a.
Reissmann, a., iii. 104a ; Diet,
of Mus., i. 446 a ; Jahrbiicher,
ii. 30b; Mendel, ii. 252b;
Schubert, iii. 376 a; Song, iii.
616 a, note, etc.; Volkslied,
iv. 337 b; Hist, of Mus., iv.
674 a, etc. ; Mendel (H.), iv.
716b.
Reiter, E. ; Stockhausen (J.),
iii. 715 b.
Reitter, M. ; Hist, of Mus., iv.
676a.
Relation, iii. 104b.
Relfe, J., iii. 1 06 a.
Relfe, L., iii. 1 06 a.
Rellstab, C, iii. io6b.
Rellstab, H. F. L., iii. 106 b;
Beethoven, i. 181 a, note, etc. ;
Dussek, i. 474b, etc. ; Mendels-
sohn, ii. 310a; Moonlight
Sonata, ii. 360b ; Schubert,
iii. 349 b; Spontini, iii.
679&.
Rellstab, J. K. F., iii. 106a.
Remaury. (See Montigny, C,
ii. 360a.)
Remenyi, E., iii. 107 a ; Magyar
Mus., ii. 1986.
Remplissage, iii. 107 b.
Remusat ; Tulou, iv. i86b.
Remy ; Trompette, La, iv. 1 79 a.
Renekin ; Grdtry, i. 6275.
Renaldi ; Mus. Lib., iv. 726a.
Rendano, a., iii. 107b; Philh.
Soc, ii. 700 a.
Renn. (See Jardine & Co., iv.
685 a.)
Renzi; Rolla (A.), iii. 147 a.
Re Pastore, II, iii. 107 b; Mo-
zart, ii. 384b.
Repeat, iii. io8a ; Abbre-
viations, i. 3b; Al Fine, i.
52b; Form, i. 547 b, etc. ;
Primo, iii. 30 b ; Volta, Prima,
Seconda, iv. 338 a.
Repercussion ; Tonal Fugue,
iv. 139a.
Repetition, (Pianoforte), iii.
108 a; Abbreviations, i. 2b;
Action, i. 26 b; Arrangement,
Ka
182
i. 910; Erard (S.). 1. 491a;
Pianoforte, ii. 722b.
Kbplica. (SeeREPEAT,iii. 108 a.)
Bbpbise, iii. 109 a : Durch-
fiihrung, i. 472a; Primo, iii.
306.
Keproaches, The. (See Im-
PROPERIA, ii. I a.)
Bequiem, iii. 109a; iv. 7706;
Brahms, i. 270a; Cherubini,
i. 342?); Gossec, i. 6iia;
Mass, ii. 235a; Motet, ii.
374a; Mozart, ii. 393&, etc. ;
Schack, iii. 241 & ; Verdi, iv.
252 a, etc. ; Vittoria, iv. 316 a ;
Walsegg, iv. 380a.
Eesinakius, B. ; Chorale, iv.
5895.
Besolution, iii, 113a; Discord,
i. 449a ; Ninth, ii. 4596 ;
Percussion, ii. 685 &; Seventh,
iii. 476b, etc. ; Suspension, iv.
4b.
Response, iii. 115b; Accents, i.
17b; Cathedral M us., i. 323b;
Tallys, iv. 53b; Versicle, iv.
257a.
Eesponsoeium, iii. ii8b; Im-
proper i a, ii. J a; Plain Song,
ii. 766 a, etc. ; Requiem, iii.
109a; Vespers, iv. 257a.
Besse, L.; Gudehus (H.), iv.
658 b.
Best, iii. ii8b; Notation, ii.
471b; Soupir, iii. 647 b;
Franco (of Cologne), iv. 641 b.
Eestano ; Sivori, iii. 534a.
Besultakt Tones, iii. 119a;
Temperament, iv. 71a; Third,
iv. 103 a.
Beszke. (See De Reszke, iv.
61 lb.)
Betabdation, iii. 121a; Sus-
pension, iv. 6 a.
Betrogression ; Cancrizans, i.
302 b ; Counterpoint, i. 409 a.
Beuenthal, N. von; Song, iii.
615 b.
Beuther; Oboe, ii. 488 a.
Beutter, G., iii. 121a.
Beutteb, G. K., iii. 121a;
Haydn, i. 703 a, etc. ; Meta-
stasio, ii. 315 b, etc. ; Zenobia,
iv. 506 a.
Beveille. (See Sounds and
Signals, iii. 642 b.)
Beverse. (See Eovescio, iii.
183b.)
Bbvial, M. p. de; Conserva-
toire de Mus., i. 392 b ; Schu-
bert, iii. 358a; Capoul (J.),
iv.578b.
Bevue et Gazette Musicale,
iii. 1 21b; Schlesinger (M.A.),
iii. 254a.
INDEX.
Bet, E. (See Beyer.)
Bey, J. B. ; Berton (A.), i.
237a; Sacchini, iii. 209a;
Steibelt, iii. 702 a; Zimmer-
mann (P.), iv. 508 a.
Beyer, E., iii. 122a; iv. 770b;
Gr. Prix de Borne, iv. 654b ;
Lamoureux, iv. 696 b.
Beynard, J.; Song, iii. 592b;
Volkslied, iv. 337a.
Beyniere, G. de la; Cl^ du
Caveau, iv. 593 b.
Beynolds, J., iii. 122b; Page,
ii. 632b; Part Mus., ii. 656b.
Beynvaan; Diet, of Mus., i.
445 a.
Rhapsody, iv. 771b; Liszt, li.
147b; Song, iii. 628b.
Rhaw, G. ; Agricola (M.), i.
44b; Divitis, i. 451b; Isaac,
ii. 23a; Leipzig, ii. 115a;
Luther, ii. 179b; Ranz des
Vaches, iii. 76 a; Song, iii.
618 b, note', Volkslied, iv.
337a; Bicinium, iv. 546b;
Chorale, iv. 589 a.
Rheinberger, J., iii. 122b; iv.
772a and 820a; PF. Mus., ii.
735b; PF.-playing, ii. 745;
Quartet, iii. 58 b; Song, iii.
630b; Toccata, iv. 130a.
Rheingold, Das, iii. 122b; Wag-
ner, iv. 359 a, etc.
Rheinweinlied ; Methfessel, iv.
718b.
Rhesa, L. J. ; Song, i v. 795 a.
Rhine Festivals. (See Nieder-
eheinische Musikfeste, ii.
455 b, etc.)
Rhythm, iii. 122b; Accent, i.
16 b; Bar, i. 137 b; Battuta,
i. 157a ; Common Time, i.
381a; Dance Mus., i. 429a;
Dot, i. 455b; Form, i. 541b,
etc.; Lejeune, ii. 119a; Mea-
sure, ii. 243 a; Melody, ii.
250b; Metre, ii. 316b; Nota-
tion, ii. 475 b; Phrasing, ii.
706 b; Proportion, iii. 42 a,
etc. ; Quintuple Time, iii.
61 a; Relation, iii. 105 b;
Suite, iii. 757a, etc. ; Tempo,
iv. 84 a; Time, iv. 117 b, etc. ;
Time-Signature, iv. 126b;
Zoppa, Alia, iv. 514^; Dance
Rhythm, iv. 605 b ; Negro
Mus., iv. 729ft ; Odington, iv.
734 «•
Riano, J. F. ; Hist, of Mus., iv.
676a.
Ribattuta, iii. 125a; Shake,
iii. 479b.
Ribeea, B. ; Eslava, i. 494b,
Ribs, iii. 125b.
Riccardi; Paer, ii. 627b.
Ricci, F., iii. 126a; Verdi, iv.
252b; Wilder, iv. 457a.
Ricci, L., iii. 125b; Mus. Lib.,
ii. 420a; Naples, ii. 446a;
Bandegger, iii. 73 a ; San
Carlo, iii. 223b; Scaramuccia,
iii. 237a ; Zingarelli, iv. 510a.
Bicci, T. ; Bodenschatz, i. 253b;
Latrobe, ii. 103b; Mus. Lib.,
ii. 426b.
BicciERi; Saggio di Contrap-
punto, iii. 212 a.
Biccio, T. (See Bicci, T.)
Biccius; Meinardus, iv. 716a.
BiccoBONi, L. ; Hist, of Mus.,
iv. 675b.
Bice, F. ; United States, iv.
204a.
Bicercare, iii. 126b; Fantasia,
i- 503^; Musikalisches Opfer,
ii. 438 a ; Beicha, iii. 98 b.
Bicercata. (See Bicercare.)
Bich, J., iii. 127a; Beard, i.
1 5,8 a ; Beggar's Opera, i. 209b;
Lincoln's Inn Fields Theatre,
ii. 140a; Swiny, iv. gb, etc.
Bichafort, J.; Attaignant, i.
loob ; Mus. Antiqua, ii. 411 a ;
Dodecachordon, i v. 6 16 a;
Sistine Chapel, iv. 794 a; Tr^-
sor Mus., iv. 803a.
Bichard C(eub de Lion, iii.
127a; Gr^try, i. 628b.
Richard C(eub de Lion ; Song,
iii. 585b.
Richards, B., iii. 127a; iv.
772a; Eisteddfod, i. 484b;
Parry (Jos.), ii. 652a; PF.
Mus., ii. 733a; Royal Acad.
of Mus., iii. i86b; PF. Mus.,
iv. 748 b.
Richardson; Reeve, iii. 92a.
Richardson, Ferd. ; Virginal
Mus., iv. 308 a.
Richardson, J., iii. 127b; Wade,
iv. 344a.
Richardson, V., iii. 127b ; iv.
772a; Kent (J.), ii. 50b;
Page, ii. 632 b; Part Mus., ii.
656b; Tudway, iv. 199b.
Richault, C. S., iii. 127b.
Richault, G. S., iii. 128a.
Richault, L., iii. 128a.
RiCHEFORT. (See Richafort.)
Richter; Franzl (F.), i. 557b.
Richter; Mozart, ii. 389 a.
Richter ; Reichardt (J. F.), iii.
99 b.
Richter, E. F. E., iii. 128a;
Asantschewsky, i. 96 a; Dann-
reuther, i. 430 a; Gemsheim,
i. 590 b; Grieg, i. 630b ; Hen-
schel, i. 729a; Leipzig, ii.
115 a; Paul, ii. 675b; Pe-
rabo, ii. 685 a; Rea, iii. 79a;
Reissmann, iii. io4rt ; Rontgen
I (J.), iii. 144a ; Schneider (J.
G.), iii. 2.f6a; Sodermann,
iii. ^^45 a ; Sullivan, iii. 761 Z> ;
Taylor (F.), iv. 66 &; Wil-
helmi, iv. 4576; Baclie (W.),
iv. 529b; Beringer (O.), iv.
545a ; Dommer (A. von), iv.
617a; Handel - Gesellschaft,
iv. 665 &; Kjerulf, iv. 691a.
RiCHTEB, H., iii. 128&; iv.
772a; Esser, i. 495a; Gesell-
schaft der Musikfreunde, i.
591 h ; Sucher, iii. 754b ; Wag-
ner, iv. 362b, etc.; Birming-
liam Festival, iv. 547 a ; Liszt,
i V. 703 b ; Niederrheinische
Musikfeste, iv. 731a.
RiCHTEB, Mme. von InnfFeld, iii.
129a.
RicoRDi, G., iii. 129a; iv. 722a;
Mus. Periodicals, ii. 431b,
RicoBDi, Giulio di T., iii. 129 a.
RiDOTTO, iii. 129 b.
RiEDEL, Carl, iii. 129b; iv.
772 b; Leipzig, ii. 115b;
Ramann (B.),iii. 68 b ; Schiitz,
iv. 46 a.
RiEDER, A. ; Mozart, ii. 395 b,
note.
Riefstahl; Gollmick, iv. 651b.
RiEGEL ; Jahrbxicher, ii. 30b.
RiEGEB, G. ; Vaterliindische
Kiinstlerverein, iv. 808 rt.
Riehl; Haydn, i. 719b; Ro-
mantic, iii. 152 b, note.
Riem, W. F., i. 130a ; PF. Mus.,
ii. 727a.
RiEMANN, H. ; Diet, of Mus.,
iv. 613a; Hist, of Mus., iv.
677a.
RiEMENSCHNEiDEB J Spohr, iii.
657a.
R1EM8CHNEIDER, J. G. ; Boscni
(G.), i. 261b.
RiENZi, iii. 130a; Wagner, iv.
350a, etc.
RiES, A., iii. 132 a.
RiES, A. M., iii. 130a.
RiES, Ferdinand, iii. 130b ; Beet-
hoven, i. 163b, etc.; Cramer
(J. B.), i. 413b; Krumpholz
(W.), ii. 74b ; Leidesdorf, ii.
1 14a ; Loder (E. J.), ii. 158b ;
Mus. Lib., ii. 421a; Nieder-
rheinische Musikfeste, ii. 457 ;
Orpheus, ii. 613b ; Philh.
Soc, ii. 699a ; PF. Mus., ii.
727a; PF.-playing, ii. 740a,
etc.; Quartet, iii. 57b; Royal
Acad, of Mus., iii. 185 a;
Spohr, iii. 659a ; Stein (F.),
iii. 709 b.
RiES, Franz, iii. 132a; Suite,
iii. 761a.
INDEX.
RiES, Franz A., iii. 130b; Beet-
hoven, i. 163 b; Sterkel, iii.
711b.
RiES, Hubert, iii. 132a; iv.
772b; Etudes, i. 497a; Vio-
lin-playing, iv. 289; Wiierst,
iv. 491b.
RiES, Joh., iii. 130a.
RiES, L., iii. 132a; Rudorff, iii.
201 b.
RiETER-BlEDERMANN, iii. 132b;
Leipzig, ii. 115 a.
RiETZ, E., iii. 132b; Mendels-
sohn, ii. 256 b, etc. ; Rode,
iii. 143b; Violin- playing, iv.
289.
RiETZ, J., iii. 132b; iv. 772b;
Bachgesellschaft, i.i 19 a ; Bar-
nett (J. F.), i. 141b; Gerns-
heiin, i. 590b ; Gewandhaus
Concerts, i. 593a; Grieg, i.
630 b ; Handel-Gesellschaft, i.
659 a; Lortzing, ii. 167a;
Mendelssohn, ii. 272a, etc.;
Niederrheinische Musikfeste,
ii. 457; O'Leary, ii. 496b;
Schumann, iii. 399 a, etc. ;
Song, iii. 630 b ; Sullivan,
iii. 761b; Tonkiinstlerverein,
iv. 150b; Wlillner, iv. 491b;
Bruckler,iv.566b; Buck (D.),
iv. 5676; Dietrich, iv. 6146;
Eichberg (J.), iv. 626a;
Handel-Gesellschaft, iv. 665 b ;
Meinardus, iv. 716a.
RiFAUT ; Gr. Prix de Rome, i.
6i8b.
RiGADOON, iii. 134a; Anglaise,
i. 68 a; Specimens, Crotch's,
iii. 649a ; Suite, iii. 756a.
RiGBY, G. v., iii. 134a; Philh.
Soc, ii. 700a; Singing, ii.
5126.
RiGEL; Song, iii. 594^.
RiGHiNi, v., iii. 134b ; Beet-
hoven, i. 1 64 J; In questa
Tomba, ii. 4a ; Latrobe, ii.
103 b ; Paradis, ii. 648 a ;
Tigrane, 11, iv. 115b; Weber,
iv. 397 J ; Willmann (M.), iv.
461a; Woelfl, iv. 478a.
RiGOLETTO, iii. 135a; Verdi, iv.
249 b, etc.
RiLLE, L. DE. (See Laurent
DE RiLL]^, iv. 698a.)
RiMBAULT, E. F., iii. 135 a;
Accompaniment, i. 21b; An-
them, i. 71a. etc.; Citole, i.
359b; Clavichord, i. 369a;
Erard, i. 491a; Este (T.), i.
4Q6a; Harpsichord, i. 690b;
Holbome, i. 743 a; Hopkins
(E. J.), i. 746 J; Isaac, ii.
23a; Motett Soc, ii. 376b;
Mus. Antiquarian Soc, ii.
133
4165 ; Mus. Lib., ii. 418b,
etc. ; Mus. Periodicals, ii.
4275, etc.; North (R.), ii.
466 a; Organ, ii. 608 b; Par-
thenia, ii. 6536; Pastoral
Symphony, ii. 671a; PF., ii.
710b ; Purcell Soc, the, iii.
53a; Ruckers, iii. 194a;
Service, iii. 474b; Shudi, iiL
489 b; Silbermann, iii. 494 a;
Spinet, iii. 656a ; Virdung,
iv. 303a ; Virginal, iv. 304a;
White (Magister), iv. 453a;
Yankee Doodle, iv. 4936;
Hist, of Mus., iv. 6746.
RiMBAULT, Mme. ; Garcia (M.),
i. 582a,
RiMSKY-KOESAKOW, iv. 772b.
RiNALDiNi ; Jannaconi, ii. 31 a.
RiNALDO, iii. 135b; Handel, L
649 a.
RiNALDo DEL Mel. (See Mel,
ii. 248 a.)
RiNCK. (See Rink.)
RlNFOEZANDO, iii. I35&.
Rink, J. C. H., iii. 136a;
Flowers, i. 535a; Halle, i.
6466; Hesse, i. 733&; Inter-
lude, ii. 7b; Kittel, ii. 63a;
Kiihmstedt, ii. 75 a; Mus.
Lib., ii. 4266, etc. ; Nachspiel,
ii. 442 a; Pierson (H. H.), ii,
752a; Schloesser (L.), iii.
254a; Terpodion, iv. 93a;
Vierling, iv. 262 a; Vogier,
iv. 328a.
RiNUCCiNi, 0. ; Bardi, i. 139a;
Cavalieri (E. del), i. 327a;
Florence, i. 533 b ; Intermezzo,
ii. 8a; Monteverde, ii. 358b;
Opera, ii. 499a, etc ; Peri, ii.
690 i ; Mus. Lib., iv. 726a.
RioTTE, P. J., iii. 136a; PF.
Mus., ii. 726b; Wanda, iv.
382a; Vaterlandische Kiinst-
lerverein, iv. 808 a.
RiPA, A.; Eslava, i. 495a.
Ripalta; Porta (F. della), iii.
i8b.
RiPiENO, iii. 136b; Tutti, iv.
196 a.
RippAMONTi; Haydn, i. 706 J.
RiSABELLi; Lamperti, ii. 89 a.
RiSELET, G., iii. 136 b.
RiSHOMME, F. ; Roi des Violons,
iii. 146 a.
RisPETTi; Stomello, iii. 721a.
RisposTA, iii. 136b; Proposta,
iii. 43 a.
RiTABDANDO. (See Rallen-
TANDO, iii. 67 b.)
RiTENENTE. (See Rallentan-
DO, iii. 67 b.")
RiTENUTO. (See Rallentando,
iii. 67 b.)
134
RiTOKNELLO, Hi. 1 37 a; Accom-
paniment, i. 22a; Opera, ii.
499a, etc. ; Scarlatti (A.), iii.
23Sa; Schools of Comp., iii.
3796 ; Song, iii. 598 a ; Stor-
nello, iii. 7216; Subject, iii.
751 J ; Symphony, iv. 11 a.
Eitschl; CJIrell, iv. 658 a.
EiTSON, J. ; Schools of Comp.,
iii. 268 a; Scotish Mus., iii.
438a; Sumer is icumen in,
iii. 765 b ; Hist, of Mus., iv.
6746.
Rittek; Bach (H.), i. no a.
Ritter; Mozart, ii. 385 &.
RiTTER ; Pixis (F. W.), ii. 759 &.
Ritter; Vogler, iv. 329&.
Ritter, Carl ; Schumann, iii.
398 a; Wagner, iv. 358 &.
Ritter, F. L., iii. 1376 ; Dann-
reuther, i. 430 a ; Dwight's
Journal, i. 4786; United
States, iv. 2035; Hist, of
Mus.,iv. 6745, etc.
Ritter, Fanny, iii. 138a; iv.
772&; Dwight's Journal, i.
4786; Ehlert, i. 484 a.
Ritter, G. A. ; Reinthaler, iii.
103 b ; Schneider (J. G.), iii.
256a.
Ritter, Hermann ; Tenor Vio-
lin, iv. 91 6 ; Hist, of Mus., iv.
6766.
Ritter, Theod., iv. 7726; PF.
Mus., iii. 735 a; PF.-pla>'ing2
iii. 745 ; PF. Mus., iv. 7486;
PF.-playing, iv. 7486.
RiTZ, E. (See Rietz, E.)
Rius ; Roses, iii. 1626.
Riviere ; Bishop (A.),iv. 547 a.
Robartt, iv. 7726.
RoBBERECHTS J Violin-playing,
iv. 289.
Roberdel; Lulli, ii. 172 a.
Robert Bruce, iii. 138 a ; Ros-
sini, iii. 177J.
Robert le Diable, iii. 138a;
Meyerbeer, ii. 323a.
Roberto Devereux, iii. 138a;
iv. 772 6 ; Donizetti, i. 454a.
Roberts, J. V., iii. 1386; iv.
7725 ; Glee Club, i. 599a.
Robertson, F. ; Singing, iii.
512&.
Robin Adair, iii. 1386.
Robin des Bois, iii. 139a.
Robin Hood, iii. 139&; Mac-
farren (G. A.), ii. 186 a.
RoBiNBAU; Gavinids, i. 5856;
Violin- playing, iv. 289.
Robinson, Anastasia, iii. 139& ;
Baroness, The, i. 142 &; Roy.
Academy of Mus., iii. 184&;
Soprano, iii. 635?).
Robinson, Ann, iii. 140 a.
INDEX.
Robinson, Fanny, iii. 140 &.
Robinson, Francis, iii. 140a.
Robinson, Francis, jun., iii.
140a; Trin. Coll., Dublin, iv.
170&.
Robinson, G. ; Vauxhall Gar-
dens, iv. 234&.
Robinson, John, iii. 140 a.
Robinson, John, iii. 139& ; Tur-
ner (W.), iv. 195&.
Robinson, Jos., iii. 140a; Ti-in-
ity Coll., Dublin, iv. 171a,
etc.; McGuckin(B.),iv. 707&.
Robinson, M., iii. 139&.
Robinson, T., iii. 141a; Este
(T.), i. 496a; Lute, ii. 177&;
Byrd, iv. 5735.
Robinson, W., iii. 140a.
ROBLEDO, M. ; Eslava, i. 4946 ;
Sistine Chapel, iv. 794 a.
RoBSON, J., iv. 773a ; Flight, 1.
532 &.
ROBUSCHI ; Mattel (S.), ii.
239a.
RoccA, A. ; Hist, of Mus., iv.
676a.
Roche, E., iii. 141a; iv. 773a.
Rochlitz, F. J., iii. 141 a ; Beet-
hoven, i. 172a, etc.; Cae-
cilia,i. 295a; Eybler, i. 500&;
Fink, i. 528a ; Hoffmann (E.
T.), i. 742 a; Leipzig, ii. 114a,
etc. ; Mara, ii. 210& ; Marsch-
ner, ii. 219a; Mozart, ii. 3926,
etc. ; Schools of Comp., iii.
260&; Schubert, iii. 3.^6a,
etc. ; Wagner, iv. 348 a ; We-
ber, iv. 397 a, etc.
Rock, M., iii. 142 a ; Part Mus.,
ii. 657a; Vocal Scores, iv.
320 a.
Rockstro, W. S. ; Mendelssohn,
ii. 2876, note; PF. Mus., ii.
734& ; White (Maude V.), iv.
451a; Diet, of Mus., iv. 613a;
Hist, of Mus., iv. 6746.
Rode, P., iii. 142 a; iv. 773a;
Baillot, i. 126a; Beethoven,
i. 190a; Boehm (Jos.), i.
254a; Bowing, i. 266a;
Catalani, i. 321 &; Conserva-
toire de Mus., i. 392a, etc. ;
Drouet, i. 463 J; Etudes, i.
497 a; Garat, i. 581 & ; Kreut-
zer (R.)» "• 72 ^> etc. ; Lafont,
ii. 84a ; Maurer (L, W.), ii.
239& ; Mendelssohn, ii. 2576;
Ravina, iii. 786 ; Rietz (Ed.),
iii. 1326; Sontag, iii. 634a;
Spohr, iii. 657I); Stradivari,
iii. 733^ ; Violin-playing, iv.
294a ; Viotti, iv. 302 &.
RODIANI, G. ; Violin, iv. 282a.
RoDOLPH, Archd. (See Ru-
dolph.)
RoDOLPHE ; Conservatoire de
Mus., i. 392 a, etc.
RoDWELL, G. H. B., iii. 1436;
Song, iii. 607 a.
RoECKEL, A., iii. 144a.
RoECKEL, E., iii. 144a.
RoECKEL, J. A., iii. 1436.
RoECKEL, J. L., iii. 144a; PF.
Mus., ii. 736a.
RoDER, G. v.; Oberthur, ii.
485&.
RoLLiG ; Frick, i. 5646.
RoNTGEN, E., iii. 144a; Violin-
playing, iv. 297 a.
RoNTGEN, J., iii. 144a; PF.
Mus., ii. 736a; Schools of
Comp., iii. 2g8b; Song, iii.
6306.
RoESER ; Sonata, iii. 566a.
ROGEL, J., iii. 144&.
Roger; Gr. Prix de Rome, i.
6186.
Roger, G. H., iii. 144S; Boiel-
dieu, i. 257b; Singing, iii.
511a; Tenor, iv. 88a.
Rogers, B., iii. 145a ; iv. 773a ;
Boyce, i. 268 a; Creed, i.
415a; Hawkins, i. 700&;
Mus. Lib., ii. 418&, etc. ; Ox-
ford, ii. 6246 ; Part Mus., ii.
656^; Specimens, Crotch's,
iii. 6496; Tudway, iv. 1986.
Rogers, J., iii. 145 b.
Rogers, R., iv. 773a.
Rogers, Sir J. L., iii. 145 7>;
Madrigal Soc, ii. 194a ; Part
Mus., ii. 6566 ; Vocal Scores,
iv. 320a.
Rogge, H. C. ; Vereen'ging,
etc., iv. 255 a.
ROGIER, Philip; Vittoria, iv.
315 & ; Tr^sor Mus., iv. 803 a.
RoGiER, Pierre ; Song, iii. 5856.
Rogier-Pathie ; Mus. Lib., ii.
419a; Trdsor Mus., iv.8o3a.
Roi DES Men^triers. (See
Roi des Violons, iii. 145 b.)
Roi des Violons, iii. 1456;
Ferrel, i. 514a; Guignon, i.
639a; Rebec, iii. 816; Vingt-
quatre Violons, iv. 266 a;
Violin-playing, iv. 292 &.
RoiTZSCH, F. ; Griepenkerl (F.
C), i. 631a; Klavier Mus.,
Aite, ii. 636 ; Peters, ii. 695 6.
RoKiTANSKY, V. F. von, iii.
147a; Staudigl (Jos., jun.),
iii. J691&.
Roland; Garat, i. 581?).
Roland de Latre. (See Las-
sus, ii. 93a.)
RoLDAN, J. P. ; Eslava, i. 495 a ;
Yriarte, iv. 496?).
Roll ; Drum, i. 465 a ; Tonnerre,
iv. 1506.
I
Roll ; Gr. Prix de Rome, i.6i 8 h.
Roll-Call. (See Sounds, iii.
642?).)
RoLLA, Alessandro, iii. 147 a;
Milan, ii. 329 a ; Paganini, ii.
628!); Tenor- violin, iv. 916;
Violin-playing, iv. 289.
RoLLA, Antonio, iii. 147 a.
RoLLE, iii. 147 &.
RoLLE, C. C, iii. 147 &.
RoLLE, C. C, jun., iii. 1476.
RoLLE, F. H., iii. 147 &.
RoLLE, J. H., iii. 147 & ; Latrobe,
ii. 103 &; Meister, Alte, ii.
247 Z) ; Motet, ii. 376a ; Part
Mus., ii. 657a; Rochlitz, iii.
142 a ; Sonata, iii. 566 a ; Vocal
Scores, iv. 319 &.
ROMAGNESI ; Song, iii. 595 h.
RoMALis ; Polo, iii. 9&.
Romance, iii. 147?); iv. 773a;
Chanson, i. 3356 ; Concerto, i.
388&; Form, i. 542a; Song,
iii. 593a, etc.
RoMANCERO ; Song, iii. 598 a.
Romanesca; Galliard, i. 578 J.
ROMANI, F., iii. 148 a ; Bellini,
i. 2126; Libretto, ii. 130 a.
RoMANi, P. ; Lamperti, ii. 89a ;
Piccolomini, ii. 751 a ; Wynne,
iv. 81 8a.
Romano, Alessandro, iii. 148 a ;
Goudimel, i. 612 a; Mus.
Lib., iv. 726a.
Romano, Giulio. (See Caccini,
i. 290a)
Romantic, iii. 148a ; iv. 773a;
Beethoven, i. 205 b ; Classical,
i. 366a ; Marschner, ii. 219& ;
Melodrama, ii. 249a; Mon-
pou, ii. 355 & ; Opera, ii. 520&,
etc. ; Overture, ii. 622b; Ru-
dorfF, iii. 202a, etc.; Schools
of Comp., iii. 292a, etc.;
Schumann, iii. 391 J, etc. ;
Sonata, iii. 575 &; Song, iii.
595&, etc., and 627b; Sym-
phony, iv. 266; Weber, iv.
414a, etc.
Romberg, Andreas, iii. 153b;
Beethoven, i. 164&; Clarinet,
i. 364b; Haydn, i. 717&;
Quartet, iii. 576 ; Sym-
phony, iv. 24 a ; Toy-Sym-
phony, iv. 800 a.
Romberg, Anton, iii. 153a.
Romberg, Anton, iii. 153 a ;
Fiirstenau, i. 566 &.
Romberg, Anton, iii. 153a.
Romberg, Balth., iii, 154a.
Romberg, Bernh., iii. 153 a;
Arnold (J. G.), i. 856; Beet-
hoven, i. 1646; Dotzauer, i.
457a ; Ries (Ferd.), iii. 130&,
etc.; Rietz (J.), iii. 132b;
INDEX.
Symphony, iv. 24a; Violon-
cello-playing, iv. 300 &, etc.
Romberg, C, iii. 154 a.
Romberg, G. H., iii. 153 J.
Romberg, H., iii. 154a.
Romberg, K., iii. 153 &.
Romberg, T., iii. 154a.
Rome, iv. 773a; Accademia, i.
lib; Hist, of Mus., iv.
675b.
Romeo and Juliet, iii. 154a ;
iv. 775&; Bellini, i. 212 b;
Berlioz, i. 2326; Gounod, i.
614a; Steibelt, iii. 700a;
Vaccaj, iv. 212a; Zingarelli,
iv. 509 a.
ROMER, E., iii. 1545 ; Singing,
iii. 512a.
Romero, G. ; Hist, of Mus., iv.
676a.
Romero, M. ; Eslava, i. 494b.
RoMiEU ; Resultant Tones, iii.
1 20b.
RoNCHETTi; Faccio (F.), iv.
631a.
RoNCONi, D., iii. 154b; Frezzo-
lini, i. 564 a; Hayes (C), i.
722 b.
RoNCONi, F., iii. 154&.
RoNCONi, G., iii. 154b; iv.
775b; Avvertimento, i. io6b;
Covent Garden Theatre, i.
413 a; Lumley, ii. i74«;
Philh. Soc, ii. 699 b; Rosa,
iii. 159b; Singing, iii. 511b;
Spohr, iii, 660b.
RoNCONi, S., iii. 155 a; Pinsuti,
ii. 754 «.
Rondeau, iii. 155b; Chanson, i.
335b; Song, iii. 591b; Suite,
iii. 756 b.
RoNDELLUS; Motet, ii. 372 a.
Rondo, iii. 155b ; Concerto, i.
388 b; Finale, i. 523b; Form,
i. 541b, etc.; Round, iii.
i8oa ; Sonata, iii. 568 b, etc. ;
Working-out, iv. 489 b ; Dance
Rhythm, iv. 607 b; Episodes,
iv. 629b.
RoNZANi ; Gardoni, i. 583 a.
RoNZi. (See Begnis, De, i.
209 b.)
RooKE, W, M., iii. 157a ;
Amilie, i. 61 b; Balfe, i.
126b; English Opera, i.
489a; Henrique, i. 729a;
Opera, ii. 524b; Schools of
Comp., iii. 305 b ; Society of
British Mus., iii. 544a ; Song,
iii. 607 a ; Wade, iv. 343b.
RooSE, J., iv. 775b.
Root, iii. 157 a ; Form, i. 542 b ;
Fundamental Bass, i. 569 b;
Harmony, i. 674 a ; Seventh,
iii. 477^.
135
RooTHAM, D, ; Bristol Madrigal
Soc, i. 276b.
Roquet, E. (See Thoinan, iv.
103a.)
RoRE, Cipriano di, iii. T59a;
iv. 775b ; Barre (A.), i. 142b ;
Este, i. 496 a ; Harmony, i.
673 a; Hawkins, i. 700 b;
Lassus, ii. 94 a ; Madrigal, ii.
190b; Mass, ii. 228b; Merulo,
ii. 314b, etc. ; Motet, ii. 375 bj
Ricercare, iii. 126b; Schools
of Comp., iii. 265b; Steffani,
iii. 695 a ; Tylman Susato, iv.
1975; Willaert, iv. 459 a;
Zarlino, iv. 500b ; Bumey, iv.
571a ; Mus. Lib., iv. 726a ;
Tresor Mus,, iv. 803a.
Rosa, C. A. N., iii. 159b; iv.
775b; Lyceum Theatre, ii.
i8ia; Opera, ii, 524b, etc. ;
Parepa-Rosa, ii. 649 a ; Sing-
ing, iii. 513a; Thomas (A.
G.), iv. 103b; Valleria, iv.
214b.
Rosa, Fr, ; Strakosch, iii. 734b.
Rosa, Salvator ; Song, iii. 588 a ;
Specimens, Crotch's, iii, 650a ;
Yriarte, iv. 496 b; Bumey,
iv. 571a.
Rosalia, iii. 160 a; iv. 775b;
Sequence, iii. 465 b; Tonal
Fugue, iv. 136 a,
Rosamunde, iii, 16 1 a ; Schubert,
iii, 332 b, etc.
Rose, iii. 161 a; Ruckers, iii.
194b.
Rose, J. ; Chest of Viols, iv.
585a.
Rose of Castile, iii. i6ib;
Balfe, i. 127b.
Roseingrave, D., iii. 161 b;
Bishop (J.), iv, 547b.
Roseingrave, R,, iii, 161 b;
Messiah, ii, 315 b; Morning-
ton (Earl of), ii. 368 b,
Roseingrave, T., iii. 161 b;
Carey (H.), i. 309 a; Martin
(J.), ii. 221 a ; Part Mus,, ii.
657a; Royal Academy of
Mus., iii. 184b ; Scarlatti (D.),
iii. 240a; Tudway, iv. 199b;
Worgan, iv. 486 a.
Rosellen, H., iii. 162 a; PF.
Mus., ii. 730b ; PF.-playing,
ii. 744; PF. Mus., iv. 748 b.
RosELLi, F. ; Mus. Divina, ii.
412a; Sistine Choir, iii. 521b;
Song, iii. 592 a ; Sistine Cha-
pel, iv. 794 a.
RosENBLUT, H. ; Singspiel, iii.
516 b ; Song, iii. 6i6a.
Ro.senfeld ; Song, iii. 611 a.
RosENHAiN, J., iii. 162a; iv.
775b; Philh. Soc, ii. 699b;
136
PF. Mus., ii. 731a; PR-
playing, ii. 743 b; Hecht, iv.
6706.
RosENKRANZ ; SoDg, iii. 614b.
BosenmUllek, J. ; Mus. Lib.,
ii. 422a; Sonata, iii. 555a;
Chorale, iv. 588b.
BosEK, F. de P.; Haydn, i.
716b; Vaterlandische Kiinst-
lerverein, i v. 808 a.
Roses, J,, iii. 162 b.
RoSETTi; Haydn, i. 706b, etc.
RosETTi, A.; Milan, ii. 329a.
RosiCH, Dej Garcia (M.), i.
582 a.
RosiGNOL ; Organ, ii. 603 a.
Rosin, iii. 162 b; Colophonium,
i. 378 b.
RosiNi, G. ; Sistine Choir, iii.
522a.
RosNATi ; Strakosch, iii. 735 a.
Ross, J., iii. 162 b.
Ross-Despreaux ; Gr. Prix de
Rome, i. 61 8 b.
RossELLi, F. (See Roselli.)
RossETOR, P., iii. 162 b; Este
(T.), i.496«.
Rossi; Bottesini, iv. 556b.
Rossi, Aldob. ; Tamburini, iv.
56a.
Rossi, E. ; Hawkins, i. 700 b.
Rossi, F., iii. 153a; Opera,
ii. 505a; Scena, iii. 240b;
Schools of Comp,, iii. 280a;
Stradella (A.), iv. 797a.
Rossi, Lauro, iii. 163a; iv.
775b; IHgenia, i. 765 b;
Milan, ii. 329a ; Bandini,
iv. 530b; Goldberg, iv. 651 a;
Martucci, iv. 712 b.
Rossi, Luigi, iii. 163b; Can-
tata, i, 305 a ; LuUi, ii. 173a;
Meister, Alte, ii. 247 b ; Mus.
Lib., ii. 422a ; Song, iii. 588 a ;
Specimens, Crotch's, iii. 649 b;
Toccata, iv. 130a; Burney,
iv. 571a; Mus. Lib., iv. 726a.
Rossi, M. A. ; Oratorio, ii,
535b; Sonata, iii. 555 a.
Rossi, O. ; Marenzio, ii. 215 a.
Rossi-ScoTTi, G. B.jiii. 163b.
RossiGNOL, F. L. (See JoN-
cii:RES, iv. 685b.)
Rossini, G. A., iii. 164a; iv.
776a ; Academic de Mus.,
i. 9 a, etc. ; Alboni, i. 50 a ;
Alpenhom, i. 56 b ; Badiali, i.
122a; Balfe, i. 126b; Ball,
i. 128a; Barbaja, i. 138b;
Barber of Seville, i. 138 b ;
Bass, i. 149b; Bassoon, i.
154a; Beethoven, i. 196b;
Bellini, i. 213b, etc. ; Belloc,
i.2i4b; Berton, i. 237b; Bri-
ghenti, i. 276a; Carpani, i.
INDEX.
317a; Cenerentola, La, i.
330 b; Clarinet, i. 364 a; Col-
bran, i. 377a ; Comte Ory, i.
383 b; Contralto, i. 395 b;
Damoreau, i. 428b ; Davide
(Giovanni), i. 434b; Doni-
zetti, i. 453 a; Donna del
Lago, i. 454b ; Donzelli, i.
454b; Escudier, i. 494a;
Flute, i. 537b; Fodor-Main-
vielle, i. 538 b; Galli (F.), i.
577b; Garcia (M.), i. 581b;
Gazza Ladra, La, i. 586a ;
Generali, i. 588b; Grand
Opera, i. 617a ; Grisi, i.632b;
Guillaume Tell, i. 639b ; Hil-
ler (Ferd.), i. 737a ; Hoi;ti, i.
752a; Italianaiu Algieri, L',
ii. 26a ; Kyrie, ii. 78b; Lacy
(M. R,), ii. 83 rt ; Laporte, ii.
91 b ; Libretto, ii. 129 b ; Mao-
mettoSecondo, ii. 208 b ; Mar-
cello, ii. 211 a; Marchesi
(Mathilde), ii. 214b; Mass,
ii. 235a; Mathilde de Sha-
bran, ii. 238a ; Mattel (S.), ii.
238b; Mendelssohn, ii. 257b,
etc. ; Mose in Egitto, ii. 371 a ;
Mus. Lib., ii. 420a, etc. ; Nie-
dermeyer, ii. 455a; Nilsson,
ii. 459a, note ; Nourrit (A.),
ii. 479b, etc. ; Oboe, ii. 487 b;
Oboe di Caccia, ii. .489 a;
Od^on, ii. 492 b; Opera, ii.
524b, etc. ; Operetta, ii.53ib;
O Salutaris Hostia, ii. 615a;
Otello, ii. 615b; Overture, ii.
622a, etc.; Pacchierotti, ii.
626a; Pacini (G.), ii. 627b ;
Paer, ii. 628a; Paganini, ii.
629a; Paisiello, ii. 634b;
Part Mus., ii. 656 b; Pasta,
ii. 668a; Pinsuti, ii. 753b;
Pitch, ii. 758a, ?io^e; Pougin,
iii. 33 b ; Ranz des Vaches, iii.
76a; Recitative, iii. 85b;
Robert Bruce, iii. 138a; Ro-
mani (F.), iii. 148a; Rubini,
iii. 189b ; San Carlo, iii. 223b ;
Sanctus, iii. 224b; Schools of
Comp.,iii.3oob,etc. ; Schubert,
iii. 32 8 a, etc. ; Score, iii.43ia;
Secco Recitative, iii. 454b;
Semiramide, iii. 461a; Ser-
vais, iii. 471 b ; Side-drum, iii.
492 a; Si%e de Corinthe, iii.
492 a; Sinclair, iii. 496 a;
Song, iii. 590b ; Spohr, iii.
658 b; Spontini, iii. 681 b;
Stabat Mater, iii. 685 a ;
Storm, iii. 720b; Stradella,
iii. 723b ; Swert, De, iv. 9a ;
Tadolini, iv. 52a ; Tamburini,
iv. 56b; Tancredi, iv. 57a;
Tarantella, iv. 59 b ; Torvaldo
e Dorliska, iv. 151b; Turco
in Italia, II, iv. 190b; Tyro-
lienne, iv. 198a; Unger, iv.
203 a ; Ventadour Theatre, iv.
238b; Verdi, iv. 252a; Viag-
gio a Reims, II, iv. 258b;
Viardot- Garcia, iv. 259b;
Weber, iv. 407 b; Zelmira,
iv. 504a; Zora, iv. 514a;
Borghi (A.), iv. 554b ; Goli-
nelli, iv. 651a; Mariani (A.),
iv. 710 b ; Vianesi, i v. 812 a.
Rosso, Annibal; Spinet, iii.
652 a, etc.
Rosso, II ; Mus. Lib., iv. 726a ;
Sistine Chapel, iv. 794 a.
Rota ; Saggio di Contrappunto,
iii. 212 a.
Rota, iii. 179a; iv. 776a;
HurdyGurdy,i.759a; Round,
iii. 1 80 a; Schools of Comp.,
iii. 268 a, etc. ; Sumer is
icumen, iii. 765 a ; Violin, iv.
272b.
Roth, M. ; Bodenschatz, i. 253 a.
Rotter ; Herbeck, i. 730 b.
RouGET DE Lisle, C. J., iii.
179a; iv. 776a ; Marseillaise,
ii. 219b, etc.
Round, iii. 179b ; Canon,i. 304b;
Catch, i. 322a ; Pammelia, ii.
643 a ; Ravenscroft (T.), iii.
78b ; Subject, iii. 751a ; Bur-
ney, iv. 571a; Rota,iv. 776a.
Round, Catch, and Canon Club,
iii. 1 80 b.
Roundelays ; Catch, i. 322a.
Round-Ringing ; Carillon, i.
3I3&-
RouPEL, F. ; Mus. Lib., ii. 419a.
RouSEE ; Attaignant, i. 100 b.
Rousseau ; Gr. Prix de Rome,
iv. 654 h.
Rousseau, J. J., iii. 181 a;
Agrdmens, i. 42 h ; Ballet, i.
131a; Beat, i. 158b; Beat
(Time), i. 158 b; Benda (G),
i. 2216; Bernacchi, i. 234b;
Burney, i. 284 a ; Comic Op-
era, i. 380a, etc. ; Devin du
Village, i. 441 b ; Diet, of
Mus., i. 445 a ; Gluck, i.
602a; Intermezzo, ii. 9a;
Melodrama, ii. 249 a; Nach-
schlag, ii. 443 a; Part Mus.,
ii. 656 b; Plain Song, ii.
763 a, noie\ Rameau, iii.
70b; Shake, iii. 479 b, notf.,
Song, iii. 594a; Tartini, iv.
62 J ; Tierce de Picardie, iv.
114b; Waring, iv. 383a;
Chev^, iv. 585 b ; Vallotti, iv.
806 b.
Rousseau's Dream, iii.iSsb ; iv.
776a.
RoussEL, Fr. (See Rosellt, F.)
RoussELOT, J. F., iii. 183 a.
RoussELOT, S., iii. 1826; Si-
vori, iii. 534Z).
RoussiEB, P. J. ; Hist, of Mus.,
iv, 674a.
RovALLi ; Mus. Lib., ii. 421 h.
RovEDiNO, C, iii. 183a; Rauz-
zini (V.), iii. 78 a.
RovELLi, A., iii. 183a.
RovELLi, Giuseppe, iii. 183a;
Aliani, i. 53 a.
RovELLi, G. B.,iii. 183a.
RovELLi, P., iii. 183a; Mol-
ique, ii. 351b; Taglichsbeck,
iv. 52a; Violin- playing, iv.
289,
RovESCio, Al, iii. 183&; Imita-
tion, i. 766 a; Reverse, iii.
121 6.
RovETTA ; Burney, iv. 571 a.
Row OP Keys, iii. 184a; iv.
776a.
RowBOTHAM, J. F. ; Hist, of
Mus., iv. 674a.
Rowland, A. C., iii. 183a.
Roy, Le. (See Leroy, ii. 1 23a.)
Roy, B. van ; Trdsor Mus., iv.
803 a.
Royal Academy of Music, iii.
184a; Ariosti, i. 83a ; Buon-
oncini, i. 649 b, note ; Handel,
i, 6496; Opera, ii. 512&;
Roseingrave, iii. 161 b.
Royal Academy of Music, iii.
185a; iv. 776a; Bach So-
ciety, i. i2oa ; Bennett
(Sterndale), i. 225a, etc. ;
Bochsa, i. 252a; Coccia, i.
375b; Crotch, i. 420b; Hul-
lah, i. 7566; Lucas (C), ii.
1 70 b ; Macfarren (George
A.), ii. 1 86 a; Macfarren
(VV.), ii. i86b; Pauer, ii.
675 a; Potter, iii. 23a ; Pye,
iii, 63 b ; Shakespeare, iii.
484b; Westlake, iv. 449 a;
Westmoreland, iv. 449 S ;
Bache (W.), iv. 529S; Bam-
by, iv. 531a; Corder, iv.
598a; Davenport, iv. 608a;
Faning, iv. 632a; Liszt, iv.
703a ; Mackenzie, iv. 707 J.
Royal College of Music, iv.
159a ; iv. 776b ; Taylor (F.),
iv. 66 b; Training School for
Music, iv. 1586; Ancient
Concerts, iv. 522a; Bridge
(J. F.), iv. 564b ; Faning, iv.
632b ; Gladstone, iv. 648 a;
Henschel, iv. 671b; Holmes
(H,), iv. 679a; Lind, iv.
701 a ; Martin, iv. 711 b ; Par-
ratt, iv. 738 b; Parry (C. H.
H.), iv. 738b; Sacred Har-
INDEX.
monic Soc, iv. 778a ; Stan-
ford, iv. 690a ; Visetti, iv.
813b.
Royal Society of Musicians
OF GuEAT Britain, The, iii.
187a; Ancient Concerts, i.
65a ; Crosdill, i. 420a ; Fest-
ing, i. 515b; Festivals, i.
5165 ; Greene, i. 625b ; Han-
del, i. 652a; Haydn, i.
710a; Schulz (Ed.), iii.383b;
Storace (Ann), iii. 719 a.
Royal Society op Female Mu-
sicians, The, iii. 187b; Mas-
son (Eliz.), iv. 714b.
RozE, M., iii. i88a; iv. 776b;
Choron, i. 353b; Philli. Soc,
ii. 700b; Strakosch, iii. 735a.
RozENHEiM; Gernsheim, i.5905.
Rozkosny; Song, iii. 614b.
RuBATO, iii. 1 88 a.
RuBiNELLi, G. B., iii. 1 88b.
RuBiNi, G. B., iii. 189a; iv.
776b; Bellini, i. 212a, etc.;
Costa, i. 406b; Donizetti, i.
453 a; Gardoni, i. 583a;
Grisi, i. 633 a; Lamperti, ii.
89a ; Laporte, ii. 91b ; Philh.
Soc, ii. 699 a ; Singing, iii.
507 b, etc. ; Tadolinij iv. 52a;
Tenor, iv. 87b; Tremolo, iv.
166 b; Viardot -Garcia, iv.
259b; Goldberg, iv. 650 a;
Mus. Lib., iv. 726a.
RuBiNO; Palestrina, ii. 635b;
Sistine Choir, iii. 521b.
Rubinstein, A. G., iii. 191a;
iv. 776 b ; Cossmann, i. 406 a ;
Delm, i. 439 b ; Etudes, i.
497 a; Gesellschaft der Mu-
sikfreunde, i. 591a; Humor-
eske, i. 758 a ; Lalla Rookh,
ii. 86 a ; N^ron, ii. 451 b ; Nie-
derrheinische Musikfeste, ii.
457; Philh. Soc,'ii.7ooa; PF.
Mus., ii. 734a; PF.-playing,
ii. 743a, etc.; Sauret, iii.
230b; Scherzo, iii. 248a;
Schools of Comp., iii. 297 b, etc.;
Sonata, iii. 581a; Song, iii.
613 b, etc. ; Studies, iii. 747 a;
Symphony, iv. 40b ; Thal-
berg, iv. 97 a; Tschaikowsky,
iv. 183a; Verlorene Para-
dies, Das, iv. 255 b; Waltz, iv.
386b; Wieniawski (H.), iv.
455a; Wilder, iv. 457a;
Demonio, II, iv. 611 b; Mar-
tucci, iv. 712 b; Quintuple
time, iv. 766 b.
Rubinstein, N., iii. 193 a ;
Cossmann, i. 406a.
Rubinstein, Jos., iii. 193a; iv.
776 b.
RucKERS, iii. 193a; iv. 7766;
137
Broaclwood & Sons, i. 278a;
Harpsichord, i. 688b, etc.;
Key, ii. 53b, etc. ; Kirkman,
ii. 61 b; Regibo, iii. 94a;
Rose, iii. 161 b; Spinet, iii.
652b; Stops (Harpsichord),
iii. 718a; Vander Straeten,
iv. 216 b ; Virginal, iv. 305.
RuDDYGORE,iv. 777b; SuUivan,
iii. 761a.
RuDERSDORFP, H., iii. 199 a ;
iv. 777b; Philh. Soc, ii.
700 a; Soprano, iii. 636 a j
Thursby, iv. 113 a.
RuDERSDORFP, J., iii. 199a.
RuDHALL, iii. 200 a; Hine, i.
740 b.
Rudolph, Archduke of Aus-
tria, iii. 200a; iv. 777b;
Beethoven, i. 187 a, etc ; Has-
linger, i. 694 a; Kinsky, ii.
59 b.
RuDORPP, E., iii. 201 b; iv.
778a ; Janotha, ii. 32 a ; PF.
Mus,, ii, 735 b; PF.-playing,
ii. 745.
Rue, p., de la, iv. 778a; In-
scription, ii. 4b; Lamenta-
tions, ii. 88 b ; L'homme Arm^,
ii. 127a; Massjii. 229^; Mo-
tet, ii. 373 b; Mus.-printing,
ii. 4336; O Salutaris Hos-
tia, ii. 614b; Peutinger, ii.
697 a; Schools of Comp., iii.
260b; Burney, iv. fi7ob;
Dodecachordon, iv. 6 16 a;
Part-books, iv. 739 b ; Sistine
Chapel, iv. 794 a ; Tr^sor
Mus., iv. 803a.
RuBEZAHL, iii. 203 a ; Weber,
iv. 391b, etc.
RtJiiLMANN, J. ; Tonkiinstler-
verein, iv. 150b; Violin, iv.
286b; Hist, of Mus., iv.
676b.
Ruttinger; Dotzauer, i. 457a.
RuFPO, v., iii. 203 a; Mass, ii.
228b; Mus. Lib., ii. 419a;
Part-Mus., ii. 656b ; Mus.
Lib.,iv. 726a.
Rufinatscha; Briill (F.), iv.
566 b.
RupoLo; Mus. Lib., ii. 419a.
RuGGi; Carafa, i. 308 a; Pe-
trella, ii. 695 b.
Ruggieri, iii. 203 b; Cremona,
i. 416 a.
Ruins of Athens, The, iii.
203b; Beethoven, i. 189b.
Ruiz ; Yriarte, iv. 496 b.
Rule, Britannia, iii. 203b; iv.
778b; Arne, i. 84 b; Beet-
hoven, i. 184 a ; Song, iii.
606 b.
Rummel, a., iii. 205a.
138
RuMMEL, C, iii. 205 a.
Hummel, Franz, iii. 205 a ; Leh-
mann (L.), iv. 6986; Philh.
Soc., iv. 747 a.
RuMMEL, Franziske, iii. 205 a.
RuMMEL, Jos., iii. 205 a; PF.-
playing, ii. 736a; Grdgoir, iv.
655 «.
RuMMEL, Josephine, iii. 205 a.
RUNEBERG ; Song, iii. 610&.
Rung, F. ; Song, iii. 61 1 a.
Rung, H. ; Song, iii. 611 a.
RuNGENHAGEN, C. F. ; AuswaLl,
i. 1050; Commer, i. 380&;
Conradi (A.), i. 390b; Fesca
(A.\ i. 515a; Lortzing, ii.
166&; Mendelssohn, ii. 2696;
INDEX.
Moniusko, ii. 353a ; Oesten,
ii. 493a ; Singakademie, iii.
5 i6a ; Stern, iii. 7 1 2a ; Wuerst,
iv. 4916 ; Grell.iv. 658 a.
RuNO ; Song, iii. 609 a, noie\
Specimens, Crotch's, iii. 649Z).
RUPF, C. ; Luther, ii. 178 a.
RusLAN I Ltudmila, iii. 205 h ;
Glinka, i. 5996.
Russell, Ella ; Philh. Soc, iv.
747 a.
Russell, H.,iv. 7786.
Russell, W., iii. 205 &; Cseci-
lian Soc, i. 295 a ; Mus. Lib.,
ii. 422 & ; Voluntary, iv. 339b.
Rust, F., iii. 205 h ; Sonata, iii.
558 &.
Rust, W., iii. 206 a ; Bach-
gesellschaft, i. 119a; Thomas-
schule, iv. 198 a ; Giovannini,
iv. 6476.
Rust, W. K., iii. 206a.
Rutscher; Galop, i. 579a.
RUTSCHITSCHKA, W. (^See Ru-
ziCKA, iii. 206b.)
RuTTiNi; Martini, ii. 222b.
RUY Blas, iii. 206 6 ; Mendels-
sohn, ii. 2846.
Ruziaka; Song, iii. 6146.
Ruzicka, W., iii. 2066; Schu-
bert, iii. 320b, etc.
Ryan, M. D., iii. 206b; Mus.
Periodicals, ii. 4276.
S.
OA, Moreira de ; Sociednde di
Quartetos, iii. 543 a; Song,
iii. 600 b.
Sabbatini, L. a., iv. 807a,
note; Latrobe, ii. 103b; Val-
lotti, iv. 8070.
Sabino, H. ; Mus. Lib., ii. 419 a;
Oriana, ii. 6iib; Mus. Lib.,
iv. 726 a.
Sacbut; Organ, ii. 6006.
Sacchi, G. ; Farinelli (C. B.), i.
504a.
Sacchini, a. M. G., iii. 207a;
iv. 778a; Adamberger, i. 29a;
Agujari, i. 45 b; Banti, i.
135b; Bates (Joah), i. 155a;
Berton, i. 237a; Catel, i.
323a; Cimarosa, i. 358a;
Durante, i. 471a; Framery,
i. 558a; Galuppi, i. 579b;
Gazzaniga, i. 586a; Grand
Opera, i. 617a; Lesueur, ii.
124b; Mazzinghi, ii. 242 a;
Meister, Alte, ii. 247 h ; Me-
tastasio, ii. 316a; Mus. Lib.,
ii. 424a; Naples, ii. 445a;
Oratorio, ii. 550 a ; Pacchie-
rotti, ii. 625 b; PF. Mus., ii.
724b; Piccinni, ii. 748b;
Schools of Comp., iii. 287b;
Sonata, iii. 566 1 ; Storace
(A.), iii. 719a ; Tenor Violin,
iv. 90 a; Billington (Mrs.),
iv. 546 b.
Sachs, Hans ; Singspiel, iii.
516 b ; Song, iii. 6 16 a, etc.
Sackbut, iii. 209 a ; Trombone,
iv. 176 a.
Sackpfeiff; Bagpipe, i. 123a;
Virdung, iv. 303 b.
Sacrati, p. ; Opera, ii. 502 b.
Sacred Harmonic Society, iii.
209 b; iv. 778a; Analysis, i.
63 a ; Barnard, i. 140 b ; Bow-
ley, i. 266 b; Brownsmith, i.
279a; Costa, i. 406b; Han-
del, i. 656a ; Handel Festival,
i. 658 b; Mendelssohn, ii.
293b; Mus. Lib., ii. 420a;
Perry, ii. 693b ; Royal College
of Mus., iv. 159a ; Schools of
Comp., iii. 308 b ; Sunnan, iv.
4a ; Cummings (W. H.), iv.
602 a,
Sacred Harmonic Society, The
Benevolent Fund of tiie, iii.
2 lib.
Saggio di Contrappunto, iii.
211 b; Martini, ii. 222b.
Saggione, G. F. ; Gallia (M.),
i. 578a; Laroon, ii. 92b.
Sagittarius. (See SchOtz, H.,
iv. 45 a)
Sahr, C. ; Briickler, iv. 566b.
Saint Anne's Tune, iii. 212a.
Saint-Aubin, a., iii. 213b.
Saint-Aubin, C, iii. 213 b.
Saint-Aubin, J., iii. 213a.
Saint Cecilia. (See Cecilia,
St., i. 328b.)
Saint-Georges, J. H. V., Mar-
quis de, iii. 213b; iv. 778a.
Saint Germaine, Count of;
Giovannini, iv. 647 b.
Saint Giorgio; Kelly, ii. 49b.
Saint Hubert y, A . C. , iii. 214 a.
Saint James* Hall Concert
Rooms, iii. 214b.
Saint Lubin ; Spohr, iii. 663 b ;
Violin-playing, iv. 289.
Saint Ludmila; Dvoi-^k, iv.
624a.
Saint-Saens, C. C, iii. 215a;
iv. 7780 ; Philh. Soc, ii.
700b; PF. Mus., ii. 735a;
PF.-playing, ii. 743 b ; Pro-
grammeMus.,iii.4oa; Schools
of Comp., iii. 305 a; Septet,
iii. 463 b; Song, iii. 597 «;
Stamaty, iii. 689 a; Stock-
hausen (J.), iii. 716 a ; Suite,
iii. 761 a; Symphonische Dich-
tungen, iv. lob; Touch, iv.
153b; Faurd, iv. 632 b; Gr.
Prix de Rome, iv. 654b;
Massenet, iv. 714a; Philh.
Soc, iv. 747a.
Sainte-Marie ; Baillot, i. 1 25 a.
Sainton, P. P. C, iii, 216b;
Auber, i. 102 a; Jullien, ii.
45 a: National Concerts, ii.
447b; Philh. Soc, ii. 699b;
Rousselot, iii. 182b; Violin-
playing, i v. 296a; Weist-Hill,
iv. 434a.
Sainton-Dolby, C. H., iii.
217a; iv. 779a; Handel
Festival, i. 658 b ; Jullien, ii.
45 a ; Mendelssohn, ii. 287 a ;
Philh. Soc, ii. 699b; Roy.
Soc. Female Mus., iii. i88a;
Schools of Comp., iii. 308a;
Singing, iii. 512b; Song, iii.
608 a.
Saintwix, T. ; Schools of Comp.,
iii. 270 a.
Saiten-Harmonica ; Pedals, ii.
682 b.
Sal A, A.; Hist, of Mus., iv.
675 b.
Sal A, J. DE ; Sistine Chapel, iv.
794a.
Sala, M. ; Song, iii. 591 «;
Boito, iv. 553a.
Sala, N., iii. 217b; Da vide
(G.),i. 434a'> Farinelli (G.),
i. 507 a ; Moiavanti, i. 528a;
Gyrowetz, i. 642 a; Latrobe,
ii. 1036; Naples, ii. 446a;
Pucitta, iii. 45a; Spontini,
iii. 665 a; Zenobia, iv. 506 a.
Salaman, C. K., iii. 2176;
Mus. Soc. of London, ii. 431 h,
etc.; Philh. Soc, ii. 6996;
PF. Mus., ii. 731 &; Prout,
iii. 43?); Kuckers, iii. 196?),
note; Song, iii. 608a.
Salari; Ifigenia, i. 765?); Mus.
Lib., iv. 726a.
Salati, M. a. ; Merulo, ii. 3150.
Salazae, G. ; Eslava, i. 4940.
Salcional, iii. 218a; Organ,
ii. 601 a.
Saldoni ; Song, iii. 599 &.
Sale, F. di ; Berg, i. 230 a ;
Tr^sor Mus., iv, 803 &.
Sale, G. C, iii. 2186.
Sale, J., iii. 218 a.
Sale, J., jun., iii. 218a; iv.
779a ; Concentores Sodales, i.
Sale, J. B., iii* 218a; Cooper
(G.), i. 398&.
Sale, L., iii. 2186.
Sale, M. A., iii. 2186.
Salicet. (See Salcional, iii.
218a.)
Salieri, a., iii. 2186; iv. 779a;
Auswahl, etc. , i. 105 a ; Beet-
hoven, i. i66h, etc.; Bigot,
i. 241 &; Cavalieri (K.), i.
3271!); Dwight's Journal of
Mus., i. 478 J ; Eberwein, i.
481 a ; Eybler, i. 500 a ; Gass-
niann, i. 584a; Gluck, i.
603 &; Grand Opera, i. 617 a;
Haitzinger, i. 644 & ; Haydn,
i. 715a; Hiittenbrenner, i.
7556; Hummel, i. 757 & ; In
questa Tomba, ii. 4a; Liszt,
ii. 145 &; Marseillaise, La, ii.
220&; Metronome, ii. 3196;
Meyerbeer, ii. 322 a; Milder-
Hauptmann, ii. 330 b; Mo-
scheles, ii. 369 b; Mozart, ii.
394b, etc.; Mozart (W. A.),
ii. 406a; Od^on, ii. 492 b.;
Opera, ii. 5176; Oratorio, ii.
552 b; Paradis (M. T. von),
ii. 648a; Part Mus., ii. 657a;
Ponte, iii. 15 a; Eandhar-
tinger, iii. 73 b, etc. ; Reicha,
iii. 98 a; Ruzicka, iii. 206 i;
Schloesser (L.), iii. 254a;
Schubert, iii. 320a, etc. ; Spon-
tini, iii. 669b ; Storace (S.),
iii. 719 J; Siissmayer, iii.
754b; Tarare, iv. 596; Um-
lauf, iv. 201 a; Weigl (J.),
iv. 432 a; Winter, iv. 475 b.
INDEX.
Salinas, B. ; Sistine Choir, iii.
521a.
Salinas, F. ; Schools of Comp.,
iii. 263 a, etc. ; Temperament,
iv. 72 a; Hist, of Mus., iv.
673b.
Salle, Mile.; Ballet, i. 131a.
Sallentin ; Conservatoire de
Mus., i. 392 a; Vogt (G.), iv.
331 &•
Salmon, E., iii. 220 a ; Ancient
Concerts, i. 65 a; Ashley (J.),
i. 986; Vocal Concerts, iv.
319&.
Salmon, J., iii. 220b.
Salmon, Jacques ; Baltazarini,
i. 133a; Cecilia, St., i. 329a ;
Mus. Lib., ii. 418a; Opera,
ii. 506 a.
Salmon, Thomas, iii. 655 b, note ;
Lock, ii. 157b; Spinet, iii.
655 b ; Steffkins (J.), iii, 699b.
Salmon, W., iii, 2206.
Salo, G. di, iii. 220J ; Amati
(A.), i. 58 a ; Belly (Violin), i.
220b; Cremona, i. 416 a;
Double Bass, i. 458a ; Drago-
netti, i. 461b; Guarnieri (J.
and G.), i. 637a; London
Violin Makers, ii. 164a;
Tenor Violin, iv, 89 b ; Violin,
iv. 28205.
Saloman, Mme. Nissen ; Zere-
telew, iv. 506 a.
Salomon, J. A. (See Garcin,
J. A., iv. 645 a,)
Salomon, J. P., iii, 220b ; Abel
(K. T.)_, i. 5a; Ashe, i. 98a ;
Banti, i. 1356 ; Beethoven, i.
1646, etc.; Clement (F,), i.
3716 ; Cramer (W.), i, 413b ;
Creation, The, i. 415 a ; Cud-
more, i. 423a; Fiorillo, i.
528a; Gyrowetz, i. 642a;
Hague, i. 644 a; Haydn, i.
703 a, etc. ; Janiewicz, ii. 31a;
Masque, ii. 226 a ; Philh, Soc,
ii. 698a; Pinto (G. F.), ii,
754a; Pleyel (Ig,), iii, 3a;
Ries (J.), iii. 130a; Ries
(Ferd.), iii. 131a; Steibelt,
iii, 701a; Stradivari, iii, 733 a;
Violin-playing, iv, 298 b ; Vi-
otti, iv. 301 b ; Vocal Con-
certs, iv. 319 a ; Music School,
Oxford, iv. 727 b.
Salomons, P. J. ; Madrigal Soc,
ii. 194a.
Saltarello, iii. 221b; Taran-
tella, iv. 59 b; Tourdion, iv.
154b.
Saltarello ; Damper, i. 429 a ;
Jack, ii. 26 a.
Saltato; Bowing, i. 266 b;
Springing Bow, iii. 682 a.
139
Salter, H, ; Recorder, iii. 87a.
Salterio Tedesco; Dulcimer,
i. 468 a.
Salvator Rosa. (See Rosa.)
Salvayre, G. B,, iii. 2220 ; iv.
779a ; Gr. Prix de Rome, i.
6i8b.
Salve Regina, iii. 222b; Per-
golesi, ii. 688 «.
Samara, S. ; iv. 779b.
Samme ; Bassoon, i. 152a.
Sampieri ; Programme Mus.,
iii. 38 a,
Samson, iii, 223a; Handel, i.
651b.
Samson ; Conservatoire de Mus.,
i. 393a.
Samuel, A. ; Hist, of Mus., iv,
675 b.
Samuell, C. ; Singing, iii. 5 r 2 b.
San Carlo, iii, 223 a; iv, 780a.
San Giovanni ; Maas (J.), iv.
706 a ; Thursby (E.), iv, 11 3 a.
Sances, F, ; Mu.s. Lib,, ii, 422 a.
Sanctos, G. de; Singing, iii,
504b.
Sanctus, iii. 223b ; Communion
Service, i. 381b; Mass, ii,
226b, etc.; Plain Song, ii,
767b; Requiem, iii. 109ft ;
Service, iii, 472 a.
Sanderson, J., iii. 224b.
Sandoni, F. (See Cuzzoni, iv..
602 b.)
Sandoni, P. G. ; Baroness, The,
i. 142b; Robinson (A.), iii.
139 b.
Sandrin ; Mus. Lib., ii. 419a.
Sandys, W. F. S. A., iii. 225 a ;
Hist, of Mus., iv, 676 b.
Sang Schools, iii, 225a; Scotish
Mus., iii. 440 a.
Sanjuan ; Eslava, i. 495 a.
Santa Chiara, iii. 225 b.
Santarelli, G, ; Miserere, ii,
336 a; Palestrina, ii, 641b;
Sistine Choir, iii. 521b; Sta-
bat Mater, iii. 684 b; Hist, of
Mus., iv. 676b.
Santini, F., iii. 225 b ; iv. 780a;
Mus. Lib., ii. 418b, etc. ; Scar-
latti (D.), iii. 239 b.
Santley, C., iii. 226a ; iv. 780a ;
Nava, ii. 449b ; Patey (Janet),
ii. 672 a; Philh. Soc, ii. 700a;
Rosa, iii. 159b; Singing, iii.
512 b, etc.
Santley, E., iv. 780 a; Philh.
Soc, iv. 746 b.
Santucci, M. ; Baini, i. 288 b.
Sapho, iii. 226b; iv. 780a;
Gounod, i. 613a.
Sarabande, iii, 226b; iv. 780a;
Allemande, i. 55 b; Song, iii.
592b ; Specimens, Crotch's, iii.
140
649^ ; Subject, iii. 751b, etc. ;
Dance Rliythii), iv. 608 a.
♦Saraceni ; Begnis, i. 209 b.
Saran, a.; Song, iii. 631a;
Volkslied, iv. 3376; Hist, of
Mus, iv. 675 a.
Sarasate, M. M., iii. 227b; iv.
780a; Jota, ii. 43a; Philh.
!Soc., ii. 7006 ; Stradivari, iii.
733a ; Svendsen (J. S.)^ iv.
7a; Violin-playing, iv. 289,
etc ; Gulraud (E.), iv. 661 a;
Lalo, iv. 695 a.
Saratelli; Lotti, ii. 167 b.
Sakrette ; Conservatoire de
Mus., 1. 391b, etc.
Sarri; Metastasio, ii. 316 a.
Sartarelli; Clementi, i. 372 b.
Sarti, G., iii. 228a; Cheru-
bini, i. 341 b ; Haydn, i.
708b; Ifigenia, i. 765b; La-
trobe, ii. 103b ; Maichesi (L.),
ii. 214a; Martini, ii. 222a;
Meister, Alte, ii. 247 b ; Mo-
zart, ii. 389 b ; Olimpiade, ii.
496 b; PF. Mus., ii. 724b;
Semiramide, iii. 46irt ; Siroe,
Redi Persia, iii. 534a ; Sonata,
iii. 566 b ; Te Deum, iv. 68 b ;
Todi, iv. 130b.
Sarton, J. ; Sistine Chapel, iv.
794a.
Sartoretti, iii. 229 b.
Sartori, B. ; Sistine Chapel, iv.
794a.
Sartorio, a. ; Opera, iii. 503 b.
Sartoris, Mrs., iii. 229 b ; iv.
780b ; Keuible, ii. 50a.
Sarum Missal; Mub. Lib., ii.
422 b.
Sass, Marie ; Ugalde, iv. 200b.
Satanella, iii. 229b; Balfe, i.
127J.
Battel; Nut, ii. 485?).
Satter, G. ; PF. Mus., ii. 736 a;
Lang (B. J.), iv. 6966.
Saturday Concerts, Crystal
Palace, iii. 229b; Analysis,
i. 63 a; Concert, i. 384 a;
Manns, ii. 207 a.
Saturday Popular Concerts,
The, iii. 230a ; Concert, i.
384a; Monday Popular Con-
certs, iv. 719 b.
Satz. (See Movement, ii.
379 «•)
Saubr and Leidesdorp, iii.
2300; Leidesdorf, ii. 114a.
Saul, iii. 230a ; Handel, i. 65 1 a.
SAURET,E.,iii. 230a; Philh.Soc,
ii. 700b; Violin-playing, iv.
296a.
Sautereau ; Jack, ii. 26a.
Sauters. (See Pinto, G. F., ii.
754 «•)
INDEX.
Sauveur, J. ; Metronome, ii.
318b.
Sauzay, C. E., iii. 230b.
Savage, R. ; Stevens, iii. 712b.
Savage, W.; Arnold (8.), i.
86 b; Battishill, i. 156 a.
Savard ; Gr. Prix de Rome, iv.
654b; Lenepveu, iv. 699a.
Savart, F., iii. 231a; Timbre,
iv. II 7 a ; Vuillaume, iv. 341 a.
Savary; Bassoon, i. 152a; Oboe
di Caccia, ii. 489 b.
Savetta, a.; Bodenschatz, i.
253&.
Savile, J., iii. 2310; Fa-la, i.
501a; Part Mus., ii. 656b j
Waits, The, iv. 375 a.
Savonarola, iv. 780b; Stanford,
iv. 796 b.
Savoy. (See Old Hundredth,
The, ii. 496 a.)
Savoy Chapel Royal, iii. 231 a.
Sax, iii. 233b; Bas3-clarinet, i.
149 b; Clarinet, i. 362 b;
Comettant, i. 379b ; Piston, ii.
757 «; Wind-band, iv. 468a,
etc. ; Saxophone, iv. 780 b.
Saxhorn, iii. 233a; Althom, i.
57b; Baritone, i. 139b; Bass
Tuba, i. 150b ; Bombardon,
etc., i. 259b; Euphonium, i.
497b; Instrument, ii. 6a;
Niedermeyer, ii. 455 b; Som-
merophone, iii. 553 b; Tuba,
iv. 183a.
Saxophone, iii. 233b; iv. 780b;
Mouthpiece, ii. 378b; Wind-
band, iv. 469 b; Wotton, iv.
490 «.
Saynete, iii. 234a.
Sbacci, G. ; Zenobia, iv. 506 a.
Sbolci ; Mancinelli, iv. 709 a.
Sbriglia; De Reszke (J.), iv.
612 a.
Scacchi ; Hawkins, i. 700b.
ScAFATi, D. ; Williams (Anna),
iv. 459b. _
ScALA, La, iii. 234a.
ScALCHi, Sofia, iii. 235 a.
Scalds; Song, iii. 600b.
Scale, iii. 235 b; A, i. la;
Accidentals, i. 19a; Alphabet,
i. 57a; Ascending Scale, i.
97a; B, i. 107 a; Bagpipe, i.
124a, etc. ; C, i. 289a ; D, i.
426a; E, i. 478a; F,i. 500a;
G, i. 571a; Gamut, i. 580b;
Harmonics, i. 664a; Helm-
holtz, i. 727b; Hexachord, i.
733b; Interval, ii. 1 1 i ; Irish
Music, ii. 19b, etc. ; Key, ii.
51b, etc.; Leading Note, ii.
109 a; Magyar Music, ii. 197 b;
Notation, ii. 476 a ; Note, ii.
479a; Organum, ii. 6ioa;
Proportion, iii. 430; Register,
iii. 94a; Scotish Mus., iii.
444 (/, etc. ; Semitone, iii.
460 b; Solmisation, iii. 549 b;
Song, iii. 612a, etc.; Tetra-
chord, iv. 94 a ; Vicentino, iv.
261 a ; Ellis (A. J.), iv. 627a;
Guido d'Arezzo, iv. 660a;
Harmonic Minor, iv. 666b;
Negro Mus., iv. 728b; Penta-
tonic Scale, iv. 745b.
Scaliger; Harpsichord, i. 688 b.
ScALZi; Durastanti, i. 471b.
ScANDELLi, A. ; Programme
Mus., iii. 35a; Schiltz, iv.
787b.
Scandinavian Music; Afzelius,
i. 41b; Song, iii. 608b, etc.;
Hist, of Mus., iv. 675b.
ScAPPA ; Pasta, ii. 688 a.
Scaramuccia, iii. 237 a ; iv. 781 a;
Ricci (L.), iii. 125b.
ScARiA, E., iii. 237b; iv. 781a;
Wagner, iv. 365 n.
Scarlatti, a., iii. 237 b; iv.
781a; Air, i. 47a; Cantata,!.
305a, etc. ; Carissimi, i. 314b;
Corelli, i. 401b; Cotumacci, i.
407b; Durante, i. 471a, etc.;
Epine, De 1', i. 490 b ; Feo, i.
511b; Frauciscello, i. 559a;
Galuppi, i. 579 b ; Gasparini, i.
583b; Geminiani, i. 587 a;
Grecco, i. 624a ; Harmony, i.
680a; Hasse(J. A.), i. 694b;
Haym, i. 723a; Horn.i. 748b;
Jommelli, ii. 36b; Klavier-
Mus., Alte, ii. 63a ; Leo, ii.
1 21 a; Mass, ii. 233b; Motet,
ii. 376a; Mus. Lib., ii. 420a,
etc.; Naples, ii. 445a, etc.;
Nicolini (N. G.), ii. 454a;
Notation, ii. 477a ; Opera, ii.
504a, etc. ; Oratorio, ii. 537a,
etc.; Orchestra, ii. 5626;
Overture, ii. 620a; PartMus.,
ii. 656b; Pergolesi, ii. 687b;
Practical Harmony, iii. 24a;
Prince de la Moskowa, iii.
31b; Quantz, iii. 56 a; Reci-
tative, iii. 85a; Rochlitz, iii.
142a; Saggio di Contrap-
punto, iii. 212a; Schools of
Comp., iii. 279b, etc.; Sol-
feggio, iii. 547 b ; Specimens,
Crotch's, iii. 649b; Stefiani,
iii. 694b ; Symphony, iv. lib,
etc. ; Burney, iv. 571a; Me-
tastasio, iv. 718 a ; Mus. lib.,
iv. 726a; Part-writing, iv.
741a; Rome, iv. 773b; Sistine
Chapel, iv. 794 a.
Scarlatti, D., iii. 239a ; iv.
781a; Billow, i. 280b; Can-
tata, i. 305 a ; Form, i. 543 b,
I
etc.; Ifigeula, i. 7656; Kel-
way, ii. 50 a ; Klavier-Mus.,
Alte, ii. 63?); Lesson, ii. 124a;
Meister, Alte, ii. 247 h ; Opera,
ii. 513&; Otthoboni, ii. 6156;
PF.-playing, ii. 736a; Prac-
tical Harmony, iii. 24a ; Pro-
gramme Music, iii. 366; Rose-
ingrave, iii. 161 6, etc.; Eoyal
Academy of Mus., iii. 1846 ;
Scherzo, iii. 246 a; Schools of
Comp., iii. 287a ; Sonata, iii.
56ia,etc.; Specimens,Crotch*s,
iii. 648 h ; Tresor des Pianistes,
iv. i68a; Mus. Lib., iv. 726a;
Rome, iv. 7736.
Scarlatti, Fr. ; Astorga, i. 996 ;
Scarlatti (D.), iii. 2400.
Scarlatti, G., iii. 240 a ; Me-
tastasio, ii. 316a; Mus. Lib.,
ii. 420a, etc.
Scarlatti, P. ; Scarlatti (D.),
iii. 240 a.
ScENA,iii. 240a; iv. 781a ; Air,
i. 47a; Morlacchi, ii. 367a;
Opera, ii. 5 11 & ; Schools of
Comp., iii. 280a; Song, iii.
588&, etc.
Scenario, iii. 241a.
ScHAAB ; Schneider (J. G.), iii.
256a.
SCHABLONE, iii. 241a.
SCHACHNER ; Sechter, iii. 456 a.
Schachtner, J. A., iii. 241a;
Mozart, ii. 380a.
SCHACK, R, iii. 2416; iv. 781a;
Mozart, ii. 394?*.
SCHAD, J. ; PF.-playing, ii. 744.
ScHADAND, J. B. ; United States,
iv. 203 a.
ScHADEN, Von; Beethoven, i.
164 a.
SCHAEFEER, J. ; PF. Mus., ii.
733^.
ScHAFFRATH, Ch. ; Tresor des
Pianistes, iv. 168 a.
SCHAFHANTL, Prof. ; Belly (P. F.),
i. 2206; Vogler (Abt), iv.
813&.
ScHALL, C. ; Song, iii. 611 a.
ScHALLE ; Quantz, iii. 56 a.
SCHALLEHN, H. ; Manns,ii. 207 a;
Kneller Hall, iv. 692 a.
ScHALMEi; Organ, ii. 602 5.
ScHALMEi ; Oboe, ii. 486 a ;
Shawm, iii. 485 J ; Virdung,
iv. 3035; Wind-band, iv.
465 h, etc.
ScHANZ ; Pianoforte, ii. 718a.
SCHARWENKA, P., iii. 242 a; PF.
Mus., ii. 735&.
SCHARWENKA, X., iii. 242 a; Iv.
781a; Mus. Periodicals, ii.
4286; Philh. Soc, ii. 700 & ;
PF. Mus.,ii. 735 J ; PF.-play-
INDEX.
ing, ii. 743 a, etc. ; Schools of
Comp., iii. 2986.
ScHAUROTH, Delphine von, iii.
2426; iv. 781a; Mendelssohn,
ii. 266a; PF. Mus., ii. 7316;
PF.-playing, ii. 744; Schu-
mann, iii. 406&.
SCHAUSPIELDIRECTOR, Der, Hi.
2426 ; Mozart, ii. 390 J.
ScHEBEK, E., iii. 2426 ; Hist, of
Mus., iv. 6766.
ScHEBEST, A., iii. 243 a; Schott
(A.), iii. 314&.
Schechner-Waagen, N., iii.
243 a; Schubert, iii. 3456;
Spontini, iii. 675 a.
Schefftos, A. M. ; Haydn, i.
7055.
Schefzkt, Frl. ; Wagner, iv.
3635.
Scheibe ; Singspiel, iii. 517a.
Scheibel, G. E. ; Hist, of Mus.,
iv. 6766.
Scheibler, J. H., iii. 2436;
Siren, iii. 5186; Tonometer,
iv. 1506; Tuning, iv. 190a;
Tuning-fork, iv. 190a; Ellis
(A. J.), iv. 627 «.
Scheidemann, iv. 78105.
Scheidholt; Cither,!. 359a.
Scheidler, Dorette ; Spohr, iii.
6576.
ScHEiDT, S., iv. 782 a; Fresco-
baldi, i. 563a; Vereeniging,
etc., iv. 255a; Chorale, iv.
589 a.
ScHEiN, J. H., iv. 784 J ; Leipzig,
ii. 115a; Song, iii. 621 «;
Chorale, iv. 589^ ; Scheidt,
iv. 782 a; Vopelius, iv. 813 ?>.
Schelble, J. N., iii. 244a ;
Hiller(Ferd.), i. 737a; Krebs
(K.A.),ii. 706; Mendelssohn,
ii. 255a, etc.
ScHELLE, E. ; Hist, of Mus., iv.
6756.
ScHELLE, J.; Leipzig, ii. 115a.
ScHELLENBERG ; Schneider (J.
G.), iii. 256a.
ScHELLER, J., iii. 2445.
Schelling; Mus. Lib., 422 a.
ScHENK,Joh.; Scherzo, iii. 245 5.
ScHENK, J., iii. 2446; Beet-
hoven, i. 166 a; Mozart, ii.
394a, note ; Singspiel, iii.
517a; Breuning (Mme.), iv.
564a ; Vaterlandische Kiinst-
lerverein, iv. 808 a.
Scherer; Toccata, iv. 130 a.
Scherillo, M. ; Hist, of Mus.,
iv. 6756.
Scherzando, iii. 245 1.
Scherzo, iii. 2456 ; Beethoven,
i. 2046; Concerto, i. 3876;
Form, i. 542 a, etc. ; Mendels-
141
sohn, ii. 258ft, etc. ; Minuet,
ii. 334a, etc. ; Sonata, iii.
555 »; Symphony, iv. 36a,
etc.; Trio, iv. 173a; Hu-
morous Mus., iv. 682&.
ScHEURMANN, G., iii. 248 6 ; Mus.
printing, ii. 436a; Petrucci,
ii. 696?), note; Mus.-printing,
iv. 7276.
ScHiCHT, J. G., iii. 249 a ; iv.
7850; Anacker, i. 62a; Bach
(J. C), i. ma; Bach (J. S.),
i. 117&; Becker (C. F.), i.
161 a; Gewandhaus Concerts,
i. 593a; Haydn,i. 7o65,?2ofe;
Leipzig, ii. 115a; Marschner,
ii. 219a; Motet, ii. 376a;
Mus. Lib., ii. 4226 ; Otto, ii.
6i6a; Reissiger, iii. 103&;
Rochlitz, iii. 141 h.
SCHIEDMAYER, iii. 249a.
SCHIEVER ; Violin-playing, iv.
298(7.
SCHIFFMACHEK, J.; PF. Mus.,
ii. 736«.
SCHIKANEDER, E., iii. 249 5;
Beethoven, i. 182 6 ; Hummel,
i. 7576; Milder-Hauptmann,
ii. 330&; Mozart, ii. 387a,
etc.; Miiller (W.), iv. 722a.
Schilling, Dr. G,, iii. 250a ; iv.
785 a; Diet, of Mus., i. 446a;
Instrument, ii. 7^; Hist, of
Mus,, iv. 674«.
ScHiMON, Anna, iii. 250&; Philh.
Soc.,ii. 700a; Regan, iii. 93 i;
Unger, iv. 202 a.
SCHIMON, A., iii. 250 a; iv. 785 a.
ScHiNDELMEissER, L., iii. 2506 ;
Wagner, iv. 354a.
ScHiNDLER, A., iii. 251a; iv.
785 a; Beethoven, i. 163 a,
note, etc. ; Ertmann, i, 494 a ;
Guicciardi, i. 6385; Holz, i.
745a;Kinsky,ii. 59 a; Mozart,
ii. 404a; Schoberlechner, iii.
257a; Schubert, iii. 336 a, etc.;
Tenth Symphony, iv. 926;
Thayer, iv. 986 ; Wiillner, iv.
4916.
ScHiNDLOCKERS; Mcrk, ii. 3135.
SCHIOPPETTA, D.; Song, iii. 6006.
ScHioRRiNG, N. ; Song, iii. 6 1 1 a.
ScHiHA, F., iii. 2516; iv. 785 a;
Winn, iv. 475*.
Schiringer; Haydn, i. 706 &.
SCHIRMACHER, D., iii. 253a.
Schirmer; Strakosch, iii. 735 a.
SCHLADEBACH, J., iii. 253a;
Bernsdorf (E.), i. 2356 ; Diet.
of Music, i. 446 a.
ScHLECHT, R.; Hist, of Music, iv.
6766.
ScHLEiFER. (See Slide, iii. 5345.)
Schleifer; Waltz, iv. 3856.
142
8CHLEIXITZ, Dr. C, iii. 253a;
Mendelssohn, ii. 292 J, etc.
SCHLESINGER, iii. 2536; iv.
785 a; Haslinger, i. 694 a;
K^ler B^la, ii. 49 a ; Schubert,
iii. 322 a; Zelter, iv. 505 a.
ScHLETTERER ; Bitter (F. L.),
iii. 137b; Hist, of Mus., iv.
675a, etc.; Mus. Lib., iv.
724a.
ScHLiCHTEGROLL ; Mozart, ii.
405 a.
SCHLICK, A. ; Clavichord,]. 368 h ;
Eitner, i. 485 a ; Harpsichord,
i. 691 J; Spinet, iii. 6516;
Tablature, iv. 48 a ; Transpos-
ing Instruments, iv. 1596;
Tuning, iv. 187 J; Virdung,
iv, 3036.
ScHLiCKius, R. ; Hist, of Mus.,
iv. 673b.
ScHLOESSER, A., iii. 254a ; PF.
Mus., ii. 734b; PF.-playing,
ii- 745-
ScHLOESSER, L., iii. 254a ; Sey-
fried, iii. 478b.
ScHLOSSER ; Mozart, ii. 405 a.
Schlosser; Wagner, iv. 362 J,
etc.
Schlussel; Clef, i. 370a.
ScHLiJTER, J. ; Hist, of Mus.,
iv. 674a.
ScHMALER (see also Haupt, i.
6976) ; Song, iii. 614b, note;
Hist, of Mus., iv. 675 b.
ScHMALHOLZ, C. F. ; Gerbert, i.
590b.
Schmelzel; Song, iii. 61 8 b,
lioie.
ScHMELZER; Kerl, ii. 51a.
ScHMiD, A., iii. 254b; Becker
(C. F.), i. 161 a; Csecilia, i.
294 b; Mannergesangverein,
ii. 206 a; Part-books, iv. 740 a,
note.
ScHMiD, B. ; Scheldt, iv. 782 b.
Schmidt, A. ; Mus. Periodi-
cals, ii. 431 a ; Schmid (Ant.),
iii. 254b.
Schmidt, Bernard. (See Smith,
Father, iii. 639a.)
Schmidt, J. C. ; Graun, i. 621 a.
Schmied; Mus. Lib., ii. 422b.
SCHMITT, A., iii. 254b; Hiller
(Ferd.),i. 737 a; Mendelssohn,
ii. 255 b; PF. Mus.,ii. 727b,
etc.; PF.-playing, ii. 744;
Sloper (Lindsay), iii. 536 b;
Vollweiler, iv. 338 a.
ScHMiTT, C, iii. 255 a.
ScHMiTT,G. A., iii. 255 a ; Bran-
des, iv. 562 a.
ScHMiTT, J., iii. 254b; iv. 785a;
Goldschmidt, i. 608 a ; Rosen-
hain, iii. 162 a.
INDEX.
ScHNABEL, J. ; Berner, i. 235 a;
Weber, iv. 391 b.
Schneider, F. J. C, iii. 255 a;
iv. 785a; Anacker, i. 62 a;
Auswahl, i. 105a; Bemsdorf,
i. 235b ; Franz (R.), i. 560a ;
Gade, i. 574a; Griitzmacher,
i. 635a; Haupt (C), i.697b;
Kufferath, ii. 75 b; MarkuU,
ii. 2 18 a; Mendelssohn, ii.
292 b; Niederrheinische Mu-
sikfeste, ii. 457 ; Niemann, ii.
458a ; Oesten, ii. 493 a ; Ora-
torio, ii. 555 a; Orpheus, ii.
613a; Rust (W.), iii. 206a;
Sorg, iii. 623a; Spindler, iii.
651a; Spontini, iii. 674b;
Tausch, iv. 64 b; Vocal Scores,
iv. 319b; Vogler, iv. 329a;
Willmers, iv. 462 a.
Schneider, G. A. ; Mus. Lib.,
ii. 427a.
Schneider, J. G., iii. 255b;
Bache (E.), i. i2ob; Becker,
i. 161 a; Haupt (C), i. 697 b;
Kretschmer, ii. 71b; Merkel,
ii. 314a; Naumann (E.), ii.
449 b; Oakeley, ii. 485 a;
Briickler, iv. 566 b; Buck
(D.), iv. 567b; Fink (C), iv.
636 b.
Schneider, K. C. ; Song, iii.
631 a ; Tonkiinstlerverein, iv.
150b; Volkslied, iv. 337 b;
Hist, of Mus., iv. 677a.
Schneitzhoffer ; Sylphide, La,
iv. 10 a.
Schneller ; Agremens, i. 42 b ;
Mordent, ii. 364 b.
ScHNETZLER. (See Snetzler, iii.
542 a.)
Schnitger ; Temperament, iv.
72a.
ScHNiTZLER ; Violin-playing, iv.
298a.
ScHNORR VON Caeolsfeld, L.;
Wagner, iv. 362 b.
SCHNYDER VON WaRTENSEE, X.,
iii. 256a ; Barnett (J.), i.
141 b ; Flowers, i. 535 a ; Pit-
man, ii. 7,';9a; Rosenhain, iii.
162 a; Teuor-violin, iv. 89 a;
Thomson (J.), iv. 107 b.
ScHOBER, F. von, iii. 256b;
Schubert, iii. 325 a, etc.;
Spaun, iii. 648 a ; Vogl (J.
M.), iv. 323b.
SCHOBEBLECHNER, F., iii. 256 S ;
Dargomyski, i. 430 b ; PF.
Mus. , ii. 7 2 8 b ; Vaterlandische
Kiinstlerverein, iv. 808 a.
ScHOBERLECHNER, Mme., iii.
257a.
ScHOBEET, in. 257 a; Meister,
Alte, ii. 247 b ; PF. Mus., ii.
724b; PF^-playing, ii. 744;
Sonata, iii. 566a, etc.; Speci-
mens, Crotch's, iii. 650a; PF.-
playing, iv. 748 b.
ScH(ELCHER, V., iii. 257b; iv.
785 a; Additional Accompani-
ments, i. 31a; Erba, i. 491b;
Handel, i. 657a, note; Lacy
(M. R.), ii. 83a; Mus. Lib.,
ii. 423 b, etc. ; Mus. Periodi-
cals, ii. 429 b; Rule, Britannia,
iii. 204a; Urio, iv. 209b;
Handel, iv. 664 b ; Handel-
Gesellschaft, iv. 665 a.
SCHONBERGER, B. ; Phiihl Soc,
iv. 747 a.
SCHONE MiNKA, iv. 785 a.
ScHONFELDER ; Schneider (F. J.
C), iii. 255a.
SchUnstein, C, Baron von, iii.
258a; Schubert, iii. 329b;
Vogl (J. M.), iv. 323a.
ScHOLZ, B. ; PF. Mus., ii.
735a; Davies (Fanny), iv,
608 b.
Schools of Composition, iii.
258 b; iv. 785 b; Palestrina,
ii. 642 b; Singing, iii. 497 b;
Song, iii. 620a.
ScHOPP, J. ; Chorale, iv. 588 b.
SCHORNSTEIN, J. ; Festivals, i.
516a; Niederrheinische Mu-
sikfeste, ii. 455 b.
ScHOTT, A., iii. 314b.
ScHOTT, B., iii. 315a; iv. 785b;
Schubert, iii. 350 b.
ScHOTTiscHE, iii. 315 b; iv.
786a; Redoute, iii. 89a.
ScHOU ; Philh. Soc, ii. 700b.
ScHRADiECK ; Viol in-playing, iv.
296 a.
ScHREiDER. (See Smith, Father,
iii. 539b.)
Schroder-Devrient, W., iii.
315 b; iv. 786a; Frege, i.
562 b; Haitzinger, i. 644a,
etc. ; Pixis (J. P.), ii. 759b;
Rellstab (H.), iii. 107 a;
Schebest, iii. 243a ; Singing,
iii. 507b; Song, iii. 628a;
Stockhausen (J.), iii. 716a;
Tichatschek, iv. 113b; Wag-
ner, iv. 349a, etc.; Weber,
iv. 405 b.
ScHROEDER, H. B. ; Programme
Music, iii. 37 b.
ScHEOBN, E. ; Hist, of Mus., iv.
676b.
SCHROETEB, C. E., iv. 786 a.
Schroeteb, C. G., iii. 318 a;
Cristofori, i. 417b; Dulcimer,
i. 469 b; Horn (K. J.), i.
752a; Pianoforte, ii. 712a;
Piano- Violin, ii. 745 b; Square
Piano, iii. 683 a.
ScHROETER, J. S., iu. 3i8a;
Ashley (J.)> !• 986; Bennett
(W.), 1.2246; Cramer, 1.4136;
Haydn, i. 711a; Fiano forte,
ii. 715 &, note.
ScHROETER, L. ; Wacht am
Khein, iv. 343 a.
ScHROETER, L., iv. 7866.
ScHROETTER ; Programme Mus.,
Hi. 37 b.
ScHUBART, C, F. D., ill. 3186;
LoUi, ii. 162 b; Mozart (L.),
ii. 379b ; Mozart, ii. 384b ;
Nardini, ii. 446 b; Vogler, iv.
331b ; Zinke, iv. 511a.
Schubert, C, iil. 382 b.
Schubert, Ferd., iii. 382 a;
Haydn (M.), i. 702 a; Schu-
bert (Franz), iii. 319b, etc.
Schubert, F. L. ; Hist, of Mus.,
iv. 676 b.
Schubert, Franz, iii. 319 a ; iv.
786b; Accent, i. 15 b, etc. ;
Albert, Prince, i. 49 a; Al-
fonso und Estrella, 1. 52b;
Arpeggione, i. 89 a ; Arrange-
ment, i. 93 b, etc. ; Ballad, i.
129b; Ballet, i. 132b; Bar-
carole, 1. 138b; Beethoven, i.
199b, etc. ; Booklet, i. 252 b ;
Castelli, i. 319 b; Chezy, i.
344b; Claudine von Villa-
bella, i. 366 a; Convict, i.
396 b; Crescendo, i. 416 b;
Crystal Palace Concerts, 1.
422b; Decrescendo, i. 438b;
Diabelli, i. 442 a ; Divertisse-
ment, i. 451a; Drone, i.
463 a; Ecossaise, i. 48305;
Fierrabras, 1. 520a ; Flute, i.
538a; Franz (R.), i. 55Qb,
etc. ; Frohlich, 1. 565 b ; Fiih-
rer (R.), i. 566 b ; Gesellschaft
der Musikfreunde, 1. 591b;
Haydn (M.), i. 702 a; Her-
beck, i. 730 b; Horn, i. 751b ;
Hiittenbrenner, i. 755 a, etc. ;
Impromptu, i. 768b; Inter-
mezzo, ii. 9b; Kreissle von
Hellborn, ii. 71a ; Krommer,
ii. 74a; Lablache, ii. 81 a;
Lachner (F.), ii. 8ib, etc.;
Landler, ii. 83 b; Lied, ii.
133a; Liederkreis, ii . 1 35 b ;
Liszt, ii. 145 b, etc. ; Magyar
Mus., ii. ipSa, etc.; March,
ii. 213a ; Mass, ii. 235a;
Mendelssohn, ii. 275b, etc.;
Miiller (W.), ii. 408b ; Mus.
Lib., ii. 423b, etc. ; Nourrit
(A.), ii. 480 a ; Octet, ii. 492 a;
Orchestration, ii. 572 a; Or-
pheus, ii. 613a ; Overture, ii.
622b; Part Mus., ii. 656b;
Part Song, ii. 658 b; PF.
INDEX.
Mus., ii. 728b; PF.-playing,
ii. 740 b; Polonaise, iii. 10 b;
Quartet, iii. 58 a; Quintet,
iii. 61 a; Randhartinger, iii.
73 b, etc. ; Reissmann, iii.
104a; Romantic, iii. 150b;
Rosamunde, iii. 161 a; Ros-
sini, iii. 176b; Ruzicka,
iii. 206b; Salieri, iii. 219a;
Sauer & Leidesdorf, iii. 230 a ;
Schechner- Waagen, iii. 243 a ;
Schenk, iii. 245 a ; Scherzo,
iii. 247 a, etc, ; Schindler, iii.
251a; Schober, iii. 256b;
Schonstein, iii. 258 b; Schools
ofComp., iii. 293a; Schubart,
iii. 319a; Schumann, iii.
395 a, etc. ; Schuppanzigh, iii.
425 a ; Score, iii. 431 b ; Sech-
ter,iii. 455 b, etc. ; Sehnsucht,
iii. 458 a; Senff, iii. 462 b;
Sketches, iii. 531a, etc.;
Sonata, iii. 575b; Song, iii.
597 a, etc. ; Sonnleithner, iii.
632b ; Spaun, iii. 648a, etc. ;
Speidel, iii. 650b ; Spina, iii.
650b, etc.; Stadler, iii. 685b;
Staudigl, iii. 691b; Stock-
hausen (J.), iii. 716a; Sulli-
van, iii. 761b; Sulzer, iii.
764b; Suppe, iv. 4a; Sym-
phony, iv. 28 a, etc, ; Tantum
ergo, iv. 58 b; Teufels Lust-
schloss, iv. 94b ; Thematic
Catalogue, iv. 99 5 ; Titze, iv.
129b; Trauer - Walzer, iv.
162a; Trio, iv. 172a; Trom-
bone, iv. 178b; Troyers, iv.
1 80 a; Trumpet, iv. 182b;
Tune, iv. 187a; Unger, iv.
201 b; Variations, iv. 229ft;
Verschworenen, die,iv. 256b ;
Violin, iv. 281a, note, etc.;
Vogl (J. M.), iv. 323a ; Wag-
ner, iv. 369 a; Walter (G.),
iv. 381a ; Wartel (P. F.),
iv. 383 b; Waltz, iv. 386 a;
Weber, iv. 407 b ; Wey ranch,
iv. 450a; Wilder, iv. 457 a;
Witteczek, iv. 477a; Zwil-
lingsbriider, die, iv, 515b;
DanceRhythm, iv. 608 a; Re-
frain, iv. 769 b; Rhapsody, iv.
771b; Vaterlandische Kiinst-
lerverein, iv. 808 a.
Schubert, Franz, iii. 382 b.
Schubert, L., iii. 382 b.
Schuberth, C, iii. 383 a; Da-
vidoff, i. 434 b ; Dotzauer, i.
457a; Rubinstein (A,), iii.
191a ; SerofF, iii. 469 a.
Schuberth, F., iii. 383 a.
Schuberth, G., iii. 382 b.
Schuberth, J. F., iii. 382b.
Schuberth, L., iii. 383a.
143
Schubinger, A. ; Hist, of Mus.,
iv. 676 a.
ScHUBRiNG, J., iii. 383 a ; Elijah,
i. 486 ft ; Mendelssohn, ii.
261a, etc.
Schuch-Proska, Mme. ; Mar-
chesi (Math.), ii. 214 b.
Schuere, d'Oude ; Tr^sor Mus.,
iv. 8036.
Schurer; Singspiel, iii. 517a.
ScHUTT, E., iii. 425a.
Schutz, H., iv. 45 a ; iv. 787 a;
Albert, i. 48 a; Auswahl, i.
105a; Bernhard, i. 235b;
Gabrieli (G.), i. 572a; Opera,
ii. 507b; Oratorio, ii. 539b;
Passion Mus., ii. 665 b ; Roch-
litz, iii. 142 a ; Singspiel, iil.
516 b; Song, iii. 620b; Theile,
iv. 99 a ; Hammerschmidt,
iv. 663 a; Passion Mus., iv.
'J^^a; Scheldt, iv. 782a;
Schein, iv. 7S4b ; Spitta, iv.
796 a.
ScHUiJT; Vereeniging, etc., iv.
255a.
ScHULHOFF, J., iii. 383b; iv.
791b; Aubade, i. 1 01 b ; Car-
naval de Venise, i. 316 a;
PF. Mus., ii. 734a; PF.-
playing, ii. 743 b, etc. ; Saint
Saens, iii. 216ft, note; Tay-
lor (F.), iv. 66b ; Tomaschek,
iv. 133b; Kuhe (W.), iv.
693 b.
Schulthes, W. ; PF. Mus., ii.
736 ft.
ScHULz. (See Praetorius, iii.
24 b.)
ScHULZ, E., iii. 383 b; Beet-
hoven, i. 208 ft; Seraphine,
iii. 4666.
ScHULz, J. A, P., iii. 383 J;
Kirnberger, ii. 62 a; Song,
iii. 610a, etc.
ScHULz, J. P. C. ; Gewandhaus
Concerts, i. 593 a.
ScHULZ, L., iii. 383 b ; Guitar, L
640 b.
ScHULZ ; Zither, iv. 513b.
ScHULZE, J. F. & Sons, iii.
384 a; Lieblich gedact, ii.
1325, etc.; Organ, ii. 601 a,
etc.; Pedals, 11. 682a ; Vog-
ler, iv. 329 ft.
ScHULTZE, W.; United States,
iv. 204a.
Schumann, Robert, iii. 3846 ;
iv. 791b; Accent, i. 13b;
Albert, Prince, 1. 49 b ; Album-
blatt, i. 51a; A quatre
mains, i. 80 a ; Arabesque, i.
Sob; Arrangement, i. 93b,
etc. ; Ascending Scale, 1.97 b;
Bach-Gesellschaft, i. ii8b;
144
Bargiel, i. 1 39 a ; Becker (C.
J.), i. 1616; Berceuse, i.
22gb; Blahetka, i. 247 a;
Brahms, i. 270a; Brendel, i.
273&; Burginiiller, i. 2836;
Burla, i. 2836; Cadenza, i.
394 &; Chopin, i. 349a ; Chor-
ley, i. 353 &; Clarinet, i. 3646;
Concerto, i. 389 a ; Conductor,
i. 3906 ; Cossmann, i. 406 a ;
Crystal Palace Concerts, i.
42 2 6 ; Davidsbiindler, i.
435 a, etc. ; Digitorlum, i.
447a ; Dorn, i. 455a ; Ernst,
i. 492 &; Fantasia, i. 503 &;
Fantasiestiick, i. 503?); Felix
Meritis, i. 511a; Form, i.
552a; Franz (R.), i. 559 J,
etc.; Gade, i. 574a ; Gounod,
i. 613 a; Grossvater-Tanz, i.
634a; Heller, i. 725a, note;
Henselt, i. 730 a ; Herz, i.
733a ; Hiller (Ferd.), 1. 7376;
Hoffmann (E. T. W.), i. 741 h;
Horn, i. 752 a; Humoreske, i.
758 a; Impromptu, i. 768?);
Innig, ii. 36 ; Intermezzo, ii.
9&, etc. ; Introduction, ii. 146;
Jensen, ii. 336; Kalliwoda
(J. W.), ii. 47 a; Key, ii.
53 a, note ; Kirchner, ii. 61 a ;
Kreisleriana,ii. 71a; Kuntsch,
ii. 77 a; Kupsch, ii. 77 a;
Lachner (F.), ii. 82 a ; Laid-
law, ii. 85 a ; Lalla Eookh, ii.
86 a ; Langsam, ii.90& ; Leip-
zig, ii. 1156; Libretto, ii.
1306 ; Lied, ii. 133a ; Lieder-
kreis, ii. 136a; Lipinski, ii.
145a; Liszt, ii. 1 466; LwofF,
ii. i8ot; Manns, ii. 2076;
Marseillaise, La, ii. 220 &;
Mendelssohn, ii. 276 cr, etc. ;
Merkel, ii. 314a ; Modulation,
ii. 350a; Moscheles, ii. 370?);
Mus. Lib., ii. 424 a; Mus.
Periodicals, ii. 431a; Nacht-
stiicke, ii. 442 o ; Nicderrhein-
ische Musikfeste, ii. 456a;
Notation, ii. 476?); Notte-
bohm, ii. 479 a ; Novelletten,
ii. 4806; Oboe, ii. 488 a,
etc. ; O'Leary, ii. 496 i ; Or-
pheus, ii. 6136; Oury, ii.
617a; Overture, ii. 623 J;
Paganini, ii. 6320 ; Papillons,
ii. 647 a; Paradise and the
Peri, ii. 6486; Part-song, ii.
658b; Pedalier, ii. 678 J;
Pedal-Point, ii. 68ia ; PF.
Mus., ii. 730 a; PF.-playing,
ii. 742 a ; Pierson (H. H.), ii.
752 a; Programme Mus., iii.
39 a ; Quartet, iii. 58 i ; Rei-
necke, iii. 102 a ; Reissmann,
INDEX.
iii. 104a; Romantic, iii. 1 50 J,
etc.; Rosalia, iii. 160 &; Ros-
sini, iii. 177a; Schauroth,
iii. 2426; Scherzo, iii. 2476;
Schloesser, iii. 254a ; Schools
of Comp., iii. 293a, etc.;
Schubart, iii. 319a ; Schubert,
iii. 324a, etc. ; Schunke, iii.
424a; Score, iii. 432 a;
Sketch, iii. 5256; Sonata, iii.
578a, etc.; Song, iii. 627?),
etc. ; Speidel, iii. 650a ;
Spitta, iii. 6566; Spohr, iii.
661 &; Stamaty, iii. 689 a;
Stockhausen (J.), iii. 716a ;
Studies, iii. 747 a; Subject,
iii. 7506 ; Symphoniques,
Etudes, iv. loa ; Symphony,
iv. 34a, etc.; Syncopation,
iv. 44 a, etc. ; Tausch, iv.
646; Telemann, iv. 69 J;
Tempo, iv. 83 a, etc. ; Tenor-
Violin, iv. 92 a; Thalberg,
iv. 96 a ; Thematic Catalogue,
iv. 99 J; Thomson (J.), iv.
1076; Tigrane, II, iv. II5?>;
Toccata, iv. 130a; Toma-
schek, iv. 1336; Trio, iv.
1 7 2 & ; Trombone, i v. 1 7 8 & ;
Tune, iv. 187a; Verhulst, iv.
255b; Verschiebung, iv. 256 6 ;
Viardot - Garcia, iv. 260 a;
Vieuxtemps, iv. 2626 ; Voigt,
iv. 335 b; Volkmann, iv.
336 a ; Volksthumliches Lied,
iv. 338a; Wagner, iv. 355 b,
etc. ; Wasielewsky, iv. 384 a;
Wieck (M.), iv. 455 « ; Wil-
der, iv. 457a ; Zukunfts-
musik, iv. 514a ; Abegg, iv.
517a; Bolmer, iv. 549 J;
Carneval, iv. 579a; Dance
Rhythm, iv. 608 a ; Dietrich,
iv. 614b; Dorffel (A.), iv.
6i6b; Hist, of Mus., iv.
674a ; Humorous Mus., iv.
6816; Jullien (J. L. A.), iv.
687a; Meinardus, iv. 716a;
Mendelssohn, iv. 716 J; Re-
quiem, iv. 770b ; Romance,
iv. 773 « ; Vesque v. Piittlin-
gen, iv. 812a.
Schumann, Clara, iii. 421b;
iv. 791b; Claus, i. 366a;
Frege, i. 562 a ; Janotha, ii.
32 a; Mendelssohn, ii. 272 a,
etc. ; Monday Popular Con-
certs, ii. 352b; Niederrhein-
ische Musikfeste, ii. 456 b;
O'Leary, ii. 496b ; Philh. Soc,
ii. 700a ; PF. Mus., ii. 732 b ;
PF.-playing, ii. 745 ; Rudorff,
iii. 201 b; Schools of Comp.,
iii. 311a; Schumann, iii.
388b, etc.; Song, iii. 628a;
Steinweg, iii. 710b ; Stock-
hausen (J.), iii. 716a; Taylor
(Franklin), iv. 66b; Tonklinst-
lerverein, iv. 150b; Brandes,
iv. 562 a; Davies (Fanny),
iv. 608b; Dorffel, iv. 6166;
Zur-Muhlen, iv. 8i8b.
ScHUND, J.,iv. 791b.
Schunke, C. ; PF. Mus., ii.
729 a.
Schunke, L., iii. 424 a; Schu-
mann, iii. 390 a, etc. ; Voigt,
iv. 335b.
ScHUPPANZiGH, I., iii. 424a; iv.
791b; Augarten, i. 104a;
Beethoven, i. 166 b, etc. ; Holz,
i.744b; Kraft, ii. 70a ; Lich-
nowsky (C), ii. 132 a ; Lincke,
ii. 1396 ; Mayseder, ii. 241a;
Pastorale (Sonata), ii. 670b;
Rasoumowsky, iii. 77 a;
Scliindler, iii. 251a; Schubert,
iii. 340a, etc. ; Sina, iii. 495b ;
Violin-playing, iv. 289, etc. ;
Weiss (F.), iv, 433a; Zeug-
heer, iv. 507 a.
ScHURK, E. ; Hist, of Mus., iv.
675a, etc.
Schubig; Schneider (J. G.), iii.
256 a.
Schuster, V. ; Arpeggione, i.
89 a.
ScHUTZE ; Schneider (J. G.),iii.
256a.
ScHWANBERG, J. G. ; Olimpiade,
ii. 496 b; Zenobia, iv. 506 a.
ScHWANENBEBG ; Trdsor des
Pianistes, iv. 168 a.
SCHWARBROOK, T., iv. 791b;
Organ, ii. 596 a.
Schwartz ; Beer (J.), i. 162 a.
ScHWARZ, G. W. ; Greatheed,
iv. 654b.
ScHWARZENDORF, J. P. A. (See
Martini il tedesco, iv.
712a.)
SCHWARZSPANIERHAUS, The, iii.
425a; Beethoven, i. 170a;
Breuning (M. G.), iv. 564 a.
ScHWEGEL; Virdung, iv. 303 b.
Schweitzer ; Singspiel, iii. 517a.
ScHWENKE ; Wohltemperirtes
Klavier, iv. 483 b.
SCHWICKERATH ; Niederrheiu-
ische Musikfeste, iv. 731 a.
SCHWIND ; Schubert, iii. 341 b,
etc.
Schwindl; Symphony, iv, 14 b.
ScioltO, iii. 426 a.
ScoBEDO, B, (See Escobedo,
B.)
ScoLARA ; Strakosch, iii. 734b.
ScoLARi ; Olimpiade, ii. 496 b.
ScoRDATURA, iii. 426 a; iv.
791b; Biber, i. 240 b; Paga-
f
nini, ii. 6316; Tablature, iv.
48 a; Violin, iv. 278 &.
Score, iii. 4266; Abbreviations,
i. 4a; Accompaniment, i. 206,
etc. ; Additional Accompani-
ments, i. 30 & ; A Due, i, 38 a ;
Air Ottava, i. 56 a ; AH' uni-
sono, i. 56a; B, i. 108 a;
F^tis (F. J.), i. 517&; Nota-
tion, ii. 475 a; Opera, ii.
5006 ; Orchestration, ii. 5726;
Partition, ii. 656 a.
Score, Arranging from, iii.
4.34 «•
Score, Plating from, iii. 435 & ;
Transposition, iv. 161 h.
Scoring, iii. 437 a.
Scotch Snap, iii. 4376 ; Scotish
Mus., iii. 448 a; Strathspey,
iii. 735 a; Negro Mus., iv.
728&.
Scotch Symphony, The, iii.
437 &; Mendelssohn, ii. 264a,
etc.
Scotish Music, iii. 438 a; iv.
791 &; Beethoven, i. 188& ;
Dauney, i. 431 &; Gow, i.
615 a; Graham, i. 6i6h;
Haydn, i. 715a; Mudie, ii.
407 a ; Skene Manuscript, iii.
5236, etc. ; Smith (R. A.),
iii. 541 a, etc. ; Specimens,
Crotch's,iii.648&; Strathspey,
iii. 735 a; Thomson (G.), iv.
106a; Coronach, iv. 599a;
Dun (Fiulay),iv. 619 a ; Hist.
of Mus., iv. 6746; Lambeth
(H.), iv. 696 a; Pentatonic
Scale, iv. 745 h.
ScoTSON Clark, Rev., iii. 4526.
Scott, J., iii. 4526.
Scott, J. and H. ; Irish Mus.,
ii. iga.
Scottish Musical Society,
The, iii. 4526.
ScRiBANO, J. ; Schools of Comp.,
iii. 263 a, etc. ; Sistine Choir,
iii. 520& ; Sistine Chapel, iv.
794 «•
Scribe, E., iii. 453a; iv. 792a;
Academic de Mus., i. 96;
Auber, i. 102 b; Libretto, ii.
1 30 a ; Mendelssohn, ii. 289 & ;
Meyerbeer, ii. 323 a, etc.
SCUDO, P., iii. 4536 ; Harold, i.
732 b; Mus. Periodicals, ii.
429a ; Song, iii. 593 a, etc.
Seagar, F. ; P.salter, iv. 7536.
Seasons, The, iii. 453 &; Haydn,
i. 714a, etc.
Sebald, a., iii. 454a ; Beetho-
ven, i. 190 a.
Sebald, Auguste, iii. 454?'.
Sebastiani, J.; Passion Mus.,
ii. 665 K
INDEX.
Secanilla, F. ; Eslava, i.
495 «•
Secchi; Milan, ii. 329a.
Secco Recitative, iii. 4546 ;
Opera, ii. 504a, etc. ; Opera
BuflFa, ii. 530 &; Operetta, ii.
5316; Recitative, iii. 836,
etc. ; Rossini, iii. i76«.
Sechter, S,, iii. 455a; Bagge,
i. 123a; Bibl (R.), i. 241a;
Blumenthal, i. 250 & ; Drago-
netti, i. 462 a ; Ecclesiasticon,
i. 481 ?> ; Kdler Bela, ii. 49 a ;
Kucken, ii. 75 a; Lachner
(F.), ii. 81&; Nottebohm, ii.
479a; Pauer, ii. 6746; PF.
Mus.,ii. 7276; Pohl(C. F.),
iii. 5a; Preyer, iii. 30a;
Rappoldi, iii. 766; Richter
(H.), iii. 1286; Schubert,
iii. 353a ; Siboni (E. A. W.),
iii. 491a; Sucher, iii. 7546;
Thalberg, iv. 95 a ; Yieux-
temps, iv. 2626; Bruckner,
iv. 566 a; Vaterlandische
Kiinstlerverein, iv. 808 a ;
Vesque von Piittlingen, iv.
811&.
Second, iii. 456 a.
Secondo, iii. 4566.
Section; Air, i. 47a; Double
Bar, i. 457& ; Figure, i. 520?) ;
Form, i. 542 a.
Sedie, E, Delle, iii. 4566 ;
Philh. Soc, ii. 700 a.
See, the Conquering Hero
comes, iii. 4566; iv. 792 a;
Joshua, ii. 40 a ; Judas Mac-
cabseus, ii. 44a.
Seegner ; Ecclesiasticon, i.482 a.
Seeling, H. ; PF. Mus., ii.
734 a; PF.-playing, ii. 7456.
Segert; Gelinek, i. 587 a.
Segno, iii. 457 a.
Segue, iii. 457a ; Abbreviations,
i. 3&.
Seguidilla, iii. 457 a; Fan-
dango, i. 502 a ; Song, iii.
598?), etc. ; Tirana, iv. 128&.
Seguin, a. C, iii. 458 c?.
Seguin, E., iii. 457 &.
Seguin, Elizabeth ; Parepa-
Rosa, ii. 6486.
Seguin, W. H., iii. 45805.
Sehnsucht, iii. 458 a.
Seidel ; Spontini, iii. 6'j^h.
Seidl, a., iv. 792 a.
Sejan ; L^febure-Wely, ii. 112 a ;
Maitrise, ii, 200 a!.
Seligmann; Offenbach, ii. 493 a.
Sellenger's Round ; Hawkins,
i. 700 &.
Sellerie, M. ; Pacini (G.), ii.
627a.
Selmer, J. ; Song, iii. 611 a.
145
Selnecker, NT.; Chorale, iv.
589 &.
Sembrich, M., iii. 4586; Philh.
Soc., iv. 7466.
Semele, iii. 4586 ; Handel, i.
651&.
Semet, T., iii. 459 a; Orph^on,
ii. 612&.
Semibreve, iii. 459a ; Dot, i.
455 &; Notation, ii. 471 a,
etc. ; Franco (of Cologne), iv.
641a.
Semichorus, iii. 460 a.
Semicroma, iii. 460a ; Notation,
ii. 471a, etc.
Semifusa, iii. 460 a ; Notation,
ii. 471a.
Semiminima, iii. 460a; Hemiolia,
i. 727?) ; Notation, ii. 471 &.
Semiquaver, iii. 460 &; Nota-
tion, ii. 471a.
Semiramide, iii. 461a ; Rossini,
iii. 170 a, etc.
Semitone, iii. 460!); Accidentals,
i. 18 a; Appoggiatura, i. 75a;
Basset-horn, i. 150& ; Bassoon,
i. 152&; Chromatic, i. 355^;
Clarinet, i. 360& ; Clavichord,
i. 368a ; Flat, i. 532 a ; Flute,
i- 537^5 Gregorian Modes, i.
626a; Harmony, i. 67205,
etc. ; Harp, i. 6866 ; Harpsi-
chord, i. 6916; Hexachord, i.
733 & ; Horn, i. 749a ; Inter-
val, ii. iih ; Key, ii. 51 &;
Keys, ii. 56 a; Lute, ii. 1766;
Major, ii. 200 a ; Minor, ii.
333 a; Modes, Eccles., ii.
341 h ; Modulation, ii. 345 a ;
Musica Ficta, ii. 4x2?), etc. ;
Natural, ii. 448 a ; Notation,
ii. 476 a, etc. ; Oboe, ii. 4866;
Organ, ii. 579« ; Pitch, ii.
7576; Scale, iii. 237 a;
Scotish Mus., iii. 445 a;
Sharp, iii. 485 a; Shift, iii.
4876; Signature, iii. 4926;
Solmisation, iii. 5496, etc.;
Spinet, iii. 653a; Tablature,
iv. 49 a; Temperament, iv.
71 &; Tetrachord, iv. 946;
Transposing Instruments, iv.
i6oa; Trombone, iv. 177 a;
Trumpet, iv. 182 a ; Tuning,
iv. 188 a ; Violin, iv. 279a.
Semler, F. X., iii. 461a.
Semler, S., iii. 461a.
Semon, F. ; Song, iii. 630&.
Semplice, iii. 461a.
Semprb, iii. 461b.
Senaille ; Violin-playing, iv.
289.
Senefelder; Andr^ (J. A.), i.
66 a ; Breitkopf und Hartel,
i. 273a.
146
Senesino, F. B., iii. 461b;
Baldi, i. 126&; Berselli, i.
236a ; Bertolli, i. 237 a ; Fari-
nelli, i. 505 a; Handel, i.
649 h, etc. ; Lincoln's Inn
Fields Theatre, ii. 140a;
Opera, ii. 512b ; Porpora, iii.
17 a ; Roy. Academy of Mus.,
iii. 184b; Singing, iii. 506 a;
Tenducci, iv. 85 b.
Senff, B., iii. 462b; Mus.
Periodicals, ii. 430 b; Schu-
bert, iii. 346 a; Signale, iii.
492 b.
Senfl, L., iii. 463 a ; Isaac, 11.
23a ; Luther, ii. 179a ; Mus.
Lib., ii. 423b ; Peutinger, ii.
69 7 a ; Rochlitz, iii . 141b;
Schools of Corap., iii. 266b;
Song, iii. 620 a; Steffani, iii.
695 a ; Dodecachordon, iv.
616a.
Senn ; Schubert, iii. 321b, etc.
Sennet, iii. 4636 ; iv. 792 a.
Senza, iii. 4636 ; iv. 792 a.
Senza Piatti, iii. 463 b.
Septet, iii. 463 b; Beethoven,
i. 179a; Hummel, i. 757b;
Spohr, iii. 664 b.
Septuple Time ; Time, iv. 120 a.
Sequence, iii. 464 a; Harmony,
i. 684a; Rosalia, iii. 160 J.
Sequentia, iii. 465 b ; Hymn, i.
760 b; Lauda Sion, ii. 103b;
Mass, ii. 232a; Motet, ii.
373b; Noel, ii. 462 a; Plain
Song, ii. 767a ; Prose, iii. 43 b;
Requiem, iii. 109a; Schools
of Comp., iii. 268b, note;
Song, iii. 617b; Stabat Mater,
iii. 683b ; Dies Irse, iv. 613b ;
Veni Sancte Spiritus, iv.
808 b; Victimae Paschali, iv.
812b.
Seracini; Burney, iv. 571a.
Serafin, iii. 466 a; Violin, iv.
282b.
Seraglio, II, iii. 466 6 ; Mozart,
ii. 405 b.
Seraphine, iii. 466 b ; Concer-
tina, i. 386 b ; Harmonium, i.
667 a.
Serena ; Song, iii. 585 a.
Serenade, iii. 467 a ; iv. 792 a ;
Cassation, i. 319a; Diverti-
mento, i. 450 b.
Serenata, iii. 467b; Acis and
Galatea, i. 26 a.
Sergeant Trumpeter, iii. 469 a ;
Shore (M.), iii. 488 b; Snow,
iii. 542 a.
Sering, F. W. ; Wacht am
Rhein, iv. 343 a.
Serini; Latrobe, ii. 103 J.
Sermisy, C. de. (See Claudin.)
INDEX.
Sermoneta, C. da. (See Ca-
Roso, i. 316 b.)
Seroff, a. N., iii. 469a ; iv.
792a; Song, iii. 614a.
Serpent, iii. 4696 ; Euphonium,
i. 497 b ; Instrument, ii. 6b ;
Keys, ii. 55 b; Ophicleide,
ii. 531b; Wind -band, iv.
467 b, etc. ; Zinke, iv. 511b.
Serpentcleide ; Glen, i. 599 b.
Serpette, G., iii. 470b; Gr.
Prix de Rome, i. 618 b.
Serra ; Sivori, iii. 534b.
Serra; Solmisation, iii. 55ab.
Serrao, Paolo ; Martucci, iv.
712b.
Serva Padrone, La, iii. 471a ;
Intermezzo, ii. 9a ; Pergolesi,
ii. 687a, etc.
Servais, a. F,, iii. 471a;
Philh. Soc, ii. 699 b ; Stradi-
vari, iii. 73Tb; Swert, de,
iv. 8b ; Vieuxtemps, iv. 262 b ;
Violoncello-playing, iv. 300 b,
etc.
Servais, F. M., iii. 471b.
Servais, J., iii. 471 b ; iv. 792 a ;
Conservatoire, Brussels, i.
592 b; Stradivari, iii. 731b;
Gr^goir, iv. 655 a.
Servetto, G. ; Paganini, ii.
628a.
Service, iii. 471b; Accents, i.
17a; Aldrich, i. 52a ; Bene-
dicite, i. 222a; Benedictus,
i. 223b; Cantate Domino, i.
305 b ; Canticle, i. 305 b ; Clif-
ford, i. 374b ; Deus Miserea-
tur, i. 441 a ; Jubilate, ii.
43b; Magnificat, ii. 195b;
Mus. Lib,, ii. 420a ; Nunc
Dimittis, ii. 484 b; Ouseley,
ii. 6 18 a; Schools of Comp.,
iii. 273b, etc.; Spriiche, iii.
682 b; Tallys, iv. 53b ; Te
Deum, iv. 68 a; Venite, iv.
237a ; Verse, iv. 257a ; Wes-
ley (S. S.), iv. 447b.
Sesqui, iii. 475 a ; Hemiolia, i.
727b.
Sesquialtera, iii. 475 a; He-
miolia, i. 727b ; Organ, ii.
583b, etc.; Partial Tones, ii.
655a; Rank, iii. 75a.
Sestet, iii. 475 b; Bennett
(Stemdale), i. 226b, etc. ;
Boccherini, i. 251b; Brahms,
i. 271a; Mozart, ii. 405b;
Spohr, iii. 673 b; Dvorak, .iv.
624b.
Sestini, G., iii. 476 a.
Settimetto, iii. 476 a.
Settle, L. ; Sunderland, iv.
797 b.
Seuriot; Prevost, iii. 29b;
R^ber, iii. 82 b; Reicha, iii.
98 b.
Seven Last Words, Tiie, iii.
476 a ; Haydn, i. 708 6, etc.
Seventh, iii. 476 b; Harmony,
i. 680b; Monteverde, ii. 357b,
etc.; Thoroughbass, iv. 109b.
Sevbrin; Castro (J. de), i.
319b.
Severn, T. H., iii. 477 b.
Sext, iii. 477 b.
Sextett. (See Sestet, iii. 475 b.)
Sextolet, iii. 478 a; Triplet,
iv. 173 b.
Sexton, W. ; Adcock (J.), i.
30a ; Page, ii. 632 b.
Sextus, iii. 478 a ; Voices, i v.
334a; Part-booka, iv. 740b.
Seyfried, I. X. Ritter von,
iii. 478 a ; Albrechtsberger, i.
51a; Beethoven, i. 164 a,
etc.; Ernst, i. 492a; Extem-
pore-playing, i. 498 b ; Has-
linger, i. 694 a ; Haydn, i.
716b, etc.; Krebs (K. A.),
ii. 70b; Kuhlau, ii. 75 b;
Marxsen, ii. 223b; Mus. Pe-
riodicals, ii. 431a; Orplieus,
ii. 613 a; Ox-Minuet, ii.
624b; Part Song, ii. 659a;
Schloesser, iii. 254a; Schup-
panzigh, iii. 424b; Sowinski,
iii. 647b; Strauss (J.), iii.
737 a; Sulzer, iii. 764b; Sup-
pd, iv. 4a ; Z^mire et Azor,
iv. 505b ; Goldberg, iv. 650b ;
Mozart, iv. 721a.
Sfogato, iii. 478 b.
Sforzando, iii. 478b; iv. 792 a;
Acciaccatura, i. ii8b ; Scherz-
ando, iii. 245 b.
Sforzando-pedal ; Organ, ii.
601 b.
Sgambati, G., iii. 479 a ; iv.
792 a; PF.-playing, ii. 745a;
Symphony, iv. 42 b; Tosti,
iv. 152a; Bandini, iv. 530b;
Philh. Soc, iv. 746 b ; Rome,
iv. 775 a.
Shadand, J. B. ; United States,
iv. 203 a.
Shake, iii. 479b; iv. 792b; Agr^-
mens, i. 44a; Beat, i. 158b;
Cavalieri, i. 327b; Grace-notes,
i. 615a; Notation, ii. 477b;
Trill, iv. 169b; Turn, iv. 192 b.
Shaked Beat; Agrdmens, i.
43 &•
Shakespeare, W., iii. 484b ;
Lamperti, ii. 89 a; Mendels-
sohn Scholarship, ii. 311a;
Philh. Soc., ii. 700b; Royal'
Academy of Mus., iii. i8ob;
Singing, iii. 512b; Liszt, iv.
703 a.
Shalm. (See Shawm, iii. 485 &.)
Sharp, iii. 485 a ; Accidentals,
i. 18&, etc.; Acuteness, i.
261) ; Diesis, i. 4466; Key,
ii. 53a; Notation, ii. 474a,
etc.
Sharp, W. ; Neate, ii. 450 a.
Shaw, Mary, iii. 485 a; Men-
delssohn, ii. 275 ?>; Philh.
Soc, ii. 699 Z>; Postans, iii,
21 &; Singing, iii. 512 a.
Shawm, iii. 4856; Clarinet, i.
361 a ; Oboe, ii. 486 a.
Shedlock, J. S. ; Mus. Period-
icals, iv. 727a.
Shepherd, J. (See Sheppard,
iii. 486 a.)
Shepherd's Pipe, iii. 486 a.
Sheppard, J., iii. 486 a ; Bar-
nard, i. 140& ; Hawkins, i.
700&; Motet, ii. 375 &; Mus.
Lib., ii. 422a; Schools of
Com p., iii. 2 70 ?), etc. ; Sketches,
iii. 5266 ; Tudway, iv. 199 a;
Burney, iv. 570& ; Motet Soc,
iv. 720a ; Mus. Lib., iv. 7236;
Psalter, iv. 759 &•
Sherrington, J., iii. 486 &.
Sherrington, Mme. Lemmens,
iv. 699a ; Philh. Soc, ii.
700 a ; Singing, iii. 5 1 2 &.
Sherrington, W. ; Philh. Soc,
ii. 698 a.
Sheryngham; Bumey, iv. 570&.
Shield, W., iii. 4866 ; iv. 7926 ;
Baumgarten, i. 157a ; English
Opera, i. 489 a ; Glee Club,
i. 599a; Incledon, ii. 3a;
King's Band, ii. 58a ; Opera,
ii. 524a; Pantomime, ii.
646a; Part Mus., ii. 6566;
Philh. Soc, ii. 698 a ; Reeve,
iii. 92b; Koyal Academy of
Mus., iii. 185 a ; Schools of
Comp., iii. 291b, etc. ; Song,
iii. 607 a; Thoroughbass, iv.
108 &.
Shift, iii. 487b; Baltzar, i.
133b ; Matteis, ii. 239b ; Mu-
tations, ii. 439 b; Violin, iv.
270b, etc
Shifting Pedal; Pedals, ii.
683 a.
Shifts. (See Positions, iii.
20 b.)
Shinner, E., iv. 792 b; London
Mus. Soc, iv. 705 b.
Shirreff, J.,iii. 488a; iv.792b.
Shore, C, iii. 488b.
Shore, J., iii. 488b; iv. 792 b;
Lutenist, ii. 178a; Sergeant-
Trumpeter, iii. 469a; Tuning-
fork, iv. 190 a.
Shore, M., iii. 488 b; Sergeant-
Trumpeter, iii. 469 a.
INDEX.
Shore, W., iii. 488 b; Sergeant-
Trumpeter, iii. 469 a.
Short Octaves. (See Octaves,
Short.)
Short Score. (See Score, iii.
426 b.)
Shoubridgej Charity Children,
i. 340b.
Shudi, iii. 488b; iv. 792b;
Broadwood & Sons, i. 278a;
Harpsichord, i. 689 a, etc. ;
Key, ii. 54a ; Kirkman, ii.
61 b ; Mozart, ii. 381 a ; Piano-
forte, ii. 716b, etc.; Euckeis,
iii. 193b; Stops, iii. 718b;
Swell, iv. 8b; Tschudi, iv.
1836; Harpsichord, iv. 668 b.
Shuttleworth, 0., iii. 490 a;
Britton (T.), i. 277 b.
Si, iii. 490 a ; B, i. 107 a ; H, i.
643a ; Solmisation, iii. 551b.
Si contra Fa. (See Mi contra
Fa, ii. 326 b.)
SiBONi, E. A., iii. 491 a.
SiBONi, G., iii. 491a; Frohlich
(N.), i. 565 b.
SiBONi, J. F., iii. 491a.
Sicilian Bride, The, iii. 491 b ;
Balfe, i. 127 b.
Sicilian Mariners' Hymn,
The, iii. 491b.
Sicilian Music ; Bartholdy (J.
S.), i. 145*.
SiciLiANA, iii. 491b; Pastorale,
ii. 670 b.
SiciLiANi, Ph. ; Sistine Chapel,
iv. 794a.
Side Drum, iii. 491b; Drum, i.
463b, etc ; Instrument, ii. 7a;
Orchestra, ii. 566 b; Wind-
band, iv. 467 b, etc.
Siebenkas ; Wind-band, iv.
470 a.
SiEG ; Gr. Prix de Eome, i.
618b.
Siege DECoRiNTHE,Le, iii. 492a;
Maometto Secondo, ii. 208b;
Rossini, iii. 171b.
Siege of Rochelle, The, iii.
492a; iv. 'jg^a; Balfe, i.
127a.
Siegfried. (See Walkure, iv.
376 b.)
Siehr ; Wagner, iv. 363 b, etc.
Siena ; Accadeniia,i. 11 b; Hist.
of Mus., iv. 675b.
SiFACE, G. F. G. detto, iii.
492 a.
Sigismondo d'India ; Mus. Lib.,
iv. 726 a.
Signale fur die musikalische
Welt, iii. 492 b ; Mus. Period-
icals, ii. 430b; Senff, iii. 463 a.
Signals (Hunting); Horn, i,
748 b.
147
Signals (Military), iii. 492b.
(See Sounds, iii. 642 J.)
Signature, iii. 492 b ; iv. 793a;
Accidentals, i. 19, etc. ; Key,
ii. 52b; Score, iii. 427a.
SiKORSKi, Prof. ; Song, iv. 795 a.
Silas, E., iii. 493 a; iv. 793 a;
PF. Mus., ii. 734a ; PF.-play-
ing, ii. 745; Philh. Soc, iv.
747 a.
SiLBERMANN, iii. 494a; Bach
(J. S.), i. 115 b; Cembal
d'Amore, i. 330a; Frederic
the Great, i. 561b; Grand
Piano, i. 617b; Mozart, ii.
386 b; Pianoforte, ii. 712 a,
etc. ; Sordini, iii. 636 b ; Stein
(J. A.), iii. 708a; Upright
Grand Piano, iv. 208 b.
Silcher, F., iii. 495 a; Song,
iii. 623 a ; Volkslied, iv. 338a.
SiLLET ; Nut, ii. 485 b.
SiLVA ; Zingarelli, iv. 509 a.
SiLVA, A. de; Sistine Chapel,
iv. 794a.
SiLVA, J. da ; Song, iii. 600b.
SiLVANA, iii. 533b; Waldmad-
chen, iv. 375b; Weber, iv.
393 b, etc
Silver, J. ; Gibbons (C), iv.
647 a.
Silvester, J.; Jackson (of
Exeter), ii. 27 a.
Silvestre ; Violin, i v. 283 rt.
Simak; Song, iii. 614b.
SiMAO. (See Portogallo, iii.
19 b.)
Similar Motion ; Contrary Mo-
tion, i. 396 a ; Motion, ii.
377«-
SiMiLi, iii. 495 a; Abbreviations,
i. 3 b.
Simon, A. ; Orph^on, L', ii. 6i i b.
Simon; Beethoven, i. 172a.
Simon ; Song, iii. 594b.
Simone Boccanegra, iii. 533b;
Verdi, iv. 250 a.
SiMONELLT, M. ; Casini,i. 318b;
Corelli, i. 400 b ; Sistine Cha-
pel, iv. 794a.
Simple Recitative ; Recitative,
iii. 83 b.
Simple Time; Common Time,
i. 381a; Notation, ii. 475 b;
Time, iv. 118 a.
Simpson ; Parke (J.), ii. 650a.
Simpson, C. (See Sympson, iv.
43b0
Simpson, T., iii. 495 a.
SiMROCK, iii. 495 a ; Beethoven,
i. 1 64 b, etc. ; Sterkel, iii. 7 1 1 b ;
Mozart, iv. 721a.
SiNA, L., iii. 495 b; Kraft, ii.
70 a; Lichnowsky (C), ii.
132 a; Rasoumowsky, iii.
L 2
148
77«i note; Schuppanzigh, iii.
425a.
Sinclair, J., iii. 4956; Singing,
iii. 512a; Welsh (T.), iv.
444?).
SiNcoPAS. (See Sink-a-Pacb,
iii. 5176.)
Sinfonie-Cantate, iii. 496 a.
Sing, Singing, iii. 496 a; iv.
793 a; Accidentals, i. 20a;
Adamberger, i. 29a ; Agujari,
i. 45 a; Albertazzi, i. 49 &;
Alboni, i. 506 ; Amicis (A. L.
de), i. 61 a; Ander, i. 656;
Ansani, i. 696 ; Aprile, i. 79&;
Badiali, i. 122a; Baldassar-
ri, i. 126a; Baldi, i. 126b;
Banti, i. 136 a ; Baroness, i.
142a; Bartlenian, i. 146a;
Bass, i. 148 h ; Beard, i. 158 a;
Begnis, i. 209 &; Begrez, i.
2ioa; Bellamy (T. L.), i.
211 a; Belletti, i. 211b; Bend-
ler, i. 2216; Bernacchi, i.
234&; Bernasconi, i. 235a;
Berselli, i. 236a; Bertinotti,
i. 236a; BertolH, i. 236b;
Billington, i. 242 a; Blangini,
i. 247b ; Boccabadati, i. 2 fob;
Borosini (F.), i. 261a; Boro-
sini (L.), i. 261a; Boschi, i.
261 b ; Bosio, i. 262 a ; Bouche
Ferm^e, i. 263 a; Braham, i.
269a; Brambilla, i. 271a;
Breath, i. 272a; CafFarelli,
i. 295 b; Calori, i. 299 a;
Campioli, i. 301 a ; Campo-
rese, i. 301 b ; Caradori-Allen,
i. 307 b; Carestini (G.), i-
308b; Catalani,i. 320a ; Cat-
ley, i. 325 b; Cavalieri, i.
329b; Chimenti, i. 345b; Ci-
prandi, i. 359a; Cipriani, i.
359a ; Colbran, i. 377 a ;
Compasg, i. 382 a ; Cooke
(T.), i. 398a; Crescentini,
L 4i6i; Crivelli, i. 418b;
Cruvelli, i. 421b; Cumminga
(W.), i. 423 b ; Curioni, i.
423b; Damoreau, i. 428b;
Danzi (F.), i. 430 b; Davide,
i. 434 a; Duprez, i. 470 a;
Dyne,i. 478a; Epine,i»490a;
Fabri, i. 501 a ; Farinelli (C.
B.), i, 504a ; Faure, i. 571 a ;
Ferlendis, i. 512a; Ferrarese
del Bene, i. 513a; Ferri, i.
514a; Fischer, i. 528b; Fodor-
Mainvielle, i. 538 b; Formes,
i- 555a; Fomasari, i. 555b;
Forti, i. 556a; Francesina,
La, i. 558a; Fraschini, i.
560b ; Frasi, i. 561 a ; Frezzo-
lini, i. 564a; Frohlich (Jos.),
i. 565^; Grabrielli, i. 573a;
INDEX.
Gabussi, i. 574a ; Galli (C),
i. 577 &; Galli (F.), i. 577b;
Galli (Signora), i. 577b; Gal-
lia, i. 578a; Garat, i. 581a;
Garcia (M.), i. 582 a; Giz-
ziello, i. 597 b ; Grassini, i.
620a; Graziani, i. 622b;
Grisi, i. 632 b ; Guadagni (G.),
i. 635a; Guarducci, i. 636a;
Haitzinger, i. 644 a ; Harrison
(S.), i. 692a; Harrison (W.),
i. 692 b; Hauck, i. 697b;
Hayes (C), i. 722b; Helm-
holtz, i. 726b; Henschel, i.
729a; Hiller (J. A.), i. 739a;
Incledon (C. B.), ii. 2b;
Ivanoff, ii. 26 a ; Kellogg, ii.
49 a; Lablache, ii. 79 b ; Lacy
(J.), ii. 82 b; Lajeunesse, ii.
85b; Lalande(Meric),ii. 85b;
Lamperti, ii. 88 b; Lange, ii.
goa; Lays, ii. 107b; Lazza-
rini, ii. 108 a; Lebrun, ii.
109b ; Leffler, ii. 112a; Leve-
ridge, ii. 126b ; Lind,ii. 140b;
Linley, ii. 144a ; Lloyd, ii.
154a; Lockey, ii. 158a;
Loewe (J. S.), ii. 160 b; Lowe
(T.),ii. 170a; Lucca, ii. 170b;
Malibran, ii. 201a, etc. ;
Mantius, ii. 207 b; Manzuoli,
ii. 208 a; Mara, ii. 208 b;
Mario, ii. 216b; Materna, ii.
237a; Mengozzi, ii. 311b;
Meiic, de, ii. 313 b; Merighi,
ii. 313b; Milder-Hauptmann,
ii. 330a; Millico, ii. 331a;
Mingotti, ii. 331b; Montag-
nana, ii. 356 b; Monticelli,
ii. 360a; Morelli, ii. 365 a;
Moriani, ii. 365b; Morichelli,
ii. 365 b; Morigi (P.), ii. 366 a;
Mountier, ii. 377b; Murska,
I. de, ii. 409b ; Nachbaur, ii.
440a ; Nantier-Didiee, ii.
444 a; Nau, ii. 448 a; Nau-
din, ii. 448 b ; Nava, ii. 449 b;
Negri (M. C), ii. 451 a ; Nico-
lini(E. N.), ii.453b; Nicolini
(N. G.), ii. 454a; Niemann, ii.
458 a ; Nilsson, ii. 458 b ; Nour-
rit(L.),ii.479b; Novello(C.),
ii. 481b; Novello(J.),ii.482a;
Orgenyi, ii. 6iob ; Pacchierot-
ti, ii. 625 a ; Panofka, ii. 644b ;
Panseron, ii. 645 a; Pappen-
heim, iii. 54a ; Pasta, ii. 667 b;
Patey(Jariet),ii.672a; Paton,
ii. 673a; Patti, ii. 673b; Pel-
legrini (F.^, ii. 683 b; Pelle-
grini (G.), ii. 684 a ; Persiani,
ii. 693b; Peschka-Leutner,
ii. 695 b; Piccolomini, ii.
751a; Pisaroni, ii. 756 a;
Pischek, iii. 54a; Pitch, ii.
758a ; Polonini, iii. 116;
Poole (E.), iii. 15 b; Porpora,
iii. i6b ; Pyne, iii. 54a ;
KaafF, iii. 62 a; Kainforth, iii.
67 b; Eandegger, iii. 73 b;
Eauzzini, iii. 78 a ; Redeker,
iii. 89 a; Reeves (J. Sims),
iii. 92 b; Register, iii. 94 a;
Reichardt(A.),iii. 99a; Rein-
hold (T.), iii. 103a ; Rigby,iii.
134a; Robinson (Anastasia),
iii. 139b; Roger, iii. 144b;
Rokitansky, iii. 147a; Ro-
mer, iii. 154 5; Ronconi, iii.
154b, etc.; Roze.iii. I88a;Ru-
binelli, iii. 188 b; Rubini, iii.
189a; Rudersdorff, iii. 199a;
Saint- Aubin (J.), iii. 213a;
Saint - Huberty, iii. 214a;
Sainton-Dolby, iii. 217a; Sal-
mon (E.), iii. 220a; Santley,
iii. 226b; Sarti, iii. 229a;
Scalchi, iii. 235 a ; Scaria, iii.
237 b ; Schechner-Waagen, iii.
243 a; Schimon, iii. 250 b;
Schira, iii. 251b; Schoberlech-
ner (Mme.), iii. 257a; Schon-
stein, iii. 258b; Schott (A.),
iii. 314b; Schroder-Devrient,
iii. 315b; Sedie, Delle, iii.
456b; Seguin, iii. 457b; Se-
nesino, iii. 46 1 b ; Shakespeare,
iii. 484b; Shaw, iii. 485a;
Siboni (G.), iii. 491a; Si-
face, iii. 492 a; Sinclair, iii.
496 a ; Sistine Choir, iii. 521b,
etc.; Smith (C), iii. 539b;
Smith (Montem), iii. 539b ;
Sol-fa, iii. 545 b ; Solfeggio, iii.
546a; Song, iii. 607b; Son-
tag, iii. 634a ; Soprano, iii.
635 b; Sordini, iii. 638 a;
Soria, de, iii. 638 a ; Staccato,
iii. 685 a; Staudigl (J.), iii.
691a; Stephens (Catherine),
iii. 710b; Sterling, iii. 711b;
Stockhausen (Mme.), iii. 715a;
Stockhausen (J.), iii. 715b;
Strada del P6, iii. 721b; Stroh-
meyer, iii. 746 b ; Sucher
(Rosa), iii. 754 b; Tacchi-
nardi, iv. 51a; Tagliafico,
iv. 52a; Tamberlik, iv. 54b;
Tamburini, iv. 56 a; Tem-
perament, iv. 77b, etc. ; Tem-
pleton, iv. 81 b; Tenducci, iv.
85 b; Tenor, iv. 88 a; Tesi-
Tramontani, iv. 93 b; Tessi-
tura, iv. 94 a; Thursby, iv.
113a; Tichatschek, iv. 113 a,
etc.; Tietjens, iv. 115a;
Todi, iv. 130b; Tofts, iv.
131a; Tone, iv. 141b; Tonic-
Sol-fa, iv. 144a ; Tosi, iv.
151b; Trebelli, iv. 165a j
Tremolo, iv. 167a; Ugalde,
iv. 200b; Unger, iv. 201 &;
Vaccaj, iv. 212 a; Vallentini
(V.), iv. 213a; Valleria, iv.
214b; Veiled Voice, iv. 235b;
Velluti, iv. 235 b ; Vernon, iv.
2556; Vestris, iv. 258a;
Viardot-Garcia, iv. 259a;
Vinning, iv. 266b; Vocalise,
to, iv. 321a; Voce di Petto,
iv. 321b; Voce di Testa, iv.
321b; Vogl (H.), iv. 323a;
Vogl (J. M.), iv. 323a ; Voice,
iv. 332a, etc.; Voices, iv.
334b ; Wagner (J.), iv. 345 a ;
Walter (G.), iv. 381a ; Waltz
(G.), iv. 382 a; Warnots
(E.), iv. 383 a; Wartel, iv.
383 b; Weber (J.), iv. 429 b;
Weiss (W. H.), iv. 433 b ;
Welch (J.), iv. 434a; Welsh
(T.),iv.444b; Wild, iv. 456a,
etc. ; Williams (Anna), iv.
459b; Williams (Sisters), iv.
459b; Wilson, iv. 463 a; Wilt,
iv. 463 b; Winter, iv. 476 a;
Wippern, iv. 476 b; Wixora,
iv. 477a; Young, iv. 496a;
Zandt, van, iv. 499 b ; Zere-
telew, iv. 506 a; Zerr, iv.
506 b; Agnesi, iv. 518b; Al-
bani, iv. 519b ; Allen, iv.
521a; Artot (Mme), iv.
524 a; Ayton (Fanny), iv.
5266; Beck (J. N.), iv. 533a;
Eetz, iv. 546a ; Birch (C.
A.), iv. 547 a; Bishop (Ann),
iv. 547 a ; Bland (M,),
iv. 548b; Bland (J.), iv.
549a; Borghi (Adelaide), iv.
554b ; Brandt (Marianne), iv.
562 a; Bi-ent, iv. 563 a;
Biirde-Ney, iv. 568 a; Cam-
panini, iv. 576a; Capoul, iv.
578b; Carvalho, iv. 582 a;
Castellan, iv. 5S2J; Chollet,
iv. 587 b; Concone, iv. 596 b;
Cuzzoni, iv. 602 b; Demeur,
iv. 611 a; De Keszke (E.).
iv. 6iib ; De Eeszke (J.), iv.
612a; Falcon, iv. 632 a ; Foli,
iv. 637a; Galli-Mari^, iv.
644 b; Gayarre, iv. 646b;
Gerster, iv. 646 b; Goldberg
(J. P.), iv. 650b ; Gostling,
iv. 652b; Gudehus, iv. 658b;
Gura, iv. 661b; Heinefetter,
iv. 671a; Kennedy, iv.
689b ; Krauss, iv. 692b ; Las-
salle, iv. 697 a; Lehraann
(Lilli), iv. 698b ; Levasseur,
iv. 700 a; Maas, iv. 706 a;
McGuckin, iv. 707 a ; Mal-
linger, iv. 708 b; Malten, iv.
708 b ; Marchisio (Sisters), iv.
INDEX.
710a; Marimon, iv. 711a;
Massol, iv. 714a ; Masson,
iv. 714b; Maurel, iv. 715a;
Orridge, iv. 736 b ; Otto
(Alvsleben), iv. 737 a; Phil-
lips (A.), iv. 747 a ; Pruck-
ner (C), iv. 752a; Reicher,
iv. *]^oa\ Schroter, iv. 786 a;
Sunderland, iv. 797 b ; Thorn-
dike, iv. 799a ; Tree (A.), iv.
800 b; Waylett, iv. 815 b;
Wynne, iv. 8i8a; Zur-Muh-
len, iv. 818 b.
SiNGAKADEMiE, The Berlin, iii.
515b; Fasch, i. 508 a; Men-
delssohn, ii. 269b ; Rellstab,
iii. 106 a; Rungenhagen, iii.
205 h ; Zelter, iv. 505 a ; Grell
iv. 658a ; Grund, iv. 658b.
SiNGEE ; Strakosch, iii. 735 a.
SiNGEB, E. ; Boehm (J.), i.
254b; Stark, iii. 690b; Vio-
lin-playing, iv. 289.
Singer's Libraey, The, iii.
496a ; Hullah, i. 756 b.
SiNGSPiEL, iii. 516a; Gyrowetz,
i. 642 b; Hiller (J. A.), i.
739a; Mozart, ii. 391a, etc.;
Opera, ii. 497&J etc. ; Reich-
ardt (J. F.), iii. 100 a ;
Schools of Comp., iii. 288b;
Song, iii. 622 a; Umlauf, iv.
201 a ; Wagner, iv. 369b.
SiNico, iii. 534a ; Philh. Soc,
ii. 700a.
SiNK-A-PACE, iii. 517b.
Siren, iii. 517b; iv. 793a;
Monochord, ii. 354a; Savart,
iii. 231a; Syren, iv. 45 a.
SiR^NE, La, iii. 518b; Auber, i.
loib.
SiRMEN, M., L. de, iii. 518b;
Tartini, iv. 61 b.
SiROE, Re di Persia, iii. 534a ;
Handel, i. 657 a.
SiROLi; Latrobe, ii. 103 b.
Sir Roger de Covebley, iii.
519a; Hawkins, i. 700b.
SisTiNE Chapel, iv. 793 a. (See
under Sistine Choir.)
SiSTiNECHOiR,iii.5i9a; ^olian
Mode, i. 40 b ; Allegri, i. 54 a;
Lamentations, ii. 86b ; Mass,
ii. 229b, etc. ; Miserere, ii.
335b; Nanini (G. M.), ii.
444 a ; Pontifical Choir, iii.
15b; Schools of Comp., iii.
260a; Zingarelli, iv. 509b;
Rome, iv. 773b.
SivoRi, E. C, iii. 534a; iv.
794b ; Alsager, i. 5 7 b ; Jullien,
ii. 45 a; Kontski (Ap. de),
ii. 69a; New Philh. Soc,
the, 452b; Philh. Soc, ii.
699 b; Rousselot, iii. 182b;
149
Violin-playing, iv, 289, etc. ;
Golinelli, iv. 651 a ; Napoleon,
iv. 728 a.
Sixth, iii. 523b ; French Sixth,
i. 563 a; German Sixth, i.
590 b ; Root, iii.158 b ; Schools
of Comp., iii. 288 a.
Skeats, H. ; Elvey (Sir G.), i.
487a; Elvey (S.),i. 487a.
Skelton ; Dykes, i. 477b.
Skene Manuscript, iii. 523b;
Dauney, i. 431b; Graham, i.
616 b ; Scotish Mus., iii. 440 b,
etc ; Sink-a-Pace, iii. 517 b.
Skene, W. F. ; Coronach, iv.
599 ?>.
Sketch, iii. 525a; Scoring, iii.
437*-
Sketches, etc., iii. 5256 ; Beet-
hoven, i. 174a, etc.; Handel,
i- 653 a ; Improvisation, ii. 2 a ;
Mendelssohn, ii. 298 a; Mus.
Lib., ii. 424b ; Nottebohm,
ii. 479 a ; Pastoral Symphony,
ii. 671a; Path^tique, ii. 672b;
Tenth Symphony, iv. 92 b.
Skiwa; Seyfried, iii. 478 b.
Skrivan; Song, iii. 614 b.
Skroup, F. ; Song, iii. 614b.
Slangdansar ; Song, iii. 609 a.
Slatkonia ; Song, iii. 611 b.
Slavonic Music ; Bellermann
(J. J.), i. 211 b; Rasoumow-
sky Quartets, iii. 77 b; Song,
iii. 612 b, etc. ; Hist, of Mus.,
iv. 675 b; Song, iv. 795a.
Slide, iii. 534b; Agremens, i.
426; Schleifer, iii. 253 a;
Vorschlag, iv. 339 b.
Slide, iii. 536 a; Bassoon, i.
151b; Harmonics, i. 665 h ;
Horn, i. 747 b; Instrument,
ii. 6a; Tirarsi, da, iv. 1286;
Trombone, iv. 176 a, etc.
Slopeb, E. H. L., iii. 5366 ; iv.
794b; Holmes (A.), i. 743 J;
Philh. Soc, ii. 699 b; PF.
Mus., ii. 734a; PF.-playing,
ii. 745; PF.-playing, iv.
7485.
Slow Movement, iii. 530 b.
Slur, iii. 536b ; Accent, i. 13a ;
Bind, i. 243 a; Notation, ii.
477a ; Phrasing, ii, 707b, etc.
Smareglia ; Song, iii. 591a.
Smart, C. F., iii. 538 b.
Smart, G. T.,iii. 537a ; Accom-
paniment, i. 22b; Addison
(J.), i. 30b; Ancient Con-
certs, i. 64a; Bach Soc, i.
1 20 a; Battle Symphony, i.
156b; Beethoven, i. 191a;
Bochsa, i. 252 a; Concentores
Sodales, i. 383 b ; Filtsch, i.
523a; Forbes, i. 539b;
150
Haydn, i. 712 a; Melodists'
Club, ii. 249a; Mendelssohn,
ii. 265 a; Mount of Olives, ii.
378a; Norwich Festival, ii.
466 a; Philh. Soc., ii. 698 a;
Phillips (H.), ii. 7056 ; Pyne
(L.), iii. 54 a; Komer, iii.
1546; Koyal Academy of
Mus., iii. 185a; Shavr (Mrs.),
iii. 485 a; Weber, iv. 409 a ;
Weiss (W. H.), iv. 433 a ;
Winn (W.), iv. 4756; Birch
(Charlotte), iv. 547a.
Smabt, H., iii. 537 &.
Smart, H., iii. 538a ; Bach Soc.,
L i2oa ; Berta, i. 236 a ; Bride
of Dunkerron, i. 275 a ; Hymn,
i. 764 a ; Mus. Soc. of London,
ii. 431 & ; Nachspiel, ii. 442 a ;
Part-Song, ii. 659 a ; Purcell
Soc., iii. 53 a ; Royal Academy
of Mus., iii. 185 a ; Schools of
Comp., iii. 306a; Service, iii.
474a ; Song, iii. 608 a ; Spark,
iii. 648 a ; Voluntary, iv. 339 6 ;
Lambeth (H.), iv. 696 a ; Nix-
on (H. C), iv. 731 &.
Smart, Mrs. H. ; Masson (Eliz.),
iv. 714&.
Smetana, F., iii. 538 &; iv.
794 S; PF. Mus., ii. 7336;
Song, iii. 6146 ; Dvorak (A.),
iv. 622a; Humorous Mus.,
iv. 683 a; PF. Mus., iv.
7486.
Smbthergell, W., iii. 5386.
Smethergill, W. ; Caesar, i.
295 b.
Smith ; London Violin Makers,
ii. 163 &, etc.
Smith, A. M. (See White Mea-
dows, iv. 451 &.)
Smith, Boyton; PF. Mus., ii.
376 a.
Smith, C, iii. 538 6 ; Ashley (J.),
i. 98 6.
Smith, Father, iii. 539a; Ac-
companiment, i. 21 & ; Bellows,
i. 215a; Composition Pedals,
i- 383 a ; Gemshom, i. 588a ;
Harris (R.), i. 692 a; Mus.
School, Oxford, ii. 437 a ; Or-
gan, ii. 588 a, etc. ; Tempera-
ment, iv. 73 a, etc.
Smith, G., iii. 539 a.
Smith, G. T., iii. 5396; North
(Roger), ii. 466 a.
Smith, H. ; Chest of Viols, iv.
585 a.
Smith, Hermann; Tone, iv.
144 a.
Smith, J., iii. 540a; iv. 7946;
Irish Mus., ii. 22 a; Professor,
iii- 33« ; Trinity Coll., Dublin,
iv. 1706.
INDEX.
Smith, John. (See Vowles, iv.
813 &.)
Smith, J. C, iii. 540 a; iv.
7946 ; Foundling Hospital, i.
557a; God save the King, i.
605 h ; Handel, i. 653 a ; Harp-
sichord, i. 689 & ; Humphreys,
i. 758 a; Langshaw (F.), ii.
90 & ; Royal Soc. of Musicians,
iii. 187a; Stanley, iii. 690a;
Tr^sor des Pianistes, iv.
i685; Handel-Gesellschaft, iv.
665 a.
Smith, J. S., iii. 5406 ; Attwood,
i. loi a ; Catch Club, i. 322b ;
Harris (J. J.), i. 691 6 ; Mar-
shall (W.), ii. 221 a; Muslca
Antiqua, ii. 4106 ; Part Mus.
ii. 656 J; Smith (C), iii
539a; Song, iii. 601 a, note\
Urio, iv. 209 h ; Vocal Scores,
iv. 320a; Dance Rhythm, iv.
606 a.
Smith, M., iii. 5396.
Smith, R. ; Beats, i. 159&.
Smith, R. A., iii. 541 a.
Smith, S., iii. 539?).
Smith, S., iii. 541 &; iv. 7946;
PF. Mus., ii. 735 &.
Smith, W. & E. ; Mus. Lib., iv.
7236.
Smorzando, iii. 542 a.
Snetzler, J., iii. 542 a ; Hill, i.
736?); Organ, ii. 5976, etc. ;
Shudi, iii. 4896, wo^e; Wain-
wright(R.),iv. 375 a.
Snow, V., iii. 542 a ; Sergeant
Trumpeter, iii. 469 a.
Snuff-box, Musical, iii. 542a;
Musical Box, ii. 417 a.
SOCIEDADE DB QUARTBTOS DO
Porto, iii. 543 a.
SociETA Abmonica, iii. 543 a.
Sooii^t:^ db Musiqub de Cham-
BRE, iii. 543 a.
SociiTi DBS Concerts du Con-
servatoire, La, iii. 543 &;
iv. 7946; Concert, i. 3846;
Concert-Spirituel, i. 386 a;
Deldevez, i. 440 a; Habeneck,
i. 643 a; Haiid, i. 644 a;
Altfes, iv. 521b; Garcin, iv.
645 a.
Society op British Musicians,
iii. 543b.
Society of British and
Foreign Musicians, iii.
544&-
Society, the Musical Artists,
iii. 544b.
SOderberg, T. ; Song, iii. 6iob.
Soderman, J. A., iii. 545 a;
Song, iii. 6iob.
Sorenson; Song, iii. 611 a.
Soggetto, iii. 545 b; iv. 794 b;
Subject, iii. 748 b; Anda-
mento, iv. 522a.
SOGNO Dl SCIPIONE, II ; Mo-
zart, ii. 384a.
Sol, iii. 545b; G,i. 571a.
SoLDAT, M. ; Philh. Soc, iv.
747 a-
Soldatenlibbschaft, iii. 545 b ;
Mendelssohn, ii. 265 a.
Sole, F. di. (See Sale, F. dt.)
Solennis, iii. 545 b; Bach (J.
S.), i. 117a; Beethoven, i.
195a; Mass, ii. 233a; Ru-
dolph (Archduke), iii. 201 a.
SoLER, F. A.; Eslava, i. 495a.
Sol-fa, iii. 545 b ; Do, i. 45 1 b ;
Sistine Choir, iii. 522b; Sol-
misation, iii. 550 b, etc.
Solfeggio, iii. 546 a; Aprile, i.
79 b ; Benelli, i. 223b; Care-
sana, i. 308 b ; Conservatoire
de Mus., i. 393 a ; Gorgheggi,
i. 6iob ; Nava, ii. 449 b ; Pan-
seron, ii. 645 a ; Porpora, iii.
i8a.
SoLi^, C, iii. 549 b.
SoLiE, E.,iii. 549b.
SoLiB, J. P., iii. 549 a ; Song, iii.
594&.
Solitaire, Le, iii. 549 b ; Carafa,
i. 308 b.
SoLiVA ; Eisner, i. 487 a.
Solmisation, iii. 549 b ; Do, i,
45 1 b ; Fa, i. 500 a ; Hexa-
chord, i. 734b ; In nomine, ii.
4a ; La, ii. 79 a ; Mi contra
Fa, ii. 326b; Micrologus, ii.
327b; Mutation, ii. 439a;
Notation, iu 467 a, etc. ; Pa-
lotta, ii. 643 a; Pepusch, ii.
684b; Re, iii. 79a; Real
Fugue, iii. 80 a ; Si, iii. 490 a ;
Sol, iii. 545 a; Solfeggio, iii.
546a ; Subject, iii. 748 b; Ut,
re, mi, iv. 211a, etc.; Voces
Aretinae,iv. 322b ; Voces Bel-
gicae, iv. 322b; Voces Ham-
merianse, iv. 3 2 3 a ; Waelrant,
iv. 344b ; Wilhem, iv. 458b ;
Zacconi, iv. 4976; Guido
d'Arezzo, iv. 660 a.
Solo, iii. 552b ; Tutti, iv. 196a;
Verse, iv. 257a.
Solo Organ, iii. 552b; Organ,
ii. 600b.
Solo Stop, iii. 553b.
Solomon, iii. 553b; Handel, i.
651b.
SoLOWiEFF ; SerofF, iii. 469 b.
SoMBREE, iii. 553 b.
SoMis, G. B., iii. 553b; Chia-
bran, i. 344b ; Corelli, i. 401 a ;
Giardini, i. 593 h ; Ldclair, ii.
Ilea ; Pugnani, iii. 45 b ; Vio-
lin-playing, iv. 289, etc.
INDEX.
151
SoMMkRE ; Gevaert, i. 591&.
SOMMEBOPHONE, iii. 553 &•
Son and Stkangeb, The, iii.
553&; Heimkehr aus der
iVemde, i. 725a; Mendels-
sohn, ii. 309 a.
Sonata, iii. 554a ; Accompani-
ment, i. 25 a; Allegro, i. 55 a;
Beethoven, i. 201 &, etc. ; Ca-
dence, i. 291 b, etc. ; Can-
zona, i. 3066; Chamber Mus.,
i' 332a; Clementi, i. 374a;
Concerto, i. 387a; Double
Bar, i. 4576; Durchfiihrung,
i. 472a; Fantasia, i. 503a;
Form, i. 543 &, etc. ; Haydn,
i. 719a; Kirchen Cantaten,
ii. 60&; Kuhnau, ii. 766;
Mozart, ii. 3986 ; Overture,
ii. 621b; PF.-playing, ii.
737a, etc.; Prelude, iii. 286;
Kelation, iii. 1056; Repeat,
iii. 1 08 a; Hondo, iii. 156a,
etc. ; Scherzo, iii. 2466, etc. ;
Schools of Comp., iii. 2896 ;
Schubert, iii. 362 a, etc. ;
Schumann, iii. 410a ; Slow
Movement, iii. 5366; Subject,
iii. 7526; Suite, iii. 756a, etc.;
Symphony, iv. 1 2 &, etc. ; Toc-
cata, iv. 129&; Tonality, iv.
141a; Variations, iv. 217b,
etc.; Violin-playing, iv. 2886,
etc.; Volta, iv. 338a ; Weber,
iv. 425a; Working-out, iv.
486 &, etc. ; Dance Rhythm,
iv. 6076.
Sonata di Cameba; Suite, iii.
756 a.
Sonata di Chiesa; Kirchen-
Cantaten, ii. 606.
Sonatina, iii. 5836.
Song, iii. 584 a ; iv. 7946 ; Ac-
cent, i. 15 b, etc. ; Afzelius,
i. 41b; Ahlstroem, i. 46 a;
Arrangement, i. 94 b; Ar-
widsson, i. 96 b; Ballad, i.
128b; Barcarole, i. 138b;
Blaze (Castil), i. 248b; Brin-
disi,i. 276b; Burden, i. 283a ;
^a Ira, i. 296 b ; Canzonet, i.
306 b; Carmagnole, i. 315 b;
Carman's Whistle, i. 315 b ;
Chanson,i. 385b, etc.; Chorale,
i. 351a; Depart, Chant du, i.
440 b; D'Urfey, i. 472 a;
English Opera, i. 489 b; Fayr-
fax, i. 510b; Florence, i.
533a; Form, i. 541b, etc.;
Frank, i. 659a ; Franz (R.),
i. 559b; Frottole, i. 566a;
Gabrielle, Charmante, i. 572b;
Haupt (L.), i. 697 b; Henri
Quatre, Vive, i. 728a ; Hil-
ler (J. A.), i. 739 a; Hymn,
i. 761a; Intermezzo, ii. 8a;
Laudi Spiritual!, ii. 105 a;
Lawes (H.), ii. 107 a; Lay,ii.
107 b; L'homme Arm^, ii.
128a; Lied, ii. 133b; Lied-
form, ii. 134b; Liederkreis,
ii. 135b; Liederspiel, ii. 136a;
Lilt, ii. 139a; Lipinski, ii.
145a; Liszt, ii. 148 a; Lyric,
ii. 182b; Madrigal, ii. 187 b,
etc. ; Magyar Mus., ii.
198b; Malbrough, ii. 200a;
Marseillaise, La, ii. 219b;
Mazurka, ii. 241 b ; Melody,
ii. 250 a; Mendelssohn, ii.
303a, etc.; Metre, ii. 316b;
Monodia, ii. 354b ; Mus.
Antiqua, ii. 410b; Mus. Anti-
quarian Soc, ii. 416 b; Mus.
Lib., ii. 418 a, etc. ; Noel, ii.
463a ; Opera, ii. 523b, etc. ;
Oratorio, ii. 540a ; Partant
pour la Syrie, ii. 653 a ; Part-
song, ii. 658a, etc.; Phrasing,
ii. 706 b; Popular Ancient
English Mus., iii. 16a ; Rand-
hartinger, iii. 74 a ; Reichardt
(J. F.), iii. loob; Reissmann,
iii. 104a ; Ricercare, iii. 1 26b ;
Ritornello, iii. 137a; Schools
of Comp., iii. 282 b, etc.;
Schubert, iii. 364 b, etc. ;
Schulz (J. A. P.), iii. 384a ;
Schumann, iii. 411b, etc.;
Scotish Mus., iii. 439b, etc. ;
Serenade, iii. 467a ; Singing,
iii. 514b; Specimens, Crotch's,
iii. 649a, etc.; Tallys, iv.
54b, note; Tan-ta-ra, iv. 57b;
Tylman Susato, iv. 197b;
Vaudeville, iv. 231a; Ve-
reeniging, etc., iv. 255 a;
Villanella, iv. 264b ; Volks-
lied, iv. 336 b; Volksthiim-
liches Lied, iv. 338 a ; Wacht
am Rhein, iv. 342 a ; Walsing-
ham, iv. 380 b ; Weber, iv.
42 1 b, etc. ; Weckerlin, iv.
431b; Yankee Doodle, iv.
493 a; Zumsteeg, iv. 515 a;
Bicinium, iv. 546 b; Bour-
gault-Ducoudray, iv. 557b ;
Bumey, iv. 570b; Cantilena,
iv. 578a; Carol, iv. 579b;
Chorale, iv. 588 b; Cl^ du
Caveau, iv. 593 b; Dance
Rhythm, iv. 605 b; Herz,mein
Herz, iv. 672b ; Hist, of Mus.,
iv. 677 a ; Life let us cherish,
iv. 701a ; Negro Mus., iv. 729 b;
Schone Minka, iv. 785 a; Trois
Couleurs, iv. 803 b.
SONGE D'UNE NuIT D'ETlfe, iii.
632a; Thomas (Ambroise), iv.
104 a.
Songs without Wobds, iii.
632 b; Mendelssohn, ii. 2690.
SoNNAMBULA, La, iii. 632 b;
Bellini, i. 212 b.
SONNLEITHNEB, A., iii. 632b.
SONNLEITHNEB, C, iii. 632b.
SONNLEITHNEB, Ignaz, iii. 632b ;
Beethoven, i. 183 a, etc.;
Leonore Prohaska, iii. 123 a.
SONNLEITHNEB, JoS., iii. 632b;
Fidelio, i. 519a; Gesellschaft
der Musikfreunde, i. 591a;
Isaac, ii. 23b ; Leonore, ii.
122b; Opera, ii. 520 a.
SONNLEITHNEB, L., iii. 632 b.
SONNLEITHNEB, Leopold Edler
von, iii. 633 a; Czerny, i.
426a; Schubert, iii. 325b,
etc.
Sons of the Clebgt, iii. 633b ;
Festivals, i. 516 b, etc.
SoNTAG, H., iii, 634a; iv.795a;
Beethoven,!. 175a; Damoreau,
i. 428b; Donizetti, i. 453b;
Eckert, i. 482b; Fodor-Main-
vielle, i. 538b; Laporte, ii.
91b; Lumley, ii. 174a; Men-
delssohn, ii. 263 a; Rellstab
(H. F. L.), iii. 106 b; Sing-
ing, iii. 508 a; Smart (Sir
G.), iii. 537b; Zeugheer, iv.
507 a.
SOPBANO, iii. 635 b; Canto, i.
306a ; Singing, iii. 504b, etc.;
Sistine Choir, iii. 521b; Voice,
iv. 332 b.
Sob, F. ; Guitar, i. 640 b.
SOEDINI, iii. 636a; Pedals, ii.
683 b; Square Piano, iii. 683 b;
Steibelt, iii. 702 b ; Stein
(J. A.), iii. 708a; U. C,
iv. 200 a ; Verschiebung, iv.
256b.
SoBGE ; Resultant Tones, iii.
i2ob.
SOBIA, De, J. D., iii. 638 a.
SOBIANO, Fr., iii. 638 b ; Magni-
ficat, ii. 196b; Motet, ii.
375 b; Musica Divina, ii.
412a; Palestrina, ii. 637b;
Passion Music, ii. 665 a ;
Recte et Retro, per, iii. 88 a;
Sistine Chapel, iv. 'jg^a.
Sobiano-Fuebtes, M., iii. 638b;
Saraband, iii. 226b; Segui-
dilla, iii. 457b; Song, iii.
599b ; Hist, of Mus., iv. 676a.
Sobs ; Song, iii. 599 b.
Sostenuto, iii. 639 a.
Sostinente Pianofobtb, iii.
639 a.
Soto, F., iii. 639b; Laudi Spiri-
tuali, ii. 105a; Schools of
Comp., iii. 263a.
Sotto Voce, iii. 640 a.
152
SoDBBE ; Orphdon, ii. 612&.
SOULA ; Song, iii. 585 a.
SOULIEB. (See SoLl^, iii. 549 a.)
Sound; Acuteness, i. 26 b;
Beats, i. 159a; Comma, i.
3806; Harmonics, i. 663 b;
Helmholtz, i. 726 a ; Instru-
ments, ii. 5b; Interval, ii.
no; Partial Tones, ii. 653b ;
Pipes, Vibration of Air in, ii.
7556; Pitch, ii. 757 a ; Resul-
tant Tones, iii. 119a; Scale,
iii. 335b; Timbre, iv. Ii6b;
Tone, iv. 141b, etc. ; Tyndall,
iv. 197b; Volume, iv. 339a.
Soundboard, iii. 640a ; ^Eolian
Harp, i. 38b ; Belly, i. 220b ;
Clavichord, i. 369a ; Harp, i.
685a, etc.; Pianoforte, ii.
717a; Savart, iii. 231a;
String, iii. 745 a.
SouNDHOLES, iii. 640a ; Belly, i.
220b; Bridge, i. 275b; Stradi-
vari, iii. 726a; Viol, iv. 267a;
Violin, iv. 271a, etc.
Sounding Board; Back, i.
i2ib.
Sounding Stops; Stops (Organ),
iii. 719 a.
Sound-Post, iii. 642a; Bridge,
i. 275b; Violin, iv. 271a.
Sounds, Military, iii. 642 b;
iv. 795a; Bugle, i. 280a;
Fanfare, i. 503 a; Reveille,
iii. 121 b; Roll-call, iii. 147b;
Side-drum, iii. 491 b ; Signals,
iii. 492b; Tattoo, iv. 63b;
Tucket, iv. 185 a.
SoupiB, iii. 647 b; Crotchet, i.
421a ; Rest, iii. 119a.
Sourdine ; Kit, ii. 62 b.
SouTBR LiEDEKENS ; Clemens
non Papa, i. 371a ; Old Hun-
dredth Tune, ii. 495 b, etc. ;
Tylman Susato, iv. 197b;
Volkslied, iv. 337 a.
Southard, L. H. ; United States,
iv. 203 a.
Southerton, N. ; Psalter, iv.
757 &•
SowiNSKi, A., iii. 647 b ; Song,
iv. 795 a.
Space, iii. 647 b.
Spaeth, A.; Mus. Lib., ii. 426b;
Pai-t Music, ii. 657 a ; Farmer
(J.), iv. 633a.
Spagnolbtti; Alsager, i. 57b;
Blagrove (H.),i. 247a; Philh.
Soc., ii. 698 b ; Royal Acad, of
Mus., iii. 1850; Willy, iv.
462 a.
Spanish Music; Song, iii. 598a;
Soriano-Fuertes, iii. 638 b ;
Hi.st. of Mus., iv. 676a.
Spark, W., iii. 647 b.
INDEX.
Spat ABO ; Bologna, i. 259 a ;
Gafori, i. 575b; Milan, ii.
328 b.
Spaun, J. Freiherr von, iii.
648 a; Schubert, iii. 320a,
etc. ; Witteczek, iv. 477a.
Specimens, Crotch's, iii. 648 b;
Crotch, i. 421 a ; Welsh Mus.,
iv. 4366.
Spectacles coupes; Campra,iv.
577«-
Speechlet, H., iii. 650 a.
Speidel, K., iii. 650'a.
Speidel, L., iii. 651b.
Speidel, W., iii. 650a; PF.
Mus., ii. 734a ; PF.-playing,
ii. 745 ; Stark, iii. 690b.
Speier, W. (See Speyer, iii.
650b.)
Speranza ; Zingarelli, iv. 508 b.
Sperati; Lindley (R.), ii.
I43«.
Sperontes ; Song, iii. 621b.
Speyer, W^., iii. 650b.
Spianato, iii. 650 b.
Spicato, iii. 650 b ; Bowing, i.
266 b; Springing-Bow, iii.
682 rt.
Spiess ; Erk, i. 492 a.
Spina, C. A. , iii. 650 b ; Diabelli,
i. 442 a.
Spinar, L. ; Dussek, i. 473b.
Spindleb, F., iii. 651a; PF.
Mus., ii. 732 a.
Spinet, iii. 651a; iv. 795 a;
Action, i. 26 b ; Clavichord, i.
366b; Harpsichord, i. 688a,
etc.; Instrument, ii. 6h;
Jack, ii. 27a; Key, ii. 53b;
Mus. Lib., ii. 421a, etc.;
PF.-playing, ii. 736 a, etc. ;
Regibo, iii. 94 a; Rose, iii.
161 a; Ruckers, iii. 194a;
Taskin, iv. 62 b; Virdung, iv.
303 a; Virginal, iv. 303 b,
^ etc. ; Couched Harp, iv. 600b;
Harpsichord, iv. 668 a; Key-
board, iv. 690 a.
Spibitoso, iii. 656a.
Spirituel Concebte; Holz, i.
744b; Reichardt (J. F.), iii.
99b; Titze, iv. 129b.
Spitta, J. A. P., iii. 656 a ; iv.
796 a; Arrangement, i. 89 b;
Bach (J. S.), i. 118 a; Buxte-
hude, i. 286a; KroU, ii. 73b;
Vivaldi, iv. 318 a, note ; Gio-
vannini, iv. 647 b.
Spitzflote, iii. 656 b; Organ, ii.
584a, etc.
Spoffobth, R., iii. 656 b; iv.
796a; Catch Club, i. 322b;
Concentores Sodales, i. 383 b;
Glee, i. 599 a; Hawes,i.699a;
Madrigal Soc. , ii. 1 94 a ; Vocal
Concerts, iv. 319a; Vocal
Scores, iv. 320 a.
Spoffobth, S., iii. 657 a.
Spohb, L., iii. 6570; iv. 796a;
Accent, i. 15b; Alchymist,
Der, i. 51b; Alsager, i. 57b;
Argyll Rooms, i. 82 b; Aus-
wahl, i. 105 a; Azor and
Zemira, i. 107 b ; Bach-Gesell-
schaft.i. Ii8b; Bartholomew,
i. 146a; Baton, i. 1556;
Beethoven, i. 170a, note;
Berggeist, Der, i. 231a; Bla-
grove, i. 247 a; Boucher, i.
263a; Bowing, i. 266a; Burg-
miiller, i. 283 b; Calvary, i.
299a; Canon, i. 304b; Cecilia,
St., i. 329b ; Chiroplast, i.
346 b ; Clarinet, i. 363 b, etc. ;
Clement, i. 371b; Col Legno,
i. 377b; Conductor, i. 390a;
Curschmann, i. 424a ; David,
i- 43.^ « ; Dussek, i. 474b, etc. ;
Eck (Franz), i. 482 a ; Etudes,
i. 497 a; Faust, i. 509a;
Field (J.), i. 520a; Filtsch,
i. 523a ; Fingerboard, i.
524b; Fiorillo, i. 528b; Fiori-
ture, i. 528b ; Flute, i. 537b;
Fodor, i. 538 a; Franzl, i.
557b; Gade, i. 574a; Gevaert,
i. 591 b ; Grossvater-Tanz, i.
634 a; Hauptmann, {.6980;
Hesse, i. 733 b ; Hiller (Ferd.),
i. 737b; Jessonda, ii. 34a;
Jiingste Gericht, Das, ii. 46 b;
Klotz, ii. 65 b; Kompel, ii.
68 a; Lafont, ii. 84 a; Last
Judgment, The, ii. 102 a;
Letzten Dinge, Die, ii. 126 a ;
Louis Ferdinand, Prince, ii.
169a; Lupot, ii. 175a; Mac-
beth, ii. 183a; March, ii.
213a; Marschner, ii. 219b;
Maurer, ii. 239 b ; Mendels-
sohn, ii. 257a; Molique, ii.
351b, etc.; Mounsey (Ann
S-)> ii- 377«; Mus. Lib., ii.
421a, etc. ; New Philh. Soc,
ii. 452 b; Niederrheinische
Musikfeste, ii. 457; Nonet, ii.
464 a ; Norwich Festival, ii.
466a ; Opera, ii. 520b, etc. ;
Oratorio, ii. 553b, etc.; Or-
chestration, ii. 572a; Orpheus,
ii. 613a; Overture, ii. 633a;
Paganini, ii. 631 a, etc. ; Part
Mus., ii. 656b; Philh. Soc.,
ii. 698 b ; Pierson (H. H.), ii.
752 a; PiflTero, ii. 753a; Pott,
iii. 22b; Programme Mus.,
iii. 39a, etc.; Quartet, iii.
58 a; Quartet, Double, iii.
59 a; Recitative, iii. 85 b;
Ries (Ferd.), iii. 131b; Ries
(Hub.), iii. 132a; Eoclilitz,
iii. 141 &; Rode, iii. 142 &;
Romantic, iii. 150 b ; Romberg,
iii. 153a; Rowland, iii. 1 836;
Sacred Harm. Soc., iii. 210b;
Scena, iii. 241a; Schelble,
iii. 244a ; Schools of Comp.,
iii. 293a, etc. ; Schumiann, iii.
399 b; Scordatura, iii. 426 b;
Score, iii. 432 ; Secco Reci-
tative, iii. 454b; Septet, iii.
463b ; Sestet, iii. 475 b ; Side-
drum, iii. 492 a; Society of
British Musicians, iii. 544b ;
Song, iii. 625a ; Spontini, iii.
681 b; Stradivari, iii. 733 a;
Strohmeyer, iii. 746 b ; Sym-
phony, iv. 29a, etc.; Tartini,
iv. 61 a ; Taylor (E.), iv. 66 a;
Tenor- Violin, iv. 916; Ter-
podion , i V. 93 a ; Trio, i v. 1 7 2 6 ;
Violin-playing, iv. 289, etc. ;
Vocal Association, iv. 318 b ;
Vocal Scores, iv. 319 J; Vocal
Society, iv. 320J ; Voices, iv.
334 b, note ; Wacht am Rhein,
iv. 343 «; Wagner, iv. 354a,
etc. ; Weber, iv. 393 a, etc. ;
Wesley (S. S.), iv. 447 a;
Z^mire et Azor, iv. 505 i ;
Bull (Ole B.), iv. 569 a ; Gold-
berg, iv. 6506 ; Hartmann
(J. P. E.), iv. 6686; Heine-
fetter (S.), iv. 671a; Weitz-
mann, iv. 816 a.
Spondee, iii. 664b; Metre, ii.
316b, etc.
Sponholz, a. H. ; PF. Mus., ii.
729a.
Sponsel, J. U. ; Hist, of Mus.,
iv. 676a.
Spontini, G. L. P., iii. 665 a;
iv. 796 a ; Academic de Mus.,
i. 9a; Benelli, i. 223b, etc.;
Berton, i. 237b; Dom, i.
455 a; Fackeltanz, i. 5010;
Fernand Cortez, i. 512a;
Grand Opera, i. 617 a; Henri
Quatre, Vive, i. 7286; Men-
delssohn, ii. 257a; Metastasio,
ii. 316 a; Milder-Hauptmann,
ii. 331 a ; Mus. Lib., ii. 424a ;
Niederrh. Musikfeste, ii. 457 ;
Olympic, ii. 497a; Opera, ii.
5256; Rellstab (H. F. L.),
iii. 1 06 b; Score, iii. 432;
Spitta, iii. 656 b ; Tadolini, iv.
51b; Tenor- violin, iv. 91a;
Vestale, La, iv. 257 J ; Weber,
iv. 405 a, etc. ; Wind-band, i v.
469 a, etc. ; Lalla Rookh, iv.
695 a; Mancinelli, iv. 709 a;
Mus. Lib., iv. 726a.
SroNTONE, B., iii. 682 a; Part
Mus., ii. 656b.
INDEX
Spoble, N. J., iii. 682*.
Spbay, J. ; Trin. Coll., Dublin,
iv. 170 b.
Sprengeb; Violin, iv. 284a.
Spbing-box; Organ, ii. 583 a, etc.
Spbing Gabden. (See Vaux-
HALL, iv. 233 a.)
Spbinger ; Agr^mens, i. 43 b.
Spbingeb ; Jack, ii. 26 a.
Spbinging Bow, iii. 682 o ; Paga-
nini, ii. 631a, etc.; Spicato,
iii. 650 b ; Spohr, iii. 663 a.
Spbing-Soundboabd ; Organ, ii.
583 a, etc.
Spbing-tanz; Waltz, iv. 385 a.
Spbuche, iii. 682 b.
Squabcialuppi, a. ; Florence, i.
533a.
Squabe Piano, iii. 683 a ; Piano-
forte, ii. 7i4rt.
Squibes ; Strakosch, iii. 734a.
Stabat Matee, iii. 683 b; As-
torga, i. 100 a; Palestrina, ii.
641b; Pergolesi, ii. 687b;
Plain Song, ii. 767 a; Ros-
sini, iii. 173b; Scarlatti (A.),
iii. 239a; Sequentia, iii. 466a ;
StefFani, iii. 699 a ; Dvorak, iv.
623a.
Stabile, A. ; Bodenschatz, i.
253b ; Oriana, ii. 611 b ; Pales-
trina, ii. 638 b ; Mus. Lib., iv.
726a.
Staccato, iii. 685 a ; Amicis (A.
L. de), i. 61 b ; Bowing, i.
266b; Dash, i. 431a; Dot, i.
456 b ; Double-tongueing, i.
459b; Legato, ii. 113b; PF.-
playing, ii. 739a; Slur, iii.
537a; Touch, iv. 153b, etc.;
Wrist-touch, iv. 490 b.
Stack, N. H. ; Trin. Coll.,
Dublin, iv. 170 b.
Staden, S. G. ; Singspiel, iii.
6i6b.
Stadleb, a., iii. 685 b ; Lachner
(F.), ii. 81 b; Schubert, iii.
321b, etc.
Stadleb, M., iii. 686a; Eccle-
siasticon, i. 481 b ; Haydn, i.
715b, note; Mozart, ii. 398b;
Requiem, iii. nob; Sechter,
iii. 455 b ; Vaterliindische
Kiinstlerverein, iv. 808 a.
Stadleb; Clarinet, i. 361a.
Stadlmann, D. ; Baryton, i.
147 a.
Stadlmann, J.; Baryton, i.
147a.
Stadtpfeiffer ; Bach, i. 109 a;
Tylman Susato, iv. 197a;
Wind-band, iv. 465 a.
Staffobd, W. C, iii. 686 b;
Hist, of Mus., iv. 674a.
Staggins, N., iii. 686 b ; King's
153
Band, etc., ii. 58 a ; Mus. An-
tiqua, ii. 41 1 a ; Professor, iii.
33 a-
Staineb, J., iii. 686 b; Albani,
i. 47 b; Baryton, i. 147 a;
Klotz, ii. 65 a ; Soundholes, iii.
641b ; Violin, iv. 283a.
Staineb, M., iii. 688a.
Staineb, Sir John, iii. 688 a ;
iv. 796 a; Diet, of Mus., i.
446 b; Gadsby, i. 574a;
Madrigal Soc, ii. 194 a*; Pur-
cell Soc, iii. 53a; Schools
of Comp., iii. 308 a, etc ; Song,
iii. 608 b; Tonic Sol-fa, iv.
147b, note; Training School
for Mus., iv. 158b ; University
Soc, iv. 206 a; Eybler, iv.
630b; Hist, of Music, iv.
674b, etc. ; Madrigal Soc, iv.
708 a; Martin, iv. 711b.
Stamaty, C. M., iii. 689a ; PF.
Mus., ii. 730 b; PF.-playing,
ii. 744 ; Saint Saens, iii. 215a;
Stockhausen (J.), iii. 715b;
Gottschalk, iv. 652 b.
Stamitz, a., iii. 689 b; Violin-
playing, iv. 289 and 812 b.
Stamitz, Job. K., iii. 689a;
Cannabich, i. 303 a; Cramer
(W.), i. 413b; Symphony, iv.
14 a, etc ; Violin-playing, iv,
289, etc
Stamitz, Jos., iii. 689b.
Stamitz, K., iii. 689b ; Haydn,
i. 706 b ; Kreutzer (R.), it
72 a; Rauzzini, iii. 78 a; Vio-
lin-playing, iv. 289.
Stamitz, T., iii. 689 a.
Stancampiano, E. ; Samara, iy.
779b.
Stanford, C. V., iii. 689b; iv.
796 b ; Roy. College of Mus.,
iv. 159a; Schools of Comp.,
iii. 307 a; Song, iii. 608 b;
Symphony, iv. 42 b ; University
Soc. , iv. 205 a ; Veiled Prophet,
iv. 235a; Bach Choir, iv.
529a; Canterbury Pilgrims,
iv. 577 b; Greek Plays, iv.
655a ; Lalla Rookh, iv. 695a ;
Oedipus, iv. 734 a; Oxford,
iv. 737b; Professor, iv. 751b.
Stanley, J., iii. 690a; Haw-
kins, i. 699 b; King's Band,
ii. 58a; Linley (T.), ii. 143b;
Ranelagh House and Gardens,
iii. 74a.
Stansbttby, G. F., iii. 690a.
Stabck, Ingeborg von, iii. 690 b ;
Bronsart, i. 278 b.
Stabk, L., iii. 690b; iv. 796b;
Speidel(W.), iii. 650 a; Stutt-
gart Conservatoire, iii. 747 a;
Faisst, iv. 631b.
154
Stabowolski, S. ; Song, iv.
Staer, Bishop and; Organ, u.
608 a.
Stabteb; Mus. Lib., ii. 4206.
Stabzeb; Mozart, ii. 392 a.
Stasny; Song, iii. 6146.
Statham, H. H. ; Mus. Period-
icals, ii. 428 a.
Stationebs' Hall ; Copyright,
i. 399 »•
STAUDEifHEiM, J. Ritter von,
iii. 691 a ; Beethoven, i. 198 a,
etc.
Staudigl, J., iii. 691 a ; Gesell-
schaft der Musikfreunde, i.
5916; Gyrowetz, i. 6426;
Melodrama, ii. 250a; Men-
delssohn, ii. 288 J; Nicolai, ii.
4536 ; Pascal Bruno, ii. 659 5 ;
Philh. Soc, ii. 699 J; Robert
le Diable, iii. 1386; Schu-
bert, iii. 358 a ; Sechter, iii.
455 &; Singing, iii. 508 a;
Strauss (J.), iii. 738a; Wild,
iv. 456*.
Staudigl, J., iii. 691 &.
Staufeb, G. ; Arpeggione, i.
89 a.
Stave, iii. 6916; Bass-Clef, i.
150a ; Brace, i. 268 J ; Clef, i.
370 & ; Ledger Lines, ii. ma;
Notation, ii. 469 a, etc. ; Score,
iii. 427 a; Space, iii. 6476;
System, iv. 45 h ; Zacconi, iv.
497 a ; Guido d'Arezzo, iv.
660 a.
Steele, Miss ; Wade, iv. 344a.
Steenbebg; Song, iii. 611 a.
Stefani, J. ; Song, iv. 795 a.
Steffan; Wagenseil, iv. 345 a.
Steffani, a., iii. 693 a ; Aus-
wahl, i. 105a; Galliard, i.
5786; Handel, i. 649a, etc.;
Hawkins, i. 7006 ; Mus.
Lib., ii 422 &; Specimens,
Crotch's, iii. 650 a ; Stabat
Mater, iii. 685 a ; Subject, iii.
750a.
Steffaninus, G. B. ; Boden-
schatz, i. 253 J.
Steffkins, C, iii. 6996.
Steffkins, D., iii. 6996.
Steffkins, F., iii. 6996.
Steffkins, T., iii. 699*.
Stegemann ; Singspiel, iii. 517a.
Steggall, C., iii. 6996; Bach
Soc, The, i. 120a; Stainer
(J.), iii. 688 a ; Zimmermann
(Agnes), iv. 5076 ; Faning
(E.), iv. 6320; Nixon (H.
C), iv. 7316.
Steibelt, D., iii. 699 J; Beet-
hoven, i. 1 68 a, etc. ; Berger,
i. 231a; Dussek, i. 474 J, etc.;
INDEX.
Philh. Soc, ii. 699 a; PF.
Mus., ii. 7256; PF.-playing,
ii. 737 J, etc.; Pleyel (Ig.),
iii. 3a; Programme Mus., iii.
37a; Romeo and Juliet, iii.
154a ; Sordini, iii. 6366 ; Tr^-
8or des Pianistes, iv. 1686 ;
PF. Mus., iv. 7486; PF.-
playing, iv. 7486.
Stein, C, iii. 709 &.
Stein, F., iii. 708 ft; Augarten,
i. 104 a.
Stein, J. A., iii. 708 a; Grand
Piano, i. 618 a; Mozart, ii.
385 1 ; Pedals, ii. 683 a ; Piano-
forte, ii. 7176; Sordini, iii.
63<)J.
Stein, K. A., iii. 7090.
Stein, M. A., iii. 709a.
Stein, Nanette, iii. 708 &; iv.
7966; Beethoven, i. 1906;
Pauer, ii. 6746; PF.-playing,
ii. 744; Streicher, iii. 7396;
PF.-playing, iv. 748 h.
Stein, U. E. ; Mackenzie, ii.
187 a.
Stein; Schiitt, iii. 425a.
Steinacker; Orpheus, ii. 613 a.
Steinmulleb; Haydn, i. 7066.
Steinwat k Sons, iii. 709 5;
iv. 8206 ; Chickering, i. 345a ;
Pedals, ii. 683 a; Pianoforte,
ii. 721 &, etc. ; Square Piano,
iii. 683&.
Steinweg, iii. 710 a.
Stelleb; De Reszke (E.), iv.
6116.
Stemmelio, E. G. ; Mus. Div.,
ii. 412&.
Stephens, Catherine, iii. 710J ;
Ancient Concerts, i. 65 a;
Bertinotti, i. 2366; Singing,
iii. 512 a; Vauxhall Gardens,
iv. 234 a ; Vocal Concerts, iv.
319a; Weber, iv. 4096;
Welsh (T.), iv. 4446.
Stephens, C. E., iii. 711a;
PF. Mus., ii. 733 a-
Stephens, J., iii. 711a; iv.
796 J; Norris (T.), ii. 465*;
Three Choirs, iv. 11 a J.
Stebkel, J. F. X., iii. 711a;
Beethoven, i. 165 a; In questa
Tomba, ii. \a ; Kalkbrenner,
ii. 46 a, note\ Mozart, ii.
3856; PF. Mus., ii. 725 a;
PF.-playing, ii. 744; Vogler,
iv. 327 J, etc.
Stebling, a., iii. 711 J ; Philh.
Soc, ii. 700 &; Singing, iii.
512a; Viardot-Garcia, iv.
260 a.
Stebn, J., iii. 712 a; Marx, ii.
223a; Stockhausen, iii. 716 a.
Stebnhold & Hopkins ; Haw- 1
kins, i. 7006; Hymn, i. 762 a ;
Psalter, iv. 752 i, etc.
Steuccius ; Bodenschatz, i.
Stevens, R. J. S., iii. 7126;
iv. 7966; Catch Club, i. 3226;
Glee, i. 5986, etc. ; Gresham
Mus. Professorship, i. 62'jb;
Madrigal Soc, ii. 193ft ; Mus.
Lib., ii. 420a ; Part Mus., ii.
656 J; Schools of Conip., iii.
278J.
Stevenson, Sir J. A., iii. 7126;
Irish Mus., ii. 22 a; Moore, ii.
361a; Trinity Coll., Dublin,
iv. 1706; Vocal Concerts, iv.
319a; Wade, iv. 3436.
Stewabt, Sir R. P., iii. 713a;
Hymn, i. 764 a ; Ouseley, ii.
6i8a; Professor, iii. 33a;
Stanford, iii. 689 b ; Torrance,
iv. 151a; Trinity Coll., Dub-
lin, i V. 1 70 J ; Mus. Instru-
ments, iv. 7226.
StiastnIt, B. W., iii. 712 a.
Stiastn^, J., iii. 712a; Violon-
cello-playing, iv. 300 ft.
Stich, J. W., iii. 714a; Beet-
hoven, i. 179&; Rode, iii.
142a.
Stickeb; Tracker, iv. 157a.
Stiehl, H., iii. 714&; iv. 7966;
PF. Mus., ii. 734ft; PF.-
playing, ii. 745.
Stifellio, iii. 7146; Verdi, iv.
249a.
Stigelli, G., iii. 7146; iv.
796ft ; Strakosch, iii. 734a.
Stimpson, J., iv. 46ft ; Reay,
iii. 81 a; Bache (W.), iv.
^ 529*. ^
Stibling, Eliz.,in. 715a.
Stivobi ; Mus. Lib., iv. 726a.
Stobbaeus; Albert (H.),i. 486.
StockflOte. (See Czakan, i.
425a.)
Stockhausen, J., iii. 715ft;
iv. 796 b ; KuflFerath ii. 75 6 ;
Loewe (Sophie), ii. 161 a;
National Concerts, ii. 447 ft ;
Niederrheinische Musikfeste,
ii. 456 ft ; Philh. Soc, ii.
700a; Rontgen (Jul.), iii.
144a ; Rudorff, iii. 201 h ;
Schumann, iii. 405 a; Sing-
ing, iii. 514&; Stern (J.), iii.
7126; Urban, iv. 209 a; Zur-
Muhlen, iv. 818&.
Stockhausen, Mmc, iii. 715 a ;
Mendelssohn, ii. 263 a ; Philh.
Soc, ii. 699a; Soprano, iii.
636a; Fetis, iv. 635ft.
Stodabt, iii. 716ft; Grand
Piano, i. 617 ft; Pianoforte,
ii. 715 ft, etc.
Stodart ; Wessel, iv. 4486.
StOlzel, H. ; Eochlitz, iii. 142a.
Stokes, C, iii. 717a; iv. 7966.
Stoltz, Kosine, iii. 717a;
Choron, i. 354a; Lamperti,
ii. 8ga.
Stolzer, T. ; Isaac, ii. 22 J;
Schools of Comp., iii. 2666.
Stomps; Zither, iv. 513&.
Stonard, W., iii. 7176; iv.
797 a; Motett Soc., The, ii.
3765; Tudway, iv. 198 J.
Stone, W. H. ; Tone, iv. 144 a ;
Trin. Coll., London, iv. 171 i.
Stoops to Conquer, iii. 717 J;
Macfarren (G. A.), ii. 186 a.
Stopped Pipe, iii. 717 & ; Organ,
"• 573 «. etc. ; Partial Tones,
ii. 654 J; Pipes, Vibration of
air in, ii. 7556.
Stopping, iii. 717*; iv. 797a.
Stops (Harpsichord), iii. 7176;
Harpsichord, i. 691 a, etc. ;
Shudi, iii. 489 a.
Stops (Organ), iii. 7186; Ac-
companiment, i. 216, etc.;
Bombardon, i. 2596; Com-
bination-pedals, i. 379 » ;
Composition-pedals, i. 382 J;
Cornet, i. 403 &; Couplers, i.
410 a; Diapason, i. 442 J;
Echo, i. 482 a; Fifteenth, i.
520&; Flue-work, i. 5356;
Flute- work, i. 538 a; Free-
reed, i. 562 J; Gedackt-werk,
i. 586 J ; Geigen- principal, i.
5866; Gemshom, i. 588(1;
Harmonic-stops, i. 665 b ;
Keraulophon, ii. 51a; Larigot,
ii. 92 a; Lieblich-gedackt, ii.
132 J ; Mixture, ii. 339 &; Muta-
tion-stops, ii. 439* ; Octave,
ii. 492a ; Organ, ii. 5836, etc. ;
Posaune, iii. 20 a; Principal,
iii. 316 ; Reed-stops, iii. go a;
Register, iii. 94 a ; Registra-
tion, iii. 946, etc. ; Salcional,
iii. 218 a; Sesquialtera, iii.
475a; Solo-stop, iii. 5535 ;
Spitzflote, iii. 6566; Swell-
organ, iv. 8 & ; Tierce, iv.
114&; Treatment of Organ,
iv. 1636; Tremulant, iv.
167 a; Tuba mirabilis, iv.
184a ; Unda Maris, iv. 2016;
Viola da Gamba, iv. 2676;
Violin- diapason, iv. 287 a;
Violone, iv. 301a; Voicing,
iv. 335 a; Voix-Celeste, iv.
336 a; Vox humana, iv.
3406 ; Glockenspiel, iv. 6486.
(See also under Oroan.)
Storage, Ann S., iii. 719a;
Ancient Concerts, i. 64b ;
Bianchi, i. 240 a; Dussek, i.
INDEX.
4746 ; Fisher, 1. 530a; Haydn,
i. 7086; Mozart, ii. 3906,
note; Rauzzini, iii. 78a.
Storage, S., iii. 719 J; English
Opera, i. 489 a; Haydn, i.
708 i; Iron Chest, the, ii.
22 & ; Kelly, ii. 496 ; Mozart,
ii. 389a, etc. ; Opera, ii. 524a;
Schools of Comp., iii. 291 a ;
Song, iii. 607 a.
Storage, Stefano, senior ; Mary-
lebone Gardens, ii. 224a.
Storioni, L. ; Guamieri,i. 637 5.
Storm, Representation of, iii.
720a; Programme Music, iii.
37 a, etc.
Stornello, iii. 721a; Ritornello,
iii. 1375; Song, iii. 590a.
Storti; Strakosch, iii. 735 a.
Strack; Mozart, ii. 3966.
Strada del Pd, Anna, iii. 721 S.
Stradella, a,, iii. 7216; iv.
797 a; Arrangement, i. 94?> ;
Catelani, i. 323 J ; Fitzwilliam
Coll., i. 531a; Handel, i.
654 J; Israel in Egypt, ii.
25 J; Opera, ii. 505 a; Ora-
torio, ii. 5376; Orchestra, ii.
562 6 ; Prince de la Moskowa,
iii. 31 & ; Saggio di Contrap-
punto, iii. 212 a; Schools of
Comp., iii. 280 a; Serenata,
iii. 4680 ; Specimens, Crotch's,
iii. 650a ; Burney, iv, 571a;
Harmony, iv. 6676 ; Mus.
Lib., iv. 726 a.
Stradella, iii. 724a; Flotow,
i. 5346, etc.
Stradivari, A., iii. 724a; Ama-
ti (N.), i. 586; Bass-Bar,
i. 149 J; Belly (Violin), i.
220& ; Bergonzi, i. 231a;
Bridge, i. 275a; Cremona, i.
416 a ; Franchomrae, i. 5586 ;
Guadagnini, i. 6356; Guar-
nieri, i. 636?) ; Klotz, ii. 65 a;
Soundholes, iii. 640 J; Tenor-
violin, iv. 90 a; Violin, iv.
2765, etc. ; Vuillaume, iv.
3415.
Strakaty, C. ; Song, iii. 614&.
Strakosch, Maurice, iii. 734a ;
iv. 797a; Opera, ii. 529J ;
Patti, ii. 673 J ; PF. Mus., ii.
734a; PF.-playing, ii. 745;
PF. Mus., iv. 7485; PF.-
playing, iv. 7486.
Strakosgh, Max, iii. 734 a;
Opera, ii. 5296; Gottschalk,
iv. 6526.
Strambotti; Stornello, iii. 721a;
Part-books, iv. 7396.
Straniera, La, iii. 735 a; Bel-
lini, i. 212 &.
Strathspey, iii. 735 a ; Bagpipe,
155
i. 1246; Gow, i. 615a; High-
land Fling, i, 7366 ; Reel, iii.
92 a; Scotish Mus., iii. 450 a.
Straus, L., iii, 737 a ; iv. 797a ;
Boehm (Jos.), i. 2546 ; Philh.
Soc, ii. 700a; Stradivari, iii.
733^5 Violin-playing, iv. 289,
etc.
Strauss, D. ; Schebest, iii. 243 a.
Strauss, E., iii. 739a ; iv. 797 a.
Strauss, Joh., iii. 7370; iv.
797«; Lanner, ii. 91a;
Musard, ii. 4096; Waltz, iv.
386&.
Strauss, Jos., iii. 739 a.
Street, J. P. ; Madrigal Soc, ii.
1935.
Streigher, E.,iii. 739 5; Piano-
forte, ii. 717&.
Streigher, J. A., iii. 7396 ; iv.
797a; Beethoven, i. 168 &^
etc.; Mozart (W. A., jun.),
ii. 406a; Oury (Mme.), ii.
617 a ; Pauer, ii. 6746 ; Stein,
iii. 7085.
Streigher, J. B., iii. 7396.
Streigher, Nanette. (See
Stein, N., iii. 7086.)
Stretto, iii. 7396; Canon, i.
304 J ; Fugue, i. 567a, etc. ;
Tonal Fugue, iv. 135 &, etc.
Strigt Counterpoint, iii. 740 a ;
Counterpoint, i. 407 h ; Part-
writing, iv. 742 a.
Strict Style; Ligato-stil, ii.
136&.
Striggio, a. ; Corteccia, i. 405 h ;
Hawkins, i. 7006; Oriana, ii.
611 6 ; Palestrina, ii. 6365;
Mus. Lib., iv. 726 a.
Strinasagghi, R., iii. 7446;
Haydn, i. 708 &; Mozart, ii.
398 &.
Strinasagghi, T. ; Ambrogetti^
i. 59a; Lazzarini, ii. 108&.
String, iii. 744b; iv. 797 a.
Strings, iii. 7456; Score, iii.
429 J, etc
Stringendo, iii. 745 &; Tempo,
iv. 84&.
Stringplate, iii. 746 a ; Piano-
forte, ii. 711a.
Strogers, N., iii. 746 a; Bar-
nard, i. 140 a ; Virginal Mus.,
iv. 309 a.
Strohfiedel, iii. 'j^Sa; iv.
797 a; Gusikow, i. 6416;
Gigelira, iv. 647 a; Xylophone,
iv. 818 a.
Strohmeyer, C, iii. 7466; iv.
797a.
Stromentato Recitative; Re-
citative, iii. 85 a.
Stroud, C, iii. 7465 ; Page, ii.
6325.
156
Strozzi, Barbara ; Ferrari (B.),
i. 5136; Opera, ii. 503 ft.
Strozzi, G. B. ; Bardi, i. 139a;
Florence, i. 533a.
Strozzi, P. ; Peri, ii. 690 &.
Struck; Haydn, i. 7166.
Struck, J. B. (See Baptistin,
i. 136b.)
Struensee, iii. 7466 ; Meyer-
beer, ii. 323 J.
Strunck, N. a. ; Mus. Lib., ii.
427a ; Opera, ii. 508a ; Violin-
playing, iv. 289 ; Zacbau, iv.
4986; Zenobia, iv. 506 a.
Strungk. (See Strunck.)
Stubbs, S. ; Hymn, i. 762 5;
Psalter, iv. 763 a.
Studies, iii. 746 i. (See under
Etudes, i. 496 b,)
Stuck, iii. 747 a.
Stutzflugel; Fliigel, i. 535 J.
Stumpfp, J.; Beethoven, i. 1646 ;
Dragonetti, i. 462 a.
Stubioni; Milan, ii. 329a.
Stutterheim, Baron J. von, iii.
747 a; Beethoven, i. 2006.
Stottgardt Conservatorium,
iii. 7470; Lebert, iii. 691a;
Speidel, iii. 650 a, etc. ; Stark,
iii. 6906.
SuABB Flute ; Organ, ii. 601 a.
SuARD ; Gluck, i. 603 a.
Subdiapente, iii. 7476; Dia-
pente, i. 4426.
Subdominant, iii. 747 J; Har-
mony, i. 6766.
Subject, iii. 747 J; Arsis and
Thesis, i. 95 6 ; Augmentation,
i. 1046; Counterpoint, i.
409 a; Development, i. 441 J ;
Dux, i. 477 &; Form, i. 541a;
Fugue, i. 567 a, etc. ; Leit-
Motif, ii. 116 a; Motif, ii.
377 a ; Proposta, iii. 43 a ;
Risposta, iii. 137a; Soggetto,
iii. 545 i; Sonata, iii. 555 a,
etc. ; Theme, iv. 99 b, etc. ;
Tonal Fugue, iv. 134 J, etc. ;
Andamento, iv. 522a; At-
tacco, iv. 525a.
Submediant, iii. 753 h.
Subsidiary, iii. 753 S ; Form, i.
5446, etc.
SUCCENTOR, iiL 7540.
Succjfcs d'Estime, iii. 754J.
SucHANEK ; Song, iii. 614 J.
Sucher, J., iii. 7546 ; iv. 797a;
Sechter, iii. 456 a.
Sucher, R., iii. 7546; iv.
797 a.
SiJssMAYER, F., iii. 7548 ; Beet-
hoven, i. 177a, etc.; Haydn
(M.), i. 701a; Mozart, ii.
394 a, etc. ; Opera, ii. 52o5 ;
Requiem, iii. 11 0 a, etc. ; Vogl
INDEX.
(J. M.), iv. 3236 ; Walsegg,
iv. 3800; Mozart, iv. 721a.
Sugden, D. ; Sunderland, iv.
797 &.
Suidell; Latrobe, ii. 1036.
Suite, iii. 755 a; Allemande, i.
55 a; Bifaria, i. 241a; Bour-
ree, i. 264a; Chamber Mus.,
i. 332a; Concerto, i. 387a;
Couperin, {.^ogb; Courante,
i. 4io5; Dance Mus., i. 429 a;
Doubles, i. 460 a; Form, i.
543 &, etc.; Gigue, i. 595*;
Lesson, ii. 124a; March, ii.
2X1 6 ; Minuet, ii. 3336, etc. ;
Overture, ii. 6236 ; Partie, ii.
656 a; Passepied, ii. 6626;
Prelude, iii. 284 ; Relation, iii.
1055 ; Siciliana, iii. 491 b ; So-
nata, iii. 5546, etc.; Sjonphony,
iv. 12&, etc.; Trio, iv. 1726;
Variations, iv. 219a, etc.;
Violin-playing, iv. 290 a ; Al-
ternativo, iv. 521a; Dance
Rhythm, iv. 607 a; Ordres,
iv. 735 a.
Sullivan, A. S., iii. 761 a ; iv.
797 6 ; Additional Accompani-
ments, i. 316; Cox and Box,
i. 413 a; Elegy, i. 485 J ;
English Opera, i. 489 h ;
Hauptmann, i. 698a ; Hymn,
i. 764a ; He Enchant^e, L', i.
7656; Leipzisr, ii. u 5 & ; Light
of the World, The, ii. 138 a ;
Mendelssohn Scholarship, ii.
310& ; National Training
School, ii. 4476; Opera, ii.
524b; Operetta, ii. 531b;
Oratorio, ii. 558a ; Oxford, ii.
6246; Part-Song, ii. 659a;
Patter-Song, ii. 673 b; Pina-
fore, H.M.S., ii. 753*; Pi-
rates of Penzance, ii. 756a ;
Prodigal Son, The, iii. 32* ;
Rataplan, iii. 78 a ; Saint
Anne's Tune, iii. 213a;
Schools of Comp., iii. 306 b,
etc. ; Song, iii. 608 b ; Te
Deum, iv. 69 a; Tempest, iv.
8 1 b ; Tempo di Ballo, i v. 8 5 a ;
Thespis, iv. loia; Thomas
(A. G.), iv. 103b; Training
School for Mus., iv. 158b;
Trial by Jury, iv. 169 a ; Zoo,
The, iv. 513 b ; Glockenspiel,
iv. 648 b; Leeds Festival,
iv. 698 b ; Mikado, The, iv.
719a ; Philh. Soc., iv. 747a ;
Princess Ida, iv. 751b; Rud-
dygore, iv. 777b ; Yeomen of
the Guard, iv. 818 a.
Sullivan; KnellerHall, ii.66b,
note.
SuL Ponticello, iii. 764 b.
Sulzer, S., iii. 764b ; Diet, of
Mus., i. 446 a; Kirnberger,
ii. 62a; Seyfried, iii. 478b.
Sumer is Icumen In, iii. 765 a ;
Ballad, i. 129a; Harmony, i.
672 b; Hawkins, i. 700b;
Madrigal, ii. 188 a ; Mus.
Antiqua, ii. 411 a ; Round,
iii. 179 b, etc. ; Song, iii. 600b,
etc. ; Subject, iii. 751 b, note;
Villanella, iv. 265a, note;
Bumey, iv. 570 b ; Dunstable
iv. 6 1 9 b ; Franco (of Cologne) ,
iv. 642 a.
Sundeeland, Mrs., iv. 797b.
Sundt, H. ; Kjerulf, iv. 691a,
note.
Supertonic, iv. 3 b.
SUPPE, F. von, iv. 3 b ; Seyfried,
iii. 478 b.
Suriano. (See Soriano, iii.
638b.)
SuRMAN, J., iv. 4a; London
Sacred Harmonic Soc., ii.
163b; Melophonic Soc, ii.
252a; Sacred Harmonic Soc.,
iii. 2 10 a; Three Choirs, iv.
112 b.
SuRSUM CoRDA ; Service, iii.
472b ; Plain Song, ii. 767 b.
Susanna, iv. 4b; Handel, i.
651b.
Susato. (See TYLMAN,iv. 196b.)
SusiNi ; Strakosch, iii. 734a.
Suspension, iv. 4b ; Harmony,
i- 673b; Melody, ii. 251b;
Ninth, ii. 459a, etc. ; Resolu-
tion, iii. 113a; Retardation,
iii. 121 a; Root, iii. 158a;
Thoroughbass, iv. nob, etc. ;
Part- writing, iv. 742b.
Sutor; Orpheus, ii. 613 a.
SvENDSEN, J. S., iv. 6a; iv.
797 b; Octet, ii. 492 a; Song,
iii. 6iia; Philh. Soc, iv.
747a; Rhapsody, iv. 772a.
SvENDSEN, 0., iv. ya; iv. 797 b ;
Philh. Soc, ii. 700b.
SwEELiNCK, J. P., iv. 7b ; Eitner,
i. 485 a; Gabrieli (A.), i.
571b; Reinken, iii. 103a;
Vereeniging, etc., iv. 255 a;
Virginal Mus., iv. 309 a ;
Waelrant, iv. 344 b ; Scheide-
mann (H.), iv. 781 b ; Scheidt,
iv. 782 a; Vereeniging, etc.,
iv. 81 lb.
SWEETLAND, W., iv. 798 a.
Swell (Harpsichord) , iv. 8 b ;
Broad wood, i. 278a; Harp-
sichord, i. 690b; Shudi, iii.
489b; Stops, iii. 718b; Ve-
netian Swell, iv. 236b.
Swell Organ, iv. 8b; iv. 797b;
Organ, ii. 596a, etc.; Pedals,
ii. 682 a; Venetian Swell, iv.
2365.
SwERT, J. de, iv. 85.
SwiETEN, G. Baron van, iv. ga;
Acis and Galatea, i. 26 a ; Ad-
ditional Accompaniments, i.
31 &; Beethoven, i. 167 a, etc. ;
Creation, The, i.41 5 a ; Haydn
(M.), i. 702 a; Haydn, i.
714a ; Mozart, ii. 385 a, etc, ;
Oratorio, ii. 551a, etc.; Sea-
sons, The, iii.'453J; Weigl
(J., jun.), iv. 432a.
SwiNNERTON Heap, C, iv. gh,
798 a ; Mendelssohn Scholar-
ship, ii. 311a.
SwiNY, 0., iv. 9 i ; Nicolini (N.
G.), ii. 454 a.
SwoBODA ; Polka, iii. ga.
Syeroff, a. (See Seroff, iii.
469 a.)
Syfert, p.; Bernhard (Ch.), i.
235*-
Sylphide, La, iv. loa.
Sylvan A, iv. 10 a. (See Sil-
van a, iii. 533 J.)
Sylvanus, a, ; Dodecachordon,
iv. 616a.
Sylvia, iv. 10 a ; Delibes, iv.
611 a.
Sympathetic Resonance; Ana-
lysis, i. 63 b.
Sympathetic Strings ; Violin,
iv. 278?), etc.
INDEX.
Symphonia ; Hurdy-Gurdy, i.
759 ?>•
Symphoniques, Etudes, iv. 10 a;
Schumann, iii. 392 b ; Varia-
tions, iv. 229 a.
Symphonische Dichtungen, iv.
10 &; Liszt, ii. 1476.
Symphony, iv. lob; iv. 798 i ;
Accompaniment, i. 226; Al-
legro, i. 55 a ; Analysis, i.
626 ; Beethoven, i. 203a, etc.;
Concert, i. 384a ; Double Bar,
i. 457?>; Eroica,i. 493a; Form,
i. 547a, etc. ; Gossec, i. 611 « ;
Haydn, i. 712 J, etc. ; Intro-
duction, ii. i^h, etc. ; Jupiter,
ii. 46 J ; Kirchen Cantaten, ii.
60&; Mendelssohn, ii. 305 a;
Minuet, ii. 334 a, etc. ; Mo-
zart, ii. 400 a, etc. ; Overture,
ii. 61 85, etc.; Relation, iii.
1056; Ritornello, iii. 137 a,
etc. ; Scherzo, iii. 246 a, etc. ;
Schools of Com p., iii. 289?);
Schubert, iii. 361 &, etc. ;
Schumann, iii. 412&; Subject,
iii. 7526; Variations, iv.
21 7&, etc. ; Working-out, iv.
486 &, etc. ; Dance Rhythm,
iv. 607 &.
Symphony Concerts, iv. 798 b.
Symphony Orchestra, The
Boston, iv. 43 a ; Henschel,
iv. 6716.
157
Symphony Society, New York,
iv. 43 a; Thomas (Th.), iv.
1056.
Sympson, C. , iv. 43 h ; Agr^mens,
i.43&; Division Violin,!. 451a;
Ground Bass, i. 6346 ; Haw-
kins, i. 700&; Mus. Lib., ii.
422a; Mus. School, Oxford,
ii. 437a; Playford, iii. 2a;
Violin, iv. 2786.
Syncopation, iv. 44a ; iv. 7986 ;
Accent, i. 13 a; Bind, i. 243a;
Hocket, i. 741 a ; Magyar
Mus., ii. 197 &; Zacconi, iv.
497 J.
Syntagma Musicum, iv. 44 &;
Clavichord, i. 368 & ; Prse-
torius (M.), iii. 25 a ; Tabla-
ture, iv. 47 a.
Syren. (See Siren, iii. 517 &.)
Syrinx; Organ, ii. 5736; Pan-
dean Pipes, ii, 6436.
System, iv. 45?) ; Stave, iii. 69 1&.
Syvspring ; Song, iii, 609 a.
Szalay, J. de ; Vaterlandische
Kunstlerverein, iv. 808 a.
Szarvady. (See Clauss, i. 366a.)
SzECHENYi, L, ; Schubert, iii.
334«-
SzYMANOWSKA, Marie, iv. 45 h ;
Philh. Soc, ii. 699 a; PF.
Mus., ii. 7276; PF.-playing,.
ii. 744.
jLabel ; Harpsichord, i. 690b.
Tablature, iv. 47 a ; Agricola
(M.), i. 45 a; Alphabet, i,
57a, note; Ballard, i. 129&;
Lute, ii. 177a; Mace, ii.
185 b; Mus. Lib,, ii. 417&,
etc.; Notation, ii. 467a, etc. ;
Petrucci, ii. 696 a ; Scotish
Mus., iii, 441 & ; Skene MS,,
iii. 523?); Tappert, iv. 586;
Galilei, iv. 644 a ; Part-books,
iv. 739&.
Table Entertainment, iv. 50 b ;
Dibdin (C), i. 444a ; Phillips
(H.), ii. 705&; Wilson (J.),
iv. 463 a.
Tabor, iv. 51a; Pipe and Ta-
bor, ii. 754b.
Taborski and Parsch; Liszt,
iv. 704 a.
Tabourot. (See Arbeau, i.
80b,)
Tabret; Tabor, iv. 51a.
Tacchinardi, N., iv. 51a; iv.
798a; Persiani, ii. 693b;
Singing, iii, 510 b, etc.
Tacet, iv. 51b.
Tadolini, G,, iv. 51b; Lumley ,
ii. 174a ; Mattel (S.), ii.
239a; Rossini, iii. 173b;
Thillon, iv. 102 a ; Heinefetter,
iv. 671a.
Taglichsbeck, T., iv. 52 a;
Mus. Lib., ii. 424b; Tenor-
violin, iv. 92 a; Violin- play-
ing, iv. 289.
Tafalla, p. ; Eslava, i. 494b.
Tafel-Musik; Part-books, iv.
739«-
Tafel-Musik ; Mozart, ii. 400a.
Taffanel, p. ; Soc. de Mus. de
Chambre, iii. 543b; Saint-
Saens, iv. 779 a.
Taglia ; Mus. Lib., ii. 419a.
Tagliabue; Boito, iv. 551a.
Tagliafico, J. D., iv. 52a.
Tagltafico, Mme., iv. 52 b.
Tagliapietba ; Strakosch, iii.
734&.
Taglioni ; Intermezzo, ii. 9b;
Laporte, ii. 91b; Sylphide,
La, iv. 10 a.
Tagore, S. M. ; Hist, of Mus.,
iv. 674b.
Taille, iv. 52 b ; Tenor, iv. 86b ;
Tenor Violin, iv. 88 b.
Taille de Basson; Oboe di
Caccia, ii. 489 a ; Orchestra,
ii. 563 b.
Tailour, R. ; Este (T.), i. 496a ;
Schools of Comp., iii. 273 a,
note.
Takt; Time, iv. 117 b.
Talexy, a., iv. 52 b.
Talismano, II, iv. 52 b; Balfe,
i. 128 a.
Tallis. (See Tallys.)
Tallys, T., iv. 52b; iv. 798a;
Accents, i. 17 b; Accompani-
ments, i. 20b, etc, ; Alto, i.
58a ; Anthem, i, 70b ; Arnold
(S.), i. 86b ; Barnard, i. 140 a ;
Bevin, i. 239a ; JBoyce, i.
268a; Byrd, i, 286b, etc.;
158
Canon, i. 304b; Cathedral
Mus., i. 335a ; Chant, i. 336b;
Communion Service, i. 382 a;
Creed, i. 416 a; Hawkins,
i. 700b; Haym, i. 723b;
Hymn, i. 761a, etc. ; Kyrie,
ii. 79b; Litany, ii. 152b;
Lowe (E.), ii- 170a; Magni-
ficat, ii. 197a; Motet, ii.
375b; Motett Soc, ii. 376b;
Mus. Antiqua, ii. 411a; Mus.
Lib., ii. 417b, etc.; Mus.-
printing, ii. 435 a; Oliphant,
ii. 497a ; Part Mus., ii. 656b;
Plain Song, ii. 769 b; Prince
de la Moskowa, iii. 31b;
Response, iii. 117b; Rim-
bault, iii. 135 a; Rochlitz, iii.
141b; Sanctus, iii. 224b;
Schools of Comp., iii. 272b,
etc.; Service, iii. 472b, etc.;
Specimens, Crotch's, iii. 649 b ;
Te Deum, iv. 68 a; Tomkins
(T.), iv. 134b; Tudway, iv.
198 a ; Veni Creator Spiritus,
iv. 237a; Venite, iv. 237b;
Versicle, iv. 257a; Vespers,
iv. 257b; Virginal Mus., iv.
309 a, etc. ; Vocal Scores, iv.
319b; Burney, iv. 570b;
Byrd, iv. 571b; Can ti ones
Sacrse, iv. 578a j Mus. Lib.,
iv. 723b; Part -books, iv.
740a; Psalter, iv. 756a,
etc.
Talma ; Cassel, i. 319 a.
Talvj ; Song, iii. 614b ; Hist.
of Mus., iv. 675 a.
Tamberlik, E., iv. 54b; iv.
798 a; CoventGardenTheatre,
i. 413a; Singing, iii. 511a;
Spohr, iii. 660 b; Tenor, iv.
87 b.
Tamboue de Basque. (See Tam-
bourine.)
Tamboura; Bandora, i. 134 a.
Tambourin, iv. 55a; Drum, i.
466b; Instrument, ii. 7a;
Farandole, iv. 632 b.
Tambourin, iv. 55 a.
Tambourine, iv. 55 b; Drum, i.
463 b, etc. ; Instrument, ii. ya;
Orchestra, ii. 566 b ; Tambour
de Basque, iv. 55 a; Vidal
(F.), iv. 261b; Wind-band,
iv. 464 a, etc.
Tamburini, a., iv. 66a; Bel-
lini, i. 213b, etc. ; Covent
Garden Theatre, i. 413a;
Donizetti, i. 454a ; Gardoni,
i. 583b; Grisi, i. 633a; La-
porte, ii. 91b; Mario, ii.
217b; Rossini, iii. 176a;
Singing, iii. 507 b, etc. ; Viar-
dot-Garcia, iv. 259 b.
INDEX.
Tamburini, P. ; Sistine Chapel,
iv. 794a.
Tamerlano, iv. 66 b ; Handel,
i. 657 a.
Tamplini ; Oboe di Caccia, ii.
489 b.
Tam-Tam, iv. 66 b; Drum, i.
466 b ; Gong, i. 609 b ; Instru-
ment, ii. '/a; Gossec, iv.
652 a.
Tancredi, iv. 67 a J Rossini, iii.
i66a.
Tanegia; Testore, iv. 798 b.
Tangent, iv. 57a ; Clavichord,!.
366 b; Harpsichord, i. 688 a;
Jack, ii. 26b; Tuning, iv. 188b;
Clavichord, iv. 593 b.
Tannhauser; Song, iii. 615 a.
Tannhauser, iv. 67b; iv. 798a;
Wagner (Johanna), iv. 345 b ;
Wagner, iv. 363 a.
Tans'ur, W., iv. 57b ; iv.
798 a.
Tan-ta-ra, iv. 57b; Rataplan,
iii. 78 a.
Tanto, iv. 68 a.
Tantum Ergo, iv. 68 a.
Tanzer, E. ; Tans'ur, iv. 798 a.
Tapia ; Song, iii. 599 b.
Tappert, W., iv. 68 b ; Wagner,
iv. 374 b.
Tarantella, iv. 58b; iv. 798a;
Kirch er, ii. 61 a.
i Tar ANTING ; Spontini, iii. 666 <*•
ITarare, iv. 69 &; Salieri, iii.
! 219 a.
I Takchi ; Bartolini (V.), i. 146b;
Ifigenia, i. 766 b ; Olimpiade,
ii. 496 b.
Tardife, Abbe ; Hist, of Mus.,
iv. 677 a.
Tarditi; Mus. Lib., iv. 726a.
Tarentino, II. (See Fago.)
Tartaglini, I. ; Nanini (G.
M.), ii. 443b.
Tartini, G., iv. 60 a; Acca-
demia, i. iia; Barbella, i.
138a; Bass-Bar, i. 149b;
Beats, i. 159b ; Bini, i. 243a;
Bow, i. 264b ; Bowing, i.
266 b; Cartier, i. 318 a; Fer-
rari (D.), i. 613^ > Geminiani,
i. 687b; Giardini, i. 693^5
Graun (J. G.), i. 6210;
Helmholtz, i. 726b ; Lipinski,
ii. 144b; Nardini, ii. 446 b;
Naumann (J. G.), ii. 448b;
Pugnani, iii. 45 b ; Resultant
Tones, iii. 120b; Rust (Fr.),
iii. 206a; Salieri, iii. 218b;
Scordatura, iii. 426 a; Sirmen,
iii. 6i8b; Sonata, iii. 568b;
Specimens, Crotch's, iii. 6e,oa ;
String, iii. 746 a; Trillo del
Diavolo, iv. 170a j Veracini
(F. M.), iv. 239a; Violin-
playing, iv. 291b; Vogler,
iv. 328 b ; Burney, iv. 571 a.
Tasca ; Bellamy (T.), i. 211a;
Handel, Commemoration of, i.
658 a.
Taschengeige ; Kit, ii. 62b.
Taskin, a., iv. 63 a.
Taskin, H. J., iv. 63 a.
Taskin, P., iv. 62b ; Harpsi-
chord, i. 689a, etc.
Taskin, P. J., iv. 63 a.
Tassini ; Venice, iv. 810 a.
Tastatur; Clavier, i. 369 J;
Key, ii. 63 a.
Tasto Solo, iv. 63 b; Figured
Bass, i. 623a; Notation, ii.
478 a ; Thoroughbass, iv. 1 11 b.
Tate and Brady ; Psalter, iv.
766 J.
Tattoo, iv. 63b; Zapfenstreich,
iv. 6ooa.
Taubebt, K. G. W., iv. 64 a;
Berger (L.), i. 231a; Dorn,
i. 465a; Fesca (A. E.), i.
5150; Mendelssohn, ii. 283 a,
etc.; PF. Mus., ii. 730a;
PF.-playing, ii. 742 b; Schu-
mann, iii. 389 a, etc. ; Song,
iii. 630 b.
Taudou, a., iv. 64 a; Gr. Prix
de Rome, i. 6i8b.
Tausch, J., iv. 64b; Nieder-
rheinische Musikfeste, iL
456b; Schumann, iii. 401a;
Niederrheinische Musikfeste,
iv. 731a.
Tausig, C, iv. 64b; iv. 798 a;
Arrangement, i. 92 b; Coss-
mann, i. 406 a; Draeseke, i.
461a; Fingering, i. 527 J;
Jensen, ii. 33 b; Lenz, ii.
i2ob; PF. Mus., ii. 735b;
PF.-playing, ii. 743 a ; Svend-
sen, iv. 6b ; Tappert, iv. 586 ;
Wagner, iv. 363 a ; Zukunfts-
musik, iv. 614 a ; Barth, iv.
531 b; Beringer, iv. 645 a;
Hartvigson (A.), iv. 669 b;
Liszt, iv. 702 a.
Tavecohia; Haydn, i. 706 b.
Taverner, J., iv. 66 b ; Cathe-
dral Mus., i. 326a; Hawkins,
i. 700 b; Madrigal, ii. 191a;
Motet, ii. 375b ; Mus. Lib., ii.
417 b, etc. ; Schools of Comp.,
iii. 270 b, etc. ; Burney, iv.
6 70b; Part-books, iv. 740a.
Taverner, John, Rev., iv. 65b ;
Gresham Mus. Professorship,
i. 627b.
Tayau, M. ; Godard, iv. 649 b.
Taylor, E., iv. 66a; Bristol
Madrigal Soc., i. 276b; Fish,
i. 530a; Gresham Mus. Pro-
INDEX.
X59
fessorship, i. 627 &; Norwich
Festival, ii. 466 a; Purcell
Club, iii. 52 & ; Purcell Com-
memoration, iii. 53a; Vocal
Soc.jiv. 320&.
Taylor, P., iv. 66h; Leipzig,
ii. 115&; PF.-playing, ii.
745 a; Koyal College of Mus.,
iv. 159a; Toy Symphony, iv.
800 a.
Taylor, J. ; University Soc., iv.
206 a.
Tea-table Miscellany ; Scot-
tish Mus., iii. 452 a.
Teares OB Lamentacions, etc. ;
Leighton (Sir W.), ii. 114a;
Song, iii. 602 a.
Tecchlee; Klotz, ii. 65 a.
Technique, iv. 66b.
Tedesca, Alla, iv. 66h; iv.
798 a.
Tedesco, I ; PP. Mus., ii. 732 a ;
PF.-playing, ii. 745.
Te Deum Laudamus, iv. 67 a;
iv. 798a; Berlioz, i. 232 J;
Dettingen Te Deum, i. 441 a ;
Festa, i. 515 a; Handel, i.
6546, etc.; Hymn, i. 760a;
Mus. Antiqua, ii. 411 a ; Mus.
Lib., ii. 421&, etc.; Plain
Song, ii. 7646 ; Purcell, iii.
50a ; Service, iii. 472 a ; Urio,
iv. 209&.
Teilmann; Song, iii. 611 a.
Telemann, G. p., iv. 6ga ; Aus-
walil, i. 105 &; Bach (J. B.),
i. no?;; Bach (C. P. E.),
i. 113&; Graupner, i. 622a;
Handel, i. 648 h ; Kirchen
Cantaten, ii. 60 a ; Latrobe,
ii. 103&; Matheson, ii. 2376;
Oratorio, ii. 540 a ; Passion
Mus., ii. 666 a; Practical Har-
mony, iii. 24 a ; Rochlitz, iii.
142a; Song, iii. 621b; Vio-
lin-playing, iv. 289; Vocal
Scores, iv. 319&.
Telford, iv. 798 a.
Teliochordon; Clagget, i. 360a.
Tellefsen, T. D. a., iv. 70 a.
Tell-Tale, iv. 70 a.
Temperament, iv. 70 a ; iv.
798b; Bach (J. N.), i. 112a;
Bach (J. S.), i. 1166 ; Finger-
ing, i. 5256; Helmholtz, i.
726a; Interval, ii. 116, etc.;
Intonation, ii. 13a; Key, ii.
52 b, etc. ; Kirnberger, ii. 62 a ;
Mutation-stops, ii. 439 b ; Or-
gan, ii. 591b, etc.; Perfect,
ii. 686 a ; Proportion, iii. 43 a;
Resultant Tones, iii. 119 b;
Scale, iii. 237a; Third, iv.
103a; Tierce, iv. 114b;
Tuning, iv. 188a, etc.; Wohl-
temperirte Klavier, iv. 482 b;
Wolf, The, iv. 485 a ; Zarlino,
iv. 502a, etc. ; Ellis, iv. 626b.
Tempest A, La, iv. 81 b.
Tempest, The, iv. 81 b; Arne,
i. 84b; Banister (J.), i. 134b;
Humfrey, i. 757a; Johnson
(K.), ii. 36 a; Lock, ii. 157 a ;
Purcell, iii. 48 a ; Sullivan,
iii. 763 a, etc.
Templeton, J., iv. 81 b ; Scotish
Mu8., iii. 451b; Singing, iii.
512a ; Kennedy, iv. 689b.
Tempo, iv. 82b; Accelerando,
i. 12 a; Adagietto, i. 27a;
Adagio, i. 27a; Agitato, i.
41 b ; Allegretto, i. 55a ; Alle-
gro, i. 54b; Andante, i. 65 a;
Andantino, i. 65 a ; Animate,
i. 68a; Assai, i. 99 b; A
tempo, i. Jooa ; Beat, i. 158b ;
Calando, i. 297 a; Con Brio,
i. 383b; Con Spirito, i. 383b;
Giusto, i. 597 b; Grave, i.
622b; Larghetto, ii. 92a;
Largo, ii. 92 a ; Lento, ii.
1 20 b; Maestoso, ii. 195a;
Mendelssohn, ii. 299 b ; Me-
tronome, ii. 318a, etc.; Mo-
derato, ii. 340b; Notation, ii.
476b; Nuances, ii. 483b;
Prestissimo, iii. 29b ; Presto,
iii. 29b; Quasi, iii. 59a; Ral-
lentando, iii. 68 a; Rubato,
iii. i88b ; Sostenuto, iii. 639a ;
Stringendo, iii. 745 b; Time,
iv. 117b; Tosto, iv. 152a;
Veloce, iv. 236a ; Vivace, iv.
316 b ; Wagner, iv. 371 b, note.
Tempo di Ballo, iv. 85 a.
Tempo Ordinario, iv. 85 b;
Common Time, i. 381a.
Tempo rubato, iv. 85 b.
Tempus imperfectum, iv. 798 b ;
Common Time, i. 381 a ; Dot,
i. 456 a; Notation, ii. 471a,
etc. ; Point, iii. 6 b ; Time, iv.
117b.
Tempus perfectum, iv. 798 b;
Notation, ii. 471 a, etc. ; Point,
iii. 6b; Time, iv. 117b.
Tenaglia ; Da Capo, i. 427a;
Opera, iv. 734b.
Tenducci, G. F., iv. 85b ; Mo-
zart, ii. 380 b ; Ranelagh House
and Gardens, iii. 74b ; Robin
Adair, iii. 138b; Campbell,
iv. 576b.
Tenebr^, iv. 86 a ; Lamenta-
tions, ii. 86 b ; Miserere, ii.
335 &•
Teneramente, iv. 86b.
Tenor, iv. 86 b ; iv. 798 b ; Canto,
i. 306 a ; Mean, ii. 242 b ; Sing-
ing, iii. 510b; Taille, iv. 52b ;
Treble, iv. 165b; Voice, iv.
332 b, etc. ; Voices, iv. 333 b.
Tenor-drum ; Drum, i. 466 b.
Tenoroon, iv. 88 b; Alpenhorn,
i. 56 b; Oboe di Caccia, ii.
489 a.
Tenor- Violin, iv. 886; iv.
798 b; Alessandro, i. 52 a;
Alto, i. 58 a; Amati (N.), i.
58 b ; Gamba, Viola de, i.
579b; Instrument, ii. 6b;
Mendelssohn, ii. 300b ; Mo-
zart, ii. 395 b ; Notation, ii.
477b; Orchestra, ii. 562b;
Paganini, ii. 630 a; Romano,
iii. 148 a; Salo, iii. 220b;
Semler, iii. 461a; Stamitz,
iii. 689 b ; Stradivari, iii.
726 b, etc. ; Symphony, iv.
14b; Taille, iv. 52b; Tenor,
iv. 88 a; Viola, iv. 267 a;
Violin, iv. 271a, etc. ; Weiss
(F.), iv. 433 a.
Tensons; Song, iii. 585 a.
Tenth Symphony, Beethoven's,
iv. 92 b.
Tenuto, iv. 93 a.
Terce, iv. 93 a.
Tergiani; Bandini, iv. 530 b.
Terpodion, iv. 93 a.
Terradellas, T. ; Mus. Lib.,
iv. 726a.
Terriani; Ellerton, i. 486b.
Terzetto, iv. 93a; Trio, iv.
171b.
Teschner, G, ; Paine, ii. 632 b.
Tesei, A.; Mattel (S.), ii. 239a ;
Rossini, iii. 164a.
Tesi-Tbamontini, v., iv. 93 b;
Dittersdorf, i. 449 b; Fari-
nelli, i. 504b; Hasse (J. A.),
i. 694b.
Tessitura, iv. 94 a; Soprano,
iii. 635 b.
Testore, iv. 798 b ; Cremona, i.
416 a; Guarnieri (J. del G.),
i. 637b.
Tetrachord, iv. 94 a; ^olian
Mode, i. 39 b; Chromatic, i.
355 b; Hexachord, i. 733b;
Modes Eccles., ii. 341 a ; No-
tation, ii. 469 a; Solmisation,
iii. 549 b, etc. ; Zarlino, iv.
501b.
Tetracorda ; Trasuntino, iv.
162a.
Tetraphonia ; Diaphonia, iv.
613a.
Teufels Lustschloss, Des, iv.
94 b; Schubert, iii. 323a, etc.
Teutsche, iv. 95 a ; Allemande,
i. 55 b; Tedesca Alia, iv. 67 a;
Trauer-Walzer, iv. 162 b ;
Waltz, iv. 386 a.
Teyber, a.; Kraft (A.), ii.
160
696; Rudolph, Archduke, iii.
2006.
Tkyber; Mozart, ii. 389 a.
Thalberg, S., iv. 95 a ; iv. 799 a ;
B<?riot, De, i. 231& ; Etudes, i.
497 a ; Fuchs, i. 566 b ; Gabriel,
i. 5716; Ganz (L.), i- 581a;
Goddard (Arabella), i. 604 & ;
Horn, i. 752 a; Lablache, ii.
81 &; Mendelssohn, ii. 285a,
etc.; Opera, ii. 5296; Parish-
Alvars, ii. 6496; Pedals, ii.
683a; Philh. Soc., ii. 699^;
Pianoforte, ii. 722a; PF.
Mus., ii. 73o5; PF,- playing,
ii. 741a, etc. ; Pixis (J. P.),
ii. 759 b ; Pleyel (Mme.) iii.
36 ; Pollini, iii. 9a ; Prudent,
iii. 44 a; Rendano, iii. 107b;
Repetition (PF.), iii. 1086;
Ronconi (G.), iii. 154&; Sech-
ter, iii. 456 a ; Sordini, iii.
637 a; Speidel, iii. 650 a;
Strakosch, iii. 734 a ; Studies,
iii. 747 a; Tarantella, iv. 596;
Touch, iv. 153 a; Vieuxtemps,
iv. 2630; Waley, iv. 376 a;
Levey (W. C), iv. 7006.
Thayer, A. W., iv. gSh; Beet-
hoven, i. 162 &, note, etc.;
Dussek, i. 475 &; Dwiglit's
Journal of Mus., i. 4786;
Fischer (G.), i. 529 a ; Fisch-
hofF, i. 530 a ; Jahn, ii. 30 a,
note; Jahrbiicher, ii. 30 &;
Krenn, ii. 71b; Schindler
(A.), iii. 2516; Sketches, iii.
528&.
Theatre, iv. 99 a.
Theatres in London. (See
Vaudeville Theatre, iv.
232 a and iv. 808 a.)
Theile, J., iv. 99 a; Opera, ii.
507&; Oratorio, ii. 539&;
Passion Mus., ii. 666 a.
Thematic Catalogue, iv. 99 a ;
Andrd, i. 66 & ; Breitkopf und
Hartel, i. 2736; Jahns, ii.
296 ; Kochel, ii. 68 a ; Notte-
bohm, ii. 4796.
Theme, iv. 996; Subject, iii.
747b; Subsidiary, iii. 7536.
Theorbo, iv. looa ; Archlute, i.
81 a ; Bardella, i. 1 39 a ; Baron,
i. 142a; Chitarrone, i. 347b;
Cither, i. 359 a ; Conti, i.
395 a; Ferrari (B.), i. 513 a;
Lute, ii. 1 766; Opera, ii.
499 & ; Orchestra, ii. 5620;
Stradivari, iii. 729?); Violin,
iv. 278a; Lute, iv. 7066.
Theory, iv. loi a.
Thesis, iv. loia; Accent, i.
12 a; Arsis, i. 956; Beat, i.
1590; Time-beating, iv. 122 5.
INDEX.
Thespis, iv. loia; iv. 799a;
Sullivan (A.), iii. 764a.
Thibault (King of Navarre) ;
Chanson, i. 336 a; Mus.
Antiqua, ii. 411a; Song, iii.
585 J ; Specimens, Crotch's,
iii. 649 a ; Burney, iv. 570 i.
Thibaut, a. F. J., iv. loiJ;
Klein, ii. 63 J; Mendelssohn,
ii. 261a; Mus. Lib., ii. 425 a;
Nageli, ii. 442 &; Schumann,
iii. 386a, etc.
Thiele, E. ; Briickler, iv. 566 b.
Thieriot, F. ; Speyer, iii. 650*.
Thierres; Mus. Antiqua, ii.
411a.
Thiers, J. B. ; Hist, of Mus.,
iv. 676 a.
Thillon, Anna, iv. 102 a; Jul-
lien, ii. 456 ; Philh. Soc., ii.
6ggb; Ventadour Theatre,
iv. 23805.
Thimus, a. von ; Hist, of Mus.,
iv. 674a.
Third, iv. 102 J; Harmony, i.
671 b, etc. ; Major, ii. 200a ;
Minor, ii. 333 a ; Mus. Ficta,
ii. 414a; Tierce, iv. 114J;
Tierce de Picardie, iv. 114&.
Thirl wall, Annie, iv. 103 a.
Thirlwall, J. W., iv. 103 a.
Thirteenth ; Thoroughbass, iv.
iioa.
Thoinan, E., iv. 103 a ; Hist, of
Mus,, iv. 675 a.
Thom, C. B. ; Hist, of Mus., iv.
676J.
Thomas, A. Goring, iv. 103 J;
iv. 799a; Esmeralda, iv.
6296; Nadeshda, iv. 727a;
University Mus, Soc, iv, 806 b.
Thomas, C, Ambroise, iv, 103 b;
iv. 799 a ; Carnaval de Venise,
i. 316 a; Cecilia, St., i. 329 J ;
Conservatoire de Mus.,i. 392 a,
etc. ; Gr. Prix de Rome, i.
61 8 J ; Hamlet, i. 647 a ; King
Charles the Second, ii. 57 J ;
Lesueur, ii. 1255 ; Massenet,
ii. 236 a; Nilsson, ii. 458 i;
Nourrit (Ad.), ii. 480a; Or-
ph(?on, ii. 612 a; Pitch, ii.
758 a, «o^e; Polska, iii. 12 a;
Roger, iii. 1446 ; Salvayre,
iii. 222b; Schools of Comp.,
iii. 304 a ; Serpette, iii. 471 a ;
Song, iii. 597 a; Songe d'une
nuit, iii. 632 i ; Wind-band, iv.
470 a ; Dubois, iv. 618 J ; Gar-
cin, iv. 645 b ; Gr. Prix de
Rome, iv. 654 J ; Lenepveu,
iv. 699 a; Mignon, iv. 719a;
Salvayre, iv. 779a.
Thomas, Harold, iv. 104 i ; iv.
799 a ; Wingham, iv. 475 «.
Thomas, J., iv. 1050; Philh.
Soc, ii. 700a ; Welsh Mus.,
iv. 443 b ; Hist, of Mus., iv.
675 a.
Thomas, L. W., iv. 105 a ; Sing-
ing, iii. 512 J.
Thomas, Mme. A. ; Montigny-
Remaury, ii. 360 a.
Thomas, Theodore, iv. 1056;
iv. 799a ; Mus. Lib., ii. 426 J ;
Opera, ii. 530a; Philh. Soc,
New York, ii. 702 a; United
States, iv. 203 5.
Thomasschule, iv. 198 a; Bach
(C. P. E.), i. 113 a; Bach
(J. S.), i. 115a; Bach (W.
F.), i. 1 1 2 i, etc. ; Leipzig, ii.
114b.
Thompson. (See Perbonet
Thompson.)
Thompson, C. A; S. ; London
Violin Makers, ii. 164 ft.
Thompson, J. ; Welsh Mus,, iv.
443*-
Thompson, R.; London Violin
Makers, ii. 164 J.
Thomson, G,, iv. 106 a; iv.
799a; Beethoven, i. 183a,
etc.; Irish Mus,, ii. 22a;
Robin Adair, iii. 139a;
Scotish Mus., iii. 449 a;
Welsh Mus,, iv. 443 ft; Koze-
luch (L.), iv. 692 ft.
Thomson, J., iv. 107ft; ■^^^•
lysis, i, 62ft; Edinburgh Pro-
fessorship of Mus,, i. 483a ;
English Opera, i. 489 ft ; Pro-
fessor, iii. 33 a; Reid, iii.
loia; Smith (R. A.), iii.
541 ft ; Dun (Finlay), iv.
619 a.
Thomson, W. ; Scotish Mus.,
iii. 449 a.
Thopul, T. ; Leighton, ii. 114 ft.
Thorndike, H.,iv. 799a; Sing-
ing, iii, 513 a.
Thorne, E. H., iv, 108 a.
Thorne, J.,iv. 108 a; Hawkins,
i. 700&; Motet, ii. 375ft;
Schools of Comp., iii. 270 ft.
Thoroughbass, iv. 108 a ; iv.
799 a ; Accompaniments, i.
22a; Basso-Continuo, i. 1 5 1 ft ;
Harmony, i. 673ft; Notation,
ii. 478 a ; Orchestra, ii. 564 a;
Tasto Solo, iv. 63ft; Trans-
posing Instruments, iv. 159 ft.
Three Choirs, Festival of, iv.
112a; iv. 799 ft ; Festivals,
i. 516 &.
Three-quarter Fiddle. (See
Violino Piccolo, iv. 813a.)
Thumoth, B. ; Irish Mus., ii.
1 8 ft, etc.
Thun, Countess; Beethoven, i.
176a; Haydn, i. 7166; Mo-
zart, ii. 389a, etc.
Thurnam, E., iv. 113a.
Thurnerhorn ; Virdung, iv.
303 &.
Thursbt, Emma, iv. 113a;
Philh. Soc, ii. •jooh ; Ruders-
dorfF, iii. 200a.
Thys; Gr. Prix de Rome, i.
618& ; Song, iii. 597a.
Tiberini ; Lamperti, ii. 89 a ;
Strakosch, iii. 734 a.
TiBUBTio. (See Massainq, T.)
TiBY ; Beriot (C. de), i. 231a.
TiCHATSCHEK, J. A., iv. 113a;
iv. 799 ?>; Wagner, iv. 3536,
etc.
Tie, iv. 113&.
Tieck; Part Mus., ii. 657a;
Vocal Scores, iv. ^20 a.
Tiedge, C. a., iv. 114a.
TiEFFENBRUCKER, G. ; Violin, iv.
2Sob,note.
TiELKE, J.; Baryton, i. 147a;
Gamba, Viola da, i. 580&.
Tierce, iv. 114& ; Mutation-
stops, ii. 4396; Organ, ii.
592 a, etc.
Tierce de Picardie, iv. ii4?> ;
Mus. Ficta, ii. 414 a, etc.
Tiersch, O., iv. 114^.
TiETJENS,Therese C. J.,iv.ii5a;
Lumley, ii. 174a ; Philh. Soc,
ii. 700a ; Proch.iii. 32?) ; Sing-
ing, iii. 510a; Soprano, iii.
635 &; Strakosch, iii. 734&.
TiETZE. (See Titze, iv. 129b.)
TiGNALi; Opera, iv. 7346.
TiGRANE, II, iv. 1156; Righini,
iii. 1346.
TiGRiNi; Mus. Lib., iv. 726a.
Til, Salomon van; Hist, of
Mus., iv. 674&.
TiLLiARD ; Mus. Periodicals, ii.
429b.
TiLLiEBE ; Violoncello-playing,
iv. ^00 a.
TiLMANT, T., iv. ii6a; Concert
Spirituel, i. 386a; Schubert,
iii. 357/).
TiMANOFF, Vera, iv. 116 a;
Philh. Soc, ii. 700 i.
TiMBALES, iv. 116 a; Drum, i.
465 &.
Timbre, iv. 116 J; Singing, iii.
704a; Tone, iv. 141 &.
Time, iv. 117 a; A Capella, i.
106; Accent, i. 12 a; Alia
Breve, i. 536; Beat, i. 158&;
C, i. 2896; Common Time,
i. 381 a ; Compound Time, i.
383a; Mendelssohn, ii, 2996;
Metronome, ii. 318 a; Micro-
logus, ii. 3276; Mode, ii.
340 a; Mus. Mensurata, ii.
INDEX.
415 h ; Notation, ii. 471 5, etc. ;
Prolation, iii. 40 &; Propor-
tion, iii. 42 rt, etc ; Quintuple
Time, iii. 61 a; Rhythm, iii.
123 a, etc. ; Tempo, iv. 82 &;
Time-signature, iv. 127Z);
Time-table, iv. 1276; Triple
Time, iv. 174a; Zacconi, iv.
497 a, etc.
Time, Beating, iv. 122a ; Beat,
i. 1 586; Sol-fa, iii. 546 a;
Time, iv. 121 &, note.
TiME-SlGNATURE, iv. 126 & ; C, i.
2896 ; Common Time, i. 381 a ;
Notation, ii. 471 b, etc. ; Rest,
iii. II 9&; Time, iv. ii8a,etc.
Time Table, iv. 1276; Mus.
Mensurata, ii. 416 a; Nota-
tion, ii. 475?*.
TiMiDAMENTE, iv. 127&; Aengst-
lich, i. 38 a.
TiMM, H. C. ; Philh. Soc, New
York, ii. 702 a.
Timpani, iv. 127&; Drum, i.
465?).
TiNCTORis, J. de, iv. 1275;
Barbireau, i. 1386; Conser-
vatorio, i. 394?* ; Diet, of
Mus., i. 4446; Gafori, i.
575 a; Jahrbiicher, ii. 306;
Lamentations, ii. 88 a ; L*-
homme Arm^, ii. 126&, etc;
Madrigal, ii. 188 a; Motet,
ii. 3736; Naples, ii. 4446;
Organum, ii. 610 a, etc ; Pro-
portion, iii. 41 a ; Schools of
Comp., iii. 266 a; Vander
Straeten, iv. 217a; Dance
Rhythm, iv, 6056; Diet, of
Mus. , iv. 613a; Dunstable,
iv. 619a ; Hist, of Mus., iv.
673 b ; Sistine Chapel, iv.
754 a.
TiNODi ; Song, iii. 611 &.
TlRABOSCHI, G., iv. 128 7;.
Tirana, iv. 128b; Fandango,
i. 5026; Song, iii. 599?).
TiRARSi, Da, iv. 1286; Slide, iii.
536a; Tromba, iv. 174&.
TiRATA ; Slide, iii. 535&.
TiSDALL, W. ; Virginal Mus.,
iv. 310 a, etc.
'Tis THE Last Rose of Summer,
iv. 129 a.
Titiens, Mme. (See Tietjens,
T.,iv. 115 a.)
TiTL, A. ; Polka, iii. ga.
Titus, (See Clemenza di Tito,
i. 374«-)
Titze, L., iv. 129&; Schubert,
iii. 350 a.
ToBiN, R. ; London Violin
Makers, ii. 165 a.
Toccata, iv. 1296; Suite, iii.
757a; Touch, iv. 154a.
161
ToDi, Maria F., iv. 1306; Mara,
ii. 2096; Sarti, iii. 229a;
Willmann (Magd.), iv. 461a.
Tod Jesu, Der, iv. i 3 i a ; Graun
(K. H.), i. 621&.
Topper, G., iv. 7996 ; Schneider
(J. G.), iii. 256 a ; Tiersch,
iv. 1146.
TOESCHI, J. B. ; Concert Spiri-
tuel, i. 3856.
Tofts, Mrs. C, iv. 131 «;
Epine, i. 490 a; Valentini, iv.
213J.
Tolbecque, a., iv. 132Z).
Tolbecque, a. J., iv. 132 a.
Tolbecque, C. , iv. i 3 2 6 ; Lamou-
reux, iv. 696 a.
Tolbecque, Isid., iv. 132a.
Tolbecque, J., iv. 1327^.
Tolbecque, J. B., iv. 132 a.
Tollet, T., iv. 132 J; Lenton,
ii. 120&.
Tomascelli ; Milder - Haupt-
mann, ii. 330 J.
Tomaschek, W., iv. 132& ; Beet-
hoven, i. 1786, note, etc.;
Dreyschock, i. 46^a; Dussek,
i. 476 a, etc.; Hanslick,i.662a;
Haydn, i. 7i5tt; In questa
Tombaj ii. 4a; Kalliwoda (J.
W.), ii. 47 &; Lebert, iii.
691a; PF. Mus., ii. 'j26b;
PF. -playing, ii. 740a, etc.;
Pierson, ii. 752a; Schulhof,
iii, 383 J; Song, iii. 6146;
Weber, iv. 3996 ; Wiener, iv.
455 a; Kuhe (W.), iv. 693 i;
Vaterlandische Kiinstlerve-
rein, iv. 808 a.
Tomasini, a., iv. 134a.
Tomasini, L., iv. 134a.
Tomasini, L. A., iv. 133& ;
Baryton, i. 147 a; Haydn, i.
705 &, etc,
Tomisch, F, ; Haydn, i. 716&,
Tomkins, J., iv. 134a ; Anthem,
i, 72a; Tudway, iv. 1986;
Bryne, iv. 567a; Mus. Lib.,
iv. 7236; Psalter, iv. 763a.
Tomkins, A., iv. 1346.
Tomkins, G., iv. 1346.
Tomkins, N., iv. 1346.
Tomkins, R., iv. 1346.
Tomkins, T., iv. 134a; Oriana,
ii. 611 a.
Tomkins, T., jun., iv. 134 J;
Este (T.), i. 496 a; Magnificat,
ii. 197a ; Mus. Lib., ii, 4226 ;
Organ, ii. 5926; Virginal
Mus., iv. 309 a, etc. ; Psalter,
iv. 763 a,
Tonal Fugue, iv. 134S; iv.
7996 ; Foggia, i. 5396 ; Fres-
cobaldi, i. 563a; Fugue, i.
567a, etc; Real Fugue, iii.
M
162
8oa ; Subject, iii. 748 b ; Part-
writing, iv. 743 a.
Tonality, iv. 141a ; Harmony,
i. 681 &; Initials, Absolute,
ii. 3b; Modulation, ii. 346a,
etc.; Relation, iii. 105a;
Scale, iii. 236a, etc.
Tone, iv. 141b ; Scale, iii. 235b ;
Timbre, iv. 117 a.
Tones, Ecclesiastical. (See
Modes Eccles., ii. 340b.)
Tones, Gregorian, iv. 144a ;
Accents, i. 186; Ambrosian
Chant, i. 59b ; Chant, i. 337b ;
Gregorian Modes, i. 627a;
Initials, Absolute, ii. 36 ; In-
tonation, ii. 12a; Mediant,
ii. 244b; Mediation, ii. 244b,
etc. ; Modes Eccles., ii. 342b ;
Plain Song, ii. 765 h ; Schools
of Comp., iii. 312 a; Subject,
iii. 751 a; Vespers, iv. 257b.
Tonic, iv. 799b; Dominant, i.
452 b; Form, i. 542b; Har-
mony, i. 674 a, etc. ; Key-
note, ii. 56 a ; Pedal Point, ii.
679 a; Resolution, iii. 113 b,
Tonic Sol-fa, iv. 144a; Nota-
tion, ii. 478 b, etc. ; Wilhera,
iv. 458b; Curwen (J.), iv.
602 a.
Tonic Sol-fa College, The, iv.
149b.
Tonkunstler-Societat ; Ass-
mayer, i. 99 b; Beethoven,
i. 193a; Bonno, i. 260 a;
Concert, i. 384 b; Dittersdorf,
i. 450a; Eybler, i. 500b;
Festivals,!. 516a; Friberth,
i. 564b; Gassmann, i. 583b;
Haydn, i. 707 a; Mozart, ii.
390 b; Staudigl, iii. 691b;
Titze, iv. 129b; Wranizky,
iv. 490a.
Tonkunstlerverein (Berlin) ;
Commer, i. 381 a.
Tonkunstlerverein (Dresden),
iv. 150a; Mus. Lib., ii.
424 b.
Tonnerrb, Grosse Caisse, en,
iv. 150 b ; Drum, i. 465 a.
Tonometer; Scheibler, iii. 243 b;
Tuning-fork, iv. 190 a.
Tons, Les ; Frets, i. 563a.
Tonus Peregrinus ; MoM&o.
Mode, i. 40 b ; Hymn, i. 760 a ;
Plain Song, ii. 766 a; Recit-
ing-note, iii. 86 b; Gregorian
Tones, iv. 6566.
Tonus Regius; Gregorian Tones,
iv. 656b.
ToRCHET, J. ; Orphdon, ii. 6iib.
ToRCULUS, iv. 150b; Notation,
ii. 468 a.
ToRELLi, G., iv. 150b; Concerto,
INDEX.
i. 387 a; Grosso, i. 634a;
Violin-playing, iv. 2906.
ToRQUATO Tasso, iv. 151a;
Donizetti, i. 454a.
Torrance, Rev. G. W., iv.
151a.
ToRRENTES, A. dc ; Eslava, i.
494 b.
TORRIAN, J., iv. 799b.
ToRRiANi; Strakosch, iii. 734b.
ToRRiANO, Rev. C. ; Madrigal
Soc., ii. 193 b.
TORVALDO E DoRLISKA, iv.
151b; Rossini, iii. 177b.
Tosi, G. Felice; Bologna, i.
259^-
Tosi, P. F., iv. 151b; Agricola
(J. F.), i. 44b ; Galliard (J.
E.), i. 578b; Solfeggio, iii.
546 b.
TosTi, F. P., iv. 151b; iv.
799b ; Song, iii. 590b.
TosTO, iv. 152 a.
Touch, iv. 152a; Organ, ii.
599b; Pianoforte, ii. 719b.
Touch, iv. 154a; Toccata, iv.
130 a.
Touche; Key, ii. 53a.
ToucHEMOULiN ; Viulin-playing,
iv. 293 a.
TouLMON. (See Bottee de
TouLMON, i. 262 b.)
TouRDiON, iv. 154a; Orch^so-
j,'raphie, ii. 560 a; Trihoris,
iv. 169 b.
Tourjee, E., iv. 154b ; United
States, iv. 202 b.
Tours, B., iv. 155 a; PF. Mus.,
ii. 736a.
Tourte, F., iv. 155b; Bow, i.
264b ; Tartini, iv. 61 b; Violin-
playing, iv. 291b, etc.
Tower Drums, The, iv. 1566.
Towers, J., iv. 157a; iv. 799b.
Toy-Symphony, iv. 799 b; Ex-
travaganza, i. 500 a; Haydn,
i. 709 b; Mendelssohn, ii.
261a; Romberg (A.), iii.
154a.
Tozzi, A. ; Zenobia, iv. 506 a.
Tracker, iv. 157 a; Organ, ii.
607 a.
Tractulus, iv. 800 a; Point,
iii. 6 a.
Tractus, iv. 800a ; Gradual, i.
6i6a ; Mass, ii. 232 tt; Plain
Song, ii. 767 a; Requiem, iii.
109 a.
Traeq ; Diabelli, i. 442 a.
Traetta, T. M. F. S., iv. 157 i ;
Durante, i. 471a; Ifigenia, i.
765 b; Naples, ii. 445 a;
Olimpiade, ii. 496 b; Semira-
mide, iii. 461 a ; Mus. Lib., iv.
726a.
Training School for Music,
iv. 1585; National Training
School, iv. 728a.
Trajano. (See Trojano.)
Trajetta. (See Traetta, iv.
Tramezzani ; Singing, iii. 511a;
Vocal Concerts, iv. 319b.
Tbamidamente, iv. 159 a. (See
Timedamente, iv. 127b.)
Trani ; Dittersdorf, i. 449 b.
Tranquillo, iv. 159a.
Transcription, iv. 800 a;
Arrangement, i. 93a ; Pot-
pourri, iii. 22 b.
Transformation. (See Meta-
morphosis, iv. 717 b.)
Transition, iv. 159a; Modular
tion, ii. 344 a, etc.
Transposing Instruments ;
Score, iii. 433 a; Score, play-
ing from, iii. 436 a ; Transposi-
tion, iv. 161 b.
Transposing Instruments, iv.
159b; Pape, ii. 647 a; Wolff
(A.), iv. 485b.
Transposition, iv. i6ob; Eu-
phonium, i. 497 b; Harp, i.
687 b ; Score, playing from,
iii. 436 a.
Transposition op the Eccles.
Modes, iv. 161 b.
Trasuntino, V.,' iv. 162 a;
Harpsichord, i. 691a.
Trauer-Waltzer, iv. 162 a.
Travenol, L,, iv. 162 b.
Travers, J., 162b; Arnold, i.
86b ; Dupuis, i. 470b ; Jack-
son (of Exeter), ii. 27a ; Mus.
Lib., ii. 423a, etc.; Page, ii.
632b; Pepusch, ii. 685a;
Royal Soc. of Musicians, iii.
187a.
Traversa ; Concert Spirituel, i.
385 ft-
Traverso, iv. 163 a.
Traviata, La, iv. 163a; Verdi,
iv. 249b, etc. ; Violetta, iv.
267 b.
Treatment of the Organ, iv.
163 a; Registration, iii. 94 b,
etc. ; Mordent, iv. 719b.
Trebelli, a. ; Philh. Soc., iv.
747a.
Trebelli, Zelia, iv. 165 a ; Ma-
pleson, ii. 208 b ; Philh. Soc.,
ii. 700 a ; Singing, iii. 510a;
Wartel (P. F.), iv. 383b.
Treble, iv. 165 b; Organum, iL
609 a.
Tree, A. M., iv. 800 b; Cooke J
(T. S.), i. 398 a.
Tree, E., iv. 800 b.
Treffz, J.; Jullien, ii. 45b;i
Philh. Soc, ii. 699 b.
Tbeitschke, G. F., iv. 166 a;
Beethoven, i. 191a; Idome-
neo, R6 di Greta, i. 765 a.
Treitschke, M., iv. 166 a.
Tremolo, iv. 166 a; Abbrevia-
tions, i. 2&; Bebung, i. 160 a;
. Cavalieri, E. del, i. 3276;
Conforti,i.39o7) ; Monteverde,
ii. 359a ; Notation, ii. 478 & ;
Opera, ii. 501 & ; Singing, iii.
5096, etc. ; Steibelt, iii. 7036;
Vibrato, iv. 260&.
Tremulant, iv. 167 a; Organ,
ii. 603 a, etc.
Trenchmore, iv. 1 676.
Trento, v., iv. 167 & ; Ifigenia,
i. 7656.
Teesor des Pianistes, Le, iv.
. 1 68 a; Farrenc, i. 508 a ; PF.
Mus., ii. 729a.
Tbesor Musical, iv. 800 &.
Treu ; Violin-playing, iv. 289.
Trevulsi ; McGuckin, iv. 707 b.
Triad, iv. 168 &.
Trial, A., iv. 168 &.
Trial, A. E., iv. 168&.
Trial, J. C, iv. 168 &.
Trial, Marie, iv. 168 &.
Trial by Jury, iv, 169 a ; Sul-
livan (A.), iii. 764a.
Triangle, iv. 169a; Instru-
ment, ii. 7a; J anitscharen,
ii. 31a; Orchestra, ii. 5666;
Symphony, iv. 21b; Turkish
Mus., iv. 191a ; Wind-band,
iv. 468 a, etc.
Tribut de Zamora, Le, iv. 1 69 a ;
Gounod, i. 613 a.
Tbikbert, C. L., iv. 169 a ;
Oboe, ii. 487 a, etc.
Triebert, F., iv. 169&.
Triebert, F., jun., iv. 169b.
Trihoris, iv. 169&; Orcheso-
graphie, ii. 560 a ; Tourdion,
iv. 154&.
Trill, iv. 169b ; Agremens, i.
43a; Appoggiatura, i. 78b;
Cavalieri (E. del), i. 327b;
Conforti,i. 390 b ; Nachschlag,
ii. 442 a; Ribattuta, iii. 125b;
Gruppo, iv. 658b. (See also
Shake, iii. 479 b.)
Triller; Volkslied, iv. 337 a.
Trillo del Diavolo, II, iv.
170a; Tartini, iv. 61 a.
Trimeloe ; Organ, ii. 595b.
Trinity College, Dublin, iv.
170a; Bachelor of Mus., i.
121 b; University Soc, iv.
207 b ; Degrees, iv. 6ioa.
Trinity College, London, iv.
171a.
Trinozka; Song, iii. 614b.
Trio, iv. 171b; vi. 803b; Beet-
hoven, i. 189 a, etc. ; Form, i.
INDEX.
552b, etc.; Haydn, i. 719a;
March, ii. 212b; Mendels-
sohn, ii. 302 J, etc. ; Minuet,
ii' 333 &> etc. ; Mozart, ii.
399 a J Part Song, ii. 657 b;
Scherzo, iii. 246 b; Schubert,
iii. 352a, 557b, etc.; Schu-
mann, iii. 415 a; Sonata, iii.
555a, etc.; Symphony, iv.
13 a, etc. ; Terzetto, iv. 93 a;
Alternative, iv. 521a.
Triolet; Chanson, i. 335b.
Trionfo di Dori, II, ii. 611 b.
(See Oriana, Triumphs of,
ii. 611 a.)
Triphonia; Diaphonia,iv. 613 a.
Triplet, iv. 173b; Hemiolia, i.
727b; Sextolet, iii. 478a;
Dot, iv. 61 8 a.
Triple Time, iv. 174 a ; Accent,
i. 1 2 a, etc. ; Time, iv. 11 9b, etc.
Triplum; Organum, ii. 609 a;
Treble, iv. 165 b.
Tristan und Isolde, iv. 174 a ;
Lassen, ii. 92 b; Wagner, iv.
360 a, etc.
Tritone, iv. 803 b; Authentic,
i. 105a; Counterpoint, i. 408 a ;
Mi contra Fa, ii. 326b ;
Modes Eccles., ii. 343 a ; Mus.
Ficta, ii. 413b, etc.; Strict
Counterpoint, iii. 741b.
Tritonius ; Mus. Lib., iv. 725 a.
Tritto ; Farinelli (G.), i. 507 a;
Naples, ii. 446 a; Spontini,
iii. 665 a.
Trochee, iv. 174b; Accent, i.
12a ; Metre, ii. 317a.
Trois Couleurs, Les, iv. 8036 ;
Parisienne, La, ii. 649 b.
Trojano, M. ; Lassus, ii. 96 a;
StefFani, iii. 695 a.
Tromba ; Bugle, i. 280a.
Tromba, iv. 174b; Trombone,
iv. 176a; Trumpet, iv. 180 a.
Tromba marina, iv. 174b;
Violin, iv. 269 a, etc. ; Vir-
dung, iv. 303 b.
Tromboncino, B., iv, 176a;
Frottole, i. 566 a; Lamenta-
tions, ii. 88 a.
Trombone, iv. 176a ; iv. 804a ;
Belcke, i. 210b; Contrabass
Posaune, i. 395 b ; Horn, i.
747 a; Instrument, ii. 6a;
Kohler (F. A.), ii. 68a;
Monteverde, ii. 359b ; No-
tation, ii. 478 a ; Orchestra,
ii. 561b, etc.; Orchestration,
ii. 567 a, etc. ; Posaune, iii.
20a; Queisser, iii, 60a ; Sack-
but, iii. 209 a; Slide, iii. 536a;
Sordini, iii. 637 b ; Symphony,
iv. 26 a; Tenor, iv. 88 a;
Trumpet, iv. 181 a j Wind-
163
band, iv. 464 a, etc. ; Bessou,
iv. 546 a.
Trompettb, La, iv. 178 b.
Trompette (string) ; Hurdy
Gurdy, iv. 683 6.
Troppo, iv. 179'a.
Troubadour, The, iv. 804 a;
Mackenzie (A.), iv. 707 b.
Troubadours, iii. 584b; Chan-
son, i. 336 a ; Madrigal, ii.
187 b; Mus. Antiqua, ii.
411a; Singing, iii. 497 b;
Song, iii. 584b, etc. ; Vielle,
iv. 261b; Violin, iv, 269a;
Hueffer, iv. 681 a.
Troupenas, E., iv. 1 79 b ; Ros-
sini, iii. 173 b.
Troutbeck, Rev. J., iv, 179 b,
TROUvifiES ; Chanson, i. 356 a;
Song, iii. 585 b; Hale, iv.
662 a.
Trovatore, II, iv. 179 a ; Verdi,
iv. 249 b, etc.
Troyens, Les, iv. i8ob; Berlioz,
i, 232 a,
Troyers, F. Count von, iv. 180a.
Troyte, a. H. D., iv. 1 80 a.
Trube, Joh. ; DorfFel (A.), iv.
6i6b.
Truhn, F. H,, iv. i8oa ; Abt, i.
6a; Orpheus, ii. 613b; Part
Song, ii. 659 a.
Tbummscheidt. (See Tromba
Marina, iv. 1 74b.)
Trumpet, iv. i8oa ; iv. 804 a;
AdditionalAccompaniments, i.
34b; Altenburg, i. 57 b ; Buhl,
i. 281b ; C, i. 289a ; Carlo, i.
314b; Clagget, i. 360 a;
Clarino, i. 364 b; Harmonics,
i. 665b; Harper (T.),i. 688 a;
Horn, i. 747 a; Instrument,
ii. 6a; Mute, ii. 439b ; Nota-
tion, ii. 478a; Orchestra, ii.
561b, etc.; Orchestration, ii.
567a, etc; Organ, ii. 584a,
etc.; Philidor (M. D.), ii.
702b, etc. ; Principal, iii. 32a ;
Saxhorn, iii. 233a; Schachtner,
iii. 241 a ; Sergeant Trum-
peter, iii. 469 a; Shore, iii.
488b; Slide, iii. 536a; Snow,
iii. 542a; Sordini, iii. 637b;
Sounds and Signals, iii. 643 a,
etc; Tirarsi, da, iv. 128b;
Tromba, iv. 174b ; Trombone,
iv. 176a; Tucket, iv. 184b;
Valve, iv. 215b; Wind-band,
iv. 464a, etc. ; Zinke, iv.
511b; Bach Choir, iv, 529a;
Hist, of Mus., iv. 676b.
Trumpet-Ovebture ; Mendels •
sohn, ii. 259a.
Trusler ; Marylebone Gardens,
ii. 224a.
Ma
164
TscHAiKOWSKT, P. L, iv. 183 a ;
iv. 804 b ; Dannreuther, i.
430a; PF. Mus., ii. 735 &;
PF.-playing, ii. 745; Song,
iii. 6136; Suite, iii. 761a;
Bortniansky, iv. 555a; Philh.
Soc.,iv. 747a.
TscHUDi, B. (See Shudi, iii.
4886.)
TuA, Teresina, iv. 183 J ; Violin-
playing, iv. 296 a ; Philh. Soc.,
iv. 7465.
ToBA, iv. 183?); Instrument, ii.
6a; Sordini, iii. 6376 ; Trum-
pet, iv. 1806; Wind-baud, iv.
468 b.
Tuba Mirabilis, iv. 184 a ; Ac-
companiment, i. 24a ; Organ,
ii. 601 a.
Tubes, J., iv. 184 a.
Tucker, Kev. W., iv. 184a;
Page, ii. 6326; Tudway, iv.
199a.
Tuckerman, S. p., iv. 184 a ;
iv. 804 b.
Tucket, iv. 184b ; Toccata, iv.
130a; Tusch, iv. 195b.
TuczEK, F., iv. 1850.
TuczEK, Fr., iv. 185 a.
TuczEK, L., iv. 185 a.
TuczEK, v., iv. 185a.
Tudway, T., iv. 185 b and 198 a ;
iv. 804b; Anthem, i. 72a;
Arnold (S.), i. 86b ; Cathedral
Mus., i. 325a; Mas. Lib., ii.
419b; Mus. School (Oxford),
ii. 437a; Professor, iii. 33a;
Schools of Comp,, iii. 283a.
Turk, D., iv. 186 a; Appoggia-
tura, i. 77^ » Arpeggio, i.
87 a; Latrobe, ii. 103b;
Loewe (J. C), ii. 159b ; Marx,
ii. 223a; Mordent, ii. 364b;
Nachschlag, ii. 441a; Rust
(W. K.), iii. 206 a ; Shake, iii.
480 a ; Vorschlag, iv. 340 a.
TuLou, J. L., iv. i86a; Con-
servatoire de Mus., i. 392 b,
etc.
TuLOU, J. P., iv. 1 86 a.
TuMA, F., iv. i86b; Fux, i.
570 a.
Tune, iv. i86b.
Tune (Act-tune), iv. 187a;
Entr'acte, iv. 628 a.
Tuning, iv. 187b; A, i. la;
Arch-lute, i. 81 a; Bach (J.
N.), i. 112a; Bach (J. S.), i.
ii6b; Bagpipe, i. 124a;
Banjo, i. 135a; Beats, i.
159b, etc.; Bells, i. 218a,
etc.; Olagget, i. 360a; Cla-
rinet, i. 364 «; Comma, i.
3806 ; Diesis, i. 446 b ; Double-
TNDEX.
bass, i. 457 b ; Drum, i. 465a ;
Fingering, i. 526a;. Fritz, i.
565 a ; Gamba, Viola da, i.
580a ; Guitar, i. 640a ; Har-
monium, i. 669 a ; Helmholtz,
i. 726 a; Hoffmann (G.), i.
742 a; Horn, i. 747 b; Lute,
ii. 177a; Oboe, ii. 487*;
Organ, ii. 5866 ; Paganini, ii.
631 b ; Partial Tones, ii. 654a ;
Pitch, ii. 756 a; Resultant
Tones, iii. 120a, etc.; Schei-
bier, iii. 243 b; Scordatura,
iii. 426a, etc. ; Temperament,
iv. 70a, etc.; Tenor Violin,
iv. 89a ; Theorbo, iv. 100 a;
Trombone, iv. 177a; Trum-
pet, iv. i8ib; Viol, iv. 267 a ;
Viola d'Amore, iv. 267a;
Viola da Braccio, iv. 267a;
Viola Pomposa, iv. 267 b;
Violin, iv. 281 a ; Violin-play-
ing, iv. 287 a ; Wolf, The, iv.
485 a; Wrest-plank,iv. 490b.
TuNiNG-FoRK, iv. 190a; A, i.
I a ; Beats, i. 1 59 a ; Diapason,
i. 442 b ; Monochord, ii. 354 a ;
Partial Tones, ii. 654b; Pitch-
pipe, ii. 759 a; Sliore (J.),
iii. 488b; Siren, iii. 518b;
Timbre, iv. 117a; Tono-
meter, iv. 150b; Tuning, iv.
189a ; Ellis (A. J.), iv. 627a.
TuNSTED, S., iv. 804 b ; Hamboys,
i. 647 a.
TuRANDOT, iv. 190 a ; Weber, iv.
427 b; Vesque von Piittlin-
gen, iv. 811 b.
Turban ; Soc, de Mus. de Cham-
bre, iii. 543 b; Saint Saens,
iv. 779 a.
TuRCA, All A, iv. 190 b.
TuRCO IN Italia, II, iv. 190 J;
iv. 805a; Rossini, iii. 177b.
TuRE-LuRE, iv. 805 a.
Turges, E. ; Burney, iv. 570b.
TuRiNA. (See Massin-Tu-
RINA.)
TuRiNi, F., iv. 190a ; Handel,
i. 654b; Meister, Alte, ii.
247 b; Practical Harmony,
iii. 24a ; Saggio di Contrap-
punto, iii. 212a; Sonata, iii.
554b, etc. ; Burney, iv. 571a.
TuRiNi, G., iv. 190b; Mus.
Divina, ii. 411 b.
Turk, iv. 190 b; Haydn, i.
712 b ; Rauzzini, iii. 78a.
Turkish Music, iv. 191a.
Tuble, J., iv. 191a; iv. 805b;
Ancient Concert, i. 64a ; Hop-
kins (J. L.), i. 747a; Lloyd
(E.), ii. 154a ; Madrigal Soc,
ii. 194a; Purcell Club, The,
iii. 52 b; Purcell Soc., The,
iii. 53a ; Taylor (E.), iv. 66 a ;
Thoroughbass, iv. 108 b ; Vocal
Soc, The, iv. 320b ; Western
Madrigal Soc, iv. 449 a ;
Willing, iv. 460 a.
TuRLE, R., iv. 191 b ; McGuckin,
iv. 707 a.
TURLE, W., iv. T9lb.
Turn, iv. 191b; Agrdmens, i.
43a, note; Grace-notes, i.
615a; Notation, ii. 477b;
Shake, iii. 481 b, etc. ; Gruppo,
iv. 658 b.
Turner, A. T., iv. 195 a.
Turner, B. ; Trinity Coll. Lon-
don, iv. 171b.
Turner, W., iv. 195 a ; Blow, i.
249 b; Boyce, i. 268 b; Hum-
fr®y> ^« 757" > Mus. Lib., ii.
418 b, etc ; Schools of Comp.,
iii. 283 a ; Tudway, iv. 199 a.
Turpin, E. H.,iv. 195 b ; Trinity
Coll., London, iv. 171b ; Mus.
Periodicals, iv. 726b; Organ-
ists, College of, iv. 735 b.
Tusch, iv. 195b; Fanfare, i.
503 a; Tucket, iv. 185 a.
TuTTi, iv. 196 a.
Twelfth ; Organ, ii. 583 b, etc.
Twelfth Mass ; Mozart, iv.
721a.
Twining, T. ; Ruckers, iii. 196b,
note.
Tye, C, iv. 196 b; iv. 805 b;
Anthem, i. 70b ; Barnard, i.
140b; Boyce, i. 268a; Ca-
thedral Mus., i. 325a; Haw-
kins, i. 700 b; Motet, ii.
375b; Mus. Lib., ii. 418b,
etc. ; Page, ii. 632 b ; Part
Mus., ii. 656b; Schools of
Comp., iii. 272 b, etc. ; Ser-
vice, iii. 473a ; Specimens,
Crotch's, iii. 649 b ; Tudway,
iv. 198a; Vocal Concerts,
iv. 319 b ; Windsor Tune, iv.
474 a; Burney, iv. 570b;
Motet Soc, iv. 720a ; Psalter,
iv. 754a.
Tylman, Susato, iv. 196 b; iv.
805 b; Josquin, ii. 41b;
Schools of Comp., iii. 267b;
Waelrant, iv. 344 b.
Tympan ; Irish Mus., ii. 20 b.
Tympanischiza. (SeeTROMBA
Marina, iv. 174b.)
Tympanon ; Dulcimer, i. 468a.
Tyndall, J., iv. 197 b.
Tyrolienne, iv. 197 b.
TZAMEN, T. ; Dodecachordon, W.
6i6a.
TzETZES, J. ; Hist, of Mus., iv.j
675*.
INDEX.
165
U.
U BALDl ; Siroe, re di Persia, iii.
534a-
Uberti, G.jiv. 200 a.
Ubrich; Philh. Soc, ii. 700 a.
U. C, iv. 200a; Notation, ii.
4786; Pedals, ii. 6826, etc.;
Verschiebung, iv. 2566.
UcELLiNi, P. ; Violin-playing,
iv. 288 &.
Udine, G. da; Mus. Lib., iv.
726 a.
Ugalde, D., iv. 200b.
Ugalde, M., iv. 200 &.
Ugolini, V. ; Agostino, i. 42 a ;
Benevoli, iv. 543 o.
UlIBISCHEW. (SeeOULIBICHEFr,
ii. 61 6 a.)
Ullmann, B. ; Opera, ii. 529 & ;
Strakosch, iii. 734 a.
Ulrich, H., iv. 2006 ; Goetz, i.
607 a; PF. Mus., ii. 736a.
Umgewitteb, 0. ; Hist, of Mus.,
iv. 676 b.
Tjmkeheung ; Inversion, ii.
15b.
Umlauf, I., iv. 201 a.
Umlauf, M., iv. 201 b ; Beet-
hoven, i. 197a; Vaterland-
ische Kiinstlerverein, iv. 808 a.
Umlauf; Zither, iv. 513a.
Umstatt; Practical Harmony,
iii. 24a.
Un Anno ed un Giorno, iv.
201 b; iv. 806a; Benedict, i.
222 b.
Unda Maris, iv. 201b ; Organ,
ii. 603 a.
Undine, iv. 201 b ; Benedict, i.
223 a.
Unequal, iv. 201 b.
Unequal Temperament ; Tem-
perament, iv. 73 a.
Unger ; Extemporising Machine,
i. 499 b.
Unger ; Schneider (F. J. C),
iii. 255 a; Schneider (J. G.),
iii. 255 b.
Unger, Caroline, iv. 201b; iv.
806 a; Beethoven, i. 175a,
etc. ; Clauss, i. 366 a ; Men-
delssohn, ii. 279 b ; Schimon,
iii. 250b; Schubert, iii. 329 a.
Unger, G. ; Wagner, iv. 363 b.
Ungher-Sabatier. (See Un-
ger, C, iv. 201 b.)
Unison, iv. 202 a; Beats, i.
159 a, etc.
United States, iv. 202 a; iv.
806 a ; Opera, ii. 5 29 a, etc. ;
Peabody Conceits, ii. 677b;
Schools of Comp., iii. 313a;
Tourjee, iv. 154b, etc.; Up-
ham, iv. 208 a; Zerrahn, iv.
506 b; Boston Mus. Soc, iv.
555a, etc. ; Eichberg (J.), iv.
626a; Lang (Benj.), iv. 696b;
Negro Mus., iv. 728b.
University Musical Societies,
iv. 204 a ; iv. 806 a.
Upham, J. Baxter, iv. 208 a.
Upright Grand Piano, iv.
2080; Pianoforte, ii. 719a;
Womum, iv. 489b; Harpsi-
chord, iv. 668 a.
Urban, J. ; Leipzig, ii. 115 a.
Urbani. (See Valentini, iv.
213&.)
Ubhan, C, iv. 208 b ; Alizard, i.
53a; Schubert, iii. 357b.
Ubio, F. a., iv. 209a; Ar-
rangement, i. 94 b ; Dettingen
Te Deum, i. 441 a ; Handel,
i. 654 b; Israel in Egypt, ii.
35b, and note; Te Deum, iv.
69a, note; Chrysander (F.),
iv. 591b.
Urquhart, T., iv. 2 10 a; Lon-
don Violin Makers, ii. 163b;
Violin, iv. 283 a.
Urspruch, Anton ; Song, iii.
630 b.
Uschmann ; Lucca (P.), ii.
170 b,
Use, iv. 210 a; Mediation, ii,
245 «•
Utrecht, iv. 210b.
Utrecht Te Deum ; Handel, i.
657a ; Te Deum, iv. 69a.
Uttendal ; Mus. Div., ii. 412 a.
Ut, Re, Mi, iv. 211a; Do, i,
451b; Hexachord, i. 734a,
etc.; Mass, ii. 226b; Missa
super Voces Mus., ii. 338b;
Palestrina, ii. 638 a ; Solmisa-
tion, iii. 550a, etc. ; Tonic
Sol-fa, iv. 145a; Guido d'A-
rezzo, iv. 660 b.
V.
V abray, De; Corbet, i. 400 a.
Vaccaj, N., iv. 212a; Capuletti
ed i Montecchi, i. 307 a; Ro-
meo and Juliet, iii. 154a ;
Stern, iii. 712 b; Golinelli, iv.
651a.
Vacheb, Le ; Flageolet, i. 531b ;
Musette, ii. 410 a.
Vachon ; Violin - playing, iv.
289.
Vacquebas, B. ; L'Hommearme,
ii. 127a; Dodecachordon, iv.
616 a; Sistine Chapel, iv.
794a.
Vaet, J., iv. 212a; Clemens
non Papa, i. 371a; Motet,
ii. 373«; Wert, iv. 445a;
Tr^sor Mus., iv. 803 b.
Vagans, iv. 212b; Quintus, iii.
6ia.
VagvOlgyi, B. ; Song, iii.
6iib.
Vaisseau-Fantome, Le, iv.
212b; iv. 806a; Wagner, iv.
372 b.
Valbonne, Mme. Barbier ; Con-
cert Spirituel, i. 385 b.
Valcampus ; Bodenschatz, i.
253&.
Valdesturla ; Haydn, i. 706 b.
Valentini, P. F., iv. 213a;
Hawkins, i. 700b ; Nodus
Salomonis, ii. 461b.
Valentini, V. Ubbani, iv.
213b.
Valentini ; Kerl, ii. 51a.
Valentini ; Corelli, i. 401 b.
Valentini. (See Mingotti, ii.
33I&-)
Valentino, H. (See Wagner,
iv. 352 «.)
Valentino, H. J. A. J., iv.
214a; Promenade Concerts,
iii. 40 b.
Valenzola; Mus. Lib., ii. 419a.
Valebiano, V. P., iv. 214b.
Valerius, A. ; Vereeniging,
etc., iv. 255 a.
Valesi ; Adamberger, i. 29 a;
Brandl, i. 271b; Lablache,
ii. 79 b ; Weber, iv. 389 b.
Vallace, G., iv. 214b ; Rossini,
iii. 177 b.
Valle, p. della ; Venosa, iv.
237 b J Hist, of Mus., iv.
674a.
Vallebano, a. da; Practical
Harmony, iii. 24a; Rosalia,
iii. i6oh.
Vallebia, a., iv. 214&; iv.
806 a.
Valls, F. ; Eslava, i. 495 a.
Vallez, De La ; Vingt-quatre
Violons, iv. 266?).
Vallotti, F., iv. 806 a; Sarti,
iii. 228a ; Vogler, iv. 324a.
Valtellina ; Erba, i. 491 h.
Valve, iv. 215a; Comet, i.
403b; Horn, i. 747b; Instru-
ment, ii. 6a; Piston, ii. 756 & ;
Trumpet, iv. 181 a; Ventil,
iv. 2386; Wind-band, iv.
468 a, etc. ; Besson, iv. 546 a.
Vamptr, Der, iv. 216a; Marsch-
ner, ii. 219 a.
Van Bbee, J. B., iv. 216 a; iv.
807 a.
Van der Brokck ; Lemmens,
ii. 1 20 a.
Van der Eeden, G., iv. 216a;
iv. 807a ; Beethoven, i. 163a ;
Neefe, ii. 450 b.
Vander Straeten, E., iv. 2i6b ;
Josquin, ii. 426 ; Ruckers, iii.
1946, etc. ; Spinet, iii. 651 6 ;
Hist, of Mus., iv. 675b ; Spi-
net, iv. 795 J.
Vandini ; Violoncello - playing,
iv. 2996.
Van Eyken ; Niederrheinische
Musikfeste, ii. 456b ; Schnei-
der (J. G.), iii. 256 a.
Vanhall ; Concert Spirituel, i.
385 &.
Vanini. (See Boschi, i. 262 a.)
Van Maldere; Concert Spirit-
uel, i. 385 b.
Vannecci ; Boccherini, i. 251a.
Vannius, J. ; Dodecachordon,
iv. 616 a.
Vannuccini; Wynne, iv. 818 a.
Van Os, A., iv. 807 a.
Van Swieten. (See Swieten,
VAN, iv. 9 a.)
Van Waefelghem ; Trompette,
La, iv. 179 a.
Vaqueras. (See Vacqueras.)
Vareira ; Song, iii. 600 a.
Vargas, U. de ; Eslava, i.
494b.
Variantb, IV. 217a.
Variations, iv. 317a ; Accom-
paniment, i. 2 1 a ; Beethoven,
i. 205 b; Chaconne, i. 331b;
Coda, i. 376 a; Doubles, i.
459b; Florid, i. 534b ; Form,
i. 553 b, etc. ; Partie, ii. 656 a ;
Schumann, iii. 409 b, etc. ;
Sonata, iii. 582a ; Theme, iv.
1 00 a; Virginal Mus., iv.
308 a, etc.
INDEX.
Varlamoff, a. J. ; Song, iii.
613&.
Varney, p. J., iv. 807 or.
Varsoviana, iv. 230b.
Vasarh^lt, a. ; Song, iii. 61 ib.
Vascello-fantasma, II, iv.
230b.
Vasconcellos, J. de ; Hist, of
Mus., iv. 675 b.
Vasik ; Song, iii. 614b.
Vaslin ; Conservatoire de Mus.,
i. 392 b.
Vassilef ; Song, iii. 613 b.
VaterlandischeKunstlerver-
EIN, iv. 807 a; In questa
Tomba, ii. 4 a.
Vaucorbeil, a., iv. 230b.
Vaudeville, iv. 231a; Comic
Opera, i. 380a ; Leroy, ii.
123a, note; Liederspiel, ii.
136a; Opera, ii. 5io«> etc.;
Schools of Conip., iii. 281a;
Singspiel, iii. 517b ; Song, iii.
592b.
Vaudeville Theatre, iv. 232a;
iv. 808a.
Vaudin, M. J. F. ; Mus.
Periodicals, ii. 429b.
Vaughan, M., iv. 233a; Ash-
ley, i. 98 b; Vocal Concerts,
iv. 319a.
Vaughan, T., iv. 233a; iv.
808 a; Beckwith, i. 161 b;
Hamerton, i. 647 a ; Vocal
Concerts, iv. 319b.
Vauthrot ; Maurel, iv. 715 a.
Vautor ; Este (T.), i. 496 a.
Vautrollier, T. ; Notation, ii.
475 a; Part-books, iv. 7400.
Vaux-de-Vire ; Song, iii. 592 b ;
Vaudeville, iv. 231a.
Vauxhall Gardens, iv. 233 a;
Spring Garden, iii. 682 a.
Veana, M. ; Eslava, i. 494b ;
Yriarte, iv. 496b.
Vecchi, 0., iv. 234b; iv. 808 «;
Banchieri, i. 133b; Boden-
schatz, i. 253b; Catelani, i.
323b; Madrigal, ii. 190b;
Milan, ii. 329a; Mus. Anti-
qua, ii. 411 a ; Mus. Divina,
ii. 411b; Mus. Transalpina,
ii. 416 a; Ochetto, ii. 491a;
Opera, ii. 499 a; Oriana, ii.
611 b; Requiem, iii. 109 b;
Schools of Comp., iii. 266 a ;
Burney, iv. 571a; Dance
Rhythm, iv. 606 a ; Dies Irse,
iv. 614a ; Mus. Lib., iv. 726a.
Vbdel; Violin, iv. 268 b.
Vega, M. ; Viardot-Garcia, iv.
259 a.
Veichtner; Reichardt (J. F.),
iii. 99 b.
Veiled Prophet of Khorassan,
The, iv. 235 a; Stanford, iii.
689b.
Veiled Voice, iv. 235 b ; Sing-
ing, iii. 510a; Sombr^e, iii.
553&.
Veillons au Salut, etc., iv.
808 a ; Oh peut-on 6tre mieux,
ii. 616 b, note.
Veit, H. ; Song, iii. 614 b.
Veldecke, H. von ; Song, iii.
615a.
Vella ; Isouard, ii. 24a.
Velluti, G. B., iv. 235 b ; Cro^
ciato in Egitto, i. 419 a ; Lam-
perti, ii. 890 ; Mendelssohn,
ii. 263 a; Singing, iii. 506 a;
Soprano, iii. 636 a.
Veloce, iv. 236 b.
Venerolo; Steffani, iii. 6950;.
Venetian Swell, iv. 236b;
Broad wood & Sons?, i. 278a;
Harpsichord, i, 691 a.
Venezia, F. da ; Lamentations,
ii. 88 b.
Veni Creator Spiritus, iv.
237a ; Palestrina, ii. 639a.
Veni Sancte Spiritus, iv.
808b ; Plain Song, ii. 767 a ;
Sequentia, iii. 465 b.
Venice, iv. 808b ; Accademia,
i. lib; Hist, of Mus., iv.
675 b.
Venier ; Mus. Lib., iv. 726a.
Venite, iv. 237a; Service, iii.
472a.
Venosa, C. G., Prince of, iv.
237b; Hawkins, i. 'jooh ;
Schools of Comp., iii. 278 a;
Burney, iv. 571a.
Vent A, Iva da ; Lassus, ii. 96 a.
Ventadour, B. de ; Song, iii.
585&.
Ventadour, Theatre, i v. 2 3 7 b ;
iv. 8ioa ; Wagner, iv. 360 Z>,
note.
Venti ; Galuppi, i. 579b.
Ventil ; Comtjination-pedals, i.
379a; Organ, ii. 607 a;
Pedals, ii. 682 a.
Ventil, iv. 2385 ; Trumpet, iv.
i8ia; Valve, iv. 215a.
Vento, M. ; Lesson, ii. 124b;
Comelys (Theresa), iv. 598 b.
Venturus, J.; Bodenschatz, i.
253a; Mus. Transalpina, ii.
416 a ; Sistine Chapel, iv.
794 b.
VtPRES Siciliennes, Les, iv.
238b; Verdi, iv. 250a.
Veracini, A.,iv. 239a.
Veracini, F., iv. 239a; Gemi-
niani,i. 587b; Klotz, ii. 65 a;
Sonata, iii. 558 b; Stainer
(M.), iii. 688a; Tartini, iv.
60a; Violin-playing, iv. 291a.
i
Verdelet. (See Boissabd, J.)
Verdelot, p., iv. 2396; iv.
8 10 a; Attaignant, i. 100 &;
Lassus, ii. 94 a ; Madrigal, ii.
188&; Mass, ii. 2286; Pro-
gramme Mus., iii. 35 a ;
Schools of Comp., iii. 261 &;
Sounds and Signals, iii. 643 a;
Mus. Lib., iv. 726a; Sistine
Chapel,iv. 7946; TrdsorMus.,
iv. 8036.
Verdi, G., iv. 239b ; iv. 811 o ;
Academic de Mus., i. 96 ;
Basevi, i. 147&; Basili, i.
147 &, etc. ; Donizetti, i. 4536;
Emani, i. 492a; Forza del
Destino, i. 5566; Gardoni, i.
583 a ; Grand Opera, i. 617& ;
Jerusalem, ii. 34 a ; Lombardi,
L, ii. 162 &; Luisa Miller, ii.
172 a; Macbeth, ii. 183 a;
Mapleson, ii. 308 &; Masna-
dieri I., ii. 2246; Nabucco,
ii. 440a ; Opera, ii. 525 a;
Rigoletto, iii. 135a; Schools
of Comp., iii. 301a, etc.;
Scribe, iii. 453 <» ; Simone
Boccanegra, iii. 5336; Stif-
fellio, iii. 714b; Traviata, La,
iv. 163a ; Trovatore, II, iv.
179&; Ventadour Theatre, iv.
238&; Vepres Siciliennes, iv.
2386; Aida, iv. 519a ; Dies
Irae, iv. 614a; Hueffer, iv.
681 a; Napoleon (H.), iv,
728a; Pougin(A.),iv. 751a;
Requiem, iv. 770&.
Veedie, R. ; Vingt-quatre Vio-
lons, iv. 266 b.
Verdonck, C, iv. 811 a; Mad-
rigal, ii. 191a; Mus. Divina,
ii. 412 &; Mus. Transalpina,
ii. 416 a; Tresor Mus., iv.
803 &.
Vereeniging, etc., iv. 255a;
iv. 811 &; Sweelinck, iv. 8a;
Eitner, iv. 626b.
Verger ; Strakosch, iii. 734b.
Verhulst, J. J. H., iv. 255a;
Felix Meritis, i. 511a; Leip-
zig, ii. 115 6; Lemmens, ii.
i2oa; Tours, iv. 155a.
Verimmst ; Chanson, i. 336b.
Verlorene Paeadies, Das, iv.
255b; Rubinstein, ii. 192b.
Vermont ; Attaignant, i. loob.
Vernabecci, a. ; Part-books,
iv. 740a, note.
Vernio, Conte di ; Intermezzo,
ii. 8b.
Vernizzi, 0. ; Intermezzo, ii. 8 b.
Vernon, J., iv. 255b.
Veron, L. D.,iv. 256a.
Verona ; Accademia, i. iib;
Hist, of Mus., iv. 675 b.
INDEX.
Vebpr:^ : Vingt-quatre Violons,
iv. 266b.
Verroust ; Conservatoire de
Mus., i. 392 b; Vogt, iv.
332 «.
Verschiebung, iv. 256b; Nota-
tion, ii. 478 b; Pedals, ii.
682 b, note ; Sordini, iii. 637 a ;
U. C, iv, 200 a.
Verschworenen, Die, iv, 256 b ;
Schubert, iii. 337 b.
Verse, iv. 257a; Accents, i.
17b; Anthem, i. 71a; Ser-
vice, iii. 475 a.
Versicle, iv. 257 a; Cathedral
Mus., i. 323b ; Plain Song, ii.
766 a; Response, iii. 116 a,
etc.; Vespers, iv. 257a.
Verstovsky,A.; Song, iii. 61 3 b.
Vertical and Horizontal
methods, iv. 811 b.
Vert- Vert, iv. 257a; Offen-
bach, ii. 493 b.
Verve, iv. 257a.
Vervoille, C. ; Part Mus., ii.
657a.
Veselovskt ; Song, iii. 614 b.
Vesperale, iv. 257a; Gradual,
The Roman, i. 615a; Hymn,
i. 760b ; Intonation, ii. 12b;
Plain Song, ii. 764b ; Ver-
sicles, iv. 257a; Vespers, iv.
257b.
Vespers, iv. 257a; Mozart, ii.
401a; Versicle, iv. 257a.
Vesque von Puttlingen, J.,
iv. 8iib ; Turandot, iv. 190b.
Vespri Siciliani. (See Vepees
Siciliennes, iv. 238 b.)
Vestale, La, iv. 257 b; iv.
812a ; Spontini, iii. 666b, etc.
Vestoali; Strakosch, iii. 734a.
Vestris, a. ; Haydn, i. 710a.
Vestris, G. ; Ballet, i. 132 a.
Vestris, L. E., iv. 257b; iv.
812a; Begnis, i. 210a;
Treitschke (M.), iv, 166 a;
Vauxhall Gardens, iv. 234 a.
Vetter Michel. (See Rosalia,
iii. i6oa.)
Veuve du Malabar, iv. 258 b;
Herv^, iv. 672 a.
ViADANA, L„iv.258b; iv. 812a;
Agazzari, i. 41 b ; Bodenschatz,
i. 253b; Concerto, i. 387a;
Faux-Bourdon, i. 510a;
Figured Bass, i. 522a; Har-
mony, i. 673b ; Milan, ii.
329a ; Mus, Divina, ii. 412a ;
PlainSong, ii.769a ; Thorough-
bass, iv. 108 a; Vittoria, iv.
314b, note.
ViAGGio A Reims, II, iv. 258b ;
Rossini, iii. 171a.
ViALLETTi; Lamperti, Ii. 89a.
167
ViANA, M. (See Veana.)
ViANEsi, A., iv. 812 a.
ViABD-LouiS, Jenny, iv. 342 a ;
iv. 812 b; Weist Hill, iv.
434 «•
Viardot-Gabcia, M. F. P., iv.
259a; Alceste, i. 51a; Con-
servatoire de Musique, i. 393a;
Don Giovanni, i. 452 b; Gar-
cia (M.), i. 582 a; Gounod, i.
613b ; Graun (K. H.), i. 621b;
Joachim, ii. 34b; Mendels-
sohn, ii. 282b; Orgenyi, ii.
6iob ; Orph^e et Eur i dice, ii.
611 b; Philh. Soc., ii. 699 b;
Roger, iii, 145 a; Singing, iii.
508 a; Sterling, iii. 712 a;
Stockhausen (J.), iii. 716a;
Taylor (F.), iv. 66 b; Zere-
telew, iv.5o6a; Art6t(M.), iv.
524a ; Brandt (M.), iv. 562 a.
ViARDOT, J. ; Sistine Chapel,
iv. 794b.
ViARDOT, Paul, iv. 260 a; Philh.
Soc, ii. 700b; Godard, iv,
649 b.
Vibrations ; Acuteness, i. 26 b;
Beats, i. 159a ; Bells, i. 216b ;
Belly, i. 220a; Belly (Sound-
board), i, 220b; Comma, i.
380 b; Dissonance, i. 449 a;
Harmonics, i. 663 b; Hehn-
holtz, i. 726a; Instrument,
ii. 5b; La, ii. 79a; Node, ii.
461a, etc.; Octave, ii. 491 '>;
Partial Tones, ii. 653b, etc.;
Pedals, ii. 683 a ; Pipes, Vibra-
tion of Air in, ii. 754b ; Pitch,
ii. 757a ; Resultant Tones, iii.
119a, etc.; Sarti, iii. 229a;
Savart, iii. 231a; Scheibler,
iii. 243 b; Singing, iii. 498 b;
Soundholes, iii. 640 b ; Sound-
post, iii. 642 a; String, iii.
744b; Temperament, iv. 72b,
etc.; Tone, iv. 142a, etc;
Tuning, iv. 189b; Violin, iv.
270b ; Wolf, The, iv, 48,5 b.
Vibrato, iv, 260b; Rubiui, iii.
190b; Singing, iii. 509b, etc;
Tamberlik, iv. 55 a; Tremolo,
iv. 1 66 b; Trill, iv. 169 b.
ViBEATORS ; Harmonium, i.
666 b.
Vicars Choral, iv. 260 b; Lay-
Vicar, ii. 107 b.
ViCARY, W. ; Redhead, iv. 769 a.
ViCENTiNO, N., iv. 261 a ; Casini,
i, 318b; Catelani, i. 323b;
Harpsichord, i. 691a; Haw-
kins, i, 700b; Micrologus, ii.
327a; Mus. Lib,, ii, 421a;
Quaver, iii, S9b; Trasuntino,
iv, 162a; Rome, iv, 773b.
VicTiMiE Paschali, iv. 812 b;
168
Plain Song, ii. 767a; Se-
quentia, iii. 465 &.
Victoria, T. L. da. (See Vit-
TOBiA, iv. 3136.)
ViCTOBiNE, iv. 261a; Mellon
(A.), ii. 2486.
ViCTOBiNUS, S.; Mus. Divina,
ii. 41 2 b.
ViDAL, B., iv. 26 1 h.
ViDAL, F., iv. 261b; Hist, of
Mus., iv. 676 a.
ViDAL, J. J., iv. 261b.
ViDAL, L. A.,iv. 2616; Roi des
Violons, iii. 147a; Tromba
Marina, iv. 1756; Violin, iv.
286 b ; Violoncello- playing, iv.
2996 ; Hist, of Mus., iv. 676b.
ViDAL, P., iv. 261 5; Gr. Prix
de Rome, iv. 6546.
ViELLA. (See ViELLE, iv. 261 h.)
ViELLE, iv. 261 6 ; Baton (C), i.
155 b ; Hurdy-gurdy, i. 7586;
Violin, iv. 269a, etc.
ViERLiNG, G., iv. 262 a; Aus-
■wahl, i. 105 a; Rust (W.), iii.
206 a.
ViERSTADT, A.; Hist, of Mus.,
iv. 676 a.
ViEUXTEMPS, H., iv. 262 a; iv.
8126; Beriot, 1.2320; Neruda,
ii. 452 a; Philh. Soc, 11.6996;
Ries (L.), iii. 132a; Rousse-
lot, iii. 182 &; Sechter, iii.
456 a; Strakosch, iii. 734&;
Sveiidsen (J.), iv. 6&; Violin-
playing, iv. 289, etc. ; Grd-
goir, iv. 655 a.
ViGANO, S., iv. 2636; Spontini,
iii. 6676.
ViHUELA ; Guitar, i. 6406.
ViLBACK, A. C. R. de, iv. 264a ;
Gr. Prix de Rome, i. 618 b;
PF. Mus., ii. 7346; iv. 748b.
Vilda; Singing, iii. 514b.
ViLHANCico; Pons, iii. 14b;
Song, iii. 598 a.
ViLLANELLA, iv. 264b; Ballad,
i. 129a; Frottole, i. 566 a;
Madrigal, ii. 190b; Monodia,
ii. 354b; Schools of Comp.,
iii. 265a; Song, iii. 587a,
etc. ; Sumer is icumen in, iv.
3b ; Zacconi, iv. 497 b; Bumey,
iv. 571a; Dance Rhythm, i v.
606 a.
ViLLABOSA, II Marchese di, iv.
265 n ; Leo, ii. 1 2 1 b ; Pergolesi,
ii. 686 a ; Hist, of Mus., iv.
675 b.
ViLLABS, F. de; Mus. Periodi-
cals, ii. 429 a.
ViLLEMABQD^, H. de la ; Song,
iii. 598 a.
ViLLiERS, P. de ; Sistine Chapel,
iv. 794b.
INDEX.
ViLLOiNG ; PF.-playing, ii. 743 a ;
Rubinstein (A.), iii. 191a.
ViLLOTA. (See ViLLANELLA, iv.
264b.)
ViLLOTEAU, G. A., iv. 265 a;
Fetis, i. 517b; Hist, of Mus.,
iv. 674 b.
ViMEDX; Song, iii. 597 a.
Vincenet; Sistine Chapel, iv.
794b.
Vincent; Festing, i. 515b.
Vincent, A. J. H. ; Hist, of
Mus., iv. 6750, etc.
Vincenti, J. ; Part-books, iv.
740 a.
ViNCENTius, C. ; Bodenschatz, i.
253a.
Vinci, L., iv. 266a; Durante,
i. 471a; Grecco, i. 624a;
Ifigenia, i. 765 b; Metastasio,
ii. 316a; Naples, ii. 445 b;
Opera, ii. 513 b; Pergolesi, ii.
686 b; Royal Academy of
Mus., iii. 184b; Semiramide,
iii. 461a ; Siroe, re di Persia,
iii. 534a; Specimens, Crotch's,
iii. 650a ; Mus. Lib., iv. 726a.
ViNEA, A. ; Dodecachordon, iv.
6i6a.
ViNGT-QUATRE ViOLONS, IV.
266a; Band, i. 134a ; Roi des
Violons, iii. 146 a ; Violons du
Roy, iv. 301b.
ViNiT ; Vogt, iv. 332 a.
ViNNING, L.,iv. 266b.
Viol, iv. 267 a ; Accompaniment,
i. 21 b; Anthem, i. 71a;
Chevalier, i. 344b; London
Violin Makers, ii. 163b ; Lyre,
ii. 182a; Mace, ii. 185b;
Mean, ii. 242 b; Morley, ii.
368 a; Orchestra, ii. 561b,
etc.; Scordatura, iii. 426a;
Soundholes, iii. 640 a, etc. ;
Steffkins, iii. 699 b ; Sympson,
iv. 43 b; Tablature, iv. 47 a ;
Viola da Gamba, iv. 267b;
Violin, iv. 267 b, etc. ; Vir-
dung, iv. 303 b; Wind-band,
iv. 464a, etc.
Viola, iv. 267 a. (See Tenor
Violin, iv. 88 b.)
Viola, Fr. ; Merulo, ii. 3T4b ;
Zarlino, iv. 502 b.
Viola Bastard a, iv. 267 a;
Viola di Fagotto, iv. 267 b;
Violin, iv. 279 b.
Viola d'Amore, iv. 267 a; Ad-
ditional Accompaniments, i.
34b; Ariosti, i. 83a;Hurdy-
Gurdy, i. 759 a ; Scordatura,
iii. 426a ; Soundholes, iiL
641 b ; Stamitz (K.), iii. 689 b ;
Violetta Marina, iv. 267 b;
Violin, iv. 277 b.
Viola da Braccio, iv. 267 a;
Viol, iv. 267 a.
Viola da Gamba, iv. 267 b;
Abb^ (P. de St. Sevin), i. 2 a :
Abel (K. F.), i. 4 b, etc. ;
Additional Accompaniments,
i. 34b; Amati, i. 58 a; Back,
i. 122a; Baryton, i. 146b;
Capo Tasto, i. 307 a ; Hume,
i. 756b; Opera, ii. 4996;
Orchestra, ii. 561b, etc.;
Organ, ii. 584 b ; Tuma, iv.
1 86 b. (See also under Gamba ,
Viola da, i. 579 b.)
Viola da Spalla, iv. 267 b.
Viola di Bordone, iv. 267 b.
(See Babyton, i. 147 a.)
Viola di Fagotto, iv. 267b.
Viola Pomposa, iv. 2676 ; Bach
(J. S.), i. 116 a; Violin, iv.
281 J.
Violet, iv. 267 b; Viola d'Amore,
iv. 267 b; Violin, iv. 279 b.
Violetta, iv. 2676.
Violetta Marina, iv. 267 b;
Castrucci, i. 319b; Orchestra,
ii. 564 a.
Violin, iv. 267b; Albani, i.
47b; Amati, i. 58a; Back,
i. 1 2 1 b, etc. ; Bass- Bar, i.
149b; Belly, i. 220a; Ber-
gonzi, i. 231a ; Bow, i. 264 b ;
Bridge, i. 275a; Chanot, i.
335 «; Cremona, i. 416a;
F-holes, i. 500 b ; FayoUe, i.
6iob; Fingerboard, i. 524a,
etc. ; Flageolet, i. 531 a ; For-
ster (W.), i. 555b, etc. ; Gag-
liano, i. 575 b ; Gamba, Viola
da, i. 579b ; Grancino, i. 6i6b ;
Guadagnini, i. 635b; Guar-
nieri, i. 636 b, etc. ; Harmonics,
i. 6650, etc. ; Hoflfmann (G.),
i. 742 a ; Instrument, ii. 6b ;
Kit, ii. 62 b ; Klotz, ii. 65 a ;
Landolfi, ii. 89 b ; London
Violin Makers, ii. 163 b, etc. ;
Lupot, ii. 1746, etc. ; Lute,
ii. 177a; Mute, ii 439b;
Notation, ii. 477 b; Nut, ii.
485 b; Orchestra, ii. 561b,
etc.; Orchestration, ii. 567a,
etc. ; Overspun, ii. 6i8a ; Pon-
ticello, iii. 15 b; Positions, iii.
20a; Purfling, iii. 53b; Re-
bec, iii. 8 1 a, etc. ; Ribs, iii.
125 b ; Rosin, iii. 162 b ; Rug-
gieri,. iii. 203 b ; Salo (G. de),
iii. 220b ; Schebek, iii. 243a ;
Serafin, iii. 466 a, etc. ; Sor-
dini, iii. 637b; Soundholes,
iii. 640b ; Soundpost, iii. 642 a ;
Stainer (J.), iii. 686 i, etc.;
Stainer(M.),iii.688a; Stradi-
vari, iii. 724a, etc.; String,
INDEX.
169
111.745^1 ; Tenor Violin, iv.89«,
etc. ; Timbre, iv. 117a; Tone,
iv. 143b; Tourte, iv. 155 b;
Troniba Marina, iv. 174&;
Tubbs, iv. 184a; Tuning, iv.
187&; Urquhart, iv. 210a;
Vidal (L. A.), iv. 2616; Viol,
iv. 267a; Viola d'Amore, iv.
267a; Viola da Braccio, iv.
267a; Viola da Gamba, iv.
2676; Violetta Marina, iv.
2676; Vuillaume, iv. 341a,
etc.; Wolf, The, iv. 485a;
Chest of Viols, iv. 585 a ; Hist.
of Mus., iv. 677a.
Violin Diapason, iv. 287 a.
Violin-playing, iv. 287 a ; iv.
8126; Alard, i. 47& ; Anet, i.
67b; Aubert (J.), i. 103&;
Auer, i. 1036 ; Baillot, i. 1 25a ;
Baltazarini, i. 133a; Baltzar
(T.), i. 133 a; Baptiste, i.
136 a; Barbella, i. 138a;
Bazzini, i. 157 &; Becker (J.),
i. 161 &; Benda, i. 221a;
Beriot (de), i. 231a, etc.;
Biber, i. 240 b ; Bini, i. 243 a ;
Blagrove, i. 246 6 ; Boehm
(Jas.), i. 254a ; Borghi (L.),
i. 260b; Boucher, i. 263a;
Bowing, i. 265 J ; Brunetti, i.
280a ; Bruni (A. B.),i. 280a;
Campagnoli (B.), i. 300 b ;
Carrodus, i. 317b; Cartier, i.
317 b; Celestino, i. 329b;
Chiabran, i. 344b ; Clegg, i.
370b; Clement (F.), i. 371b;
Col Legno, i. 377 b ; Corelli, i.
400 b; Cramer (W.), i. 429 b;
Cuvillon, 1.4250; Dando, i.
429 b ; David, i. 433 a ; Del-
devez, i. 439 b ; Dittersdorf, i.
449 b ; Division Violin, i.
451a; Double Stopping, i.
459b ; Dubourg (G.), i. 467a ;
Dubourg (M.), 1.4670; Du-
rand, i. 470 b; Eck (F.),
1.4820; Eck (J.), i. 482a;
Ernst, i. 492 a ; Ferrari (D.),
i. 513b; Festing, i. 515b;
Fiorillo, i. 528 a ; Fodor (J.),
i. 538a; Franzl, i. 557b;
Galeazzi, i. 5756 ; Gavinies, i.
585 a; Geminiani, i. 587a;
Giardini, i. 593b ; Grasset, i.
619b; Graun(J. G.>, i. 620b ;
Habeneck , i. 643 a ; Harmonics,
i.665 a ; Hellme8berger,i.725b;
Holmes (A.), i. 743b ; Holmes
(H.), i. 744a; Holz, i. 744b;
Janiewicz, ii. 30b ; Jansa, ii.
32 a; Jamowick, ii. 32 b;
Joachim, ii. 34b; Kalliwoda
(J. W.), ii. 47a; Kompel, ii.
68a; Kreutzer (R.), ii. 72a;
Lafont, ii. 84 a ; Laub, ii.
103b; Lauterbach, ii. 105b;
Leclair, ii. iioa; Lipinski, ii.
144b; Locatelli, ii. 155b;
Lolli, ii. 162a; Massart, ii.
235b; Matteis, ii. 239a;
Maurer, ii. 239b; Mayseder,
ii. 241a; Mazas, ii. 241b;
Mell Davis, ii. 248 b; Mila-
nollo, ii. 3296; Molique, ii.
351b; Mori, ii. 365 a; Mo-
zart (L.), ii. 379 b; Nar-
dini, ii. 446 a; Needier, ii.
450 b; Neruda, ii. 451b; Pa-
ganini, ii. 628a, etc. ; Papini,
ii. 647 a; Pichel, ii. 751b;
Pinto (G. F.), ii. 754a ; Pixis,
ii. 759b; Pizzicato, ii. 759b;
Polledro, iii. ga; Ponticello,
iii. 15b; Positions, iii. 20a;
Pott, iii. 22b; Prume, iii.
44a; Pugnani,iii.45b; Puppo,
iii. 46 a ; Rappoldi, iii. 76 a ;
Remdnyi, iii. 107a ; Ries (F.),
iii. 132a; Ries (H.), iii. 132a;
Ries (L.), iii. 132 a; Rietz
(E.), iii. 132b; Rode, iii.
142a; Rontgen (E.), iii.
144a; RoUa, iii. 147a; Rom-
berg (A.), iii. 153a; Rovelli
(A.), iii. 183a ; Rust, iii.
206a; Sainton, iii. 216b; Sa-
lomon, iii. 221 a; Sarasate,
iii. 227b; Sauret, iii. 230a;
Sauzay, iii. 230b ; Scheller,
iii. 244 b ; Schuppanzigh, iii.
424a ; Scordatura, iii. 426a ;
Shift, iii. 487 b, etc. ; Sirmen,
iii. 518a; Sivori, iii. 534a;
Somis, iii. 553 b; Sonata, iii.
555 b; Spicato, iii. 650 b;
Spohr, iii. 657 a and 663 a;
Springing-bow, iii. 682b; Stac-
cato, iii. 685 a ; Stamitz, iii.
689a; Stopping, iii. 717b;
Straus (L.), iii. 737a ; Strina-
sacchi (R.), iii. 744b ; Suite,
iii. 756b; Tartini, iv. 60a;
Temperament, iv.77b ; Torelli,
iv. 150b ; Tua, iv. 183 b ; Tun-
ing, iv.i87b ; Urban, iv. 2090;
Veracini (F. M.), iv. 239 a;
Viardot (P.), iv. 260a ; Vidal
(J. J.), iv. 261b ; Vieuxtemps,
iv. 262 a, etc. ; Viotti, iv. 301 b ;
Vitali, iv. 313 b; Vivaldi, iv.
317a, etc.; Wasielewsky, iv.
384a; Wiener, iv. 455 a;
Wieniawski, iv. 455 a, etc. ;
Wilhelmj, iv. 457a; Willy,
iv. 462 a; Zeugheer, iv. 507 a;
Altes, iv. 521b; Ajtot (A.),
iv. 523b ; Bull (Ole B.), iv.
568 b ; Colyns, iv. 595 b ; Hau-
ser, iv. 669b; Lamoureux, iv.
696a; Leonard, iv. 699b;
Shinner, iv. 792 b; Walther
(J. J.), iv. 814 b.
VioLiNo Piccolo, iv. 813 a.
Violoncello, iv. 299b; Amati,
i. 58 b; Back, i. 122a; Double
Bass, i. 458 a; Harmonics, i.
665a; Instrument, ii. 65;
Landolfi, ii. 89 b; Notation,
ii. 477b; Orchestra, ii. 5626,
etc. ; Stradivari, iii. 726b,
etc. ; Viola Pomposa, iv. 267 b;
Violin, iv. 267 b, etc. ; Wolf,
the, iv. 485 a.
Violoncello-Plating, iv. 299 J;
Abbe (P. P. de St. Sevin and
P. de St. Sevin), i. ib; Ac-
companiment, i. 23a; Alex-
ander (J.), i. 52 J; Aliani, i.
53a ; Arnold (J. G.), i. 85 b;
Aubert (P.), i. 103 b; Boc-
cherini, i. 251a; Cervetto, i.
331a; Cossmann, i. 405 J;
Crosdill, i. 419b; Davidotf, i.
434 b; Dotzauer, i. 457 a;
Drechsler (K.), i. 462 b ;
Franchomme, i. 558b ; Fran-
ciscello, i. 558b ; Goltermann,
i. 608b ; Grutzmacher (F. W.),
i. 634b ; Grutzmacher (L.), i.
635a; Hainl, i. 644a; Har-
monics, i. 665 a ; Jacquard,
ii. 28b; Kraft (A.), ii. 69b;
Kummer, ii. 77 a; Lasserre,
ii, 93 a ; Leo, ii. 122 a ;
Lincke, ii. 139b; Lindley, ii.
143 a; Menter, ii. 312 a;
Merk, ii. 313 J; Paque, ii.
647 J ; Pettit, ii. 696 b ; Pezze,
ii. 697a; Piatti, ii. 746a;
Popper, iii. 15b; Reinagle,
iii. 102 a; Rietz (Jul.), iii.
133a; Romberg, iii. 153a;
Rousselot, iii. 182 5; Schu-
berth (C), iii. 383a; Scorda-
tura, iii. 426b ; Servais, iii.
471 a ; Stamitz (T.), iii. 689 a ;
Stiastn;;^, iii. 713a; Stiastny
(J.), iii. 713b ; Swert (de), iv.
8 b ; Tolbecque (A.), iv. 132b;
Tuning, iv. 187 b ; Hausmann,
iv. 670 a.
Violoncello Piccolo, iv. 813 a.
Violone, iv. 301 o ; Double-
bass, i. 457 b; Organ, ii.
584a; Viol, iv. 267a; Vio-
lin, iv. 267 b, etc.
ViOLONS Du Rot. (See Vingt-
quatre Violons, iv. 266a.)
ViOTTA, J.J.; Orpheus, ii. 61 3a.
Viotti, G. B., iv. 301b ; Alday,
i. 51b; Baillot, i. 125a;
Banti, i. 135 5; Beriot, i.
231b; Bowing, i. 266a; Car-
tier, i.3 1 7 b; Concert Spirituel,
170
i. 3856; Cramer, i. 413b;
Dragonetti, i. 462 a ; Duport,
i. 470a; Durand, i. 471a;
Gavini^s, i. 5856; Haydn, i.
712 a, etc. ; Jaruowick, ii.
326; Kreutzer (R.), ii. 72a,
etc. ; Mori, ii. 365 a ; Mori-
chelli, ii. 3656 ; Philh. Soc,,
ii. 698 a; Pixis (F. W.), ii.
7596; Pugnani, iii. 45b;
Rode, iii. 142a; Rovelli, iii.
183b ; Spohr, iii. 659a ; Stra-
divari, iii. 733 a; Tourte, iv.
1566; Violin-playing, iv. 292a,
etc.
ViRDUNG, S., iv. 3026; Clavi-
chord, i. 368 6 ; Spinet, iii.
65 1 6 ; String, iii. 745 a ; Syn-
tagma Musicum, iv. 446 ;
Tablature, iv. 48 6 ; Trans-
posing Instruments, iv. 159 b ;
Tmiing, iv. i88a ; Violin, iv.
275a; Virginal, iv. 303 b;
Hist, of Mus., iv. 676 a ; Mus.
Lib., iv. 724a.
ViRELAi; Chanson, i. 335 b;
Song, iii. 591b,
Virginal, iv. 303^; iv. 820b;
Clavichord, i. 366b; Clavi-
cytherium, i. 369 b; Harpsi-
chord, i. 689 a ; Mus. Soc. of
London, ii. 432a ; PF. play-
ing, ii. 736 a ; Ruckers, iii.
1 96 a ; Spinet, iii. 65 1 b ; Stave,
iii. 693a; Stops (Harpsi-
chord), iii. 717 b.
Virginal Music, iv. 305 b ; iv.
813a and 820b ; Bull, i. 282b ;
Byrd, i. 287 a; Cosyn, i. 407 a ;
Fantasia, i. 503 b; Fitzwil-
liam Collection, i. 530b ; Gib-
bons (O.), i. 594b; Inglott, ii.
3a ; Wsh Mus., ii. i8b ; Les-
son, ii. 124a; Mu8. Antiqua-
rian Soc., ii. 416b; Mus. Lib.,
ii. 419 b, etc. ; Parthenia, ii.
653a; Programme Mus., iii.
35 b; Suite, iii. 755 a; Tallys,
iv. 54 b, note\ Walsingham,
iv. 380b; Burney, iv. 570b;
Byrd, iv. 572b; Programme
Mus., iv. 752 a.
Virtuoso, iv. 313 b.
ViSETTi, A., iv. 813a ; Royal
Coll. of Mus., iv. 159a; Trin.
Coll., London, iv. 171b; Voce
di Petto, iv. 321b.
Vis6, de; Corbet, i. 400 a.
ViTALi, A., iv. 313b; Violin-
playing, iv. 812 b.
ViTALi, G. B. ; Tenor Violin,
iv. 89 a ; Violin-playing, iv.
290a.
VlTALi, P.; Sistine Chapel, iv.
794b.
INDEX.
ViTALi, T. ; Violin-playing, iv. j 1. 272a ; Schools of Comp., iii.
289.
ViTO, Padre ; Stabat Mater, iii.
685 a.
ViTRiAOO, P. de; Minim, ii.
333a; Motet, ii. 372a; No-
tation, ii. 471a ; Organ um, ii.
6ioa; Song, iii. 619b; Gar-
landia, iv. 646 a; Hist, of
Mus., iv. 6736 ; Tunsted, iv.
805 a.
VlTRY. (See VlTRIACO.)
ViTTORiA, T. L. da, iv. 313 b;
Eslava, i. 494 b ; Faux-bour-
don, i. 509 b; Fitzwilliam
Coll., i. 531a; Magnificat, ii.
196 a ; Mas3,ii. 230 b ; Motet,
"• 375b ; Motett Soc, ii. 376b ;
Mus. Divina, ii. 411b; Pas-
quini,ii. 660b ; Passion Mus.,
ii. 664b ; Prince de la Mos-
kowa, iii. 31b; Requiem, iii.
109 b ; Responsorium, iii. 1 1 8 b ;
Rochlitz, iii. 141b; Saggio di
Contrappunto, iii. 212a; Sanc-
tu8,iii. 224a; Schools of Comp.,
iii. 264b, etc. ; Sistine Choir,
iii. 521a; Tantum Ergo, iv.
58 a; Yriarte, iv. 496b; Al-
fieri, iv. 520a, note ; Sistine
Chapel, iv. 794b.
Vivace, iv. 316b; Tempo, iv.
83a.
Vivaldi, A., iv. 317a ; Ar-
rangement, i. 89 b; Bowing,
i. 265 b; Concerto, i. 387a;
Folia, i. 539b; Harpsichord,
i. 691b; Pugnani, iii. 45 b;
Royal Academy of Mus., iii.
184 b ; Siroe, re di Persia, iii.
534a ; Somis, iii. 553 b ; Sonata,
iii. 558b ; Symphony, iv. 14a ;
Tartini, iv. 61 b; Violin, iv.
279a; Violin - playing, iv.
291a.
Vive Henri Quatre, (See
Henri Quatre, i. 728a.)
Vivenco, S. ; Eslava, i. 494 b.
ViviER, E. L., iv. 318a; Jul-
lien, ii. 45 a; Rossini, iii.
175 b.
Vivo. (See Vivace, iv. 316 b.)
Vocal Association, iv. 318 b.
Vocal Concerts, iv. 318 b ; iv.
813 b; Addison, i. 30 a; Bar-
tleman, i. 146a; British Con-
certs, i. 277a; Greatorex, i.
623a ; Harrison (S.), i. 692 b ;
Knyvett (C), ii. 67 b.
Vocal Scores, iv. 319 b; HuUah,
i. 756b.
Vocal Society, The, iv. 320
Taylor (E.), iv. 66 a.
VooALiON, iv. 320 b.
Vocalise, to, iv. 321 o ; Brea
312 b; Singing, iii. 496 a:
Solfeggio, iii. 546a.
VocALizzo, iv. 321a.
Voce di Petto, iv. 321 a ; Fal-
setto, i. 501b; Voice, iv.
333 «•
Voce di Testa, iv. 321a ; Fal-
setto, i. 501 b ; Voice, iv.
333a-
Voces A retinae, iv. 322 b.
Voces Belgioae, iv. 322b;
Solmisation, iii. 551b; Wael-
rant, iv. 344 a.
Voces Hammerianae, iv. 322 b.
Vogel ; Lang (R.), ii. 90a.
Vogel; Specimens, Crotch's, iii.
650^.
Vogel, A. ; Trois couleurs. Lea,
iv. 803 b.
Vogel weide, W. von der;
Song, iii. 615 a.
Vogl. F. ; Walter (G.), iv.
381a.
Vogl, H., iv. 323a; Singing,
iii. 514b; Tenor, iv. 88a;
Wagner, iv. 363 b ; Mallinger,
iv. 708 b.
Vogl, J. M., iv. 323a ; Mosel,
ii. 371a; Schubert, iii. 327b,
etc. ; Stadler (A,), iii. 686a ;
Unger, iv, 201 b ; Wild, iv.
456 a; Zwillings-briider, iv.
Vogl, T., iv. 323a ; Singing, iii.
514b.
Vogler, G. J. Abt, iv. 324a ;
iv. 813b; Bach (J. S.), i.
116 a; Beethoven, i. 105 a,
etc. ; Danzi, i. 430b ; Ex-
tempore Playing, i. 499a ;
Fux, i. 570b ; Gansbacher, i.
575 a; Haydn, i. 715 a;
Knecht, ii. 66 a ; Latrobe, ii.
103b; Meyerbeer, ii. 3210,
etc. ; Mozart, ii. 385 b ; Para-
dis (M. T. von), ii. 648a ;
Pixis (F.), ii. 759b; Pro-
gramme Mus., iii. 39a; Rum-
mel (C. F.), iii. 205 a;
Schelble, iii. 244 a ; Scheller,
iii. 244 b; Steibelt, iii. 704 b ;
Weber, iv. 390b, etc. ; Winter,
iv. 475b; Hist, of Mus., iv.
674a ; Vallotti, iv. 807 a.
Vogt, G., iv. 331b; Conserva-
toire de Mus., i. 392 b ; La-
vigne, ii. 106 a; Brod, iv.
565 &•
Vogt, J. ; PF. Mus., ii. 733b.
Voice, iv. 332a; Alto, i. 58a;
cr:^ Baryton, i. 147 a; Bass, i.
VS 148b; Chest- Voice, i. 344 b;
II Compass, i. 382a ; Contralto,
"h, I i. 395 b; Falsetto, i. 501b;
Harmonics, i. 664 a ; Helm-
holtz, i. 726 a ; Mezzo So-
prano, ii. 326a ; Mutation, ii,
439 a, etc. ; Singing, iii. 496 a ;
Soprano, iii. 6536 ; Tenor, iv.
866; Tessitura, iv. 94 a;
Veiled Voice, iv. 235?) ; Voce
di Petto, iv. 321a; Voce di
Testa, iv. 321a.
Voices, iv. 333a; iv. 813/^;
Canto, i. 306 a; Notation, ii.
474a; Polyphonia, iii. 12 a,
etc.; Quintus, iii. 61 a;
Schools of Comp., iii. 2686;
Sextus, iii. 478 a; Vagans, iv.
212 &; Part-books, iv. 739a.
Voicing, iv. 335 a.
VoiGT, A.; Hist, of Mus., iv.
675 ?>.
VoiGT, Henriette, iv. 335&;
Mendelssohn, ii. 309 &; Schu-
mann, iii. 389a.
Voigt; Violin, iv. 284 a.
Voix CELESTES, iv. 336a ; Organ,
ii. 6036; Unda Maris, iv.
201 &.
Voix de Ville ; Leroy, ii. 123a ;
Song, iii. 5926; Vaudeville,
iv. 231a.
VOLKMANN, F. K., iv. 336 a;
iv. 8136 ; PF. Mus., ii. 731 6 ;
Song, iii. 630?); Violoncello-
playing, iv. 301 a ; PF. Mus.,
iv. 7486.
INDEX.
VOLKSLIED, iv. 3366; Erk, i.
492 a; Jahrbticher, ii. 306;
Lied, ii. 133 a; Madrigal, ii.
1906; March, ii. 211 &; Ora-
torio, ii. 540 a ; Orpheus, ii.
6136; Part-song, ii. 658a;
Schools of Comp., iii. 259?);
Senfl, iii. 4636; Song, iii.
617 a,etc. ; Sounds and Signals,
iii. 645a; Thibaut, iv. 101&;
Weber, iv. 421 &; Hist, of
Mus., iv. 675a.
VOLKSTHUMLICHES LlED, iv.
338a; Song, iii. 621a.
VoLL ; Regal, iii. 93 h.
VoLLWEiLER, C, iv. 338 a ; PF.
Mus., ii. 731a.
VOLLWEILER, G. J., iv. 338 a;
Hiller, i. 737 a; Schmitt (G.
A.), iii. 255 a.
VoLPiUS, A. ; Merulo, ii. 315 a.
VoLTA, Prima, Seconda, iv.
338 a.
Volte, iv. 338 h ; Orchesographie,
ii. 560a; Waltz, iv. 385a.
VoLTi SuBiTO, iv. 3386.
Volume, iv. 339a.
VoLUMiER, J. J., iv. 339 a; Mar-
chand, ii. 213 h.
Voluntary, iv. 339a; Inter-
lude,, ii. 7& ; Postlude, iii. 226.
VoPA ; Mus. Lib,, ii. 419a.
Vopelius, G., iv. 813& ; Chorale,
iv. 589 a.
171
VoRAUSNAHME. (See Antici-
pation, i. 73 a.)
VoBDA, L. de; Sistine Chapel,
iv. 794 &.
Vorhalt. (See Suspension, iv.
46.)
VoRSCHLAG, iv. 339 &; Appog-
giatura, i. 75 a; Njichschlag,
ii. 440?), etc.
VORSPIEL, iv. 340 & ; Intro-
duction, ii. 15 a; Prelude, iii.
28a; Scheldt, iv. 783/).
Vos, Camille de ; Mus. Period-
icals, ii. 4296; Orpheon, ii,
612&.
Voss, Charles, iv. 813^); PF.
Mus,, ii. 7316; iv. 748 h ; PF.-
playing, iv. 7486.
Vowles, W. G., iv, 813?).
Vox Angelica. (See Voix
CELESTES, iv. 336 a.)
Vox Humana, iv. 340 & ; Organ,
ii. 584a, etc.
Vroye, a. de, iv. 341 a.
Vroye, T. de, iv, 341a.
VuiLLAUME, iv. 341 a ; iv. 8136 ;
Kosin, iii. 162 &; Stradivari,
iii. 730a; Vidal (L. A,), iv.
261 &; Violin, iv. 282 a, etc.
VULPIUS, M., iv. 813&; Boden-
schatz, i. 2 53 J; Prince de
la Moskowa, iii. 31 &; Roch-
litz, iii. 142 a; Chorale, iv.
589 a.
w.
W^acht am Rhein, Die, iv,
342a ; Wilhelm, iv, 457a.
Wachtel, T., iv. 343 a ; Adam
(A. C), i. 286 ; Pappenheim,
iii. 54a ; Rosa, iii. 159 6 ; Sing-
ing, iii. 507 &, etc. ; Tenor, iv.
876.
Wachtel, T., jun,, iv. 343a.
Wachtmann, Ch. ; PF. Mus,,
ii. 736a.
Wackernagel, C. E. p. ; Jahr-
bticher, etc., ii. 306 ; Volks-
lied, iv. 338 a ; Hist, of Mus.,
iv. 675a.
Wade, J. A., iv. 3436; Popu-
lar Ancient English Mus., iii.
i6a; Song, iii. 607a.
Waelrant, H., iv. 344 a ; Mad-
rigal, ii. 188& ; Part Mus., ii.
6f,6h', Polyphonia, iii. 13 &;
Ruckers, iii. 195&; Schools of
Comp., iii. 261 b, etc. ; Solmi-
sation, iii. 5516; Voces Bel-
gicae, iv. 3226; Tr^sor Mus,,
iv. 803 S.
Waelrent, R. ; Ruckers, iii.
195 h, note.
Waert, de. (See Wert, De, iv.
444&.)
W AET. (See Vaet, iv. 212 a.)
Waetzig, J.G. ; SergeantTrum-
peter, iii. 469 a.
Wagenseil, G. C, iv. 344 & ;
Duschek (F.), i, 4726 ; Form,
i. 544a ; Fux, i. 570a ; Han-
del, i. 655a ; Haydn, i. 704& ;
Meister, Alte, ii. 2476; Me-
tastasio, ii. 316 a ; Mozart, ii.
380 & ; Siroe, re di Persia, iii.
534a; Sonata, iii, 562 a;
Symphony, iv. 146 ; Har-
monious Blacksmith, iv. 667a.
Wagner, A., iv. 345 a.
Wagner, Johanna, iv, 345 a;
iv. 814a; Bellini, i. 212&;
Lumley, ii. 174a; Wagner,
iv. 355 a.
Wagner, V. ; Staudigl, iii.691 h.
Wagner, W. R., iv. 346 a;
iv. 814a; Accent, i. 15 a;
Albert, Prince, i. 49 a ; Analy-
sis, i. 636; Auber, i. 103 a;
Bass-Clarinet, i. 1496; Beet-
hoven, i. 2086; Brendel, i.
274a; Bulow, i. 281a; Con-
ductor, i. 3906; Cornelius, i.
403 a ; Dannreuther, i. 430 a ;
Dorn, i. 455 a; Drury Lane,
i. 467 a ; Ein' feste Burg, i.
484 a; Esser, i. 495 a; Exi-
meno, i. 498 a; Figure, i.
522a; Fliegende Hollander,,
i. 532 &; G otterdammerung, i.
612a ; Grand Opera, i. 617& ;
Introduction, ii. 15 a; Klind-
wortli, ii. 64b ; Leit-motif, ii.
II 6 & ; Libretto, ii. 129a, etc. ;
Liszt, ii. 1466, etc.; Lohen-
grin, ii. 162 a; Materna, ii.
237a; Meistersinger von Niirn-
berg, ii. 2476; Meyerbeer,
ii. 3236; Monte verde, ii.
359 a; Mus. Periodicals, ii.
430&; Nibelungen, ii.453a;
Niemann, ii. 458 a; Opera,
ii. 526a, etc; Orchestra, ii,
560 &, etc. ; Overture, ii.62 2b.
172
etc. ; Palestrina, ii. 641 h ;
Parsifal, ii. 652a ; Pastleloup,
ii. 660 a; Pedal Point, ii.
6806, etc. ; Philh. Soc, ii.
698 b ; Pohl (R.), iii. 5?) ; Polo-
naise, iii. lob; Praeger, iii.
24 b; Raff, iii. 640; Recita-
tive, iii. 86a ; Revue et Gaz.
Mus., iii. 1216; Rheingold,
das, iii. T22b ; Richter (H.),
iii. 1 286; Riedel, iii. 130a ;
Rienzi, iii. 130a; Roche, iii.
141 a ; Roeckel (Aug.), iii.
1 44 a ; Romantic, iii. 152a;
Schools of Comp., iii. 298b,
etc.; Schumann, iii. 398b;
Score, iii. 433 ; Septet, iii.
464a ; Seroff, iii. 469 b ; Sgara-
bati, iii. 479 a ; Song, iii. 606b ;
Sordini, iii. 638 a ; Speidel
(L.), iii. 650 b j Spohr, iii.
660a; Spontini, iii. 682 a;
Stabat Mater, iii. 684 b, note ;
Storm, iii. 720b; Svendsen
(J. S.), iv. 6b; Syncopation,
iv.44a ; Tannhauser, iv. 57b;
Tappert, iv. 58b; Tristan und
Isolde, iv. 174a; Tuba, iv.
184 a ; Vaisseau Fantome, Le,
iv. 213a; Variations, iv.
330a; Vascello Fantasma, II,
iv. 230b ; Ventadour Theatre,
iv. 238b; Vieuxtemps, iv.
262 b ; Vogl (H.), iv. 323 a ;
Wagner (Johanna), iv. 345a ;
Walkiire, die, iv.376b ; Wein-
lig (C. T.), iv. 433a ; Wilder,
iv. 457a ; Wilhelmi, iv. 457 b;
WnJlner, iv. 492 a ; Zukunfts-
musik, iv. 514a; Barnby, iv.
531a; Damrosch, iv. 605a;
Dance Rhythm, iv. 608 a;
Florimo, iv. 637 a; Glock-
enspiel, iv. 648b; Gudehue,
iv. 658 b ; Hueffer, iv. 681 a ;
Humorous Mus., iv. 683 a;
Jonciferes, iv. 686 a; Jullien
(J. L. A.), iv. 686b; Klein-
michel,iv. 692 a ; Lamoureux,
iv. 696 b; Levi, iv. 700 b;
Liszt, iv. 701 b, etc. ; Mai ten,
iv. 709 a ; Mariani, iv. 710b;
Mottl, iv. 7 20 J; Mus. Peri-
odicals, iv. 727 a; Refor-
mation Symphony, iv. 679b;
Roche, iv. 773a ; Seidl, iv.
792a.
Wainvs^right, J., iv. 374b; iv.
814 a; Hymn, i. 763 a.
Wainwbight, Richard, iv. 375 a ;
iv. 814a ; Snetzler, iii. 542 a.
Wainwbight, R., iv. 374b;
Bates (J.), i. 155 a.
Wainwbight, W., iv. 375 a.
Waits, The, iv. 375 a; Bristol
INDEX.
Madrigal Soc, i. 277 a ; Fa-la, '
i. 501a.
Walcker & Son ; Organ, ii.
608 J ; Pedals, ii. 682 a.
Waldaw, a. ; Polka, iii. 8 a.
Waldhobn, iv. 375 b; Horn, i.
747 «•
Waldmadchen, Das, iv. 375 b;
iv. 814a; Silvana, iii. 533b;
Weber, iv. 410 b.
Waldmann ; Lamperti, ii.
89a.
Waldstein, Count, iv. 375b;
Beethoven, i. 164 b, etc.
Waldteufel, iv. 376 a.
Waldteufel, E., iv. 376a.
Waley, S. W., iv. 376 a.
Walkeley, a., iv. 376b; iv.
814a; Tudway, iv. 199 b.
Walkeb, E. F., iv. 376 b.
Walkeb, J. C. ; Hist, of Mus.,
iv. 674b.
Walker, J. & Sons, iv. 3766;
Temperament, iv. 72 a.
Walkly. (See Walkeley, iv.
376b.)
Walkure, Die, iv. 376 b ; Wag-
ner, iv. 359a, etc.; Siegfried,
iv. 793 a-
Wallace, Grace, Lady, iv. 376 b ;
Beethoven, i. 207 b; Mendels-
sohn, ii. 309 b.
Wallace, W. V., iv. 377a;
iv. 814a ; Amber Witch, i.
59a; Bunn, i. 282 b; English
Opera, i. 489 b ; Love's Tri-
umph, ii. 1 70a ; Lurline, ii.
175a; Maritana, ii. 218a;
Matilda of Hungary, ii. 238 a ;
Opera, ii. 524b ; PF. Mus.,
ii. 732 b; PF.-playing, ii.
743b; Pougin, iii. 23 b;
Schools of Comp., iii. 306 a;
Song, iii. 608 a.
Wallekstein, a., iv. 378a.
Walliser, C, iv. 814a ; Bo-
denschatz, i. 253a ; Rochlitz,
iii. 142 a.
Wallishauser. (See Valesi.)
Walmisley, T. a., iv. 378 b ;
iv. 814b; Anthem, i. 72 a;
Attwood, i. loib; Dykes, i.
477 b; Glover (W.), i. 600a;
Mus. Lib., ii. 417b, etc. ; Pro-
fessor, iii. 33 a; University
Societies, iv. 204b; Vocal
Scores, iv. 319 b, etc. ; Barry,
iv. 5316.
Walmisley, T. F., iv. 378a;
Concentores Sodales, i. 383 b;
Hopkins (E. J.), i. 746 b ; Part
Mus., ii. 656 b; Vocal Scores,
iv. 319 b, etc.
Walond, G., iv. 379 b.
Walond, R., iv. 379 b.
Walond, W., iv. 379b ; Cecilia,
St., i. 329b.
Walond, W., iv. 379b.
Walpurgisnight, iv. 379b ;
Ballad, i. 129b ; Mendelssohn,
ii. 268a, etc.
Walsegg, F. Graf von, iv. 380 a;
Mozart, ii. 393 b, note, etc.
Walsh, J., iv. 380a ; Birchall,
i. 243 b; Mus.-printing, ii.
436 b ; Randall (W.), iii. 73 a ;
Wright, iv. 490 b.
Walsh, J., iv. 380b; Water
Mus., iv. 384 b.
Walsingham, iv. 380 b.
Walter, A.; Pianoforte, ii.
718a.
Walter, G., iv. 381a; David
(F.),i.432b.
Walter, G. W., iv. 381a.
Walter, J., iv. 381a; Weldon
(J.),iv. 435rt.
Walter, M., iv. 381a.
Walter, W. H., iv. 381a.
Walter of Evesham. (See
Odington, W. De, iv. 734a.)
Walther ; Sordini, iii. 636 ft.
Walther, J., iv. 381 a ; Chorale,
i. 351a; Hymn, i. 7610;
Luther, ii. 178 a ; Rochlitz,
iii. 141b; Schools of Comp.,
iii. 266 b, etc. ; Volkslied, iv.
337a; Mus. Lib., iv. 724b.
Walther, J. G., iv. 381b;
Bach, i. nob, etc.; Diet, of
Mus., i. 445 a ; Gerber (E.), i.
589b; Hoffmann (G.),i. 742 a;
Krebs (J. T.), ii. 71a; Cho-
rale, iv. 589 a.
Walther, J. J., iv. 814b ; Bi-
ber, i. 240b; Violin-playing,
iv. 290 b.
Walther'sLiederbuch; Dance
Rhythm, iv. 606 a.
Waltz, iv. 385a; iv. 815a;
Labitzky, ii. 79a ; Landler,
ii. 83a; Lanner, ii. 91a;
Specimens, Crotch's, iii. 649 a ;
Strauss (J.), iii. 738b; Wald-
teufel, iv. 376 a.
Waltz, G., iv. 382 a ; iv. 815a ;
Gluck, i. 601 a; Mountier, ii.
377*-
Wamsley, p. ; London Violin
Makers, ii. 164a.
Wanda, iv. 382 a; Riotte, iii.
136b.
Wandering Minstrels, iv.
815a.
Wangemann, 0. ; Organ, ii.
608 b; Hist, of Mus,, iv.
674b.
Wanhal, J., IV. 382a; IV. 815a;
PF. Mus., ii. 724b; PF.-
playing, ii. 744 ; Pleyel (Ig.),
I
iii. 2 h ; Specimens, Crotch's,
iii. 650a.
Wanless, T., iv. 382&; Tud-
way, iv. 199&.
Wannenmacher. (See Van-
NIUS.)
Wanning, J. ; Vereeniging, etc.,
iv. 255 a.
Wappino Old Staies; Percy,
ii. 685?) ; Song, iii. 607 a.
Warblers; Bagpipe, i. 124b;
Pibroch, ii. 747 a.
Ward, C. ; Drum, i. 465 a ;
Hist, of Mus., iv. 6766.
Ward, J., iv. 382 J; Barnard,
i. 140a; Este (T.), i. 496 a;
Leighton, ii. 114&; Mus. Lib.,
ii. 422a; Virginal Mus., iv.
311 i ; Vocal Scores, iv. 320 a ;
Psalter, iv. 763 «.
Ware; Opera, ii. 524a.
Waring, W., iv. 383 a.
Warlamov. (See Varlamofp.)
Warnots, E., iv. 383a; iv.
8156 ; Philh. Soc, iv. 747 a.
Warnots, H., iv. 383 a; Con-
servatoire, Brussels, i. 5926.
Warren, E. T. ; Madrigal Soc,
ii. 1936.
Warren, J., iv. 383a ; Kound,
iii. 180&.
Warren, W. ; Moore, ii. 361 a ;
Trinity Coll., Dublin, iv.
1706.
Warrock, T. ; Virginal Mns.,
iv. 309 a.
Wartel, a., iv. 3835 ; iv. 8155.
Wartel, E., iv. 383 &.
Wartel, P. F., iv. 383 b ; iv.
8156; Nilsson, ii. 4586;
Philh. Soc, ii. 699 Z> ; Singing,
iii. 5026 ; Trebelli, iv. 165 a.
Wartensee. (See Schnyder,
von, iii. 256 a.)
Warwick, T., iv. 383*.
Wasielewsky, J. W. von, iv.
384a ; Kuntsch, ii. 77a, note ;
Schumann, iii. 385 a, etc. ;
Veracini (F. M.), iv. 2396 ;
Violin-playing, iv. 288a, note,
etc ; Hist, of Mus., iv. 676 a,
etc.
Wassilew. (See Vassilef.)
Water-Carrier, The, iv. 384a ;
Cherubini, i. 342 a; Deux
Joum^es, Les, iv. 612&.
WaterhousE; Baumgarten, i.
I57«.
Water Music, The, iv. 384 a;
Handel, i. 649 a.
Waterson; Fanfare, i. 503 a;
Mus. Periodicals, iv. 7266.
Watson, T., iv. 387 a; Este
(T.), i. 496a ; Madrigal, ii.
191a; Mus, Lib., ii. 418a.
INDEX.
Watts, J.; Mus.-printing, ii.
435 &•
Watts, W. ; Arrangement, i.
94ft; Philh. Soc, ii. 6986;
PF. Mus., ii. 736a; Royal
Academy of Mus., iii. 185a.
Waves ; Beats, i. 159 a.
Wawra ; Stadler (A.), iii. 686a.
Wawruch, D. ; Beethoven, i.
199 a, etc.
Waylett, H., iv. 815&.
Weaver, J. ; Hist, of Mus., iv.
676 &.
Webb, W. H. ; Holmes, i. 7436.
Webbe, S., iv. 387a; Catch
Club, i. 322 &; Concen tores
Sodales, i. 3836; Danneley, i.
430a ; Dignum, i. 447 & ; Glee,
i. 598a, etc.; Glee Club, i.
599a ; Holmes (Ed.), i. 744a ;
Knyvett (C), ii. 67 6; Novello
(V.), ii. 4806; Part-Mus., ii.
6566 ; Ranz des Vaches, iii.
76 a ; Song, iii. 606 ') ; Stokes,
iii. 71 7^; Vocal Scores, iv.
320a; Flemming, iv. 6366.
Webbe, S., jun., iv. 387 & ; Catch
Club, i. 3226; Chiroplast, i.
347a ; Philh. Soc, ii. 698a.
Webenau, Julie von ; PF. Mus.,
ii. 7296.
Weber, Aloysia, iv. 429?);
Agujari, i. 456; Lange, ii.
90a; Mozart, ii. 3856, etc.;
Vogler, iv. 329a; Weber, iv.
388 a.
Weber, B. A. ; Meyerbeer, ii.
321a; Righini, iii. 135 «;
Song, iii. 623a; Vogler, iv.
325 a; Weber, iv. 3976.
Weber, C. M. von, iv. 387 b ; iv.
8156; Academic de Mus., i.
ga; Accent, i. 13&, etc.;
Additional Accompaniments,
i. 37 a ; Argyll Rooms, i. 82 b;
Arrangement, i. 93 & ; Art of
Fugue, i, 96 6 ; Barmann (H.
J.), i. 122a; Barbaja, i. 1 38 a ;
Bassi (L.), i. 151a; Bassoon,
i. 154a ; Beethoven, i. 183 a ;
Benedict (Sir J.), i. 2226;
Berner, i. 235a; Bishop (Sir
H.), i. 245 a; Braham, i.
2696; Canon, i. 304a ; Chezy,
i. 344&; Clarinet, i. 363 a,
etc. ; Clement (Franz), i.
372 a; Covent Garden Theatre,
i. 412&, etc. ; Crescendo, i.
416 a; Dom, i. 455a; Dus-
sek (J. L.), i. 4766 ; Ebers
(C. F.), i. 480a, etc ; Eury-
anthe, i. 4976 ; Flute, L 537& ;
Freischiitz, Der, i. 562?; ;
Fiirstenau (A. B.), i. 5666 ;
Gansbacher (Johann), i- 575 » ;
173
God save the King, i. 607 a ;
Harmonichord, i. 6636; Hawes
(W.), i. 699a; Haydn (M.),
i. 702 a; Haydn, i. 715 a, etc ;
Henselt, i. 730a; Hoffmann
(E. T. W.), i. 742a; Horn, i.
751&; Jahns, ii. 296; Jubilee
Overture, ii. 44a ; Kind, ii.
566; Lacy (M. R.), ii. 83 a ;
Lange (A.), ii. 90a; Libretto,
ii. 1 296; Lincke, ii. 139&;
Longhurst (J. A.), ii. 166 a;
Lyceum Theatre, ii. 181 a;
Marschner, ii. 219 a, etc. ;
Mass, ii. 235 a; Melodrama,
ii. 2496; Mendelssohn, ii,
255a; Meyerbeer, ii. 3216,
etc. ; Morlacchi, ii. 367 a, etc. ;
Mus. Lib., ii. 4226, etc.;
Mute, ii. 439 &; Nourrit (A.),
ii. 479&; Oberon, ii. 4856;
Oboe, ii. 4886; Odeon, ii.
4926; Opera, ii. 520&, etc.;
Orchestra, ii. 565 b ; Orches-
tration, ii. 568a, etc.; Or-
pheus, ii. 613a; Overture, ii.
6226; Part-Mus., ii. 656?);
Part-Song, ii. 6586; Paton,
ii. 6726; Philh. Soc, ii. 698 6 ;
PF. Mus., ii. 7276; PF.-
playing, ii. 740^; Piccolo, ii.
750 &; Planche, iii. la ; Polo-
naise, iii. 106; Preciosa, iii.
276; Recitative, iii. 856;
Reissiger, iii. 103 & ; Romantic,
iii. 1496, etc.; Rudorff, iii.
202 a; Riibezahl, iii. 203a;
Scena, iii. 241a; Schools of
Comp., iii. 292 a, etc. ; Schro-
der-Devrient, iii. 316a, etc.;
Schubert, iii. 335 b, etc. ;
Schuberth (L.), iii. 383 a ;
Schumann, iii. 385 a; Score,
iii. 431 &, etc; Sebald (A.),
iii. 454a; Silvana, iii. 5336;
Smart (Sir G.), iii. 537 b;
Sonata, iii. 575a, etc.; Song,
iii. 625a, etc.; Sontag (H.),
iii. 634a; Spohr, iii. 658a,
etc. ; Spontini, iii. 674a, etc. ;
Sylvana, iv. 10 a; Tarantella,
iv. 59&; Terpodion, iv. 93 «;
Trdsor des Pianistes, iv. 168 a ;
Trombone, iv. 1786; Tune,
iv. 187a ; Turandot, iv. 190a;
Variations, iv. 229a; Vogler,
iv. 326?), etc.; Wagner, iv.
347a, etc.; Waltz, iv. 3866;
Wilder, iv. 457a ; Wiillner, iv.
492a ; Abu Hassan, iv. 5176;
AspuU, iv. 525 a; Dance
Rhythm, iv. 608 a; Keeley
(M.), iv. 689a.
Weber, Constanze, iv. 429 6 ;
Mozart, ii. 385 b ; Mozart (C.)^
174
4o6a ; Vogler, iv. 329a ; We-
ber, iv. 388 a.
Weber, D. ; Bocklet, i. 252 b;
In questa Tomba oscura, ii.
40 ; Lebert, iii. 691a ; Wag-
Der, iv. 348 a ; Vaterlandische
Kiinstlerverein, iv. 808 a.
Weber, Franz ; Mannergesang-
verein, ii. 206 a; Vaterland-
ische Kiinstlerverein, iv.
808 a.
Weber, Franz A., iv. 4296;
Weber, iv. 388 a.
Weber, Fridolin, iv. 429 b;
Mozart, ii. 385 b ; Weber, iv.
388 a.
Weber, Fridolin; Weber, iv.
388 a.
Weber, Fritz and Ed. von;
Haydn, i. 708 b, etc. ; Weber,
iv. 388 b.
Weber, Gottf., iv. 815 b; Ab-
breviations, i. 4b ; Caecilia, i.
294b; Dehn, i. 4396; Metro-
nome, ii. 319a ; Mozart, ii.
402 a, etc. ; Requiem, iii.
nob, etc.; Stadler (Abb^),
iii. 686a; Vogler, iv. 327a;
Weber, iv. 394 a.
Weber, J. ; Revue et Gazette
Mus., iii. 121 b.
Weber, Jos., iv. 429 b ; Weber,
iv. 388 a.
Weber, Sophie, iv. 429b; We-
ber, iv. 388 a.
Weber's Last Waltz, iv.
430a; iv. 816 a; Reissiger,
iii. 104 a,
Wechselnote, Die Fux'sche,
iv. 430a ; Nota Cambiata, ii.
466 b.
Wecht ; Vaudeville, iv. 232 a.
Weckerlin, Fraulein ; Wagner,
iv. 363 &•
Weckerlin, J. B., iv. 430 b;
. Chanson, i. 336 a ; Conserva-
toire de Mus., i. 393b ; Da-
nioreau, i. 429 a; Echos du
temps pass^, i. 482 a ; M^-
nestrel, Le, ii. 31 1 b ; Song, iii.
597 b; Harmonious Black-
smith, iv. 667 a; Mus. Lib.,
iv. 7240.
Wedding or Camacho, iv. 43 1 a ;
Camacho, i. 299 b ; Mendels-
sohn, ii. 258 a.
Wednesday Concerts, iv.
431 b.
Weelkes, T., iv. 431 b ; Ballets,
i* 133 <*; Barnard, i. 140 b;
Este (T.), i. 496 a ; Hawkins
(Sir J.), i. 700b ; Hopkins
(E. J.), i. 746 b ; Leighton, ii.
114b; Madrigal, ii. 191a,
etc. ; Musica Antiqua, ii.
INDEX.
411a; Mus. Antiquarian
Society, iL 4166; Oriana, ii.
611 a; Part Song, ii. 658a;
Schools of Comp., iii. 277 a,
etc.; Tudway, iv. 199a;
Virginal Music, iv. 313 a ;
Vocal Scores, iv. 319 b, etc. ;
Burney, iv. 570b; Mus. Lib.,
iv. 723b, etc.
Weestroem ; Naumann (J.), iL
448 b.
Wegeler; Ries (J.), iii. 130 b;
Ries (F.), iii. 132a; Thayer,
iv. 98 b.
Wehli, K.,iv. 432 a; iv. 8i6a;
PF. Mus., ii. 733b ; PF.-play-
ing, ii. 743 a ; Strakosch, iii.
734b ; PF.-playing, iv. 748b.
Weichsel, C. ; Banti, i. 135 b ;
Billington, i. 242 a; Rovedino,
iii. 183 a.
Weichsell, Mrs. ; Vauxhall
Gardens, iv. 233 b,
Weidemann ; Festing (M. C),
i. 515b ; Royal Soc. of Mus.,
iii. 187 a.
Weigl, J., iv. 432a ; Haydn, i.
705 b, etc.
Weigl, J., junior, iv. 432 a ;
Albrechtsberger, i. 51a;
Baryton, i. 147 a; Beethoven,
i. 168 a; Carpani, i. 317a;
Castelli, i. 319 b, etc. ; In
questa Tomba, ii. 4 a ; Metro-
nome, ii. 319 b ; Mozart, ii.
392a; Oratorio, ii. 553a;
Ranz des Vaches, iii. 76a ;
Salieri, iii. 218b; Schechner-
Waagen, iii. 243a; Schelble,
iii. 244a; Schubert, iii. 333b,
etc. ; Song, iii. 622b; Sonn-
leithner, iii. 633 a; Stadler
(A.), iii. 686a; Umlauf, iv.
201 a ; Wild, iv. 456a.
Weigl, Th., iv. 433 a ; Diabelli,
i. 442 a.
Weihnachtsoratorium ; Bach
(J. S.), i. 117b; Oratorio, ii.
540b.
Weinlig, C. E., iv. 433 a.
Weinlig, C. T., iv. 433 a; iv.
81 6a ; Bierey,i. 241a ; Leip-
zig, ii. 115a ; Otto, ii. 6i6b ;
Richter (E. F. E.), iii. 128a;
Wagner, iv. 347 b, etc.
Weiss ; Baron, i. 142 a.
Weiss; Schebek, iii. 243a.
Weiss, Amalia ; Joachim, ii.
Weiss, Franz, iv. 433a; Beet-
hoven, i. 198 a ; Kraft, ii.
70a; Lichnowsky (C), ii.
132a; Rasoumowsky , iii. 77^5
Schubert, iii. 340 a; Schup-
panzigh, iii. 425 a ; Vaterland-
ische Kiinstlerverein, iv.
808 a.
Weiss, G., iv. 433b.
Weiss, Madame ; Umlauf, iv.
201 a.
Weiss, W. H.. iv. 433 a ; Sing-
ing, iii. 512 b.
Weisse; Schelble, iii. 244 a.
Weissenbach, A., iv. 433b;
Beethoven, i. 1920.
Weissensee, F. ; Bodenschatz,
i. 253a.
Weist-Hill, H., iv. 434 a;
Sainton, iii. 217a.
Weitzmann, K. F., iv. 8i6a;
Beringer(0.),iv. 545 a; Hist.
of Mus., iv. 675b.
Welch, C. ; Hist, of Mus., iv.
676 b.
Welch, J. B., iv. 434 a; iv.
81 6b; Williams (Anna), iv.
459*.
Welckeb von Gontershausen,
H., iv. 434b; PF., ii. 713a,
etc. ; Stein, iii. 708 a ; Hist, of
Mus., iv. 676a, etc.
Weldon, G., iv. 435 a.
Weldon, J.,iv.435o ; Anthem,
i. 71a; Arnold (S.), i. 86b;
Boyce, i. 268 b; Hawkins (Sir
J.), i. 700b ; Mus. Lib., ii.
421b, etc.; Page, ii. 632b;
Schools of Comp., iii. 286b;
Tudway, iv. 199 b; Walter
(J.), iv. 381a.
Well-tempered Clavier. (See
Wohltemperibte Klavier,
iv. 4820.)
Welsh Music, iv. 435 b; iv.
8i6b; Eisteddfod, i. 484a;
Haydn, i. 715 b ; Jones (Ed.),
ii. 39 a ; Parry (J.), ii. 651b;
Parry (J., of Rhuabon), ii.
651 b ; Richards (Brinley), iii.
127b; Specimens, Crotch's,
iii. 649 a ; Thomas (J.), iv.
105 a; Thomson (G.), iv.
106 a; Beethoven, iv. 541;
Hist, of Mus., iv. 674b.
Welsh Triple Harp, iv. 443 J;
Jones (E.), ii. 39 a.
Welsh, T., iv. 444 b ; Sinclair,
iii. 495 b; Stephens (C), iii.
710b; Templeton, iv. 81 b;
Wilson (M.), iv. 463 a.
Wenneeberg, G., iv. 816 b;
Song, iii. 6iob.
Werlin ; Volkslied, iv. 337a.
Werner; Haydn, i. 705 a;
Singspiel, iii. 517 a.
Werner, H. ; Orpheus, ii. 613 a;
Part-music, ii. 657 a.
Wernicke, J. G. ; Tresor des
Pianistes, iv. i68b.
Webshall; Gade, i. 574a.
INDEX.
175
Wert, G. de, iv. 444b ; Ber-
chem, i. 230a; Madrigal, ii.
1886, etc. ; Mus. Antiqua, ii.
41 1 a ; Mus. Transalpina, ii.
416a; Mus. Lib., ii. 418& ;
Part-music, ii. 656 b ; Schools
of Comp., iii. 261 &; Mus.
Lib.jiv. 726a ; Sistine Chapel,
iv. 794 a.
Wesley, Charles, iv. 445 b; iv.
8166; Barrington (Hon. D.),
i. 1446 ; Lampe (J.), ii. 88b ;
Page, ii. 6326; Clifton, iv.
594a.
Wesley, M,E,; Organists, Coll.
of. iv. 7356.
Wesley, S., iv. 445 b ; iv. 816 b ;
Bach (J. S.), i. 117b; Bar-
rington (Hon, D.), i. 144b;
Birmingham Festival, i. 244 a ;
Cecilia, St., i. 329b ; Ex-
tempore-playing, i. 499 a ;
Glee-Club, i.599a ; Hart (J.),
i. 693a; Haydn, i. 714b;
Horn (K. F.), i. 752 b ; Jacob,
ii. 28 b; Madrigal Society, ii.
193b; Mendelssohn, ii. 274a;
Mus. Periodicals, ii. 427a;
Page, ii. 632b; Philharmonic
Soc., ii. 698 b; PF. Mus., ii.
726a; Rimbault, iii. 135 a;
Schools of Comp., iii. 308 b ;
Seraphine, iii. 466 b ; Smith
(G. T.), iii. 539b; Stokes, iii.
717a; Voluntary, iv. 339b;
Wohltemperirte Klavier, iv.
4836; Worgan (John), iv.
486 a; D' Albert (C), iv.
504a.
Wesley, S. S., iv. 447 a; iv.
8i6b; Anthem, i. 72b; Ex-
tempore-playing, i. 499 a;
Pittman, ii. 759 a; Schools of
Comp., iii. 309b ; Service, iii.
473 &; Spark, iii. 647b ; Gar-
rett (G.), iv. 646 a ; Gladstone
(F.), iv. 648 a.
Wessel, iv. 448 b.
Westbrook, W. J., iv. 448b ;
Mus. Periodicals, ii. 428 a.
Western Madrigal Society,
The, iv. 449a.
Westlake, F., iv. 449 a.
Westminster, iv. 449 b.
Westmoreland, Earl of, iv.
449b.
Westphal, Rud. ; Jahrbiicher,
etc., ii. 30b ; Hist, of Mus.,
iv. 674a, etc.
Westrop, E., iv. 450 a.
Westrop, H. J., iv. 449b ;
Choral Harmonists' Society, i.
352a; Melophonic Society, ii.
252a ; Society of British Mu-
sicians, iii. 544 a.
Westrop, J., iv. 450a.
Westrop, Kate, iv. 450 a.
Westrop, T., iv. 450 a.
Wetzlar; Beethoven, i. 178 J.
Wex, J. ; Zeugheer, iv. 507 a.
Weyrauch, A. H. von, iv. 450a ;
Schubert, iii. 357b, note.
Weyrauch, Sophie von, iv. 450 a.
Weyse, C. ; Gade, i. 574a ; PF.
Mus.,ii. 726 b ; PF.-playing,ii.
744; Song, iii. 610 a.
Wheatstone, Sir Chas. ; Helm-
holtz, i. 7266 ; Jew's Harp, ii.
34a.
Whichello, a. ; Britton, i. 277 b.
Whistle ; Picco, ii. 750a.
Whistling and Hofmeister's
Handbuch, iv. 450a.
Whitaker, J., iv. 450 J.
White, Maude V., iv. 451a;
Mendelssohn Scholarship, ii.
311a; Song, iii. 608 i.
White-Meadows, Alice, iv.
451 &.
White, Rev. Matthew, i v. 451 a ;
Tudway, iv. 199a; White
(R.), iv. 452 a.
White, R., iv. 451 J ; iv. 8i6b ;
Barnard, i. 140b; Lamenta-
tions, ii. 88b; Mus. Lib.,
ii. 422a; Schools of Comp.,
iii. 2726; Burney, iv. 570b;
Mus. Lib., iv. 723 b.
White, T. ; Virginal, iv. 304b.
White, W. ; White (R.), iv.
452 a.
Whitelocke; Hawkins, i. 700 b ;
Burney, iv. 571a.
Whitfeld, Clarke. (See
Clarke, John, i. 365 5.)
Whiting, G. E., iv. 453 a.
Whitmore, C. S., iv. 454a.
Whitmore, F., iv. 454a.
Whyte; Haydn, i. 715a.
Whyte, R. (See White, iv.
451*0
Whythorne, T., iv. 454a ; iv.
817a; Madrigal, ii. 191a.
Whytock. (SeePATEY,ii.672a.)
Wich ; Maurer, ii. 239b.
Widerspanstigen Zahmung,
Der, iv. 454a ; Goetz, i. 607b.
Widor, C. M., iv. 454a ; iv.
817a ; Offertorium, ii. 494a ;
Philh. Soc, iv. 747 a.
WiECK, F., iv. 454b ; Brendel,
i. 273b; Billow (H. von), i.
781a; Klemm, ii. 64a;
Portrait, his, iv. 492 ; Schu-
mann, iii. 386a, etc.; Schu-
mann (Clara), iii. 421b.
WiECK, Marie, iv. 455 a; PF.-
playing, ii. 745 «.
Wiener, W,, iv. 455a; Stradi-
vari, iii. 729 b, etc.
WiENiAWKSi, H., iv. 455 a;
Etudes, i. 497 a; Conserva-
toire, Brussels, i. 592 b ; JuUien,
ii. 45a; Massart, ii. 2356:
Philh. Soc, ii. 700 a ; Violin-
pla3dng, iv. 289, etc. ; EssipbfF
iv. 629 J; Obertas, iv. 733 a.
WiENiAWSKi, J., iv. 455a ; PF.
Mus., ii. 735 a; PF.-playing,
ii. 743b.
Wjeprecht, F. W. ; Manns, ii.
206b ; Paine, ii. 632b ; Wind-
band, iv. 468 a, etc.
Wilbye, J., iv. 455b ; Arrange-
ment, i. 93b; Este (T.), i.
496 a; Hawkins, i. 700b;
Leighton, ii. 114 6; Mad-
rigal, ii. 191a, etc.; Mus.
Antiquarian Soc, ii. 416b;
Oriana, ii. 6lia; Part-Mus.,
ii. 656 b; Schools of Comp.,
iii. 277a; Transposition of
Modes, iv. 161 b; Vocal Scores,
iv. 320a.
Wild, F., iv. 456a; iv. 817a;
Ander, i. 65 b.
WiLDBORE ; Tudway, iv. 199 b.
Wilder, J. A. V. van, iv. 457 a ;
M^nestrel, Le, ii. 311b.
Wilhelm, Carl, iv. 457a; iv.
817a; Riedel, iii. 1296;
Wacht am Rhein, iv. 343 a.
Wilhelmi, a., iv. 457a ; David
(Ferd.), i. 433b ; Philh. Soc,
ii. 700b ; Stradivari, iii. 733a ;
Violin -playing, iv. 289, etc. ;
Wagner, iv. 363 b, etc.
WiLHEM, G. L., iv. 457 b; iv.
817a; Barnett (J.% i, 141b;
HuUah, i. 756a; Mainzer, ii.
199 a; Orph^on, ii. 612 a.
Wilhorsky, Count ; Kraft, ii.
70 a ; Schumann, iii. 397 b.
WiLHORST, Mme. ; Straiiosch,
iii. 734a.
Wilis, The. (See Night-
dancers, ii, 458 a.)
Wilkinson; Tudway, i v. 199 a.
WiLLAERT, A., iv. 458 b ; Attaig-
nant, i. 100 b ; Barre (L.), i.
142 b ; Conservatorio, i. 394b;
Gabrieli (A.), i. 571b ; Haw-
kins, i. 700b ; Lassus, ii. 94a,
etc.; Madrigal, ii. 190a;
Mass, ii. 228b; Merulo,
ii. 314J; Motet, ii. 373*;
Mouton, ii. 378b, etc.; Mus.
Antiqua, ii. 411a ; Mus. Lib.,
ii. 420b ; Polyphonia, iii. 13b;
Ricercare, iii. 1266; Rore, iii.
159a; Saggio di Contrap-
punto, iii. 212 a; Schools of
Comp., iii. 261 b, etc. ; Song,
iii. 588 b ; Tylman Susato, iv
197b; Verdelot, iv. 239b;
176
Vicentino, iv. 26105; Vocal
Scores, iv. 319b; Waelrant,
iv. 344 & ; Zarlino, iv. 500 b ;
Porta (C), iv. 750a; Sistine
Chapel, iv. 7946 ; Tr^sor Mus.,
iv. 8036 ; Verdelot, iv. 810&.
WiLLABD, N. A. ; Hist of Mus.,
iv. 6746.
Willbnt; Bassoon, i. 151 6;
Conservatoire de Mus. , i. 393 &.
Williams, Anna, iv. 459 b ;
Singing, iii. 512/).
Williams, Anne, iv. 4596.
Williams, G., iv. 4596; Ma-
drigal Society, ii. 194 a ; Tud-
way, iv, 1996.
Williams, J. ; Sergeant Trum-
peter, iii. 469 a.
Williams, Martha, iv. 460 a;
Lockey, ii. 158 a.
Willing, C. E., iv. 460 a ;
Foundling Hospital, i. 557a;
Trinity Coll., London, iv.
1716.
Willis; Leipzig, ii. 11 5 J.
Willis, H., iv. 460a ; Organ, ii.
602 a, etc. ; Pedals, ii. 682 a;
Temperament, iv. 72 a.
Willmann, Carl, iv. 4616.
Willmann, Caroline, iv. 461 &.
Willmann, M., iv. 460b ; Ar-
nold (J. G.), i. 856; Haydn,
i. 707 a.
Willmann, Magdalena, iv.
461a.
Willmann, Mme. Hiiber, iv.
461a.
Willmann, Mme. Tribolet, iv.
461b.
Willmann, Miss, iv. 462 a.
WiLLMAN, T. L., iv. 460 b ; Royal
Academy of Mus,, iii. 185 a.
WiLLMEBS, H., iv. 462 a; PF.
Mus., ii. 733a; PF.-playing,
ii. 739 a, etc.
Willy, J., iv. 462 a; Wednes-
day Concerts, iv. 4316.
Wilson ; Diet, of Mus., i.
446 b.
Wilson, J., iv. 462b; Mus.
Lib., ii. 418a; Mus. School,
The, ii. 437a; Tudway, iv.
199 a ; Vocal Scores, iv, 320 a.
Wilson, J., iv. 463a; iv.8i7a;
Scotch Mus., iii. 451b; Sing-
ing, iii. 512a; Table Enter-
tainment, iv. 51a.
Wilson, Mary Ann, iv. 463 a;
Welsh (T.), iv. 444 5.
Wilt, Marie, iv. 463 b.
Winch, W. J. ; Boston Mus.
Soc, iv. 1^55 b ; Philh. Soc, iv.
746b.
Wind-band, iv. 463b ; iv. 817a;
Harmonie, i. 666 a ; Instru-
INDEX.
ment, ii. 6a; Krommer, ii.
73b; Zinke, iv. 511b; Gil-
more, iv. 647 a ; Kastner (J.
G.),iv. 688a.
Wind-chest ; Organ, ii. 574 a,
etc.
Wind Instbuments; Bell, i.
aiob; Besozzi, i. 238 S; Har-
monie, i. 666 a ; Instrument,
ii. 6a; Kohler, ii. 68a; No-
tation, ii. 478a ; Sax (C. J.),
iii. 231b, etc.; Staccato, iii.
685 a; Symphony, iv. 21b;
Tone,iv. 143b; Mahillon (V.),
iv. 708 a.
WiNDET, J. ; Mus. -printing, ii.
435 a-
Winding, A. ; Song, iii. 611 o.
WiNDSOB Tune, iv. 473 b ;
Psalter, iv. 754a, note, etc.
WiNGHAM, T., iv. 475 a; iv.
817a ; Philh. Soc, iv. 747a.
WiNKEL ; Maelzel, ii. 194b ;
Metronome, ii. 319 a.
WiNKELMANN ; AVagncr, iv.
WiNKHLEB, C. A. de; Vater-
landische Kunstlerverein, iv.
808 a.
WiNKLEB, L. ; PF. Mus., ii.
731a; PF.-playing, ii. 744.
Winn, F., iv. 475 b.
Winn, W., iv. 475b ; iv. 817b ;
Jackson (of Masham), ii.
28 a.
WiNTEE, P., iv. 475b ; Addison,
i. 30 b ; Ecclesiasticon, i.
481b; Henneberg, i. 728 a;
Labitzky, ii. 79 a ; Latrobe,
ii. 103b; Lindpaintner, ii.
143a; Mus. Lib., ii. 420a;
Neate, ii. 450 b ; Oratorio, ii.
553«; Orpheus, ii. 613b;
Reissiger, iii. 103 b ; Ries
(Ferd.), iii. 130b; Seyfried,
iii. 478a; Song, iii. 622*;
Stabat Mater, iii. 685a ; Stei-
belt, iii. 7020; Tomaschek,
iv. 132b; Vogler, iv. 324b,
etc. ; Willmann (Magd.), iv.
461a.
WiNTEBBEBGEB, A.; PF. MuS.,
ii. 735 a; PF.-playing, ii. 745.
WiNTEBBOTTOM ; Philh. Soc, ii.
700 a.
WiNTEBFELD, C. von ; Bach (J.
S.), i. ii8b; Opera, ii. 6oob,
note; Song, iii. 631a ; Volks-
lied, iv. 338a; Zachau, iv.
499 a ; Chorale, iv. 590 b ;
Hist, of Mus., iv. 674a, etc.
Winteb-Hjelm, 0. ; Song, iii.
6iia.
Wintzweilleb ; Gr. Prix de
Rome, i. 6i8b.
Wippebn, L., iv. 476a; Philh.
Soc, ii. 700a.
Wise, Ch. ; London Violin
Makers, ii. 163 b.
Wise, Michael, iv. 476 b; An-
them, i. 71 a ; Boyce, i. 2686 ;
Mus. Lib., ii. 418 b; Schools
of Comp., iii. 282 b; Tudway,
iv. 198b; Voices, iv. 334b.
WiTHEBs; Violin, iv. 284a.
WiTHEBS ; Mus. Lib., ii. 424a.
WiTTASSEK, J.; Duschek (F.),
i. 472b; PF. Mus., ii. 726a;
Vaterlandische Kunstler-
verein, iv. 808 a.
WlTTECZEK, J. von, iv. 477a;
Spaun, iii. 648 a.
Witting ; Locatelli, ii. 156a.
Wittmann; PF. Mus.,ii. 736a.
WiTziG, S.; Weigl (J.), iv.
432 a.
WixoM, E,, iv. 477 a; Philh,
Soc, iv. 747 a.
WoEGEB ; Wagenseil, iv. 344 b.
WoELFL, J, iv. 477b; Beet-
hoven, i. i68a ; Bottomley,
i. 263a; Dussek, i. 474b, etc ;
Extempore Playing, i. 498 b;
Haydn (M.), i. 702 a; Im-
provisation, ii. 2a; Mendels-
sohn, ii. 254b; Neate, ii.
450 a; Non plus ultra, ii.
465a; PF. Mus., ii. 726b;
PF.-playing, ii. 738b, etc.;
Plus ultra, iii. 4 a ; Potter,
iii. 23a; Redoute, iii. 89b;
Life let us Cherish, iv. 701 a,
WoELKEBT ; Haitzinger, i. 644 a.
WoHL, Janka; Liszt, iv. 703 a.
WoHLFAHBT, H. ; PF. Mus.,
ii. 728b.
WOHLTEMPEBIBTE CLAVIEB, DaS,
iv. 482 a; Bach (J. S.), i.
ii6b; Beethoven, i. 163a;
Clavichord, i. 366 b, etc ;
Horn(K. F.), i. 752b; KroU,
ii. 73 b; Mozart, ii. 392 a;
Wesley (S.), iv. 446 a ; West-
lake, iv. 449 b.
Woldemab; Violin-playing, iv.
289.
Wolf, E. ; A quatre mains, i.
80 a.
Wolf, G. F. ; Diet, of Mus., i.
445 a.
Wolf, H. ; GoUmick, iv. 651 h.
Wolf, J. B.; Schott (B.), iii.
Wolf. (See Lupus, J.)
Wolf, The, iv. 485 a; Clagget,
i. 360a ; Clavichord, i. 368 b ;
Organ, ii. 592 a; Tempera-
ment, iv. 72 b; Tenor Violin,
iv. 89 a; Tuning, iv. 188 a.
Wolff, A. D. B., iv. 485 b;
PIeyel(Cam.),iii. 3/^; Pleyel&
Co., iii. 4a ; PfeifFer, iv. 746a.
Wolff, Ed. ; PF. Mus., ii. 731 6;
PF.-playing, ii. 7436 ; VVien-
iawski, iv. 455a; Chabrier,
iv. 5846.
WOLLENHAUPT, H. A. ; PF.
Mus., ii. 734a ; PF.-playing,
"• 745-
WoLLiCK ; Mus. Lib., iv. 724a.
WoLZOGEN,H.von; Wagner, i v.
3646, etc.
Wood, Anthony; Baltzar (T.),
i. 133a; Ferrabosco (A.), i.
5126; White (R.), iv. 452a.
Wood, Father; Pianoforte, ii.
715 a.
Wood, Mrs. (See Paton, Mary
Anne, ii. 6726.)
Wood ; Page, ii. 632?).
Woodson; Barnard, i. 140a.
Woodwabd, E. ; Trin. Coll.,
Dublin, iv. 170 5.
Woodward, T. ; Bishop (J.), i.
246 a.
Wood- WIND ; Orchestra, ii. 565 6.
WooDYATT, Emily, iv. 486 a.
Woolcot; Tudway, iv. 199 b.
Woolhodse; Temperament, iv.
70 &, note,
WooLLASTON ; Britton, i. 2776.
WooRDE, W. de; Madrigal,
ii. 1906, etc. ; Mus. Printing,
ii. 434l>; Mus, Lib., iv. 724a ;
Part-books, iv. 740 a.
WoOTTON ; Mus. Lib., ii. 422 &.
WoRGAN, James, iv. 486 a ; Vaux-
hall Gardens, iv. 2335.
WoBGAN, John, iv. 486 a ; Mad-
rigal Society, ii. 193?).
INDEX.
Working-out, iv. 4866; iv.
817&; Beethoven, i. 203&;
Development, i. 441 h ; Double
Bar, i. 4 5 7 6 ; Dvurchfuhrung, i.
472 a; rorm,i. 544a, etc. ; Re-
prise, iii. 109 a ; Subsidiary, iii.
754a; Metamorphosis, iv. 7 1 8a.
WoRMSER ; Grand Prix de Rome,
i. 618&.
WoRNUM, iv. 489b; Cottage
Piano,i. 407 6 ; ObliquePiano,
ii. 486a ; Pianoforte, ii. 719& ;
Piccolo Piano, ii. 751a;
Tuning, iv. 189 a.
WoRONicz; Song, iv. 795 a.
WoBZiscHEK, J. H. ; Ecclesias-
ticon, i. 482 a; PF. Mus., ii.
728a; PF.-playing, ii. 744;
Tomaschek, iv. 133&; Vater-
landische Kiinstlerverein, iv.
808 a ; Vesque von Piittlingen,
iv. 811 &,
WOTTON, W., iv. 4896.
WoTTON, W. B., iv. 4896.
Wranitzky, Ant. ; Augarten, i.
104a; Haydn, i. 716& ; May-
seder, ii. 241 a ; Violin-play-
ing, iv. 297«.
Wranitzky, Mme. Seidler ;
Spontini, iii. 6726, etc.
Wranitzky, P., iv. 490a; Beet-
hoven, i. 1796; Kraft, ii.
70a; Lobkowitz, ii. 155a;
Louis Ferdinand, Prince, ii.
169a; Mozart, ii. 404 a;
Weber, iv. 420a.
Wreede, J. B. J Sistine Chapel,
iv. 794 &.
WrESTPINS. (SeeWRESTPLANK.)
Wrestplank, iv. 490 & ; Piano-
irr
forte, ii. 7II«; Stringplate,
iii. 746 a.
Wright; Barrel-organ, 1. 143a.
Wright, C. ; Glee-club, i. 599 «.
Wright, H. (See Walsh, iv.
3806.)
Wrist-touch, iv. 490b.
WiJLLNER, F., iv. 491 &; iv.
817 &; Niederrheinische Mu-
sikfeste, iv. 731 &; Reicher,
iv. 770 a.
WiJRFEL, W. ; Beethoven, i.
201 a; PF.-playing, ii. 744;
Tomaschek, iv. 1336.
Wuerst, R., iv. 491 6 ; Hofmann
(H. K. J.), iv. 677 6.
WiJRZBURO, K. von; Song, iiL
6156.
Wuest, p. ; Dodecachordon, iv.
616a.
Wunderlich; Tulou, iv. 186 a.
WuRM, Marie ; Mendelssohn
Scholarship, iv. 717 &.
Wurzbach; Haydn, i. 7191*;
Schubert, iii. 370 a,
Wydow, R., iv. 817&.
Wylde, H., iv. 4926; Analysis,
i. 63a; Bamett (J. F.), i.
141 &; Gresham Mus. Pro-
fessorship, i. 627 J; New
Philh. Society, ii. 4526.
Wyllart. (See Willaert, A.,
iv. 458 b.)
Wyndham, F. ; Singing, iii.
512 a.
Wynne, E., iv. 8 18 a; Eistedd-
fod, i. 484b; Patey (Janet),
ii. 672 a; Philh. Soc.,ii. 700a;
Singing, iii. 512 b.
WYS09KI, K. ; Song, iv. 795 a.
X, Y.
Xerxes ; Handel, i. 651a.
Xylophone. (See Strohfiedel,
iv. 797a.)
Yaniewicz. (See Janiewicz,
ii. 306.)
Yankee Doodle, iv. 492 a; iv.
8i8a.
Ycaebt; Lamentations, ii. 88 a.
Yeomen of the Guabd, iv.
818a ; Sullivan, iii. 761a.
Yniguez, B. ; Temperament, iv.
72a.
YoNGE, N., iv. 495 a; iv. 818 a;
Este (T.), i. 496a; Madrigal,
ii. 191a; Mus. Transalpina,
ii. 416a; Byrd (W.), iv.
572b.
Yobk Musical Festival, iv.
495a; Festivals, i. 516b.
YoBKSHiBE- Feast Song, The,
iv. 496 a; Purcell, iii. 48 a.
Yost, M. ; Concert Spirituel, i.
385 &•
You Gentlemen op England;
Song, iii. 603 a.
Youll ; Este (T.), i. 496a.
Young, Cecilia ; Arne, i. 846.
Young, Ch. ; Arne, i. 846.
Young, Mary ; Barthel^mon, i.
145 b.
Young, N. (See Yonge, iv.
495 a.)
Young, Thomas, iv. 490a.
Young, T j Resultant Tones, iii.
i2oa.
Yradier, S. ; Rudersdorff, iii
200a.
Yriarte, Don Tomaa de, iv.
496 a ; Haydn, i. 708 b.
YussuPOF, N. ; Song, iii. 614b,
note', Hist. ofMus.,iv. 6756.
Yves; Virginal Mus., iv. 313a.
178
INDEX.
Zacchino J.; Mu9. Lib., iv.
726a; Siatine Chapel, iv.
794^.
Zacconi, L., IV. 490 a; Imper-
fect, 1.767a; L'homme Arm^,
ii. 127 h, etc. ; Mus. Ficta, ii.
413a; Mus. Lib., ii. 421a;
Palestrina, ii. 638 b; Strict
Counterpoint, iii. 740b; Dode-
oachordon, iv. 616 a; Mus.
Lib., iv. 725b.
Zach ; Violin, iv. 284a.
Zachabiis, C. de; Berg, i.
230b; Faux-Bourdon,i. 509b;
Mus. Div., ii. 412 a.
Zachau, F. W., iv. 498 a;
Handel, i. 648 a; Theile, iv.
99 a.
Zaga, a. ; Barbella(E.),i. 138 a.
Zahobsky ; Song, iii. 614b.
Zaide, iv. 499a ; Mozart, ii.
387a.
Zaire, iv. 499a; Bellini, i.
212b.
Zalamella ; Bodenschatz, i.
253 a- ^'
Zambona, S., iv. 499 a; Beet-
hoven, i. 163a.
Zambini ; Kossini, iii. 164b.
Zamoiska, Countess ; Eisner, i.
486b.
Zampa, iv. 499 b; Hdrold, i.
731b.
Zandt, M. van, iv. 499 b.
Zanetta, iv. 499 b ; Auber, i.
102 b.
Zanetti ; Piatti, ii. 746 a.
Zanetto, p. ; Tenor- Violin, iv.
89 b ; Violin, iv. 280 b, etc.
Zang, N. ; Bodenschatz, i.
253*.
Zangids ; Bodenschatz, i. 253 a.
Zanobi, Marco di ; Opera, ii.
500 a. (See also under Gaq-
LIANO, M.)
Zanotti ; Martini, ii. 332 a, etc.
Zapfenstbeich, iv. 500 a ; Tat-
too, iv. 63 b.
Zaplachki ; Song, iii. 6136,
Zappasoeqo; Mus. Lib., iv.
726 a.
Zabemba, N. ; Tschaikowsky, iv.
183 a.
Zablino, G., iv. 500 b ; Cerone,
i. 331a ; Clavichord, i. 368 b ;
Croce, i. 418 b; Imperfect, i.
767a; Merulo, ii. 314b; Mi-
crologus, ii. 327a ; Monodia,
"• 354^; Mus. Antiqua, ii.
411a ; Mus. Ficta, ii. 412b ;
Mus. Lib., ii. 418a, etc. ;
Point, iii. 5 b ; Saggio di Con-
trappunto, iii. 212 a ; Schools
of Comp., iii. 265 b ; Sounds
and Signals, iii. 643a ; Strict
Counterpoint, iii. 740b ; Sub-
ject, iii. 750 a ; Sweelinck, iv.
7b ; Willaert, iv. 458b ; Zac-
coni, iv. 497a ; Burney, iv.
570 b ; Galilei, iv. 644a ; Mus.
Lib., iv. 725 b.
Zaubebflotb, Die, iv. 5036 ;
iv. 818 b; Henneberg, i.
728a; Lachnith (L. W.), ii.
82 b ; Mozart, ii. 394a ; Mys-
t^res d'Isis, ii. 440 b ; Miiller
(VV.), iv. 722a.
Zaubeehabfe ; Schubert, iii.
332 «.
Zavebtal, J., iv. 504a.
Zavebtal, L., iv. 504a.
Zavebtal, N., iv. 504a.
Zawoba ; Booklet, i. 252 b.
Zeelandia, H. de ; Song, iii.
617b.
Zeidleb ; Westmoreland, iv.
449 b.
Zelenka. (See Zeblenka.)
Zelensky ; Song, iii. 614b.
Zelmiba, iv. 504a ; Rossini, iii.
1696.
Zelteb, C. F., iv. 504 a; Aus-
wahl, i. 105a; Berner, i.
235 a ; Dom, i. 455 a ; Eber-
wein, i. 48 1 a ; Fasch, i. 508 b ;
Haydn, i. 7186 ; Kirnberger,
ii. 62 tt ; Klein, ii. 63b;
Liedertafel ii. 136 a ; Lind-
blad, ii. 142 b ; Loewe (J. C.
G.), ii. 160a; Mendelssohn,
ii. 254b, etc. ; Meyerbeer, ii.
321a; Milder-Hauptmann, ii.
331 a ; Mozart (Leopold), ii.
379b; Nicolai, ii. 453 a; Or-
pheus, ii. 613a ; Radziwil, iii.
63b; Rietz (J.), iii. 133a;
Singakademie, iii. 516 a ;
Song, iii. 623a, etc.; Sonn-
leithner (J.), iii. 632 b; Spon-
tini, iii. 668 a, etc. ; Szyma-
nowska, iv. 45 b ; Zumsteeg,
iv. 514b; Flemming, iv.
636 b ; Giovannini, iv. 647 b ;
Grell, iv. 658a.
Z^MIBB ET AZOE, iv. 505 b;
Gr^try, i. 628b; Spohr, iii.
659a.
Zeno, a. ; Opera, ii. 505 a, etc.
Zenobia, iv, 506 a.
Zeretelew, E. a., iv. 506 a.
Zeblenka, J. D. ; Fux, i. 570a,
etc.; Quantz, iii. 56 a ; Roch-
litz,iii. 142 a.
Zebline, iv. 506 a; Auber, i.
102 b.
Zebb, A.,iv. 506b.
Zebbahn, C, iv. 506 b ; Harvard
Mus. Association, i. 693 b ;
Boston Mus. Soc, iv. 555 b.
Zetto, G. ; Oriana, ii. 61 1 6.
Zeugheeb, J., iv. 507 a.
Zeuneb, C, iv. 507 b ; Cleipenti,
i. 373^.
ZiANi, p. and M. A.; Draghi
(A.), i. 461a; Opera, ii. 503 b.
ZiCHY, Countess; Mozart, ii.
396 a.
Zicklee; Kirnberger, ii. 62a.
Ziegleb; Dittersdorf, i. 449 b.
ZiMMEEMANN, Agnes, iv. 507b;
Philh. Soc, ii. 700 a; PF.
Mus., ii. 736a; PF.-playing,
ii. 745a; Schools of Comp.,
iii. 311a.
ZiMMEBMANN, August ; Violin-
playing, iv. 289.
ZiMMEBMANN, P. J. G., iv. 508a ;
Chiroplast, i. 347 b; Conser-
vatoire de Mus., i. 392b;
Imitation, i. 766 a; Ravina,
iii. 78 b ; Wolff (A.), iv. 485 b ;
Franck (C. A.), iv. 639 b.
ZiMMEBMANN ; Tarantella, iv.
59 a.
ZiMMEBMANN; Wind-band, iv.
470 a.
ZiNCK, L. ; Song, iii. 611 a.
ZiNCKE. (See ZiNKE, iv. 511a.)
Zinfonia; Ritornello, iii. 137a.
ZiNGABA, La, iv. 508 a; Balfe,
i. 127 b.
ZiNGABELLI, N. A., iv. 508 a;
Bellini, i. 212a; Chelard, L
341a; Costa (M.)> i> 406a;
Giand Opera, i. 617a; Ifi-
genia, i. 765 b; In questa
Tomba, ii. 4a ; Jannaconi, ii.
31a; Mercadante, ii. 312a;
Morlacchi, ii. 366 a; Mus.
Lib., ii. 421b, etc; Nieder-
meyer, ii. 455a; Odeon, ii.
492 b; Opera, ii. 517 b; Ora-
torio, ii. 552b; Part-Mus., ii.
656 b; Ricci (L.), iiL 125b;
Romeo and Juliet, iii. 154a;
Rossi (Laura), iii. 163a ;
Schmid (A.), iii. 254b; Vocal
Scores, iv. 319 b; Florimo, iv.
636 b.
ZlXGARELLI, R. T., iv. 508 a.
ZiNKE, iv. 511a; Instrument,
ii. 6b ; Violin-playing, iv.
28 76; Virdnng, iv. 303b;
Wind-band, iv. 465 b.
ZiPOLi, D. ; Form, i. 544a;
Meister, Alte, ii. 247 b; Tr^sor
des Pianistes, iv. 168 a.
Zither, iv. 511b; Cither, i.
359a, etc.; Frets, i. 563b;
Guitar, i. 640b ; Harmonics,
i. 665a; Instrument, ii. 6b;
Petzmayer, iv. 746 a.
Zmeskall, Baron ; Beethoven,
i. 1 68 b, etc. ; Ertmann, i.
493 b ; Fischoff, i. 530 a ; May-
seder, ii. 241 b ; Metronome, ii.
319a; Schuppanzigh,iii.425a.
ZoLLNER, A. ; Orpheus, ii. 613 b.
ZoiLO, A. ; Mus, Divina, ii.
41 2 J ; Sistine Chapel, iv. 7946.
INDEX.
Zoo, The, iv. 513b; Sullivan
(A.), iii. 764a.
ZoPF, iv. 513b.
ZoPFF, H., iv. 513 b.
ZoppA, Alia, iv. 514a; Magyar
Mus., ii. 197 b.
ZoRA,iv.5i4a; Rossini, iii. 177b.
ZoRzico; Song, iii. 598b.
ZuccALMAGLio, A. von ; Schu-
mann, iii. 390b, etc.
ZuccARiNi ; Mus. Lib., iv. 726a.
ZucHETTO; Schools of Comp.,
iii. 265 a.
ZucHiNO, G. ; Bodenschatz, i,
2536 ; Mus. Divina, ii. 412 b.
Zdck; Fischer (J. C), i. 529b.
ZUKUNFTSMUSIK, iv. 514a.
ZuLEHNER, Carl, iv. 818 b;
Sterkel, iii. 711b ; Mozart, iv.
721a.
ZuMPE, J. ; Key, ii. 54a ; Piano-
179
forte, ii. 714 a, etc. ; Sordini,
iii. 636 b; Square Piano, iii.
683 a.
ZUMSTEEG, J. R., iv. 514b;
Abeille, i. 4b ; Song, iii. 628b.
ZuR-MuHLEN, R. von, iv. 8i8b;
Singing, iii. 514 b.
ZuSAMMENSCHLAG ; Acciacca-
tura, i. 1 8 b.
ZvoNAfi, J. L. ; Song, iii. 614 b.
ZwERCH-PFEiFF ; Viidung, iv.
303 &•
ZwETER, R. von ; Song, iii. 615 b.
ZWILLINGSBRUDER, Die, iv. 515b;
Schubert, iii. 330 b.
ZwiNGER ; Ranz des Vaches, iii.
76 a.
ZwiscHENSPiEL, iv, 515 b ; Inter-
lude, ii. 7b ; Tune, Act, iv.
187 a.
ZwYNY, A.; Chopin, i. 350a.
END OP THE INDEX.
I
Na
CATALOGUE
OF THE ARTICLES CONTRIBUTED BY EACH WRITER IN THE
DICTIONARY.
Andrews, Addison F. [A. F. A.]
—Walter, W. H.
AEMBRUSTEB,Carl[C.A.] — Mottl ;
SeidL
Baptie, David [D. B.] — Smith,
E. A. ; Spoflforth.
Bennett, J. R. Sterndale- [J.
R.S.-B.] — ^Agricola, A. ; Arcadelt ;
Barre, L.; Bassiron ; Baston ; Bauld-
uin ; Berchem ; Bilhon ; Binchois ;
Brumel ; Cr6quiIlon ; Crespel ; Dan-
kei-ts; Divitis; Ducis; Fevin; Genet;
Gero ; Gombert ; Goudimel ; Guer-
rero ; Isaac ; Jannequin ; Josquin ;
Lassus ; Le Jeune ; Marenzio ; Mel ;
Merulo ; Monte ; Morales ; Mouton ;
Obrecht ; Okeghem ; Pevernage ;
Eoie ; Senfl ; Porta, C. ; Kue, P.
de la.
BOSANQUET, R. H. M. [R. H.
M. B.]— Wolf, The.
Bramley, Rev. H. R. [H.R.B.]—
Carol.
Brown, Horatio F. — Venice.
BuDY, Dr. Hermann [H. B.] —
DorffeL
Burrell, Hon. Mrs. [M. B.] —
Wagner, Johanna.
Carr, Mrs. Walter [M. C. C.]—
Abel, C. H. ; Abel, L. A. ; Abos ;
Adam, L. ; Adolf ati ; Adrien ; Aerts ;
Agnesi ;Agthe ;Aguado; Ahlstroem ;
Aimon ; AJbeniz, P. ; AJday ; Aldo-
vrandini ; Alizard ; Ajidrevi ; Angle-
bert ; Antiqiiis ; Aprile ; Aranaz ;
Airiaga ; Arwidssoii ; Balbi ; Baltzar ;
BanderaJi ; Barbireau ; Bardi ; Bar-
rington; Barsanti: Barthel; Bar-
tholdy; Bassi; Batton; Beaulieu ;
Beaumavielle ; Beck ; Beer, J. ;
Benincori ; Beitoni ; Bianchi, F. ;
Bioni ; Blaes, A ; Blaes, E. ; Blan-
chard; Bochsa; Bode; Boesset;
Borjon; Boulanger; Bousquet;
Brighenti; Bros; Buhl; Cadeac;
Camargo; Cambini; Campenhout;
Cai-don ; Cardoso ; Caresana ; Carlo ;
Carnicer ; Caron ; Caroso ; Carulli ;
Caruso ; Cassel ; Castelli, I. F. ;
Castro ; Caurroy ; Cazzati ; CevaUos ;
Chambonniferes ; Champion; Chat-
terton; Chaulieu ; Chevallier;
Christmann ; Ciaja ; Ciampi ;
■Cianchettini ; Cimador ; Clement,
J. G. ; Clicquot ; Coccia ; Columbani ;
<3oltellini; Comes; Compare; Con-
radi. A.; Conradi, J. G; Coppola,
P. A ; Corbet ; Cordier ; Comette ;
Coiv] ; Corri-Paltoni ; Corteccia ;
•Costa, A ; Costantini, F. ; Costanzi ;
Coste; Costeley; Cotumacci; Cou-
■p&vt; Courtois; Cousser; Czer-
wenka; Dachstein; Daniel; Danzi,
P,; Dargomyski; Dehn; Deiss;
Delmotte ; Demantius ; Denefve ;
Bbers, J.; Bberwein; Bccard;
Ehlert; Eisner; Elwart; Escudier;
Bslava ; Bvers ; Farinelli, G. ; Ferrel ;
Ferretti ; Ferte ; Fesca; Fiala ; Fink ;
Flora vanti; Fischer; Fladt; Fla-
mand-Gr6try; Fleming; Forste-
mann ; Foumeaux ; Foumier ;
Framery; Franklin; Frichot;
Frick; Fritz; Fruytiers; Fiihrer;
Gabussi; Gando; Ganz; Haeser;
Hauser ; Haupt, L. ; Himmel ; Hoff-
mann, G ; Holzbauer ; Hortense.
Chappell, William [W. C.]—
ChappeU and Co. ; LilUburlero ;
Macbeth Music ; Monday Popular
Concerts; Motett Society; Mus.
Antiquarian Society ; Musicians'
Company, London; Kobin Adair;
Kule Britannia; St. James's Hall
Concert Booms ; Harmonious Black-
smith.
Chitty, Alexis [A. C] — Murska,
de ; Nachbaur ; Nantier-Didi^e ;
Naudin ; Nicolini, E, ; Niemann ;
Nilsson ; Orgenyi ; Parepa-Rosa ;
Patey, Janet; Patey, J. G.; Patti;
Peschka ; Piccolomini ; Polonini ;
Pappenheim ; Pischek ; Rokitansky ;
Eonconi; Eoze; Eudersdorff;
Scalchi ; Scaria ; Schott ; Sembrich ;
Sinico ; Tagliafico ; Tamberlik ;
Thillon ; Thursby ; Tichatschek :
Timanoff; Tua; Ugalde; Valleria;
Vaudeville Theatre ; Vestris ; Vin-
ning ; Vogl, H. ; Viard-Louis ;
Wachtel; Walter, G.; Warnots ;
Wartel ; W^ednesday Concerts ;
Weiss, W. H. ; Weist-Hill ; Weldon,
G. ; Wessel; Westlake; Westrop;
Whitmore ; Williams, Anna ;
Williams, The Sisters; Willy;
Wilson, M. A. : WUt; Winn; Wip-
pern; Wixom; Woodyatt; Wylde;
Zandt, van; Zeretelew ; Zerr;
Agnesi; Albani ; AJlen; Archer;
Art6t, A. J.; Artot, M. J. D. ;
Audran; Ay ton; Beck; Betz;
Borghi; Brandes; Brandt; Burde-
Ney ; Cabel ; Campana ; Campanini ;
Capoul ; Carvalho ; Castellan ;
CelHer; Chollet; Davenport;
Demeur; De Eeszke; Falcon;
Farmer; Plorimo; Foli ; Fricken-
haus ; Fumagalli ; Gallimari^ ;
Gayarrg ; Gerster ; Gnecco ; Golinelli ;
GoUmick; Gudehus; Gura; Hart-
vigson ; Herv^ ; Hiles ; Krauss ;
Kuhe; Lassalle; Lehmann, Lilli;
Levasseur ; Levey ; Lover ; Maas :
McGuckin ; Mallinger ; Malten ;
Marchisio, The Sisters ; Marimon ;
Martin, G. C. ; Martucci ; Massol ;
Masson ; Maurel, V. ; Nixon ; Orridge ;
Otto-Alvsleben ; Philp ; Eedhead ;
Reicher ; Tree ; Waylett ; Wynne, E. ;
York Mus. Festival ; Young.
Chouquet, Gustave [G. C] —
Bertrand; Bizet; 9a ira; Cancan;
Carmagnole; Cameval de Venise;
Catel; Chanson; Choron; Clapis-
son; Clement, Felix; Comettant;
Concert Spirituel ; Conservatoire de
Mus. ; Deldevez ; D(5part, chant du ;
Dictionaries of Music; Dugazon;
Dupret; Farrenc; Fayolle; Fetis;
Gabrielle, charmante; Garat; Ga-
veaux; Gevaert; Gluck; Gossec;
Gounod; Grand Prix de Eome;
Gr^try ; Gymnase de Mus. Militaire ;
Habeneck; Hainl; HaMvy; Henri
Quatre, vive; Harold; Institut,
prix de 1'; Isouard; Jacquard;
Jadin ; La Fage ; Lecocq ; Lef ebure-
Wely; Lesueur; Loulie; Loure;
LuUy; Maitrise; Malbrough;
Mai-seillaise ; Massd ; Massenet ;
Mehul; M^nestrel; Mercure de
France ; Mondonville ; Monpou ;
Monsigny ; Montigny-Eemaury ;
Musard ;' Musette ; Mus. Libraries;
Mus. Periodicals; Navoigille; Nie-
dermeyer ; Nourrit ; Noverre ;
Oddon; Offenbach; Onslow; Opera
Comique.the ; Orpheon, 1' ; Orphcon ;
Ortigue, d'; Paladilhe; Panseron;
Parisienne, la; Partant pour la
Syrie; Pasdeloup; Peme; Perrin;
Persuis ; Philidor ; Planquette ;i
Plantade ; Poise ; Poniatowski ;
Pougin; Prevost; Prince de la
Moskowa; Prudent; Puget; Quin-
ault; Eameau; Eebel; Eeber;
Eeicha; Eevue et Gazette Mup. ;
Eeyer; Eichault; Eoger; Eoi de3
Violons; Rossini; Rouget de Lisle;
Rousseau ; Saint-Aubin ; Saint-
Geoi-ges ; Saint-Saens Salvayre ;
Sarasate; Sarti; Sax; Schoelcher;
Scribe; Scudo; Semet; Serpette;
Society des Concerts du Conserva-
toire; Soli^; Stoltz; Taskin;
Taudou ; Thirlwall : Thomas, C. A. ;
Tilmant ; Tolbecque ; Trial ; Trie-
bert; Troupenas; Tulou; Urban;
Valentino Vaucorbeil; Vaudeville;
Ventadour, Theatre ; V^ron ; Vidal ;
Vilback; Villoteau; Vingt quatre
Violons; Vivier Vogt; Vroye;
Vuillaume ; Weckerlin ; Widor ;
Wilder.
Coleridge, Arthur D. [A. D. C]
— Goldschmidt, O. ; Walmisley;
Zelter.
CordeB, Frederic [F. C.]— Pedal-
point; Programme-mus. ; Quartet;
Quartet, double ; Quintet ; Ehythm ;
Rondo; Scherzo Septet; Sestet;
182
CATALOGUE OF THE ARTICLES CONTRIBUTED
Sordini; Storm (representation of);
Stretto; Subsidiary; Syncopation;
Terzetto; Toccata; Trio; Tutti;
Humorous Music.
Crawford, Major G. A. [G.
A. C] — Lo, He comes, etc. ; Old
Hundreth Tune; S. Anne's Tune;
Trinity College, Dublin; Trinity
College, London; University Mus.
Societies (Edinburgh); Windsor
Tune ; Bourgeois, L. ; Cogan ;
Franc; Hanover.
CUMMINGS, W. H. [W. H. C.]—
IJallad ; Ballets ; Barcarole ; Bouche
f erni^e ; Breath ; Brindisi ; Burden ;
Burla; Burletta; Cabaletta; Can-
zonet; Catch; Cavatina; Pnrcell
Club ; Purcell Commemoration ;
Royal Society of Musicians ; Royal
Society of Female Musicians.
CusiNS, W. G. [W. G. C.]—
Pastoral Symphony (Handel) ; Stef-
fani.
Dannreuther, E. [E. D.] —
Alkan ; Arabros ; Asantschewsky ;
Ascher; Bargiel; Berlioz; Beyer;
Bronsiirt; Biilow; Chopin ; Clementi ;
Coui)erin ; D6hler ; Draeseke ; Drey-
schock; Etudes; Field, J.; Franz,
R. ; Gaide ; Glinka ; Grieg ; Grimm ;
Heller; Henselt; Hummel; Kalk-
brenner ; Kirchner ; Klindworth ;
>[oscheles; Tausig; Tschaikowsky ;
Wagner; Zukunf tsmusik ; Rhap-
sody.
David, Paul [P. D.]— Alard;
Albani, M. ; Alto ; Amati ; Anet ;
Arco ; Arpeggione ; Aubert, J. ;
Auer; Back; Baillot; Baptiste;
Baryton; Bass-bar; Bassani; Baz-
zini ; Becker, J, ; Belly ; Bergonzi,
C. ; Beriot, de ; Biber ; Boehm, J. ;
Borghi; Boucher; Bow; Bowing;
Bridge ; Brunetti ; Bruni, A. ;
Campagnoli ; Cannabich ; Car tier ;
Castrucci ; Celestino ; Chanot ;
Chiabran; Clegg; Clement, Franz;
Col Legno ; Corelli ; Cramer ; Cre-
mona; Crwth; Cuvillon; Dauver-
gne ; Double Bass ; Double Stopping ;
Dubourg, M. ; Durand ; Eck ;
Eckert; Ernst; Etudes; Farinelli;
Ferrari, D. ; Finger-board ; Fiorillo ;
Fodor; Franzl; Francceur; Gag-
liano; Galeazzi; Gamba, viola da;
Gavinids ; Geminiani ; Giardini ;
Grancino ; Grasset ; Graun, J. G. ;
Guignon; Jansa; Joachim; Kalli-
woda ; Kfimpel ; Konstki, de; Kreut-
zer, R, ; Lafont; Laub; Lauterbach ;
L^clair ; Lipinski ; Locatelli ; Lolli ;
LwofF; Mantius ; Massart ; Mazas ;
Milanollo ; Molique ; Nardini ;
Paganini ; Pizzicato; PoUedro ; Ponti-
cello ; Positions ; Prume ; Prumier :
Pugnani ; J^ippo ; Ries ; Rietz, E. ;
Rietz, J. ; Rode ; Rolla ; Romano ;
Somis; Spohr; Springing bow;
Tartini; Torelli; Veracini: Vieux-
temps; Violin-playing; Viotti;
Vitali; Wieniawski; Bull, Ole;
Stopping; Walter, J. J.
Davie, J. H. [J. H. D.]—
Russell, H.
Davison, J. W. [J. W. D.]—
Dussek; Schira.
Deacon, H. C. [H. C. D.]— Sing-
ing; Solfeggio; Soprano; Tenor;
Tessitura ; Treble ; Tremolo ; Veiled
Voice; Vibrato; Vocalise; Vocalise,
to : Voce di petto ; Voice ; Concone.
DORFFEL, A. [A. D.] — Bitter;
Bote and Bock.
[W. H. D.]
—Whiting.
DoNKiN, E. H. [E. H. D.]—
Albinoni ; Alessandro ; Barbella ;
Birii ; Cathedral Mus.
Eddy, Clarence [C. E.] — Loesch-
horn.
Edwards, H. Sutherland [H.
S. E.]— Ballet ; Bellini ; Benedict ;
Bunn; Co vent Garden Theatre;
Donizetti ; Drury Lane ; Grisi ; La-
EngeL, Louis [L. E.] — Thalberg.
Friedlander, Max [M. F.] —
Wacht am Rhein ; WUllner ; Vater-
landische KUnstlerverein.
Frost, H. Frederick [H. F. F.]
— Part-Song ; Prelude ; Savoy
Chapel Royal.
Fuller-Maitland, J. A. [J. A.
F.-M. or M.]— Kullak; Lesche-
titzky; Lesson; LUbeck; Lusin-
gando, Massig; Maestoso; Maestro;
Magyar Mus.; Majestatisch ; Man-
cando ; Manier ; Marcato ; Mar-
chand; Medesimo tempo; Meno
mosso ; Mesto ; Minacciando ; Mode-
rato; Moniuszko; Moralt; Moren-
do; Mortier de Fontaine; Mosz-
kowski; Motif; Movement; Miiller
A. E. Mus. Periodicals ; Mus.
Society of London ; Nachdruck, mit ;
Nachspiel; NachtstUcke; National
Concerts ; National Training School
for Music; Nocturne; Novelletten;
Nuances; Nuits blanches; Ode;
Opus; Ossia; Oury; Papillons;
Papini; Parlando; Partie; Parti-
menti ; Passaggio ; Patter -song ;
Pause; Perdendosi; Pesante; Pia-
cere, a; Piacevole; Piangendo;
Pianissimo; Piano; Piece; Pieno;
Plintivo ; Pomposo ; Portamento ;
Potpouni ; Practical Harmony ;
Preghiera ; Prestissimo ; Presto ;
Primo ; Quodlibet ; Rallentando ;
Refrain ; Remplissage ; Repeat ;
Rinforzando ; Rubato ; Scherzando ;
Sciolto; Segue; Semichorus; Sem-
plice; Sempre; Senza; Sfogato;
Sforzando; Simili; Slow move-
ment ; Sostenuto ; Sotto voce ; Strin-
gendo ; Teneramente ; Tenuto ;
Veloce; Vivace; Volta, prima, se-
conda; Volte: Abell; Abert; Afri-
caine, 1'; Aida; Altemativo; An-
dacht, mit ; Bamby ; Barth ; Bat-
tery; Bazin ; B^noist; Bishop, Ann ;
Bishop, J.; Brassin; Bratsche;
Bristol Festival; Brown, J. D. ;
Bruch; BrUll; BUlow; Burney;
Cagnoni ; Canterbury Pilgrims ;
Carmen ; Catalani, A. ; Chopin ;
Chorton ; Chorus ; Cinelli ; Col-
lections of Mus.; Colomba; Com-
modo ; Concento ; Corona ; Coward ;
Cui; De la Borde; Demonio, il;
Desmarets ; Dietrich ; Dot ; Dupont ;
Dvof&k; Esmeralda; Essipoff; Fac-
cio ; Faisst ; Fancies ; Fibich ; Fink ;
Flemming; Flud ; Giovannini ;
Glockenspiel ; Gossec ; Gostling ;
Gradener; Greek Plays, music to;
Gr^goir; Grell; Grieg; Grund;
Gruppo ; Gye, F. ; Haessler ; Har-
monic Minor; Hartmann; Hai-t-
mann, L. ; Heinefetter ; Heinze ;
Herz, mein Herz, etc. ; Herzogen-
berg, von ; Hotiges ; Hofmann ;
Holstein, von; Huber; Hutsclien.
niijter ; Jullien, A.; Ketterer ;
Kleinmichel ; Koch ; Lanifere ; Lau-
rent de Rille; L^vi; Lloyd, C. ;
London Mus. Society; Martin y
Solar ; Martini il Tedesco ; Mefisto.
fele ; Meinardus ; M^reaux, de ;
Metastasio; Mus. Association ; Meth-
fessel; MuUer, L; Miiller, W.;
Nadeshda ; Nessler ; Neumark ; Nor-
disa; Occasional Oratorio ; Ordres;
Pachmann, de; Pasquali; Passion
Mns. Petzmayer; Pietoso; Plants;
Prentice; Princesslda; Redemption,
the; RimskyKorsakow; Ruddigore;
Savonarola ; Shinner ; Stanford ;
Tonic Toy Symphony; Transcrip-
tion ; Troubadour, the ; Vamey. P.
J. ; Vesque von Piittlingen ; Wander-
ing Minstrels ; Yeomen of the Guard.
Fyfe, J. T. [J. T. F.]-Sans
Schools.
FyFFE, C.Alan [C. A. F.]— Bache-
lor of Mus. ; Choragus ; Copyright ;
Coryphaeus; Degree; Doctor of
Music ; London ; Oxford ; Professor ;
Copyright; Mus. Degrees.
Gehring, Franz [F. G.]— Agii-
cola, G. L. ; Agiicola, J. F. ;
Agricola, M,; Able; Aichinger;
Albert, H. ; Albrechtsberger ; Al-
lacci; Altenburg; Anna Amalia,
Saxe- Weimar; Ajina Amalia, Prus-
sia; Arbeau; Amould, Mad. ; Arte-
aga; Artusi; Asioli; Attaignant;
Auxcousteaux ; Bachofen; Ballard;
Banchieri; Baron; Barret; Basevi;
Basili ; Becker. C. P. ; Becker, C. J. ;
Becker, D.; Bedos de Celles; Bef-
fara ; Bellermann ; Berg, A. ; Berg,
J. ; Bergonzi, B. ; Berner ; Bern-
hard, C; Bernhard, W. C. ; Ber-
wald; Besler: Besozzi; Beseems;
Bierey; Bigot; Blalietka; Blanek-
enburgh; Blangini; Blankenburg;
Booklet ; Bockshorn ; Boehm ;
Boehm, F. E.; Bohrer; Bom-
tempo; Bonporti; Boom, van;
Bortniansky; Bourgeois; Bourges,
C. de; Bourges, J. M. ; Brandl;
Briard ; Brossard ; Coussemaker ;
Dora ; Eitner ; Erbach ; Erk ;
Eximeno ; Fasch ; Ferrari, B. ;
Ferrari, G. G.; Fodor-Mainvielle ;
Foggia; Forkel; Frank; Frederic
the Great ; Frescobaldi ; Frohberger ;
FUrstenau; Gabrieli; Gallus; Ga-
luppi; Gassmann; Gastoldi; Gaz-
zaniga; Generali; Giovanelli; Gla-
reanus ; Griepenkerl ; Guidetti ;
Gung'l; Hassler; Hoflmann, E. T. ;
Hoflmann, H. A. ; HUnten ; Kerl ;
Kiel; Kircher; Kirnberger; Klengel;
Kozeluch; Kretschmer; Kroll ;
Krommer ; Kuflferath ; Labitzky ;
Legrenzi ; Lenz ; Lied ; Liedertafel ;
Loewe; Lotti; Lumbye; Mftnner-
gesangyerein ; Marcello; Marpurg;
Martini; Marx; Marxen; Mattei,
8.; Maurer; Mayer; Meibom; Mer-
cadante; Mersennus; Miiller, bro-
thers; MUller, W.; Murschhauser ;
Mus. Libraries; Mus. Periodicals;
Naiimann ; Neukomm ; Oesten ;
Oulibischeflf; Pasquini; Paul, O;
Perez ; Perti ; Peters ; Pisari ; Pitoni ;
Pixis ; Poelchau ; Pohl. C. F. ; Porta ;
Proch; Proske; Quantz; Raff; Rei-
necke; Reinthaler; Reissiger; Rell-
stab ; Rheinberger ; Richter, E. F. ;
Richter, H.; Ricordi; Righini; Ri-
pieno; Rochlitz; Romberg; Santini;
Scarlatti, A. ; Scarlatti, D. ; Schnei-
der, F.J. ; Schuppanzigh ; Sikher;
BY EACH WRITER IN THE DICTIONARY.
183
Singspiel ; Thibaut ; Tiraboschi ;
Tomaschek ; Tonkunstlerverein ;
Treitschke ; Trento; Tuczek; Turk;
Turini.
GoSLIJf, S. B. [S. B. G.]— Cam-
bridge Quarters; Chimes.
Griffith, J . C. [J. C.G.l— Lam-
perti; Sedie, delle; Shakespeare;
Uberti.
Helmorb, Rev. Thomas [T. H.]
— Accents ; iEolian Mode ; Ambro-
sian Chant ; Antiphon ; Aixthentic ;
Chant; Chapels Royal; Faux-
bouixion; Gregorian Modes.
Henderson, W. [W. H.] — Rans-
f ord ; Scheunnann ; Templeton ;
Kennedy.
Herbert, George [G. H.] —
Stiastny ; Quarenghi.
HiLLER, Ferdinand [H.] — David,
Ferd.
HiPKiNS, A. J. [A. J. H.]—
Action; ^olian Harp; Archhite;
Bandora ; Banjo ; J3eclistein ;
Becker; Belly or Sound- board ;
Bluethner ; Boesendorfer ; Broad-
wood ; Cabinet Piano ; Calascione ;
CajK) tasto ; Cembal d' Amore ;
Cembalo ; Check ; Chickering ;
Chitarrone ; Cither ; Citole ; Clave-
cin ; Clavicembalo ; Clavichord ;
Clavicytherium ; Clavier; Collard;
Cottage Piano ; Cristofori ; Damper ;
Dital Harp ; Dulcimer ; Erard ;
Felix Meritis ; Fliigel ; Frets ; Grand
Piano; Grasshopper; Gravicembalo;
Guitar; Hammer: Harmonium;
Hai-p ; Harpsichord ; Hojjkinson ;
. Hopper ; Hurdy-gurdy ; Jack ; Key ;
Kirkman ; Lute ; Lyre ; Mando-
line ; Melopiano ; Mustel ; Oblique
Piano ; Oi-phoreon ; Overspun ;
Overstringing; Pandora; Pan taleon;
Pape; Pauer ; Pedalier; Pedals;
Phyaharmonika ; Pianette; Piano-
forte ; Piano m(?canique ; Piano-
violin; Piccolo Piano; Pleyel &,
Co. ; Psaltery ; Regibo ; Repetition ;
Rose; Ruckers; Scheibler ; Schied-
mayer; Schroeter, C. G.; Schulz,
E. ; Seraphine ; Shudi ; Silbermann;
Snuff-box musical; Sordini; Sosti-
nente pianoforte ; Soundboard ;
Spinet; Square piano; Stein;
Steinway &Sons ; Steinweg ; Stodart ;
Stops (Harpsichord) ; Streicher ;
String ; Stringplate ; Swell (Harpsi-
chord); Tangent; Theorbo; Tone;
Transposing Instruments; Trasun-
tino; Tuning; Tuning-fork; Up-
right grand piano ; Vander Straeten ;
Virdung; Virginal; Welcker von
Gontei-shausen ; Wornum; Wrest-
plank ; Augener & Co. ; Bord ;
Brinsmead ; Chitarrone ; Dulcimer ;
Ellis ; Engel, 0. ; Ewer & Co. ;
Forsyth, Bros.; Harp; Hurdy-
Gurdy; Keyboard; Mahillon;
Metzler: Mus. Instruments, Collec
tions of; Najwleon, A.; Organo-
phone; Pfeiffer; Ruckers; Shudi,
J. ; Trumpet.
Hopkins, E. J. [E. J. H.]—
Accompaniment ; Barrel Organ ;
Bellows ; Choir Organ ; Combination
Pedals ; Composition Pedals ; Cornet ;
Coupler; Echo; Electric Action;
Flue-work ; Flute work ; Free
Reed; Full Organ ; Gedackt-werk ;
Geigen princii)al ; Gtemshorn ; Great
Organ; Harmonic Stops; Kerau-
lophon ; Krummhorn ; Larigot ;
Lieblich Gedact ; Manual ; Mixture ;
Mutation Stops; Octave; Organ;
Organo; Overblowing.
Hudson, Rev. T. Percy [T.H. P.]
— Abb^ ; Alexander, J. ; Aliani ;
Aliprandi ; Andreoli, G. ; Arnold, J.
G. ; Aubert, P. ; Griitzmacher ;
Kummer ; Lasserre ; Menter ; Merk ;
Pettit; Pezze: Piatti; Servais;
Bottesini; Colyns; Hausmann ;
Nay lor.
HuEFFER, Francis [F. H.] —
Adam, A. C. ; Auber ; Berton ; Blaze ;
Blaze de Bury ; Boieldieu ; Dalay-
rac; David, Fel. ; Libretto ; Liszt ;
Nibelungen.
HUGHES-HUGHES, A. [A.H.-H]
— Dygon; Garlandia; Hanboys; His-
tories of Mus. ; Hothby ; Odington,
W. de ; Rome ; Tunsted ; Wydow.
HULLAH, John [J. H.] — Academic
de Mus.; Act; Air; Alto; Aria di
bravura; Arietta; Arioso ; Baryton ;
Bass; Bass-clef; Canto; Chest-
voice; Clef; Comic Opera Con-
tralto; Elegy ; Extravaganza; Fa-la;
Falsetto; Farce; Finale; Glee;
Grand Opera ; Head- voice ; Martele ;
May; Mezzo; Peace.
HuME, W. [W. He.]— Dun; Hoi.
den ; Lambeth ; Macbeth, A.
HUSK,W.H.[W.H,H.]— Abbey;
Abrams ; Adams ; Adcock ; Addison ;
Akeroyde ; Alcock ; Alf ord ; Ander-
son ; Apollonicon ; Argyll Rooms ;
Arne, M. ; Arne, J. A. ; Ashe ;
Ash well ; Aspull ; Aston; Atterbury ;
Attwood ; Aylward ; Baildon ; Baker ;
Barker ; Barnard ; Barrett ; Barthe-
lemon ; Bates, Joah ; Bates, W. ;
Battishill ; Bayly ; Beale ; Beard ;
Beggar's Opera ; Bellamy ; Bennet,
J. ; Bennet, S, ; Bennett, A. ; Ben-
nett, T. ; Bennett, W. ; Berg, G. ;
Best ; Bexfield ; Billington, Mrs. ;
Billington, T.; Bishop, J.; Bla-
grove ; Blake ; Blancks ; Blow ;
Bond ; Bottomley ; Bowley ; Bow-
man ; Boyce ; Brind ; Broderip ;
Brownsmith; Burrowes; Burton,
A. ; Burton, J. ; Busnois ; Caesar,
J. ; Caesar, W. S. ; Calah; Callcott;
Camidge ; Campbell ; Campion ;
Carey; Carlton; Carnaby; Carter;
Case ; Catley ; Causton ; Cavendish ;
Cecilia, St. ; Chappie ; Chard ;
Cheese; Chell; Chilcot; Child;
Chiirch; Gibber; Claggett; Clark, J.;
Clark, R, ; Clarke, J. ; Clayton ; Clif-
ford ; Clive ; Cluer ; Cobbold ; Cocks
& Co. ; Colman ; Condell ; Cooke, B ;
Cooke, H. ; Cooke, N. ; Cooke, R. ;
Cooke, T. S. ; Coombe ; Coombs ;
Coperario; Corbett; Corf e ; Corkine ;
Comyshe, W. ; Cornyshe, W. jun. ;
Cosyn ; Courteville ; Creyghton ;
Croft ; Crosdill ; Cross, T. ; Crosse,
J. ; Crotch ; Crouch, F. N. ; Crouch,
Mrs. ; Cudmore ; Cutell ; Cutler ;
Damascene ; Damon ; Danby ; Dando;
Danneley; Dauney; Davies, The
Misses ; Davy, J. ; Davy, R. ; Day, J.;
Deane, T. ; Defesch ; Dering ; Dib-
din, C; Dibdin, H. E.; Dickons,
Mrs. ; Dieupart ; Dignum ; Division
Violin ; Dowland, J. ; Dowland, R. ;
Draghi, G. B. ; Dubourg, G. ;
Dupuis ; D'Urfey ; Dussek, S. ;
Dykes; Dyne; Eager; Eastcott ;
Ebdon; Eccles; Edwards; Elf ord;
Ella; Ellerton; Elvey, Sir G.;
Elvey, S. ; English Opera ; Este,
M. ; Este, T.; Estwick; Evans;
Farmer, J. ; Farmer, T. ; Farnaby ;
Farrant, J. : Farrant. R. ; Fawcett ;
Fayrf ax ; Felton ; Fenton ; Ferra-
bosco, A. ; Ferrabosco, A. jun. ;
Ferrabosco, J.; Festing; Finch;
Finger, G. ; Fish; Fisher; Fitz-
william ; Flight ; Flintoft ; Flower?;
Forbes ; Ford, D. ; Ford, Miss; Ford,
Th. ; Forster,W. ;Gamard, J.E ; Gam-
ble; Gardiner; Gauntlett; Gawler;
Gawthorn; Gibbons; Giles; Glover,
C. ; Glover, W. ; Glover, W. 11. ;
GcKidai-d ; Godfrey; Goldwin ; Good-
ban; Goodgroome; Goodson; Gor-
don, J. ; Gordon, W.; Goss, J. J.;
Goss, Sir J. ; Graham ; Granom ;
Greatorex; Greaves; Green, J.;
Green, S. ; Greene, M. ; Greeting;
Griesbach ; Griffin, G. E. ; Griffin,
T. ; Guest; Gunn, B. ; Gunn, J.;
Hague; Haigh; Hall, H.; Hall,
W. ; Hamboys; Hamerton; Hamil-
ton; Handel, Commemoration of;
Handel Festival; Hanover Square
Rooms ; Harmonicon ; Harper ; Har-
ington ; Harris, J. J. ; Harris, J.
M. ; Harrison, S. ; Harrison, W. ;
Hart, J. ; Hart, P. ; Hatton ; Hawes ;
Hawkins, J. ; Hawkins, Sir J. ;
Hayden ; Hayes, P. ; Hayes, W. ;
Heidegger ; Heighington ; Helmore ;
Henley ; Henry VIII. ; Henstridge ;
Herschel ; Heseltine ; Heyther ;
Hilton ; Hindle ; Hine ; Hingston ;
Hobbs; Hodges; Hogarth; Hol-
borne; Holcombe; Holder, J.;
Holder, W. ; Holmes, A. ; Holmes,
E. ; Holmes, 6. ; Holmes, J. ; Hook ;
Hooper ; Hopkins ; Horn, K. F. ;
Horsley ; Hothby ; Howard ; Howell ;
Howgill ; Hoyland ; Hoyle ; Hudson ;
Hullah ; Hume ; Humf rey ; Hum-
phreys ; Hunt, A. ; Hunt, T. ;
Hutchinson, F.; Hutchinson, J.;
Immyns ; Incledon ; Inglott ; Isham ;
Ives; Jackson, J.; Jackson, W. ;
Jackson (of Masham) ; Jacob ; tfames,
J. ; James, W. N. ; Jay ; Jebb ;
Jeflfries, G. ; Jeffries, S. ; Jenkins ;
Johnson, E. ; Johnson, R. ; Jones,
E, ; Jones, W.' ; Jones, R. ; Joule ;
Keeble ; Kelly ; Kelway ; Kemble ;
Kemp ; Kendall ; Kent ; Keper ;
King, C. ; King. M, P. ; King, R, ;
King, W. ; King's Band of Mus. ;
King's Theatre ; Kirbye ; Kitchener ;
Knapton ; Knyvett ; Lacy, J. ; Lacy,
M. ; Lamb ; Lambert ; Lampe ;
Langdon ; Langshaw : Lani^re ;
Laporte ; Latrobe ; Lavenu ; Lavi-
gne ; Lawes ; Lazarus ; Lee ; Leeves ;
Leffler ; Leighton ; Lenton ; Leslie ;
Leveridge ; Lichfield ; Lincoln's Inn
Fields Theatre ; Lindley ; Linley, F. ;
Linley, T. ; Lisley ; Lloyd ; Lock ;
Lockey j Loder ; Logier ; Longhurst ;
Loosemoore; Lowe, E.; Lowe. T. ;
Lucas ; Luniley ; Lupo ; Lutenist ;
Lutheran Chapel ; Lyceum Theatre ;
Mace ; Macfarren ; Mackintosh ;
McMurdie; Malcolm ; Marsh, A.;
Marsh, J. ; Marshall, W. ; Marson ;
Martin, G. W. ; Martin, J. ; Mary-
lebone Gardens; Mason, J.; Mason,
W.; Masque; Mather; Matteis ;
Maxwell; Maynard; Mazzinghi;
Mellon ; Merbecke ; Mercy ; Messiah ;
Meves; Miller; Milton; Monk, E.
G. ; Monk, W. ; Monro ; Moorehead ;
Morley, T. ; Morley, W. ; Morning-
ton, Earl of; Mount- Edgcumbe;
Mundy; Musica antiqua; Mufcica
transalpina ; Nalson ; Nares ; ^ a-
than;Neate; Needier; Nicholson;
Nicolson; Norcome; Norris, T.;
184
CATALOGUE OF THE ARTICLES CONTRIBUTED
Norris, W.; North ; Novello ; Oakeley, I
SJiH.; Oliphant; Oriana; Osborne;
Overend;Page;Pai8ible; Painmelia;
Pantlieon; Pantomime; Parish- Al-
vars; Parke; Parry, J. ; Parry, J. ;
Parsons, R; Parsons, Sir W. ;
Parthenia ; Paton ; Patrick ; Paxton ;
Peerson ; Pepusch ; Percy ; Perry ;
Philippe P. ;Phillipps, A. ; Philliiw,
H.; Pigott; Pilkington; Piozzi;
Playford ; Pleasante; Polly ; Porter,
S.; Porter, W^ Portman; Potter;
Powell; Pratt; Prelleur; Prick
Song; Priest, J. ; Pring ; Promenade
Concerts; Prout; Purcell; Pyne;
Quarles ; Rainf orth ; Randall. J. ;
Eanelagh House and Gardens;
Ravenscroft, J.; Ravenscroft, T.;
Rjvwlings; Reading; Redford;
Reeve; Reeves, Sims; Reinagle;
Reinhold, T.; Relfe; Rich;
Richards; Richardson, V.; Rigby;
Rimbault; Robinson, A.; Robin-
son, J, ; Robinson, T. ; Rock ; Rod-
well ; Rogers, B. ; Rogers, J. ;
Rogers, Sir J. L. ; Romer ; Rooke ;
Roseingrave ; Ross ; Rossetor ; Rud-
hall; Russell; Saured Harmonic
Society; Sacred Harmonic Society,
Benevolent Fund of ; Sale ; Salmon ;
Sanderson : Sandys ; Santley ; Savile;
Scotson Clark; Seguin; Sergeant-
trumpeter ; Shaw ; Sheppard ;
Shield; ShirreflF; Shore; Shuttle-
worth ; Simpson, T. ; Sinclair ;
Sloper ; Smart ; Smethergell ; Smith,
0, ; Smith, G. T. ; Smith, J. ; Smith,
J. C. ; Smith, J. S. ; Snow ; Sons of
the Clergy, Corporation of : Sporle ;
Stafford ; Staggins ; Stanley ; Stans-
bury ; Steftkins ; Steggall ; Stephens,
Cath. ; Stephens, C. E. ; Stephens,
J.; Stevens; Stevenson; Stewart;
Stonard; Storace,Ann; Storace, S.;
Strogers; Stroud; Surman; Symp-
son ; Table entertainment ; Tans'ur ;
Taverner ; Taylor, E. ; Thorne, J. ;
Three Choirs, Festivals of; Thur-
nam; Toilet; Tomkins; Travers;
Tucker; Tudway; Tune; Turle;
Turner, W. ; Tye ; Vaughan ; Vaux-
hall Gardens ; Vernon ; Wainwright ;
Walkeley ; Walond ; Walsh ; Walter,
J. ; Wanless; Ward; Warren; War-
wick; Watson; Webbe; Weelkes;
Weldon, J. ; Welsh, T. ; Wesley, C. ;
Westmoreland, Earl of ; Whitaker ;
White. M. ; Whythome; Wilbye;
Williams, G. E.; Willing; Willman,
T. L. ; Wilson, J. ; Wise; Worgan ;
Birch; Bland; Blitheman; Brent;
Buck, Z. ; Cantiones Sacrae ; Dorset
Garden Theatre; Grabu; Linley,
G. ; Meares, R.
Jenks, F. H. [F. H. J.]— Handel
and Haydn Society, Boston, U. S. ;
Harvard Mus. Association; Opera,
U. S. ; Paine ; Peabody Concerts ;
Philh. Society of New York ; Ritter ;
Strakosch ; Symphony Society, New
York; Thomas, J.; United States;
Upham; Zerrahn; Boston Mus.
Societies ; Buck, D. ; Damrosch ;
Ditson; Eddy; Eichberg; Foster;
Gilmore ; Lang, B. J. ; Mendelssohn
Quintette Club ; Negro Music ; Phil-
lipps, A.
JULLIEN,Adolphe [A. J.] — Wolff;
Zimmermann ; Alt^s ; Batiste ;
Benoit ; Bourgault - Ducoudray ;
Chabrier ; Cl^ du caveau ; Colonne
Delibes; Dubois; Faur^; Franck ;
Garcin; Godard; Gottschalk; Gou-
sod Grand Prix de Borne; Gui-
raud ; Holmes, A. M. ; Indy ;
Jonci^re8,le ; Lalande, Michel ; Lalo;
Lamourenx ; Lenepveu ; Mass^ ;
Massenet; Paladilhe; Reyer; Saint-
Saens; Salvayre ; Trois Couleurs,
les ; Veillons au Salut ; Vianesi.
KaPPEY, J. A. [J. A. K.]— Wind-
band ; Zapfenstreich ; Zincke ; Saxo-
phone.
Latham, Morton [M. L.] — Bach
Choir, The.
Lecky, James [J. L.] — Node;
Overtones; Partial Tones; Resultant
Tones; Temperament.
Litchfield, R. B. [R. B. L.]
—Tonic Solfa; Tonic Solf a College;
Wilhem; Chev^; Curwen.
Lincoln, H. J. [H. J. L.]—
March; Overture; Pollini.
Lonsdale, R. E. [R. E. L.]—
Birchall.
Lucas, Stanley [S. L.]— Philhar-
monic Society.
LuDwiG, Ferdinand [F. L.]—
Wechselnote, Die Fux'sche.
Mao Donnell, Hercules [H. M.
D.] — Robinson, Jos.
M ACFAEREN, Sir G. A. [G. A. M.]
— Mudie.
MACKESON,Charles [C. M.] — Aca-
demy of Ancient Mus. ; Anacreontic
Society; Ancient Concerts; Bach
Society ; Birmingham Festival ;
Bristol Madrigal Society; British
Concerts ; British Orchestral Society ;
Caecilian Society ; Catch Club ; Cha-
rity Children; Choral Harmonic
Society ; Choral Harmonists' Society ;
Civil Service Mus, Society ; Concen-
toresSodales; Eisteddfod ; Festivals;
Foundling Hospital ; Glee-club ;
Gresham Mus. Professorship; Mad-
rigal Society; Melodists' Club; Molo-
phonic Society; Round, Catch and
Canon Club Societa Armonica;
Society of British Musicians; So-
ciety of British and Foreign Mu-
sicians; Vocal Association; Vocal
Concerts ; Vocal Society.
Maczewski, a. [A. M.] — Abt;
Bach ; Bach, J. S. ; Bach-gesellschaf t ;
Barmann ; Belcke ; Borbiguier ;
Berger; Bernsdorf ; Bischoff; Blu-
menthal ; Brahms ; Brendel ; Bruch ;
Burgmiilier; Caecilia; Chelard; Che-
rubini ; Chrysander ; Cimarosa ;
Clauss; Commer; Cornelius; Coss-
mann; Criiger; Curschmann; Flo-
tow ; Graun, K. H. ; Hauptmann ;
Hiller, F. ; Hiller, J. A. ; Homilius ;
Reiser ; Krebs, J. L. ; Kreutzer, C. ;
Lortzing ; Marochner ; Matheson ;
Paer; Reichardt, J. F.; Reinken;
Telemann.
Marshall, Julian [J. M.] — Agu-
jari ; Albertazzi; Alboni; AUegranti;
Ambrogetti; Amicis, A. L. de; Ami.
cis, D. de ; Amorevoli ; Andreoni ;
Angiisani ; Annibali; Ansani ; Anti-
nori; Aragoni; Avoglio: Babbini;
Badiali ; Bagnolesi ; Baldassarri ;
Baldi : Balelli ; Banti ; Baroness,
The; Bartolini; Begnis; Begnis,
Signora; Begrez; Belletti; Belloc;
Bendler ; Benedetti ; BeneUi ; Be-
nini ; Benucci; Beralta; Berenstadt;
Bemacchi ; Bemasconi ; BerseUi ;
Bertinotti ; Bertoldi ; Bertolli ; Ber-
willibad: Bianclii; Bianchi, Signora;
Bif uria ; Boccabadati ; Bolla ; Bol-
eetti; Borosini; Boi-selli; Boschetti;
Boschi; Bosio; Brainbilla; Bruni,
Signor; Catfarelli; Calori ; Calvesi;
CampioU ; Camporese ; Caradori-
Allen ; Cardarelli ; Carestini ; Car-
mignani ; Certoni ; Casarini ; Oasen-
tini; Cartoni; Castelli ; Catalani;
Catenacci ; Cauvini ; Chimenti ;
Chorley ; Ciprandi ; Cipriani ; Clerini ;
Colbran; Commano; Coppola, G.;
Comega ; Costa ; Costa, M, ; Cos-
tantini ; Crescentini ; Crivelli ; Cru-
velli ; Curioni ; Damoreau ; Davide,
G.; Delicati; Di Giovanni; Don-
zelli; Dotti; Durastanti; Eberaixli;
EUsi; Epine; Brard; Fabri; Pa-
brizzi; Farinelli, C. B. ; Famesej
Ferlendis; Feiri; Fochetti; For-
nasari; Frances! na, la; Fraschinir
Frasi ; Fratesanti ; Frezzolini ; Gab-
rielli, C. ; Galeratti ; Galli, C. ; Galli,
F. ; GaUi, Signora; Gallia, M. ;
(jambarini; Garcia; Gardoni; Gii-ar-
deau Girelli Aguilar; Gismondi;
Giuglini; Giuliani; Gizziello; Gras,
Madame; Grasei ; Grassini; Graziani;
Guadagni, G. ; Guadagni, Signora;
Guarducci; Gnglielmi, Signora;
Haitzinger; Handel; Hasse, P.;
Hayra; Heidegger; Ivanoff; La-
blache ; Lagarde ; Laguerre ; Lalande ;
Laroche ; Laroon ; Lazzarini ; Le-
brun ; Lind ; Lottini ; Lovattini ;
Lucchesina; Maccherini; Malibran;
Manzoletto ; Manzuoli ; Mara ; Mar-
chesi, L.; Mario; Mattel, C; Men-
delssohn Scholarship; Mengozzi;
M^ric; Merighi; Micheli; Millico;
Mingotti; Montagnana; MonticelU;
MorelJi; Mori; Morichelli; Moiigi,
A. ; Morigi, P. ; Mountier ; Naldi ;
Nau; Negri; NicoUni, N. G. : Pac-
chierotti ; Pacini, A. ; Pasta ; Pelle.
giini. P.; Pellegrini, G. ; Swiny;
Todi; Tofts; Valentini, V.; Vale-
riano; Velluti; Cuzzoni.
Marshall, Mrs. Julian [F. A,
M.] — Hasse, J. ; Jommelli; lieo;
Meyerbeer ; Milder-Hauptmann ;
Morlacchi ; Paisiello ; Pergolesi ;
Persiani ; Piccinni ; Pisaroni ; Por-
pora; Rubinelli ; Rubini ; Sacchini ;
Saint-Huberty ; Schoberlechner ;
Senesino; Sestini; Siface; Sirmen;
Tacchinardi ; Tamburini ; Tenducci j
Tesi-Traraontini ; Tietjens; Viardot-
Garcia; Corder.
Martineau, Russell [R. M.] —
Mus. Libraries ; Zeugheer ; Chorale ;
Cotta ; Handelgesellscliaf t ; Life let
us cheiish ; Mozart ; SchCne Minka ;
Vopelius; Vulpius.
Mazzucato, G. [G. M.] — Stor-
nello; Stradella, A.; Tosi; Tosti;
Traetta; Verdi; Boito.
Mee, Rev. J. H. [J. H. M.]—
Steibelt ; University Mus. Societies,
Oxford ; Vogler ; White, R. ; Woelfl.
Middleton, Miss [L. M. M.] —
Schechner - Waagen ; SchrOder-
Devrient; Stockhausen, Madame;
Trebelli ; Berggreen ; Glover, S. ;
Hogarth ; Huetfer ; Kjerulf ; Lahee ;
Liszt; Mus. Periodicals; Nicod^;
Obertas; Organists, College of;
Pruckner, C. ; Sainton-Dolby ;
Schr6ter, C. B. W. ; Tr^sor JIus.,
Weber, G.
Milne, Rev. J. R. [J. R. M.]—
Schlitz; Tschaikowsky ; Vittoria;
Frescobaldi ; Hammerschmidt ;
Scheidemann ; Scheldt ; Schein ;
Schr6ter, L. ; Schlitz Verdelot;
Verdonck ; Wallit-er.
BY EACH WRITER IN THE DICTIONARY.
Monk, Edwin G. [E. G. M.]—
Anthem.
Newmarch, Mrs. [R. N.I—
Brahms.
Oakeley, Sir Herbert [H.S.O.]—
3rarkull; Merkel; Niederrheinische
]Mus. Feste ; Oiiseley ; Reid, General ;
Rink ; Schneider, J. G. ; Wesley, S. S.
OusELET, Rev. Sir F. A. Gore
[F. A. G. O.] — Arsis and Thesis;
Augmentation ; Cancrizans ; Canon ;
Counterpoint ; Fugato ; Fughetta ;
Fugue; Imitation; Inversion.
Parr, Henry [H. Pr.]
Parratt, \Yalter [W. Pa., or
W. Pt.] — Touch ; Treatment of the
Organ ; Venetian Swell ; Vio'a da
Gamba; Violin Diapason; Violon-
cello; Violone; Voix Celestes; Volun-
tary ; Vox luunana.
Parbt, C. H. H. [C. H. H. p.]—
Arrangement; Bass; Basso Con-
tinuo; Basso ostinato; Beats;
Benedicite; Benedictus; Cadence;
Cadenza ; Cantata ; Cantate Domino ;
Canticle ; Cantoris ; Chamber Music '
Chladni ; Chorale ; Chord ; Chroma-
tic ; Classical ; Close ; Coda ; Codetta ;
Comma; Communion Service ; Com-
pass; Composition ; Concord; Con-
secutive ; Consonance ; Constniction*
Contrapuntal ; Contrary Motion •'
Countei-subject ; Credo ; Creed ;
Day, A.; Decani; Degree; Deus
Misereatur; Development; Diapa-
son; Diatonic; Diesis; Diminished
Intervals ; Diminution ; Discord •
Dissonance; Dominant; Fantasia-
Fermata; Fifth; Figure; Figured
Bass ; Form ; Fourth ; French sixth •
Fundamental Bass ; German sixtli ;
Gloria ; Ground-bass ; Harmony •
Imperfect; Interrupted Cadence;
Interval ; Introduction ; Italian
sixth; Jubilate; Key; Kirchen
tantaten ; Leading-note ; Leit-
motif; License ; Liedform; Lyric-
Major ; Measure ; Melody ; Minor ;
Mixed cadence ; Modulation ; Motion ;
Natural ; Neapolitan Sixth ; Ninth ;
Octave ; Passage ; Passing Notes ;
Percussion ; Perfect ; Period ; Phrase ;
Plagal cadence ; Preparation ; Pro-
gression ; Relation ; Resolution ;
Retardation; Root; Second; Se-
quence; Seventh; Sixth; Sonata;
Sonatina ; Subdominant ; Sub-
mediant ; Suite ; Supertonic ; Sus-
pension; Symphony; Third; Tona-
lity; Transition; Triad; Tune •
Unison; Variations; Working-out-
Alberti bass; Dance-Rhythm;
Episodes; Exposition; Harmony;
Metamoi-phosis,
Pauer Ernst [P.]— Pianoforte
Music ; Pianoforte-playing.
Payne, Edward J. [E.J pi—
Forster, W.; Guadagnini ; > ; uarnieii :
Harmonics; Helmholtz; Highland
Fling; Klotz; Landolfi; London
Violm-makers ; Lupot: Nut- Pur-
fling; Rebec; Bibs; Ro3in; Rota-
Euggieri; Salo, Di; Scordatura-
Serafin ; Shift ; Soundholes ; Sound-
post ; Stainer, Jacob ; Stainer, M •
Stradivari; Taille; Tenor- violin •
Tourte; Tromba marina; Tubbs-
Urquhart; Vielle; Viol; Viola-
Viola bastarda; Viola d'amore •'
> lola da braccio ; Viola di fagotto •
Viola pomposa; Violet; Violetta
185
marina; Violin; Violoncello-play,
ing; Wolf, The ; Yriarte; Chest of
viols; Testore; Ture-lure ; Violino
piccolo ; Violoncello piccolo.
Pearson, Rev. Hugh fH. P.I—
Pierson, H. H. -•
Pember, Edward H. [E. H. P.]
-— Abbatini ; Agazzari ; Agostini, P ;
Allegri ; Anerio F. ; Aneiio, G. F. ;
Anfossi ; Animuccia, G. ; Anirauc-
cia. P. ; Ariosti ; Baccusi ; Bai ;
Barre, A. ; Baini ; Cafaro ; Caldara ;
Canniciari ; Caraccio ; Carissimi ;
Casentini ; CavaUeri, E. del ; Cesti ;
Cifra; Clari; Colonna; Conforti ;
Conversi; Cortellini ; Croce ; Fee;
Festa; Gasparini; Guglielmi, P. ;
Palestrina.
Phillimore, Miss [C. M. P.]—
Accademia; Bologna ; Conservatorio;
Este; Ferrara; Florence; Lucca;
Mantua; Milan; Musical Feasts;
Naples; Padua.
PoHL, C. Ferdinand [C. F. P.]—
Aaron ; Abaco ; Abeille ; Abel, K.
F. ; Adamberger ; Adami di Bolsena ;
Adlgasser; Adlung; Aiblinger ;
Ander ; Andre ; Artjiria ; Assmayer •
Astorga ; Barbaja ; Baumgarten •
Becher; Benda; Bibl ; Boccherini ;
Bonno ; Breitkopf & Hartel ; Brie-
gel; Buxtehude; Carpani; Cava-
lieri, K. ; Chrismann ; Conti, F. B -
Czerny ; Diabelli ; Dittersdorf ;'
Draghi, A. ; Dragonetti ; Duschek ;
Eberl; Eberlin ; Esser; Eybler-
Fischer, J. C. : Ffirster ; Forti •
Franz, K; Friberth ; FrMilich;
Fuchs ; Fux ; Gansbacher ; Gebauer ;
Gelinek; Gerber; Gerbeit; Gesell-
schaft der Musikf reunde ; Gewand-
haus Concerts; Giaupner; Gv-
rowetz ; Hanslick ; Haslinger ;
Haydn, M. ; Haydn ; Hellmesberger ;
Henneberg; Herbeck ; Hoffmeister ;
Holz ; Jahn ; Karajan ; Kiesewetter ;
Kirchgessner ; Kftchel, von; Kraft;
Kreissle von Hellborn ; Krumpholz ;
Lanner; Lessel; Lincke; Lorenz;
Marionette Theatre ; Martinez ; May-
seder; Metastasio; Mosel ; Mozart,
L. ; Mozart, W. A. ; Mozart, C. ;
Mozarteum of Salzburg; Mozart-
stiftung; Muffat; Nioolai ; Nie-
metschek ; Nissen ; Notteboljm ;
Ox-minuet ; Pachelbel ; Palfty ;'
Palotta ; Paradies, P. D. ; Paradis
M. T. ; Pichel ; Pinto ; Pleyel ; Port-
mann ; Predieri ; Preindl ; Prayer ;
Raaff ; Ramm ; Rauzzini ; Redoute ;
Reutter; Salieri; Salomon; Sauer
& Leidesdorf ; Scarlatti, G. ;
Schachtner ; Schack ; Schenk ;
Schikaneder ; Schmid ; Schott
Sfihne ; Schroeter, J. S. ; Secliter ;
Seyfried ; Sonnleithner ; Spaun ;
Stadler, A. ; Stadler, M.; Staudigl;
Stem ; Stich ; Strauss, J. • Strina-
sacchi ; Siissmayer ; Titze ; To-
masini; Troyers; Tuma; Um-
lauf ; Vogl, J. M. ; VVagenseil ; Wal-
segg ; Weber Family ; Weigl ; Weiss,
P.; Wild; Winter; Witteczek;
\\ranizky; Zumsteeg.
Pole, William [W. P.]— Acute-
ness; Airy; Analysis of Compound
Mus. Sounds; Anticipation; As-
cending Scale ; Augmented Interval ;
Pitch; Savart; Scale; Semitone.
POLONASKI, E. [E. Pi.]— Hauser.
PONTIGNY, Victor de [V. de P.]
— Bass-drum ; Castanets ; Cavaille' ;
Chappington ; Chinese Pavilion ;
Colombi; Conacher & Co.; Crang
& Hancock; Cymbals; Dallam;
DaublaineetCallinet; Drum; Dud-
dington; Egan; England; Eulen-
stein ; Forster & Andrews ; Gabler ;
Glyn & Parker; Gong; Grancassa;
Gray & Davison; Grosse Caisse;
Guimbarde ; Harris, Renatus ;
Hedgeland; Hewe; Hill & Son;
Holdich; Janiewicz; Jews' Harp;
Kettle-drums; Mus, -Printing ; Pi-
atti; Ponte; Senza Piatti; Side-
drum; Smith, Father; Snetzler ;
Speechley ; labor ; Tambourin ;
Tambourine; Timbales; Timpani;
Tonnerre, grosse caisse en; Tower
Drums; Triangle; Walker, E. F. •
Walker, J.; Wotton, W.; Antegnati;
Barker; Bjiss-horn ; Bevington <fe
Sons ; Bishop & Son ; Bridge, R •
Byfield, J. jun. ; Byfield, Jordan &
Bridge; DaUery; Gern; Hildebrand;
Jardine & Co ; Jones, Henry &
Sons ; Jordan ; Lewis ; Lincoln ;
Miiller, C. ; Mus. Printing ; Pauken ;
Pieterez ; Roose ; Schwarbrook ;'
Sweetland; Telford; Toepfer; Tor-
rian : Van Os ; Vowles.
Poole, Reginald Lane [R. L. P.]
— SweeUnck ; Tyhnan Susato ;
Thomasschule ; Vaet ; Vecchi ; Ve-
nosa ; Verdelot ; Vereenigung Voor
Noordnederlands Mus.; Viadana; Vi-
centino ; Vivaldi ; Waelrant ; Wert,
de; Willaert.
PrOUT, Ebenezer [E. P.]— Ac-
celerando ; Accent ; Accordion ;
Adagio; Additional Accompani-
ments; Adue; Aeolina; Aeolodion;
Affetuoso; Albumblatt; Alia breve-
AlJegro; Allegretto; Allemande;
All' Ottava; American Organ;
Andante ; Andantino ; Anglaise ;
Animato ; Arabesque ; Bagatelle ;'
Ballabile; Bolero; Bourre'e; Branie;
Cachucha; Canarie; Canzona; Ca-
priccietto ; Capriccio ; Chaconne ; Cha-
racteristic ; Concertante ; Concertino ;
Concerto ; Contredanse ; CotilL^n ;
Courante; Csardas; Cushion dance ;
Doubles; Dreher; Duet; Ecossaise;
Entre'e; Fandango; Forlana; Gal-
liard; Gavotte; Grossvater Tanz;
Harmonichord ; Minuet.
Pulling, Rev. W. [W. Pg.J—
Hymns Ancient and Modern.
PURDAY, Charles H. [C. H. P ]
—Cramer & Co. ; Goulding & Dal-
maine ; Androt ; Notot.
RiCCI, Luigi [L. R.]— Pacini, G. ;
Pergola, la; Ricci ; San Carlo;
Scala, la; Zingarelli.
RiMBAULT, Edward F. [E. F. R.]
— Abell ; Aldrlch ; Allison ; Amner -
Arnold, S. ; Ashley, J. ; Ashley, of
Bath; Attey; Avery; Avison ;
Ayrton, E ; Ayrton, W. ; Balfe;
Banister; Barcrofte; Barnett, J. •
Barnetti <^. F. ; Barnby; Bartle-
man; Bartlett; Bateson; Batten-
Beckwith ; Bevin ; Bishop, Sir H. ;
Blewitt; Brade; Braham ; Brem-
ner ; Brewer ; Britton ; Bull ; Bunt-
ing ; Burney ; Busby; Byrd ; Babell ;
Bacon; Bathe.
RizzELi, Sigiior F. [F.Rz.]— Man-
cinelU; Mariani; Samara.
ROCKSTRO, W. S. [W. S. R.]
Gradual; Gradual, the Roman;
Hemiolia ; Hexachord ; Hidden
Fifths and Octaves; ffigh Mass;
186
CATALOGUE OF THE ARTICLES CONTRIBtJTED
Hymn; Hyi^er; Imbroglio; Imijer-
feet ; Improperia ; luganno ; Initials
Absolute; In Nomine; Inscription;
Interlude ; Intermezzo ; Intonation ;
Intoning; Introit; Inversion ; Ionian
Mode; Knell; Kyrie; Lamentations;
Large Lauda Sion; Laudi Spiri-
tual! ; Lauds ; L'homme arm^ ;
Ligature ; Litanise Lauretanse,
Litany ; Locrian Mode ; Long ; Ly-
dian Mode; Macicotaticum ; Mad-
rigal; Magnificat; Maneria; Mass;
Matins; Mean; Medial Cadence;
Mediant; Mediation; Melisma; Mell;
Melodrama ; Metre ; Metronome ;
Mi Contra Fa ; Micrologus ; Minim ;
Miserere; MissaBrevis; MissaPapae
Marcelli; Missa sine Nomine ; Missa
supra Voces Mus. ; Mixed Modes;
Mixolydian Mole; Mode; Modes,
Ecclesiastical ; Modulations, Regular
and Conceded ; Monodia ; Monotone ;
Monteverde ; Motet ; Motetus ;
Musica Ficta; Musica Figurata;
Musica Mensurata ; Musurgia Uni-
versalis ; Mutation ; Nanini, G. B. ;
Nanini, G. M,; Nocturno; Nodus
Salomonis ; Noel ; None ; Nonet ;
Non Nobis Domine ; Nota cambita ;
Notation ; Ochetto ; Offertorium ;
Opera; Opera BouflFe; OiwiaButfa;
Opera Comique; Opera, Grand;
Operetta; Omtorio; Orchestra; Or-
chestration ; Organum ; O Salutaris
Hostia ; Otthoboni ; Participant ;
Passion-music; Pasticcio; Peri;
Perielesis: Phrygian Mode; Plagal
Modes ; Plain-song ; Plica ; Pnenma ;
Podatus; Point; Polyi)honia; Prae-
torius; Presa; Prime; Prolation ;
Proportion Proposta; Proprietas;
<<iuilisma; Quinta Falsa; Quintoyer;
i^uintus; Radical Cadence; Real
Fugue ; Recitative ; Reciting note ;
Recte et Retro ; Requiem ; Respon-
sorium ; Reynolds ; RisiKJsta ; Ritor-
nello; Rosalia; Saggio di Contrap-
punto; Salve Regina; Sanctus;
8cena; Schools of Composition;
Score ; Score, arranging from ; Score,
playing from ; Scoring ; Secco Reci-
tative ; Semibreve ; Semicroma ;
Semif usji ; Semiminima ; Semi-
quaver ; Sequentia; Serenade; Sere-
nata ; Sesqui ; Sext ; Sextus ; Si ;
Sistine Choir ; Sketch ; Sketches ;
Solmisation ; Spondee ; Stabat
Mater; Stave; Strict Counter-
jx^int; Subject; Sumer is iciimen in ;
Syntagma Musicum ; Tablature ;
Tantumergo; TeDeum; Tenebrae;
Terce; Tetrachord; Theme; Tho-
rough-bass ; Tierce de Picardie ;
Time ; Time-beating ; Time-sig-
nature ; Time-table ; Tinctoris ;
Tonal Fugue; Torculus; Transposi-
tion of the Ecclesiastical Modes;
Trochee; Use; Veni Creator Spiritus;
Versicle; Vesperale; Vespers; Vil-
laneila ; Voces Aretinse ; Voces
Belgicas ; Voces Hauimerianse ;
Voices ; Waits, The ; Water-mus. ;
Zacconi ; Zachau ; Zarlino ; Aevia ;
Alfieri ; Anapeest ; Andamento ; At-
tacco ; Azzopardi ; Cantor ; Chia-
vette ; Clausula ; Compline ; Con-
certino; Concerto grosso ; Diaphonia ;
Dies Irse; Dodecachordon ; Eva-
cuate ; Bvovse ; Fa fictum ; Fay,
<lu ; Franco, of Cologne ; Fulda,
de ; Galilei ; Gregorian Tones ;
Guido d'Arezzo; Hale, A. de la;
Hailing; Handel; Hucbaldus; Invi-
tatorium ; Maneria ; Mass ; Missa
deAngelis; Part-books; Part- writ-
ing; Pentatonic scales; Pentatonon;
Sistine Chapel; Soggetto; Tractulus;
Tractus; Vallotti; Veni Sanctus
Spirittis; Vertical and Horizontal
Methods; Victimae Paschali.
Ryan, Desmond L. [D. L. R.]—
Ryan.
SCHULZ, Curt [C. Sch.]— Zither.
SlEWERS, Carl [C. S.] — SOder-
mann ; Svendsen, J. S.
SOUTHGATE, T. L. [T. L. S.]—
Orchestrina di Camera; Record-
ing Musio.
Spitta, Dr. Philipp [P. S.]—
RudorfF; Schumann ; Singakademie,
Berlin; Spontini; Weber; Bach.
Squire, W. Barclay [W. B. S.]
— Liindler ; Lancer's Quadrille ;
Luther ; Matassins ; Matelotte ;
Mazurka ; Measure ; Minor Canons ;
Morris Dance ; Mus. Libraries ; Mus.
Union ; Mus. School, Oxford ;
Musik, kfinigliche Hochschule fiir;
Nohl; Norwich Festival; Nunc
dimittis ; Oberthlir ; O'Leary ;
Orch^sographie ; Omithoparcus ;
Passacaglia ; Passamezzo ; Passepied ;
Pastorale ; Pavan ; Perigourdine ;
Philadelphia ; Pibroch ; Polacca ;
Polka; Polo; Polonaise; Polska;
Popular Ancient English Mus. ;
Precentor; Quadrille; Ranz des
Vaches; Rea; Redowa; Reel;
Rigadoon ; Riseley ; Roeckel ;
Round ; Royal Academy of Mus.,
1720 ; Royal Academy of Mus. ;
Sainton-Dolby; Saltarello; Sara-
band; Schottische; Schuberth;
Schulze ; Scottish Mus. Society ;
Seguidilla ; Semele ; Sennet; Siboni ;
Siciliana; Sink-a-pace ; Sir Roger
de Coverley; Smith, Sidney; So-
ciedade de Quai-tetos do Porto;
Society, the Mus, Artists ; Sounds
and Signals; Starck; Swinnerton
Heap; Tambourin; Tarantella;
Thomas, A. G. ; Thomas, H. ;
Thomas, J. ; Thomas, L. W. Thome,
E. H. ; Tirana ; Touch ; Tourdion ;
Trenchmore ; Trihoris ; Tucket ;
Tyrolienne; University Mus. So-
cieties, Cambridge; Utrecht; Ut,
re, mi ; Varsoviana ; Vicars Choral ;
Virginal Mus. ; Waltz ; Whistling
and Hofmeister's Handbuch ; Yan-
kee Doodle; Yonge ; Ach Gott
vom Himmel ; Bache, W. ; Bandini ;
Barnard, Claribel; Beringer; Bi-
cinium ; Blow, J, ; Bridge, J. ;
Bridge, J. C. ; Broderip ; Bruckner ;
Bryne;Byrd; Clifton, J. C; Cotton,
J. ; Dallam ; Davies, the Sisters ;
Dunstable ; Faning ; Farandole ;
Gafori ; Garrett ; Gladstone. F. E. ;
Goovaerts; Greatheed; Havergal;
Hey ; Keeley ; Mus. Libraries ;
Omithoparcus; PoUitzer; Rogers,
R.; Wlute, R. ; Virginal Music.
StaINEB, Sir J. [J. S.]— Positive
Organ ; Principal ; Rank, Reedstop ;
Register; Response; Row of Keys;
Salcional ; Service ; Sesquialtera ;
Solo Organ; Solo stop; Spitzfl6te;
Stopped pipe ; Stojis, Organ ; Swell,
Organ ; Tell-tale ; Tierce ; Tracker ;
Tremulant ; Tuba miiabilis ; Verse ;
Voicing.
Statham, H. H. [H. H. S.]—
Bennett, Stemdale ; Caiillon ;
Registration.
Stephens, Charles E. [C. E. S.] ,
—Philharmonic Society. 1
Stewart, Sir Robert P. [R.P.S.]
—Irish Music ; Lilt ; Locliaber no
more; Moore; O'Carolan ; Torrance :
Wade; Wallace, W. V.
Stillie, T. L. [T. L. S.]—
Scotish Mus. ; Strath8i)ey.
Stone. W. H. [W. H. S.]—
Alpenhom ; Althorn ; Bagpipe ;
Baritone ; Bass-clarinet ; Bass-flute ;
Basset-horn ; Bassoon ; Bell ; Boehm,
T. ; Bombardon ; Brass-band ; Bugle ;
Chalumeau ; Chaunter ; Claiinet ;
Cor Anglais; Cornet; Crook;
Czakan; Double Bassoon; Double
tongueing; Drone; Embouchure;
English horn ; Euphonium; Fsigotto;
Fife; Flageolet; Flauto traverso;
FlUgel-horn; Flute; Flute d'amour;
French horn ; Horn ; Keys ; Mouth-
piece; Oboe; Oboe d'amore; Oboe
di Caccia; Ocarina; Ophicleide;
Pandean Pi^jc ; Picco pipe ; Piccolo
pipe; Piflfero; Pipe and Tabor;
Pipes, vibration of air in ; Piston ;
Pitchpipe; Posaune; Post horn;
Princii)al ; Recorder ; Reed ; Saobut;
Saxhorn ; Saxophone ; Seii>ent ;
Shawm; Shepherd's Pijie; Siren;
Slide ; Sominerophone ; Tenoroon ;
I'imbre ; Trombone ; Trumi)et ;
Tuba ; Valve.
StUTTAFORD, J. [J.Sd.]— Beeson.
Sullivan, Sir Arthur S. [S.]—
Clay ; Plaidy.
Taylor, Franklin [F. T.]— A;
Abbreviations; Acciacatura; Acci-
dentals ; Agr^mens ; Alphabet ;
-A-Ppoggiatura ; Appoggiatura, dou-
ble ; A quatre mjiins ; Arjieggio ;
B. ; Bar ; Beat ; Bebung ; Bind ;
Brace; Breve; Chiroplast; Com-
mon Time; Compound Time;
Dash; Digitorium; Dot; Extem-
pore Playing ; Extemporizing
machine ; Fingering ; Instniment ;
Legato ; Leggiero ; Ligatostil ; Mor-
dent ; Nachsclilag ; Phrasing ;
Quaver ; Quintuple Time ; Rest ;
Rovescio, al ; Sextolet ; Shake ; Sig-
nature ; Shde; Slur; Spianato ;
Staccato; Studies; Tempo; Tempo
ordinario ; Tempo rubato ; Tie ;
T«4uch ; Transiwsition ; Trill ; Trip-
let; Triple time; Turn; U. C. ;
Verscliiebung ; Vorschlag ; Wrist-
touch.
Tedder, H. R. [H. R. T.]—
Cornelys.
Thayer, A. W. [A. W. T.]—
Galitzin ; Gallenberg ; Kinsky ;
Lichnowsky ; Lobkowitz ; Louis
Ferdinand, Prince; Maelzel; Jfason,
L.; Rasoumowsky; Ries; Rudolph,
Archduke ; Schwarzsimnierh.ius ;
Sebald ; Sina ; Standenheim ; Stein ;
Stiltterheim ; Thomson, G. ; Weissen-
bach ; Willmann ; Breuning.
Thomas, Miss Bertha [B. T.]—
Lucca, Pauline; Marcliesi, M. ;
Marches!, S. ; Matema ; Nava ;
Sontag.
Thomas, John [J. T.]— Welsh
Music ; Welsh Triple Harp.
Troyte, C. a. W. [C. a. W. T.]
-Bells ; Bob ; Call Changes; Caters ;
Change ; Chiming ; Cinques ; College
Youths; Cumberlands, Royal So-
ciety of; Doubles; Falling a bell;
Firing; Grandtdre ; Hand -bells.
BY EACH WRITER IN THE DICTIONARY.
187
Ware, Colonel H. [H. AV.]—
D wight's Journal of Music; Mus.
Libraries.
Westlake, Frederick [F. W.] —
Wohltemperirte Klavier.
W^ODEHOUSE, Mrs. Edmond R.
[A. H. W.]— Lindblad ; Lind-
l)aintner ; Lit«lfiF;;Komantic; Song ;
^'olkslied ; Volksthiimliches Lied ;
. "White, Maude V. ; ZopflF, H. ; Zum-
steeg ; Benevoli ; Campra ; Cantilena;
Doles ; Junck, E, ; Wennerberg.
Wood, J. Muir [J. M. W.]—
Scotch Snap ; Scotish Mudc ; Skene
MS. ; Coronach.
WOOLDRIDGE, H. E. [H. E. W.]
—Psalter.
The Editor [G.] — A battuta;
Abingdon ; Academy of Mus., New
York ; A capella ; A capriccio ; Acis
and Galatea ; Adagietto ; A deux
tuai ns; Ad libitum ; Aelsters ; Aengst-
lich ; Affilard, 1'; Afranio ; Afzelius
Agitato; Agostini, L. ; Agrell
Agricola, J. ; Agi-icola, W. C.
Aguilera di Heredia ; Agus
A'Kempis; Ala; Albeniz, P.
Albergati ; Albert, Prince ; Alceste
Alchymist, der; Alexander Balus
Alexander's Feast ; Al fine ; Alfonso
und Estrella ; Ali Babaj AU'Antico ;
AH'unisono; Alsager; Alt; Altra
Volta; Ambassadrice 1'; Amber
Witch, The ; Amen ; Amihe ; Anac-
ker ; Anacreon ; Analysis ; Andreoli ;
Anna Bolena ; Answer ; Antigone ;
A piacere ; Appassionata ; Appli-
catio ; Ai-diti ; Armide ; Armourer
of Nantes, The ; Arrigoni ; Ar-
taxerxes ; Art of Fugue ; Ascanio
in Alba ; Asola ; A tempo ; Athalia ;
AthaUe ; Attacca ; Attack ; Aubade ;
Augarten ; Auswahl ; Avvertimento
ui Gelosi ; Azor und Zemira ; Baban ;
Bache, F. E. ; Bagge; Baldenecker;
Ball ; Ballade ; Ballerina ; Ballo in
Miischera; Baltazarini; Band;
Baptistin ; Barber of Seville ; Bar-
bers of Bassorah; Barbieri; Bar-
della ; Bargaglia ; Bartei ; Bartholo-
mew ; Bass-tuba ; Basso di Camera ;
Bastien et Bastienne ; Baton, C. ;
Baton; Battle of Prague Battle
Symphony ; Battuta ; Bayaderes ;
Beatrice di Tenda ; Beethoven ;
Beiden Neflfen ; Beiden Padagogen ;
Beklemmt ; Belisario ; Belle Heline j
Belmonte und Constanza ; Belshaz-
«ar; Bemetzrieder ; B^mol; Ben-
venuto Cellini ; Berceuse ; Ber-
gamasca; Berggeist; Bermudo;
Bernard ; Berta ; Bertin ; Beilini,
G. ; Bertini, H. ; Beutler ; Bianca ;
liianca e Faliero; Bis; Black
Domino; Blanche; Blanche de
Xevers; Bodenschatz; Bohemian
<jir]; Bonny Boots; Boosey & Co. ;
Bottt'e de Toulmon ; BrabanQonne,
la ; Bravo ; Bravura ; Bride of Dun-
"kenon; Bride of Song; Brides of
Venice ; Bridgetower ; Brito ; C ;
€abel ; Caccini ; Calando ; Calif e de
Bagdad; Call; Calvary; Calvisius;
■Cambert ; Camera ; Campanology ;
• •CaHto f ermo ; Cai^ella ; Caporale ;
Capuletti ed i Montecchi ; Carafa ;
■Carlo; Carman's Whistle; Caipen-
tra«; Carrodus; Casali; Cassation;
Catarina Comaro; Catelani; Ca-
therine Grey; Cavaccio; Cavalli;
•Cenerentola ; Cerone ; Cei-ton ; Cer-
Tetto; Chair Organ; Chalet, le;
Chanterelle; Chapelle; Chaperons
Blancs ; Charles II ; Ciiasse, a la ;
Cheval de Bronze ; Chezy ; Cliipp ;
Choice of Hercules ; Choir ; Choral
Fantasia; Choral Symphony ; Chorus;
Chouquet; Christus; Christus am
Oelberge ; Circassienne ; Cis, Ces ;
Clarino ; Claudine van Villabella ;
Clemens non Papa ; C) emenza di Tito ;
Colla parte ; Cologne Choral Union ;
Colombo, la ; Colophonium ; Colora-
t\ir ; Colporteur, le; Come sopra;
Comte Ory ; Con Brio ; Con Spirito ;
Concert; Concertmeister; Cohcert-
pitch ; Concert-stiick ; Concertina ;
Conductor ; Conductor's part ; Con
spirito ; Contra-fagotto ; Convict ;
Cooper ; Comemuse ; Corno di
Caccia ; Cornopean ; Cosi fan tutte ;
Couac: Cowen; Cox and Box;
Creation ; Crescendo ; Crociato in
Egitto ; Crotchet ; Crown Diamonds;
Crozier; Crystal Palace Saturday
Concerts ; Cue ; Cummings ; Curioso
Indiscreto ; Cusins ; Czar und Zim-
mermann : Cantabile ; D . ; Da Capo j
Dactyl ; Dal Segno ; Dame Blanche ;
Dance Music ; Dance, W. ; Dann-
reuther ; Daughter of S. Mark ;
Davidde Penitente ; Davidoff ;
Davidsbiindler ; Debain; Deborah;
Decrescendo ; Demi-semi-quaver ;
Demophon; Deserteur; Dettingen
TeDeum; Deux Journees; Devil's
Opera ; Devin du Village ; Diadeste ;
Dianiants de la Couronne ; Diapente;
Diatessaron ; Diminuendo ; Di-
norah; Direct; Direct Motion;
Dis; Discant; Dissoluto Punito,
il; Divertimento; Divertissement;
Divisions ; Dlabacz ; Do ; Dolce ;
Domino Noir; Don Carlos; Don
Giovanni ; Don Pasquale ; Don
Quixote ; Donna del Lago ; Doppio ;
Dorian; Dotzauer; Double bar;
Double Chant; Double Concerto;
Double Counterpoint ; Double flat ;
Double fugue; Double sharp;
Drecbsler, J. ; Drechsler, K. ; Drou-
et; Duettino; Dulcken, Madame;
Duni; Duodrama; Duport; Du-
rante ; Durchf iihrung ; Dux ; E ;
Ebers, C. ; Ecclesiasticon ; Echos du
temps i^ass^ ; Edinburgli Professor-
ship; Egmont; Ein feste Burg;
Elijah; Elisa; Elisir d'Amore ;
Elliott; Ely Cathedral; Emperor
Concex-to; Emperor's Hymn; En-
core; Enfant Prodigue; Entf iih-
rung ; Erba ; Ernani ; Eroica ; Ert-
mann; Esther; Etoile du Nord;
Euryanthe; F; Fackeltanz; Fair
Rosamond; Falstaff; Fanfare;
Faniska ; Fantaisie-stiick ; FarineUi ;
Faust ; La Favorite ; Feldlager in
Schlesien ; Ferial and Festal ; Fer-
nand Cortez; Ferrarese del Bene;
Fiasco ; Fiddle ; Fidelio ; Field, H. ;
Fierrabras; Fifteenth; Figurante;
Figured; Fille du Regiment;
Filtsch ; Fioriture ; Firework Music ;
Fis; Fischer, G. ; Fischhoff; Fitz-
wilUam Collection ; Finta Giardi-
niera ; Finta Semplice ; Flageolet ;
Flat; Flat fifth; Fliegende Hol-
lander ; Florid ; Florilegium Por-
tense ; Folia ; Formes ; Forte ; Forza
del Destino ; Fra Diavolo ; Franc-
homme ; Franciscello ; Frege ;
Freischlitz; Frottole; Fz; Faure;
G ; Gabriel ; Gadsby ; Gaf ori ;
Galimathias; Gallia; Galop; Ga-
mut ; Gardane ; Gates ; Gazza ladra ;
Gernsheim ; G hazel ; Gheyn, van
den; Gigue; Giordani; Gipsy's
Warning ; Giselle ; Giuramento, il ;
Giusquino; Giusto; Glen; God
save the King ; Goetz ; Goldbei'g ;
Goldmark ; Goltermann ; Gomez ;
Gordigiani ; G^tterdSmmerung ;
Gouvy ; Grace-notes ; Gradus ad
Parnassum ; Grand ; Grsinjon ; Gras-
sineau ; Grave ; Grecco ; Green-
sleeves ; Griesinger ; Grisar ; Grosso ;
Guicciardi; Guillaume Tell; Guil-
raant ; Guiraud ; Gusikow ; Gustave
III; Guzla; H; Hafner; Half-
close; Halle; Hallelujah; Hamlet;
Hammer-Klavier ; Handel-Gesell-
schaf t ; Handel Society ; Handel jmd
Haydn Society ; Handl ; Harmonica ;
Harmonic Union ; Harmonie ;
Harold en Italie; Hauck; Haupt,
C. ; Hautboy ; Haydee ; Haydn in
London ; Hayes, C. ; Hebrides ; Heil
dir im Siegerkranz ; Henrique ;
Henschel, G. ; Hensel ; Herculanum;
Hercules; Herz; Herzog; Hesse;
Hocket; Holmes, W. H. ; Home,
sweet Home ; Homophone ; Horn-
pipe ; Holyoke; Hosanna; Hiitten-
brenner ; Hugenots ; Humoreske ;
Hunter ; Iambic ; Idomeneo ;
Ifigenia ; Impresario 1' ; Impromptu ;
Improvisation ; Innig ; In qiiesta
tomba ; Intrada ; Invention ; Iper-
mestra ; Iphigenie en Aulide ;
Iphig^nie en Tauride; Iron Chest;
Israel in Egypt ; Istesso tempo, 1' ;
Italiana in Algieri ; Jacquin, von ;
Jadassohn; Jahns; Jaell; Jahr-
biicher; Janitscharen ; Januaconi;
Janotha ; Jarnowick ; Jean de
Paris ; Jenny Bell ; Jensen ;
Jephthah ; Jerusalem ; Jessonda ;
Jeune Henri ; Joan of Arc ; Joconde,
John the Baptist ; Jonas ; Jones,
J.; Joseph; Joshua; Jota; Jubilee
Overture ; Judas Maccabjeus ;
Judith ; Juive, la ; JuUien ; Jullien's
Military Journal ; Jiingste Gericlit ;
Jupiter; Kandler ; Kapelle; Kauka ;
Keler Bela ; Kellogg ; Kent bugle ;
Keolanthe; Key-bugle; Kind; Kisit-
ner; Kit; Kittel; Klavier-Mus.,
Alte ; Klein ; Klemm ; Klingemaun •
Knapp; Knecht; Kneller Hall;
Knight ; K6hler ; Kollmann ; Kotz-
wara; Krakoviak; Krebs; Kreia
leriana; Krenn ; Kreutzer Sonata;
Kiicken ; KUhmstedt ; Kuhlau ;
Kuhnau; Kuntsch; Kupsch ; La;
Lac des Fees ; Lachner ; Lachnith ;
Lady Henriette ; Lady of the Lake ;
Laidlaw; Lajarte; Lalla Rookh;
Landsberg; Lang; Lange; Lang-
sam ; Larghetto ; Largo ; Lassen ;
Last Judgment ; Lay ; Lays ; Leach ;
Lead, to ; Leader ; Lebhaf t ; Ledger
Lines ; Leeds Musical Festival ;
Leidesdorf ; Leipzig ; Lemmens ;
Lento ; L^ocadie ; L^oline ; Leonore;
Leonore Prohaska ; Leroy ; Lestocq ;
Letzten Dinge ; Leutgeb ; Lied oJme
Worte ; Liederkreis ; Liedersjieil ;
Light of the World; Lily of Kil-
larney; Limpus; Linda di Cha-
mouny ; Lisbeth ; Lischen et Fritz-
chen ; Liverpool Mus. Festivals ;
Lobe; Lobgesang; Lodoiska; Lo-
hengrin ; Lombardi ; London Sacred
Harmonic Society; Lord of the
Isles ; Loreley ; Love's Triumph ;
Lucia di Lammermoor ; Lucio Silla ;
Lucrezia Borgia; Luisa Miller;
Lurline ; Lustigen Weiber, etc. ;
Luther's Hymn ; Lutz ; Macbeth ;
Mackenzie ; Ma9on, le ; Maid of
Artois ; Maid of Ilonour ; Main-
zer; Malek Adel; Malinconia;
188
CATALOGUE OF ARTICLES CONTRIBUTED BY EACH WRITER.
Manchester ; Manns ; Maometto
Secondo; Mapleson; Maria di
Rohan ; Marino Faliero ; Maritana ;
Martha ; Martyrs, les ; Masaniello ;
Masnadieri, i ; MathUde de Shabran ;
Matilda of Hnngary; Matrimonio
Segreto ; May Queen ; M^d^e ;
Meereastille und Qluckliche Fahrt ;
Mehlig ; Meister, Alte ; Melusine ;
Mendel ; Mendelssohn ; Midsununer
Night's Dream Music ; Mireille ; Mit-
chell ; Mixed Voices ; Mizler ; Mock
Doctor; Molinara, la; Monferrina;
Monochord ; Moonlight Sonata ;
Mooser ; Mos^ in Egitto ; Moses ;
Mosewius ; Monnsey ; Mountain
Sylph ; Mount of Olives ; Mousque-
taires de la Reine ; Muette de Portici ;
Musica Divina ; Musikalisches
Opfer; Muta; Mute; My Mother
bids me ; Mysliweczek ; Myst^res d'
Isis ; Naaman ; Nabucco ; Nachruf ;
Nageli ; Naenia ; Neefe ; Neige, la ;
Neithardt ; Nel cor piii ; Neron ;
Neruda ; New Philh. Society ; Night
Dancers; Non Plus Ultra; Nonne
Sanglante, la ; Norma ; Note ;
Novello, Ewer & Co. ; Nozze di
Figaro ; Number ; Obbligato ;
Oberon ; Oca del Cairo ; Octet ;
Oedipus ; Oginski ; Olimpiade ;
Olympie ; Orazzi e Curiazi ; Orfeo ed
Enrydice; Organ-part; Orphee aux
Enfers; Orphee et Euridice; Or-
pheus ; Orpheus Brittanicus ;
Otello; Ostinato; Otto; Oil peut
on 8tre mieux; Ours, 1'; Panny;
Fanofka ; Paque ; Paradis ; Paradise
and the Peri ; Pardon de Ploermel ;
Parisian Symphony ; Parisina ;
Parry, C. H. H, ; Parry, Joseph ;
Parsifal ; Partition ; Part- Music ;
Pascal Bruno ; Pastorale ; Pastoi-al
Symphony ; Pathdtique ; Patroci-
nium Musices ; Paul, St. ; Pearsall ;
Perabo ; Pergetti ; Perle du Bresil ;
Peter, St. ; Petrella ; Petreius ;
Petrucci; Peutinger; Philemon et
Baucis ; Phillipps, W. L. ; Philtre,
le ; Picco ; Pietro il Grande ; Pilgrirae
von Mekka ; Pinafore, H. M. S. ;
Pinsuti ; Pirata, il ; Pirates of Pen-
zance; Pittman: Planche; Plus
Ultra ; Pneumatic Action ; Poco ;
Pohl, R.; Point d'Orgue ; Points;
Pole ; Poliuto ;Polyeucte ; Ponchielli ;
Pons ; Poole ; Popper ; Portense ;
Portogallo; Posthumous: Postilion
de Longjumeau ; Postilions ; Post-
lude ; Pott ; Praeger ; Praenestinus ;
Pratten ; Pr^ aux clercs ; Preciosa ;
Preludes, les; Primer; Prodigal
Son ; Programme ; Prometheus ;
Piophfete, le ; Pucitta ; Purcell So-
ciety; Puritani di Scozia ; Puritan's
Daughter; Putzli; Pye; Pohlenz;
Quantity ; Quartett Association ;
Quasi ; Quatre Fils Aymon ; Queisser ;
Quick-step ; Raccolta ; Radziwill ;
Raimondi ; Ramann ; Ramsey ;
Randell, R. ; Randall; Randegger ;
Randhartinger ; Rappoldi; Rasou-
mowsky Quartets ; Rataplan ;
Ravina ; Raymond & Agnes Re ;
Reay ; Recital ; Redeker ; Reed,
German ; Reformation Symphony ;
Regal; Register; Regondi; Reich-
ardt, A. ; Reid Concerts ; Reine
de Chypre ; Reine de Saba ; Reine
Topaze ; Reinhold, H. ; Reiss-
{ Eem<5nyi ; Rendano ; Re
Pastore; Reprise; Rheingold, das;
Ribattuta Ricercare ; Richard
Coeur de Lion; Richardson. J.;
Ridotto ; Riedel ; Riem ; Rienzi ;
Rieter - Biedermann ; Rigoletto ;
Rinaldo; Riotte; Robert Bruce;
Robert le Diable ; Roberto Devereux ;
Roberts; Robin des Bois; Robin
Hood; Roche; Rochlitz; Rdntgen;
Rogel; RoUe; Romance; Romani;
Romeo and Juliet ; Rondeau ; Rosa ;
Rosamunde; Rose of Castille;
Rosellen ; Rosenhain ; Roses ; Rossi,
F. ; Rossi, L. ; Rossi. Luigi ; Rossi-
Scotti; Rousseau's Dream; Rous-
selot; Rovedino; Rovelli; Rowland;
Riibezahl ; Rubinstein, A. ; Ruffo ;
Ruins of Athens; Runimel; Ruslan
i Ludmilla ; Rust ; Ruzicka ; Sainton ;
Sala; Salaman; Samson; Santa
Chiara; Sapho; Sartoretti; Sata-
nella; Saturday Concerts, Crystal
Palace ; Saturday Popular Concerts ;
Saul ; Sauret ; Sauzay ; Saynfete ;
Scaramuccia ; Scenario ; Schablone ;
Scharwenka, P.; Scharwenka, X. ;
Schauroth ; Schauspielsdirektor ;
Schebek; Schebest; Schelble; Schel-
ler; Schicht; Schilling; Schiraon;
Schindelmeisser ; Schindler; Schir-
macher; Schladebach; Schleinitz;
Schlesinger ; Schloesser ; Schraitt ;
Schnyder von Wartensee ; Schober ;
Schobert ; Schfinstein ; Schubart ;
Schubert; Schubert, Ferd. ; Schu-
bert, C; Schubert. F. ; Schubert,
L. ; Schubring ; Schulhof ; Schulz,
J. A. P.; Schumann, C. ; Schunke;
SchOtt; Scotch Symphony; Seasons,
the; See, the Conquering Hero
comes ; Sehnsucht ; Semiramide ;
Semler; SenfF; Seraglio, the; Seroff;
Serva padrona, la; Settimetto;
Seven last words, the; Severn;
Sgambati; Sharp; Sherrington, J. ;
Sicilian Bride; Sicilian Marinera'
Hymn ; Sifege de Corinthe ; Siege of
Rochelle; Signale; Silas; Simrock;
Sinf onie-Cantata ; Singer's Library ;
Sir^ne, la ; SUvana ; Siraone Bocca-
negra ; Siroe, rfe di Persia ; Sivori ;
Smetana; Soci^t^ de Mus. de
Chambre ; Soggetto ; Sol ; Soldaten-
liebschaft; Solennis; Solfa; Soli-
taire, le ; Solo ; Solomon ; Sombree ;
Son and Stranger ; Songe d'une Nuit
d'dt^ ; Songs without words ; Son-
nambula ; Soria, de ; Soriano ; Sori-
ano-Fuertes; Soto; Soupir; So-
winski; Space; Spark; Specimens,
Crotch's; Speyer ; Spicato; Spina;
Spindler; Spiritoso; Spitta; Spon-
tone ; Sprliche ; Stainer, John ;
Stamaty; Stamitz; Stanford; Stark,
L.; Sterkel ; SterUng ; Stern; Stiehl;
Stifellio; Stigelli; Stirling; Stock-
hausen, J. ; Stokes ; Stoops to Con-
quer, She ; Stopping ; Strada del
Pd ; Stradella ; Straniera, la; Straus,
L.; String; Strohfiedel; Strohmeyer;
Struensee; Stlick; Stuttgart Con-
servatorium ; Subdiapente ; Suc-
centor; Succfes d'estime; Sucher;
Sullivan; Sul-Ponticello ; Sulzer;
Suppe ; Susanna ; Svendsen, O. ;
Swert, de ; Swieten, van ; Syl-
phide, la; Sylvana; Sylvia; Sym-
phoniques, Etudes; Symphonische
Dichtungen ; Symphony Orchestra ;
System ; Szymanowska ; Stimi)son ;
Tacet ; Tadolini ; Taglichsbeck ;
Talexy ; Talisraano, il ; Tallys ; Ta-
merlano ; Tam-tam ; Tancredi ;
Tannhauser; Tantara; Tanto; Tap-
pert ; Tarare ; Tasto Solo ; Tattoo ;
Taubert; Tausch; Taylor, P.; Tech-
nique; Tedesca, alia; Tellefsen;
Tempe8ta,la; Tempest, the; Temixj
di Ballo; Tenth Symphony; Ter-
podion ; Teufel's Lustschloss ; Teut-
sche; Thayer; Theatre; Theilej
Thematic Catalogue ; Theory ; Thesis ;
Thespis; Thomson, J.; Tiedge;
Tiersch ; Tigrane ; Timidamente :
TiraraJ, da; 'Tis the last rose of
summer; Tod Jesu; Tones, Ore-
gorian; Torquato Tasso; Torvaldo
e Dorliska ; Tosto ; Tourj^e ; Tours ;
Towers; Training School for Mus.,
National ; Tramidamente ; Tran-
qiiillo ; Trauerwalzer ; Travenol ;
Traverse; Traviata, la; Tr^sor des /O,
Pianistes; Trial by Jury; Tiibut ^^
de Zamora; Trillo del Diavolo;
Tristan und Isolde; Tromba; Trom-
boncino; Trompette, la; Troppo;
Troutbeck ; Trovatore, il ; Troyens,
les; Troyte: Truhn; Tuckerman;
Turandot; Turca, aJla; Turco in
Italia; Turk; Turkish Music;
Turner, A. T.; Turpin; Tuschj
Tyndall; TJlrich; Un anno ed uu
Giomo; Unda Maris; Undine; Un-
equal; Unger; Urio; Vaccaj : Vagans;
Valentini, P.F.; Vallace, Gugliehno;
Vampyr, der ; Van Bree ; Van deii
Eeden; Variante; Veiled Prophet
of Khorassan ; Venite ; Ventil ;
Vepres Siciliennes; Verlorene Paru-
dies; Verschworenen, die; Vert-
vert; Verve; Vestaie, la; Veuve dii
Malabar; Viaggio k Reims; Vic-
torine ; Vierling ; Vigan6 ; Villarosa ;
Vinci ; Violetta ; Virtuoso ; Vocal
Scores; Vocalion; Voigt; Volkmann;
Vollweiler ; Volume ; Volumier ;
Vorspiel ; Waldhorn ; Waldraadchen ;
das; Waldstein; Waldteufel; Wald-
teuf el, E. ; Waley ; WalkUre ; Wallace,
Grace ; Wallerstein ; Walpurgis-
night ; Walsingham ; Walther, .1. ;
Walther, J. G.; Waltz, G. ; Wanda ;
Wanhal ; Waring ; Wasielewsky ;
Water-Carrier; Weber's Last Waltz;
Wedding of Camacho; Wehli; Wein-
lig ; Welch ; Westbrook ; Western
Madrigal Society ; Westminster ;
Weyrauch; White, Meadows; Wider-
spanstigen Zahniung ; Wieck ;
Wiener; Wilhelm; Wilhelrai; WUlis;
Willmers; Wingham; Wotton, W.
B. ; Wlierst ; Yorkshire Feast Song ;
Zaide ; Zaire ; Zambona ; Zampu ;
Zanetta; ZauberflOte ; Zavertal;
Zelmira; Zdmire et Azor; Zeno-
bia ; Zerline ; Zeuner ; Zimmer-
mann, A. ; Zingara, la ; Zoo,
The; Zopf; Zoppa, alia; Zora;
ZwilJingsbrlider ; Zwischenspiel ;
Abegg; Abu Hassan; Baptie, D;
Barrett; Barry; Beethoven; Ben-
nett, J. ; Bdhner ; Brod ; Caraeval ;
Cavallinl; D' Albert; Davies, F. ;
Davison ; Dommer, von ; Dream
of S. Jerome ; Edwards, H. S. ;
Goldberg ; Hecht ; Kastner ;
Keams ; Leonard ; Leonora ; Li-
cenza ; Mendelssohn ; Parratt, W. ;
Schubert ; Sunderland, Mrs. ;
Thoi-ndike ; Visetti ; Woitzmann ;
Zur MUhlen.
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